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Given these considerable difficulties, At the Intersection holds together with a surprisingly clear progression and conceptual unity. Moreover, he asserts that At the Intersection aims to instigate discussions about rhetorical studies and cultural studies, rather than to lead to definitive conclusions or offer the final word on either project or their possible combinations. He highlights the difficulties of bringing rhetoric and cultural studies into focus, but suggests common ground between them:.

Rosteck explains that, taken as a whole, these discussions of cultural studies and rhetorical studies explain some of the costs and benefits of disciplinarity, the political dimensions of such studies, and the ever-pressing questions of methodology In many respects, At the Intersection provides something for everyone, a convergence of roads of interest: studies of cultural artifacts, from tourist sites to popular film and works of art; discussions of theory and practice for rhetorical or cultural studies; and the disciplinary concerns of communication studies.

Ultimately, the intersection of these audiences holds the greatest potential, and in many respects At the Intersection highlights the obstacles cultural studies faces in attempting to maneuver through the disciplinary entrenchments that beleaguer higher education. Blair and Michel are self-reflexive about their critical practice and the recursive nature of their methodology.

In his study, he draws on late twentieth-century political discourse ranging from that of figures such as Newt Gingrich to the rise of popular narratives reflected in the work of cyberpunk writers William Gibson and Allucquere Rosanne Stone. Mailloux couches the discourse surrounding the ETS curriculum as a replay of classical philosophy-rhetoric debates: Plato and the proponents of absolute truth at odds with the relativism of the Sophists.

Brummett and Bowers seem to believe that before they arrived on the scene little attention was directed to the way subject and object positions are discursively created. This attitude is perhaps the most fruitful approach born out of the intersecting branches of rhetorical and cultural criticism. In some ways, Krips bypasses congestion at the intersection: rather than simply discuss cultural studies and rhetorical studies, he utilizes both.

Thus, section one is neatly framed with dynamic readings of texts, from the current trends in memorial studies to more traditional art criticism. This section begins with an essay by Cary Nelson—a figurehead for American cultural studies and longtime critic of disciplinary turf battles and political quibbling in the academy. Nelson recounts the origins of cultural studies and its reliance on close readings of texts, reaffirming the value of such readings in departments of English, rhetoric, and speech communication.

Doing so would allow participants to bring together various texts and discourses situated within temporally aligned frames of reference, and this rhetorical struggle over meaning is what Nelson sees as the proper domain of cultural studies. The struggle over meaning, however, promptly becomes the struggle for domain.

The essay that follows includes, among other commentary, a rejoinder to Rosteck. Bruce E. This compelling discussion could serve as a fitting end to the collection, offering insight for the future and leaving questions to generate further discussion. However, what in fact concludes At the Intersection is a nod to the past and an appeal to tradition—an essay that uses, as a point of departure, a barroom disagreement at a communications conference as a problem to be mediated.

They do so by synthesizing the work of Kenneth Burke and Victor Turner, thereby offering a unifying vision of not only structure and communitas but also community and fragmentation. Drawing attention back to the importance of ritual and oratory, they rally for the most pressing issue facing rhetorical and cultural studies today: the fragmentation of community. The obvious answer is that the resolution-space in question is indeed cultural studies, as it has already been conceptualized and envisioned.

Within the disciplinary boundaries of communication and mass-media studies—not to mention virtually all other fields in the humanities and social sciences—there is a growing consensus that interdisciplinary work can yield great epistemological rewards, enable political engagement, and foster a sense of praxis in the academy.

While it threatens existing structures of academe, cultural studies also opens new vistas of possibility for those of us who operate within those structures. At the Intersection is probably more compelling and provocative for scholars who reside in departments of communication than for others across the disciplines, but given its perhaps overambitious aims, it does a fine job.

It will serve as a useful guide through one of the many disciplinary crossroads made possible by the advent of cultural studies. The roots of rhetoric run deep in Western civilization, roughly years to the Athenian polis and the lineage of thinkers beginning with Socrates, Plato, and Aristotle. Of course, rhetoric still holds ground in departments of philosophy and classics, and in English departments, rhetoric is paired with composition studies all too often as a mere subsection of English-literary studies, rather than a discipline itself.

