Gary Hink | University of Colorado, Boulder (original) (raw)
Conference Presentations by Gary Hink
Gary Hink, Ph.D. "Protocol Rhetoric, Electracy, and the Aesthetic Paradigm" << edited transcript... more Gary Hink, Ph.D. "Protocol Rhetoric, Electracy, and the Aesthetic Paradigm"
<< edited transcript >>
Adobe Spark (supplemental): https://spark.adobe.com/page/hvAei/
Rhetoric Society of America Conference 2016 | Session C27: Rhetoric and Aesthetic
For all teachers, and composition instructors especially, the technological, cultural, and concep... more For all teachers, and composition instructors especially, the technological, cultural, and conceptual shifts of recent decades create both necessity and opportunity for innovating-if not merely "updating"pedagogy for the post-literate age. Like the challenge to facilitate practical skills and rhetoric for the digital age, we must also cultivate students' capacity for invention and expression beyond merely using technology and applications as "tools" for mediated literate practices, constrained especially by the design of prevalent interfaces and popular software. Indeed expanding new conditions of possibility, instead, certain pedagogical methods might enhance students' agency while updating the rhetorical canons, for example, in electracy.
Concerning web-based writing, my main propositions will likely appear simultaneously selfevident ... more Concerning web-based writing, my main propositions will likely appear simultaneously selfevident and yet paradoxical. Self-evident in that we will likely conclude about my proposition, "yes, of course, obviously." But this self-evident consequence is partly deliberate and even meaningful, in that reflexivity is a crucial component of my discussion.
Papers by Gary Hink
A proposition, rather than a polemical argument; and one composed in the subjunctive or “as if” m... more A proposition, rather than a polemical argument; and one composed in the subjunctive or “as if” modality of art, rather than the diagnostic “as such” of descriptive analysis. Beginning as an epistemological inquiry, the point of departure explores the “possibility of thinking in cinema through cinema”— ultimately producing an ontological theorization, with multiple implications. The notion of “thinking through” films, toward the production of concepts, is not metaphorical or analogical; rather, this serves as a key task, one that Gilles Deleuze has posed for us, through his practice of philosophy as constructivism, functioning to generate possibilities rather than to ossify established views. In this way my experimental and “metacritical” mode of inquiry proceeds, engaging with films that compel reconsideration and catalyze theorizations of new concepts: Lynch’s latest works, Mulholland Dr. (2001), and Inland Empire (2006)—as well as antecedents such as Lost Highway (1997), Maya Deren’s Meshes of the Afternoon (1943), Sunset Boulevard (Dir. Wilder, 1950), and Ingmar Bergman’s Persona (1966). With sensory logic rather than analysis, the theoretical image-body encountered is understood through film-thought as aesthetic, material, constructed, mediated, temporal, reflexive, and expressive.
In the ten years since the publication of , the proliferation of scholarship treating the philoso... more In the ten years since the publication of , the proliferation of scholarship treating the philosophy of Gilles Deleuze in relation to cultural forms has demonstrated that the methodological question is hardly a resolved matter. Indeed, on the contrary, a variety of perspectives and approaches have emerged among Humanities and Cultural Studies scholars. One type of work attempts to treat cultural objects as Deleuze might, with his method directly guiding the "procedure"-reading literature in an experiment, as in Proust and Signs, Kafka, A Thousand Plateaus, and Essays Critical and Clinical. A different point of departure is the axiom, "Experiment, never interpret" (Deleuze 1977: 48): privileging novelty, variations and even divergences motivate a new approach, not anchored to Deleuze's actual procedures but licensed to "work like" Deleuze more creatively.
