By Vilem Flusser, Nancy Ann Roth, Mark (INT) Poster
In Does Writing Have a Future?, a remarkably perceptive paintings first released in German in 1987, Vil?m Flusser asks what is going to take place to proposal and conversation as written communique offers means, necessarily, to electronic expression. In his advent, Flusser proposes that writing doesn't, in truth, have a destiny simply because every thing that's now conveyed in writing—and a lot that can't be—can be recorded and transmitted by way of different capacity. Confirming Flusser’s prestige as a theorist of recent media within the related rank as Marshall McLuhan, Jean Baudrillard, Paul Virilio, and Friedrich Kittler, the stability of this publication teases out the nuances of those advancements. to discover a typical denominator between texts and practices that span millennia, Flusser seems to be again to the earliest sorts of writing and ahead to the digitization of texts now below means. For Flusser, writing—despite its boundaries when put next to electronic media—underpins historic recognition, the idea that of development, and the character of severe inquiry. whereas the textual content as a cultural shape may well eventually develop into superfluous, he argues, the paintings of writing won't a lot disappear yet really evolve into new types of inspiration and expression.
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Additional resources for Does Writing Have a Future?
I would add that we may also practice borderlands rhetorics in this third space. When we knowingly occupy this space, we engage in the practice of differential consciousness, which gives rise to the opportunity for a developed coalitional consciousness that can, in turn, move us to a sociopolitical agenda based on notions of social justice. As we move toward and realize coalitional consciousness, we can begin to re(en) vision how history has been written about and without us and how history can then begin to be revisioned in the space(s) of the decolonial imaginary.
HerBaL aLLIes FOR crazy Grls”—from Bamboo Girl #11, edited by Sabrina Margarita Sandata. 38 / Zines in Third Space Strategically, Bamboo Girl uses visual representations of each herb Piepzna‑Samarasinha comments on to include both the common name as well as the botanical name. Such a strategy demonstrates deep knowledge about, and an informed approach to, the healing herbs being discussed. Tactically, however, Piepzna-Samarasinha quickly distances herself from the medical establishment by noting that she has no fancy title but relies instead on lived experience and on practiced and learned traditional knowledges.
S. punk movement particularly for women of color. This zinester also considers the experience of overt and/or color‑blind racism, sexism, and heterosexism in the punk scene. In this issue there is a long and related rant that addresses the racism and heterosexism in the punk scene. This zinester states that it is “disgraceful that a person in this scene would stigmatize those who identify themselves as a riot grrrl, a feminist, a queer or just a person who demands to be treated with a little respect” (49).