There are numerous organizations and agencies that have emerged working to bring the various arms of rhetoric into one place. The contributors to this collection are all written by scholars with positions in the academy. Working against such bias is a crucial part of the cultural studies project, and this largely goes unnoticed by the editor or contributors. London: Routledge, By means of this ambitiously interdisciplinary approach, Cilliers hopes to overcome certain persistent simplifications in the thinking of both representation and organization.

Connectionism treats the interactions of the nodes within it as a dynamic whole, each individual node working in concert with all other nodes of the network to adapt continually to environmental changes. This is in stark contrast to the rule-based descriptions of complexity which, imposing the rigidity of principled behavior on the nodes, cannot account for the contingency of environmental conditions and localized adaptations.

Through distributed representation, Cilliers circumvents the shortcomings of the rule-based understanding of complexity because he is able to demonstrate that distributed representation is not representation at all, but rather the recognition of localized contingency. Each node interacts in concert with the other nodes of a neural or language network because each node acts and reacts as a system, not individually. This interaction is further explained through self-organization.

A complex system, able to organize its individual nodes or agents through concerted action, does not have a central organization center but has the capacity to self-organize at local sites where environmental changes are detected. Cilliers, following Saussure and Derrida, recognizes the complexity of natural language in terms of both its stability and its evolutionary capacity. A language user has to choose among a host of socially sanctioned signifiers to represent a mental state.

Because language is constituted by nothing more than relationships, there are traces of other signs inherent in every sign. Cilliers uses his discussion of natural language as a segue into a consideration of artificial intelligence as a complex system. Searle contends that a computer, similar to the man in the experiment room, is simply following rules and cannot be truly said to think.

In the absence of intentionality, Searle asserts, thinking cannot be said to have occurred. Instead, Cilliers asserts, postmodernism leads us to new ethical horizons and committments. He draws upon Lyotard to emphasize this point:. The breaking up of the Grand Narratives… leads to what some authors analyze in terms of the dissolution of the social bond and the disintegration of social aggregates into a mass of individual atoms thrown into the absurdity of Brownian motion.

Ultimately, Cilliers is most intrigued by the Lyotardian concept of justice within the postmodern condition. Respect otherness and difference as values in themselves. Gather as much information on the issue as possible, notwithstanding the fact that it is impossible to gather all the information. Consider as many of the possible consequences of the judgment, notwithstanding the fact that it is impossible to consider all the consequences.

Make sure that it is possible to revise the judgment as soon as it becomes clear that it has flaws. This book has taken an innovative and important first step down the path of critical scholarship on the subject of complexity and postmodernism.

New York: MacMillan, Proclaimed by Stephen Greenblatt in as a novel reading method that would shy away from the critical deficiencies of both the traditional historical school and the various formalist movements by which it was replaced, the New Historicism as it was practiced by Greenblatt and many other Anglo-American Renaissance scholars gained the immediate interest of those who had become dissatisfied with the stringent textualist ideology upheld by most American deconstructionists.

Part of the attraction of the New Historicism was the double promise which it contained for practitioners of theory who wanted to move on instead of returning to the practical—i. To these critics, the New Historicism seemed to have it all: not only was it based upon the best of post-structuralist thought Foucault, Derrida, de Certeau, Barthes and so on , it also applied that thought to the broad investigative field for which it was initially devised—not just to the self-deconstructive rhetorics of canonical literary texts.

As a consequence of this double promise, then, the New Historicism was embraced by many. It became the hotly debated subject of conferences, articles, studies, and special issues of academic journals. From onwards, a number of critical collections were published that attempted to combine the practical and the theoretical focus inherent to the object of their attention.

Most of the latter, written mainly by scholars supportive of the New Historicist project, were meant as a contribution to the ongoing elaboration of the method under scrutiny. Despite this gradual proliferation of critical attention, however, it has taken quite a while for the first book-length monograph on New Historicism to appear. Ideally, the latter aim is prepared for in the preceding, theoretical half of the book, which is intended to give the reader an idea of the genesis and the development of both movements and of the critical dilemmas surrounding them.

Brannigan concludes his book with two briefer chapters which consider the future of New Historicism and Cultural Materialism. In outlining the central differences between the two movements, Brannigan in part modifies and elaborates upon views that have been proferred elsewhere. If Brannigan is to be believed, the latter option is an unrealistic one to New Historicists: according to them, subversion is always contained by the power which it is supposed to undermine, if only because it results from the very framework set up by that power.

