Terminal Identity

Bukatman, Scott

doi:10.1215/9780822379287

Cited by 326 publications

(6 citation statements)

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“…However, the material is always present in the form of computers, screens, cabling, keyboards and the embodied presence of the individual user (cf. Ajana, 2005;Bukatman, 1993;Lupton, 2000). Whilst the eBay experience may happen in a screen where consumers browse and fuel desire for goods, the material and the virtual are ever present; goods eventually arrive to the door.…”

Section: Discussionmentioning

confidence: 99%

‘Love it. Buy it. Sell it’

Denegri‐Knott

Molesworth

2010

Journal of Consumer Culture

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Our work adds to existing research on eBay by presenting it as a space where consumers' imaginations are stimulated and where their psychological work to manufacture ever new wants and desires allows for a reflection of consumer tastes and practices. To do so, we conceptualize eBay as a digital virtual space that allows consumers to browse at length through a plethora of goods, test preferences and potentially reflect on the significance of objects and daydreams pursued.Conceptually, we draw a synthesis between desire and imagination-laden narratives within consumer research with Rob Shield's analytic of the digital virtual and its relationship to the real and ideal. From that reading we attribute eBay with a liminoid texture that helps us account for the social dramas that some of its users, such as famed science fiction writer William Gibson, may experience. We argue that whilst eBay does not provoke the initial breach, its enormous, global, ever changing catalogue of goods, produces a crisis that invites the user to engage in redressive action. That analysis has two moments, one focusing on the eBay experience as a form of flânerie, and then, how visual and written information gathered from searching eBay can be used to craft daydreams relative to a desired good. Specifically, we consider concrete consumer practices through which consumers feed and actualize more substantive daydreams of an improved life, including bookmarking, bidding and winning (owning) desired items. We conclude that eBay's significance as a seductive site to consume (in) lies in its ability to allow for the continuous construction of latent wants while providing consumers with the tools to react to these wants in various ways.

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Section: Discussionmentioning

confidence: 99%

‘Love it. Buy it. Sell it’

Denegri‐Knott

Molesworth

2010

Journal of Consumer Culture

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“…49 This is apparent, for example, in George Lucas's THX 1138 (to be discussed below), whose hyper-technological, ultra-rational aesthetic stands at odds with its anti-technological, irrational parable. 50 In turn, as suggested previously, the problematic practice of scoring science fiction film, which Vivian Sobchack has lamented for its general 'lack of notability, its absence of unique characteristics which separate it from music in other films', 51 lies at the heart of this This has rendered all the more easy the historically disinterested development by others of a restrictive signifying principle welding Ligeti-like atonality and clustersregardless of any authorially intended or critically examined meaning-to the unknown, the threatening, the monstrous and the evil. Indeed, like the reifying of the fantastic as commercial routine across many screen genres, the novelty of extreme dissonance, textural densities, and electronic manipulation, perhaps once the preserve of science fiction and horror genres, soon exhausts itself in the industry's insatiable appetite for an ever-increasing stockpile of clichés.…”

Section: The Bachian Intertext In Science-fiction Film Scoringmentioning

confidence: 99%

Scoring Incredible Futures: Science-Fiction Screen Music, and "Postmodernism" as Romantic Epiphany

Barham¹

2008

The Musical Quarterly

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“…There are, however, crucial differences between the visual techniques already in use and new approaches to emotional cartographies such as affective geovisualization. The analog map, so entrenched in geographic theory and practice, is discrete and immutable and so is very unlike, to use Bukatman's (1993) term, the ''spatiotemporal malleability'' of the web-based digital images of TheShieldRap. In terms of broad visual theory, the static information reproduced on the webpage can be likened to photographic images.…”

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confidence: 99%

“…The webpage provides a way to compensate for the loss of the human in the virtual environmentthe viewer/consumer can now transform that environment into a space more susceptible to human control because the viewer/consumer can now choose paths within that space-we can view a single image, multiple images, read textual information or even engage with others by posting comments about any aspect of the television show. Thus the virtual digital environment becomes a fundamental part of human experience-there is a literal projection of the human into virtual space thereby allowing the viewer/ consumer to construct, as Bukatman (1993) has concluded, a spatial simulacrum of the previously invisible circulation of information through this simultaneous grounding and dislocating of the viewer/consumer's bodily experience. This is, of course, a somewhat simplified explanation for a justification of the use of websites like TheShieldRap in geography or in any discipline that studies visual culture as a representation of geographical data.…”

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confidence: 99%

Virtualizing Los Angeles: Pierre Levy, The Shield, and http://theshieldrap.proboards45.com/

Craine

2008

GeoJournal

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I explore how Pierre Levy's virtualization works between actual places, television, and the Internet by referencing the real landscapes of Los Angeles, the visualized landscapes of the FX network television show The Shield, and the cyberscapes of http://theshieldrap.proboards45.com/. Unlike current Deleuzean-based theories of visualization that privilege the passage from the virtual to the actual, Levy focuses instead on how virtualization moves back from the real/actual toward the virtual. I argue that this philosophical reversal illustrates the way in which the virtual constitutes the viewer/consumer and thus functions to resituate the virtual within the body through the use of digital landscapes. I further argue, using The Shield as the modality, that the virtual is necessarily an element of the very body which it serves to constitute because the virtual is indeed an essential part of the determination of the geographies of every concrete biocultural body. My example of The Shield becomes the means by which we can bring the force of the virtual, in the form of web-based landscapes, to bear on our experience. I use the show and its Internet counterpart as the catalyst for an expansion of the margin of indetermination constitutive of our technically-facilitated embodiment. By further relating the TV show to our seemingly playful interactions with the digital landscape, I explore how this interaction crosses multiple scales and multiple viewing modalities and further blurs the borders of experiential reality and the visualization of fantasized landscapes. The Shield's representations of the Los Angeles landscape become embodied experiences for viewers of the show and by virtualizing the real landscapes of Los Angeles and their televisual counterparts, http://theshieldrap.proboards45.com/ allows consumers to know the spaces of the city through their virtual experience of place as imagined by the website and its members. Thus, I show how Levy's virtualization theories can be used to specify the virtual dimension constitutive of human experience.In an effort to promote a better understanding of our engagement with the geographic information contained within the virtual spatiality's of virtual environments I explore how signifying elements work between actual places, television, and the Internet by referencing the real landscapes of Los Angeles, the visualized landscapes of the Fox Network television show The Shield, and the virtual landscapes of http://theshieldrap.proboards45.com (TSR). Current theories of visualization surmise that the mental maps that compose the themes located

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Terminal Identity

Cited by 326 publications

References 0 publications

‘Love it. Buy it. Sell it’

‘Love it. Buy it. Sell it’

Scoring Incredible Futures: Science-Fiction Screen Music, and "Postmodernism" as Romantic Epiphany

Virtualizing Los Angeles: Pierre Levy, The Shield, and http://theshieldrap.proboards45.com/

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