In an anecdotal instance discussing Foucault's theory of "subjectificaiton," Deleuze describes th... more In an anecdotal instance discussing Foucault's theory of "subjectificaiton," Deleuze describes that "it amounts essentially to inventing new possibilities of life, as Nietzsche would say, to establishing what one may truly call styles of life: here it's a vitalism rooted in aesthetics" (Negotiations 91). Although seemingly paradoxical, the latter description is evocative and not at all coincidental: for Deleuze, aesthetics connects both the conception "styles of life," in philosophy, as well as the composition of sensation through percepts and affects, figures that operate in terms of their expression. Moreover, the remark evokes the question of whether and how aesthetics and vitalism relate-and with what implications for philosophy overall or for disciplinary understanding specifically. Indeed, concerning the theorization of Art by Deleuze and Guattari in What is Philosophy?, Éric Alliez asks, "What becomes of art when it is regarded from the perspective of a vitalist ontology of the sensible?" (69). Throughout their collaborative works, Deleuze and Guattari posit fundamentally a non-personal, non-conceptual "vitalist" energy-whether designated Life, Nature, or the plane of immanence-respective to manifestations such as philosophical concepts, ethics, subjectivity, or art.
One of the fundamental problems with an investigation into the history of a text is the assumptio... more One of the fundamental problems with an investigation into the history of a text is the assumption that information is accessible: Oedipa Maas, the protagonist of Lot 49, approaches her etymological inquiry of "Trystero" with the supposition that she need only locate earlier, definitive editions of Richard Warfinger's The Courier's Tragedy for enlightenment. 1 While The Crying of Lot 49 does not exhibit textual variance progressively through history, Pynchon satirizes literary historians in the novel, especially through English professor Emory Bortz, who aids Oedipa's search as an erudite bibliophile. It is difficult not to correlate scholars and critics with the one-dimensional characters of Bortz, entropy expert John Nefastis, and postage expert Genghis Cohen, who obsess over the precious textuality of folios and quartos and who glorify trivia like chemist Clerk Maxwell and variant stamps. Similar to the characterization and futile scholarly searches in Lot 49, Pynchon personally mocks his obsessed fans and critics with his reclusive lifestyle: since the 1970s, Pynchon has effectively withdrawn from the public eye and has occluded details concerning his whereabouts, biography, and literature both past and forthcoming. While little definite information is known about the textual history of Lot 49, we can ascertain elements of Pynchon's composing and publishing the novel from biographical and historical evidence, especially his publishing short fiction pieces in magazines. In the fall of 1953, Thomas Ruggles Pynchon, Jr. entered Cornell University at the age of just 16 as a scholarship student; during his first year, Pynchon worked in the physics engineering program (Dictionary of Literary Biography). This early major is significant to Pynchon's literary career, as it establishes his scientific background and legitimates the accuracy of the scientific information in his fiction. For example, in Lot 49, John Nefastis explains to Oedipa both entropy and Maxwell's Demon, the theoretical violation of the second law of thermodynamics (84-5);
![Research paper thumbnail of [TEMPLATIC ANALYSIS] Hink (2007) - Simultaneity Aesthetics in "Lost in Translation"](https://attachments.academia-assets.com/7576140/thumbnails/1.jpg)
](Formulaic Writing (?), Analytic Template 2: "Capitalist Representation & Film Aesthetics"
![Research paper thumbnail of [TEMPLATIC ANALYSIS] Hink (2007) - Fantasmatic Personae as Repression-Defense in "Lost Highway" and "Memento"](https://attachments.academia-assets.com/7576158/thumbnails/1.jpg)
](Formulaic Writing, Analytic Template 1: "Psychoanalysis Theory & Films"
![Research paper thumbnail of [TEMPLATIC ANALYSIS] Hink (2007) - The Postfeminist Representation Politics of "Sex and the City"](https://attachments.academia-assets.com/7576437/thumbnails/1.jpg)
](Formulaic Writing, Analytic Template 3: "Feminist-Theory Analysis of Cultural Representation"
During the past two years, mp3 blogs (music blogs) have emerged as a notable category within the ... more During the past two years, mp3 blogs (music blogs) have emerged as a notable category within the blogging community. The aggregator Elbo.ws indexes 958 mp3 blogs at present (without qualifying what percentage are active, though); while this figure may not appear substantial when considering the 1,970,366 Englishlanguage blogs documented by the NITLE Blog Census 1 , the fundamental characteristic (and criterion) of an mp3 blog is a blogger's regularly posting songs in some file format 2 for readers to download, free of charge. (Thus, maintaining an mp3 blog essentially requires more effort from bloggers than only writing/posting, which is why I consider the figure 958 relatively substantial.) At present, I have been routinely reading certain mp3 blogs for over a year, and I have noticed prevailing trends common among this kind of blog; Matt Jordan's blog, YouAin'tNoPicasso.com, serves as my primary example in this discussion, as he and his blog illustrate many of the relevant qualities and issues. Mp3 blogs demonstrate a peculiar relationship with their audience, though not exclusive of the kind that blog readers generally exhibit: while we can observe the potential for and some signs of community, this is neither intrinsic nor the most distinctive characteristic.