Brannigan suggests that what Cultural Materialists argue is not, simply, that authors of literary texts are by definition, as it were highly critical of the culture which surrounds them—that they read the history of their own day against the grain; what they argue is that a reading of these texts along the lines of the Cultural Materialist project can make clear that things in history could have turned out differently.

To continue the analogy, one could say that New Historicists prefer to give us a clue as to why things in history went the way they did. In outlining his general distinction between New Historicists and Cultural Materialists, Brannigan rightly points to their different contexts of origination.

In contrast to the American New Historicism, British Cultural Materialism was largely influenced by a tradition of neo Marxist historicist critics, the most important of whom, Raymond Williams, coined the term in his Marxism and Literature. From the example of Williams, Cultural Materialists also derive their firm and explicit political commitment: according to them criticism, whether or not it finds its object in the past, needs to make a difference now, in the present moment from which the critic speaks and writes.

Even though a similar commitment may be found to underlie the reading practice of a number of New Historicist scholars, theirs is obviously a far less overtly political project. Brannigan does not make this point, even though he asserts rightly so, I believe that the chief theoretical influence behind the New Historicism is the work of Michel Foucault, a thinker no less politically inspired than Williams. Like his major source of inspiration, Lentricchia asserts, Greenblatt reduces history in all its complexity to a plethora of unmarked manifestations of one overarching phenomenon: power.

However, in subsequent works the History of Sexuality most notably, but also in other, for the most part posthumously published, essays Foucault has tried to find new ways of thinking about power relationships that stress the inherent not necessarily dialectic connection between domination and resistance. Arguing that power works as an anonymous force that makes some things possible while making others impossible, he does indeed point to the fact that at times power structures seem to produce their own subversion and later contain it.

But Foucault does not propose this mechanism as a universal historical phenomenon or as an intentional one, as Brannigan seems to suggest as if power produced its subversion simply in order to contain it. To some extent, one could say that such an analysis is prevented by the central argument which Brannigan uses to draw a firm opposition between New Historicists and Cultural Materialists.

The argument—the former stress the impossibility of true subversion, while the latter emphasize the possibility of change—also forecloses a contrastive analysis of the work of the two key theoreticians behind both practices: Foucault in the case of New Historicism, Williams in the case of Cultural Materialism. Again, Brannigan points to the irony that Greenblatt for one has been formally taught and influenced by both, yet this piece of knowledge remains inert too.

The difficulty in reconciling their approaches, I would say, becomes clear in the conflict between a view in which the signification of literary texts is determined by the discursive formation to which they belong Foucault and a view in which literature presents a critical view of the society out of which it comes Williams. It is this double perspective that allows them, finally, to hold a plea for literary texts as sites of dissidence.

What Brannigan does not stress sufficiently, I believe, is that to Cultural Materialists the question is not whether these texts functioned as critical and political instruments at the time of their production, but whether they can be seen, from a distance, to articulate problems that contemporary readers could not have foreseen.

This omission contributes to my conviction that at points the format which Brannigan has been asked to adopt has unnecessarily limited the scope of the book as a whole. The author of an introductory volume addressed at the general student of literary theory cannot explore critically each and every road that can be opened for investigation.

Personal electronic communication, June 26, When feminist studies, as it developed in the Anglo-American world, turned to Third World countries, it produced a discourse which put an emphasis on the situation of women oppressed in male-dominant societies marked by backwardness.

This discourse regarded women of the less democratic, less learned, unstable, and poverty-stricken societies as deprived of the possibilities and channels of power which are elsewhere accessible to Western women. Postcolonial theory, which has offered a most productive critique of Orientalism and colonial discourse, nonetheless seems to have overlooked the fact that any careful study of the colonial subject as constituted by colonial discourse needs to insert the terms of sexual difference into its field of investigation.

For example, although the work of Edward Said has established the still influential paradigm of postcolonial studies, it has its limitations in demonstrating how sexual difference operates in the production of Orientalist discourse. It is important to see that the power of colonial discourse stems from how it positions woman.

As Paul Feyerabend suggests in another context, controversial movements and fields of knowledge may serve as medicine to one another. One may say that feminist studies, especially overseas, is in need of a medicine that could be provided by postcolonial theory, and postcolonial theory could in turn benefit from feminist studies. Its virtue does not only lie in the ways in which it exemplifies interdisciplinary study which it impeccably does , but also in the way it draws a framework which makes possible a previously unavailable discussion.

