Hyperreality is an Alice-in-Wonderland dimension where copies have no originals, simulation is more real than reality, and living dreams undermine the barriers between imagination and objective experience. The most prominent philosopher of the hyperreal, Jean Baudrillard, formulated his concept of hyperreality throughout the 1980s, but it was not until the 1990s that the end of the Cold War, along with the proliferation of new reality-bending technologies, made hyperreality seem to come true. In the “lost decade” between the fall of the Berlin Wall and 9/11, the nature of reality itself became a source of uncertainty, a psychic condition that has been recognizably recorded by that seismograph of American consciousness, Hollywood cinema.
The auteur cinema of the 1970s aimed for gritty realism, and the most prominent feature of Reagan-era cinema was its fantastic unrealism. Clinton-era cinema, however, is characterized by a prevailing mood of hyperrealism, communicated in various ways by such benchmark films as JFK, Pulp Fiction, and The Matrix. The hyperreal cinema of the 1990s conceives of the movie screen as neither a window on a preexisting social reality (realism), nor as a wormhole into a fantastic dream-dimension (escapism), but as an arena in which images and reality exchange masks, blend into one another, and challenge the philosophical premises which differentiate them from one another. Cinema of Simulation: Hyperreal Hollywood in the Long 1990s provides a guided tour through the anxieties and fantasies, reciprocally social and cinematic, which characterize the surreal territory of the hyperreal. ~ From the Publisher
Harvey Douglas Wall
"The smartest particle physicist works with a small group of superintelligent scientists in Geneva Switzerland at the CERN Hadron supercollider on research aimed toward discovering the Higgs boson. During the operation of the Hadron supercollider which smashes protons together at nearly the speed of light the small group of scientists find themselves traveling back in time some 60,000 years to Burundi Africa. Join our scientist as they navigate the dimension shifting future. The time line is the 2012 through 2040 but also forty years surrounding 57,000 BC. The location in the present is Geneva Switzerland as well as Bujumbura Burundi Africa and includes some New York City, East Hampton Connecticut, and Houston Texas. The prehistoric setting is almost entirely in Burundi Africa." (Amazon)
The show's major themes are presented, including the role of time, fate and determinism, masculinity, parenthood, and the threat of environmental apocalypse.This collection by critics, academics and philosophers examines the complete series from a diverse array of perspectives.
Little is known about Kentauros, who mated with a mare to create the centaur. Of the Greek poets, only Pindar writes of him, though little beyond the circumstances of his conception, when Zeus laid a trap to catch King Ixion coveting his wife, and giving birth to Kentauros, who "bore a curse that offended gods and men alike." With this beguiling new work, Feeley (Arabian Wine) examines Pindar's words closely for clues about Kentauros, neither mortal nor god, "conceived on Olympus but exiled to a companionless life on earth." The author also intersperses his own myth, in which he imagines the lonely life of Kentauros, seeking survival in a cruel world, and his ill-fated coupling with the mare. And Feeley imagines the circumstances surrounding Percy Shelley's allusions to King Ixion in his poetry; a fantastic interlude finds Mary Shelley attempting to continue her husband's work after his death with the help of Lord Byron and James Leigh Hunt. Feeley's work is an unusual and somewhat disturbing reminder that "myths live where we do" and that "we respond to myths not because they are culture-affirming but because they are frightening-- Publisher's Weekley.
Randy Laist Ph.D.
Through a close reading of four DeLillo novels, Technology and Postmodern Subjectivity in Don DeLillo's Novels examines the variety of modes in which DeLillo's fictions illustrate the technologically mediated confluence of his human subjects and the field of cultural objects in which they discover themselves. The model of interactionism between human beings and technological instruments that is implicit in DeLillo's writing suggests significant applications both to the study of other contemporary novelists as well as to contemporary cultural studies.
Brian A. Dixon Dr.
This anthology edited by Brian Dixon and Adam Chamberlain includes nine original stories from six authors. Each delves into events along the timeline between the point of divergence from established history up to the present day, from the uncertainty of early colonial conflicts to the devastation on the front line of the War of Wars, from the politics underpinning a British mission to land a man on the moon to rivalry on the cricket grounds of New England. Accompanied by extensive appendices including maps, biographies, letters and diaries, they collectively describe an alternate history of the sisterhood between a very British North America and Great Britain.
(From the book Cover)