Gary Hink, Ph.D. "Protocol Rhetoric, Electracy, and the Aesthetic Paradigm" << edited transcript... more Gary Hink, Ph.D. "Protocol Rhetoric, Electracy, and the Aesthetic Paradigm"
<< edited transcript >>
Adobe Spark (supplemental): https://spark.adobe.com/page/hvAei/
Rhetoric Society of America Conference 2016 | Session C27: Rhetoric and Aesthetic
For all teachers, and composition instructors especially, the technological, cultural, and concep... more For all teachers, and composition instructors especially, the technological, cultural, and conceptual shifts of recent decades create both necessity and opportunity for innovating-if not merely "updating"pedagogy for the post-literate age. Like the challenge to facilitate practical skills and rhetoric for the digital age, we must also cultivate students' capacity for invention and expression beyond merely using technology and applications as "tools" for mediated literate practices, constrained especially by the design of prevalent interfaces and popular software. Indeed expanding new conditions of possibility, instead, certain pedagogical methods might enhance students' agency while updating the rhetorical canons, for example, in electracy.
Concerning web-based writing, my main propositions will likely appear simultaneously selfevident ... more Concerning web-based writing, my main propositions will likely appear simultaneously selfevident and yet paradoxical. Self-evident in that we will likely conclude about my proposition, "yes, of course, obviously." But this self-evident consequence is partly deliberate and even meaningful, in that reflexivity is a crucial component of my discussion.
A proposition, rather than a polemical argument; and one composed in the subjunctive or “as if” m... more A proposition, rather than a polemical argument; and one composed in the subjunctive or “as if” modality of art, rather than the diagnostic “as such” of descriptive analysis. Beginning as an epistemological inquiry, the point of departure explores the “possibility of thinking in cinema through cinema”— ultimately producing an ontological theorization, with multiple implications. The notion of “thinking through” films, toward the production of concepts, is not metaphorical or analogical; rather, this serves as a key task, one that Gilles Deleuze has posed for us, through his practice of philosophy as constructivism, functioning to generate possibilities rather than to ossify established views. In this way my experimental and “metacritical” mode of inquiry proceeds, engaging with films that compel reconsideration and catalyze theorizations of new concepts: Lynch’s latest works, Mulholland Dr. (2001), and Inland Empire (2006)—as well as antecedents such as Lost Highway (1997), Maya Deren’s Meshes of the Afternoon (1943), Sunset Boulevard (Dir. Wilder, 1950), and Ingmar Bergman’s Persona (1966). With sensory logic rather than analysis, the theoretical image-body encountered is understood through film-thought as aesthetic, material, constructed, mediated, temporal, reflexive, and expressive.
In the ten years since the publication of , the proliferation of scholarship treating the philoso... more In the ten years since the publication of , the proliferation of scholarship treating the philosophy of Gilles Deleuze in relation to cultural forms has demonstrated that the methodological question is hardly a resolved matter. Indeed, on the contrary, a variety of perspectives and approaches have emerged among Humanities and Cultural Studies scholars. One type of work attempts to treat cultural objects as Deleuze might, with his method directly guiding the "procedure"-reading literature in an experiment, as in Proust and Signs, Kafka, A Thousand Plateaus, and Essays Critical and Clinical. A different point of departure is the axiom, "Experiment, never interpret" (Deleuze 1977: 48): privileging novelty, variations and even divergences motivate a new approach, not anchored to Deleuze's actual procedures but licensed to "work like" Deleuze more creatively.