Thus, in the first chapter, she gives a lucid depiction of the post-structuralist scene—a difficult and demanding job. Yegenoglu clearly demonstrates the limitations of the pertinent theoretical works and the extent to which she will utilize them. Then she moves on to define a field of investigation for the specific purposes of her project: the problem of the Third World woman. Can one feel at ease with this identification of such an object of study?

She repeatedly warns the reader against the double illusion that we can know the woman and that we can know the Third World woman. The illusion is in reality the effect of the colonial discourse which serves to conceal the impossibility of its very object. The harem has served for the Orientalist as a fantasy stage and the Muslim woman as the anchor which structured this space, enabling colonial discourse to operate on a number of levels.

As Yegenoglu shows later on in the book, the woman also represents the space that is to be colonized. She is learned, knowledgeable, and has access to the means of power. Her benevolence for the Turkish woman is in conflict with what a great majority of Orientalists have produced in the name of objective truth. But is benevolence not an inverted form of malevolence?

One may even argue that such contradictions are the strength of colonial discourse. The power of looking at others benevolently requires the power of voicing the truth on behalf of others. The truth of the Turkish woman does not come from herself but from the Western woman; it is she who holds the power of articulating, disseminating, and controlling the conditions of her truth. Lady Montague describes a scene of intimacy in the harem and expresses her wish that a certain English gentleman were there with her, seeing, without being seen, what she was allowed to see.

This is one of the crucial moments of Colonial Fantasies : it offers an instance of how sexual difference and colonial discourse are mapped onto each other. Colonial Fantasies places special focus on the veil, which structures the very colonial fantasy around which it revolves. The veil serves in this book as the emblematic case for the textual and administrative operations of colonialism, which can be primarily observed in the demand to know the Orient.

Yegenoglu examines the struggle between the Algerian woman and French colonialism over the veil in this connection. The Frenchman would not feel content until he lifted the veil that stood for the land that had already been taken over; only then would he be able to see it as a space where he could exercise power—the veil stands in the way of the colonizer who is at pains to turn land into flesh and flesh into land.

The Oriental is feminized and the land read: truth is sexualized. Yegenoglu seeks to show how certain movements in Muslim societies that emerged as antitheses to colonial discourse eventually reproduced its effects. Yegenoglu cites the adventures of nationalism in Turkey and Algeria, which have developed contrasting attitudes towards the question of the veil.

At this stage of her analysis, she not only provides a historically and culturally specific context for the relationship of resistance and mimicry, she also draws our attention once again to the central role the woman plays against this backdrop. Nationalism emerged as a resistance against the hegemony of the West, and it propagated the virtues of a national ist identity as opposed to the identities imposed by the West.

When it comes to constructing a national identity, it was thought necessary to embrace the values of the West e. The veil as the symbol of backwardness, as an obstacle brought in by religion, was to be lifted in Turkey, whereas it was defended desperately as the symbol of resistance against the French in Algeria.

What is important to understand, warns Yegenoglu, is that both attitudes derive from the same sexual economy. And what is more important, she continues, is to understand that although they may appear to present alternative responses to Western colonialism, they both reproduce the same discursive effects.

Western civilization has been remarkably effective in effacing the traces of its operations; culture is what enables this effacement. Culture is a process of neutralization, naturalization, and universalization; it is the place where things seem natural precisely as opposed to cultural; where they seem as they should be. Culture thus masks its own ideological force. It has been the chief task of cultural studies to provide insight into these functions of culture.

However, due to the slippery ground of difference, any critical approach to culture runs the risk of reproducing its terms rather than coming to terms with them. Yegenoglu refuses to assume and thereby legitimize any fixed positions in the discourse. If she were to speak from the point of view of the Third World woman, then she would tacitly address a reader in search of a native informant.

If she were to take up the position of the mainstream feminist of the Anglo-American world, then she would re-affirm the sovereign female subject of the West. In effect, there are here no stable sites of identification; rather, Yegenoglu moves from one position to another only in order to deconstruct their oppositionality. Fittingly, in her final chapter, Yegenoglu provides a powerful account of how she herself refuses to be the native informant, delivering the truth of women in Muslim society.

Thus Yegenoglu demonstrates that it is possible to read the mind of Orientalism without perpetuating its signs. Istanbul: Iletisim, Department of English University of Delaware helmling odin. Nothing cultural is alien to Jameson, as Colin McCabe once put it in words quoted on the back cover of Brecht and Method. His first book, Sartre, is an example; Marxism and Form likewise celebrates the canonical figures of Western Marxism and insinuates Sartre into their company.

A cooler, but unmistakably appreciative, survey occupies The Prison-House of Language the pages on Barthes and Lacan are especially warm ; Late Marxism renews and expands the Adorno chapter of Marxism and Form. The most conflicted, and therefore the most interesting case is the book on Wyndham Lewis, in which Jameson advocates for a literary achievement committed to a politics he abhors. But Jameson surprises us again, with a book almost—what to call it?

For once, anxieties programmatic elsewhere in his work are gone. Useful, Jameson explains, in the way that Brecht judged drama, or learning things, or Stalin! Hitherto, Jameson has been chronically wary of pleasure, or at least of the ideological uses to which it is put, especially in the discourses of theory. Brecht and Method Auden, in contrast with the Lewis-like energy and Luciferianism inflecting Fables of Aggression. Department of English Loyola Marymount University blzbub msn.

Eyes Wide Shut. Stanley Kubrick. Screenplay by Stanley Kubrick and Frederic Raphael. Warner Brothers, Such was the fashion, such the human being; the men were like the paintings of the day; society had taken its form from the mould of art. It is a historical fact that irony becomes increasingly conscious of itself in the course of demonstrating the impossibility of our being historical. The film has been variously called ponderous, soporific, passionless, sex-phobic, sexist, frozen, and dead.

These varied sources of critique all claim that Kubrick has violated an organic principle—linked to metaphors of sexuality, development, internal consistency, and verisimilitude—in the choices he makes. For the claim is not that Kubrick has made another cold or lifeless, sterile or impersonal film and demonstrated once more his disinterest in psychological realism this has always been in evidence , but that the trait of coldness in this case fails to live up to the Kubrick standard: Eyes Wide Shut fails because it is not internally consistent with his corpus as a whole.

The problem with Eyes Wide Shut, in other words, is that it imports the techniques of caricature into the intimate space of realism, and this grotesque conjoining both offends sensibility and exposes as a precondition for sensibility itself that the two modes remain distinct. A sensibility that accepts caricature as a mode only if it clearly cues the reader to its specific non-realist functions misses the fact that caricature has often worked without such cues.

Historically, caricature has also gone hand in hand with social and political critique, utilizing techniques of exaggeration, typecasting, and catechretic abuse to satirize the pretensions of the ruling classes. In Britain, caricature played a conspicuous cultural role during the American War in the late s, and then again during the wars with France beginning in the s.

And in nineteenth century France, caricature flourished particularly around the revolutions of , , and By the the time the bourgeoisie began to consolidate its power in the s, both romanticism and realism bore the stigma of philistinism. In response, writers and artists honed caricature into a weapon against this new romantico-realist hegemony.

Language turns this two-fold ironic subject into a sign, a category, a meaning which is prior to its empirical determination. For de Man as for Baudelaire, social rationalization can be observed only in a mode of strange self-implication. What makes caricature a modern cultural form is the way it takes aim at those authentic gestures that cover over or deny the event of a deeper rationality so dexterously concealing itself in the non-rational, the immediate, or the experiential.

For realism has always been a target of caricature insofar as those depth-effects entail the possibility of an authentic position for the subject and the world that subject inhabits. Thus in choosing to mix drama and comedy, Kubrick draws far more solidly on historical precedent than critics seem willing to grant. For Eyes Wide Shut is indeed a caricature in the more precise sense of the absolute comic: its structure at a fundamental level is the relation between self and world-as-discourse, the self as it comes to the forms of its own self-presence.

Baudelaire characterized this delimitation in terms of a fall, both the Fall and more literally the falling down that envelops the subject in its own facticity and hubris. It caricatures that empiricist pragmatism with which we, as critics, artists, or consumers, look upon the world without seeing its discursive nature, or look at a text without reading its specificities in terms of an ironic self-implication in the world that text represents. This peculiar involvement of the spectator in the flat, aimless, affectless space of Eyes Wide Shut helps to account for the discomfort implied in the various dismissals of the film—the way it hits home in the very untimeliness of its odd representations.

Yet, the estranging anachronisms of its setting, no less than its stilted dialogue, its hermetic and generic interiors, its random or pointless plot twists, work to thwart the aesthetic categories which require of narrative art that it seduce its viewers via identification and dramatic unity. By disrupting these narrative expectations, Kubrick guarantees its judgement as a bad movie, but unlike most bad movies, not before it questions our own assumptions about contemporary society and the role and function of art in it.