In an anecdotal instance discussing Foucault's theory of "subjectificaiton," Deleuze describes th... more In an anecdotal instance discussing Foucault's theory of "subjectificaiton," Deleuze describes that "it amounts essentially to inventing new possibilities of life, as Nietzsche would say, to establishing what one may truly call styles of life: here it's a vitalism rooted in aesthetics" (Negotiations 91). Although seemingly paradoxical, the latter description is evocative and not at all coincidental: for Deleuze, aesthetics connects both the conception "styles of life," in philosophy, as well as the composition of sensation through percepts and affects, figures that operate in terms of their expression. Moreover, the remark evokes the question of whether and how aesthetics and vitalism relate-and with what implications for philosophy overall or for disciplinary understanding specifically. Indeed, concerning the theorization of Art by Deleuze and Guattari in What is Philosophy?, Éric Alliez asks, "What becomes of art when it is regarded from the perspective of a vitalist ontology of the sensible?" (69). Throughout their collaborative works, Deleuze and Guattari posit fundamentally a non-personal, non-conceptual "vitalist" energy-whether designated Life, Nature, or the plane of immanence-respective to manifestations such as philosophical concepts, ethics, subjectivity, or art.
One of the fundamental problems with an investigation into the history of a text is the assumptio... more One of the fundamental problems with an investigation into the history of a text is the assumption that information is accessible: Oedipa Maas, the protagonist of Lot 49, approaches her etymological inquiry of "Trystero" with the supposition that she need only locate earlier, definitive editions of Richard Warfinger's The Courier's Tragedy for enlightenment. 1 While The Crying of Lot 49 does not exhibit textual variance progressively through history, Pynchon satirizes literary historians in the novel, especially through English professor Emory Bortz, who aids Oedipa's search as an erudite bibliophile. It is difficult not to correlate scholars and critics with the one-dimensional characters of Bortz, entropy expert John Nefastis, and postage expert Genghis Cohen, who obsess over the precious textuality of folios and quartos and who glorify trivia like chemist Clerk Maxwell and variant stamps. Similar to the characterization and futile scholarly searches in Lot 49, Pynchon personally mocks his obsessed fans and critics with his reclusive lifestyle: since the 1970s, Pynchon has effectively withdrawn from the public eye and has occluded details concerning his whereabouts, biography, and literature both past and forthcoming. While little definite information is known about the textual history of Lot 49, we can ascertain elements of Pynchon's composing and publishing the novel from biographical and historical evidence, especially his publishing short fiction pieces in magazines. In the fall of 1953, Thomas Ruggles Pynchon, Jr. entered Cornell University at the age of just 16 as a scholarship student; during his first year, Pynchon worked in the physics engineering program (Dictionary of Literary Biography). This early major is significant to Pynchon's literary career, as it establishes his scientific background and legitimates the accuracy of the scientific information in his fiction. For example, in Lot 49, John Nefastis explains to Oedipa both entropy and Maxwell's Demon, the theoretical violation of the second law of thermodynamics (84-5);
Formulaic Writing (?), Analytic Template 2: "Capitalist Representation & Film Aesthetics"
Formulaic Writing, Analytic Template 1: "Psychoanalysis Theory & Films"
Formulaic Writing, Analytic Template 3: "Feminist-Theory Analysis of Cultural Representation"
During the past two years, mp3 blogs (music blogs) have emerged as a notable category within the ... more During the past two years, mp3 blogs (music blogs) have emerged as a notable category within the blogging community. The aggregator Elbo.ws indexes 958 mp3 blogs at present (without qualifying what percentage are active, though); while this figure may not appear substantial when considering the 1,970,366 Englishlanguage blogs documented by the NITLE Blog Census 1 , the fundamental characteristic (and criterion) of an mp3 blog is a blogger's regularly posting songs in some file format 2 for readers to download, free of charge. (Thus, maintaining an mp3 blog essentially requires more effort from bloggers than only writing/posting, which is why I consider the figure 958 relatively substantial.) At present, I have been routinely reading certain mp3 blogs for over a year, and I have noticed prevailing trends common among this kind of blog; Matt Jordan's blog, YouAin'tNoPicasso.com, serves as my primary example in this discussion, as he and his blog illustrate many of the relevant qualities and issues. Mp3 blogs demonstrate a peculiar relationship with their audience, though not exclusive of the kind that blog readers generally exhibit: while we can observe the potential for and some signs of community, this is neither intrinsic nor the most distinctive characteristic.