Eyes Wide Shut speaks to us about that society in the ways it fails as narrative. It is an allegory in the standard connotations of the term: i. That Bill and Alice might not make appropriate material for caricature implies a substance to the life they exemplify that Kubrick denies them just as he denies the characters of his previous films the possibilities of class mobility or social success.

Eyes Wide Shut exposes the fiction at the heart of that experience. No wonder, then, that art plays such a conspicuous visual role in the film. That their lives are also rendered by Kubrick is a literal truth as well as a figurative one; thus art in the film signals the intention of its own fictiveness to tell the story of a life that cannot take itself seriously because seriousness has become ideological, a mystification of the discursive medium in which that life unfolds.

First, it situates sex, sexual pleasure, and the sexualized body in highly conventional settings. Such scenes comment on the conventional way of seeing—rooted in the notions of perspective, determined by social and economic practices of the production and consumption of prestige, essentially masculine—at work in art, film, and advertising.

This way of seeing is in turn linked to modes of social organization the family, corporate back rooms, hospitals that not only represent but elicit the body in the service of the reproduction of an expressly specular power. Likewise, the desire felt or articulated by the characters in the film is never separable from this reproduction, never more than the empty expression of an inwardness that has shrunk to an abstract point in the spectacles of that power.

The pot-smoking scene between Cruise and Kidman has been referred to by critics as the crucial moment of the film. But these readings lead to the impasse of an inter-subjective logic which the film as a whole works resolutely to undermine. If one assumes, however, that the film intends to caricature the couple and their marriage, one discovers the trope of non-relation that governs the scene and that Kubrick announces in a shot of Alice looking at herself in the mirror as her husband caresses her.

But none of them consider this either as an intentional abyssal effect or an effect tout court that marks the film and asks to be read. The film fails to take either Alice or Bill seriously in this moment because in fact its logic is that of an intrasubjective encounter with the discursive limits of narrative, social power, and the medium of film itself signaled, most obviously, by the self-consciously hand-held camera that watches Kidman as she relates the fantasy.

This—rather than the pot-smoking scene—may in fact be the signal moment of the story, since it inaugurates the subsequent delirium at a decidedly comic, even absurd, register. The loss of meaning that the film sustains is not, therefore, tragic or Oedipal, not that negation or beautiful dialectical death making possible a unification at the level of the idea. What is lost, in other words, is the normal as the precondition for a transgression. What remains is a film without any transgressive intensity at the inter-subjective level, presenting a number of possible readings, none of which can be taken seriously, even that of the non-serious itself.

This lack of substantiality, this double and ironic intention, in fact reveals itself at nearly every point in the film where intertextual reference is active or where tropes of symmetry and inversion are used. The result of such ironies is not so much vertigo as estrangement and deflation, an inability on the part of the viewer to find the Law or mark of difference that would resolve either the narrative or our spectatorship into a clear meaning.

Few of the critics of Eyes Wide Shut, I suspect, will be moved by the foregoing interpretation to revise their initial negative judgments. The same problem of a form that establishes itself at the expense of an empirical world and its reference points in narrative which I have discussed in terms of caricature recurs here at a more distinctly temporal register.

For de Man, temporality and history are distinct from one another. The former is a cognitive or tropological category implying the ideological determination of an event which happens in a mode of non -dialectical contradiction. It is historical, however, because it locates the singular point or limit of the real within its synthesis as an intelligible event.

History may not be temporal, then, but time is the allegory of history to which every reader inevitably submits. To periodize the moment of this allegory and this sense of history which is, on my account, what a critic like J. The last twenty years of American cultural life have been a time marked by precisely this kind of repression, and at many political, social, and economic levels. For what we see empirically blinds us to the rationality of our social existence in a late capitalist dispensation and to the discourses that underpin its deep abstraction.

Those discourses are pragmatic, psychological, and privatizing in nature—neo-liberal might be the right word—and their amazing intractability to critique today demands strangely asynchronous artifacts and statements precisely such as Eyes Wide Shut : repetitions, ironic provocations, returns to the recent past where, in effect, our blindness has been keeping us awake.

Quoted by Jack Kroll. Kidman, of course, is referring to Kubrick. Baudelaire makes a similar statement about and in his essays on caricature. As such, the absolute comic entails an irony about the empirical and inter-subjective world of experience as an already rationalized space that has been naturalized.

On my reading, this sort of irony works to expose in this experience the abstraction it conceals and as such constituted for a writer like Baudelaire a critical apprehension of bourgeois life. The fictive and the real are irreconcilable, and this remains the precondition for insight into the mystifications to which that subject is always prone. The nuance I would like to add here is that the fictive register also makes possible a demystification of the real as already a fiction, that utopic space of a rationalized society in a capitalist mode of production that Baudelaire, for instance, knew one could only understand after, say, through the elaboration of discourse and the materiality of language.

The representation of this garden runs through traditional topoi of gardens and suggests not a close observation of nature or the expression of intimate correspondence between the subject and nature but a deliberate deployment of conventions, types, and traditional figures. Rauschenberg, who was responsible for lighting the show, decided to leave the dancers in darkness with the exception of Cunningham himself, who carried a flashlight and douse the audience in a white glare.

Meanwhile, a musical score by La Monte Young, which consisted of screeching and grating noise, filled the theater. The audience reacted with outrage. It grasps the present in its essential negativity as the place of an historical implication that is more radical for the displacement of empirical categories it entails. My own sense of this problem is that indeed reception can be exemplary in this fashion, with the important qualification that the structure of its exemplarity be precisely that of allegory itself.

The singularities of history are inaccessible except in the languages or discourses that convert them into temporal events, and the ethical question of respecting those singularities unfolds nonetheless in acts of language and reading that repeat rather than reproduce the violence of their repression.

Specifically, Lacan explores an intrapsychic Otherness different from the Other of interpersonal theories of identity and distinct from the philosophical problem of Other Minds—a problem grounded in solipsism rather than narcissism. Unlike his contemporaries, Lacan postulates a gap between an Other and an other that echoes a gap between the Subject and the ego. Likewise, the disjunction between the symbolic linguistic Other and the imaginary mirroring other signifies a decentering of the former from the latter.

Ironically, though, discussions that humanize the Other frequently cite Lacan, so it seems valuable to ask why. Sometimes Lacan refers to the symbolic Other as the big Other and the imaginary other as the little other, but for the most part Lacan simply uses capitalization to distinguish the O ther from the o ther. Since Lacan discusses the Other topically without any explicit reference to the registers, his readers are often called upon to supply the implicit theoretical context.

The currency of the idea of the Other in theory generally makes the reading of the decentered Other in Lacan even more difficult. The contemporary idea of the Other rooted in area studies inscribes itself in theories of race, class, and gender and reinscribes itself in post-colonial theories of national identities, both placed and displaced.

Since alterity is crucial to an understanding of Lacanian Otherness, and since the Other of contemporary theory means many things to many discourses, it will be useful first to distinguish the Other of identity theories from the decentered Other of Lacanian analysis. With this Lacanian decentering of the Other in mind, I then want to explore the way two theorists of identity deploy Lacanian Otherness: Abdul R.

In dialogue with theories of identity, Lacanian theory insists on the radicality of Otherness, an alterity that has frequently been obscured by the residual humanism implicit in the construction of the Subject as a political entity.

Finally, this overview of Otherness will examine the relationship between the decentering of the Other and phallic discourse to argue the value of a politics that listens for the Other rather than speaking on its behalf. The same interpersonal dichotomy of race appears in Abdul R. Troubled by the nagging contradiction between the theoretical justification of exploitation and the barbarity of its actual practice, [colonialist fiction] also attempts to mask the contradiction by obsessively portraying the supposed inferiority and barbarity of the racial Other, thereby insisting on the profound moral difference between self and Other.

Now Goldie makes the previously implicit humanism explicit, but not without reason. In critiques that explore inhumanity, humanizing the Other makes a political statement. This statement, in turn, reminds us that the discourse of political rights and the discourse of humanism are twin intellectual legacies, two branches of the tree of Enlightenment knowledge. Discourses of gendered selves parallel discourses of racial identity in the tendency to humanize the Other. Thus, a parallel distinction appears in feminist discourses discussing woman as Other, particularly those discourses opposing patriarchy.

National identity, too, presents itself in terms of Selves and Others, adopting the plural construction characteristic of discourses about identity. Perhaps the realities of history cannot allow such a balance to be fully realized. Indeed, it is even necessary to affirm that these master tropes are necessarily veiled by the fictional.

What must be stressed here is then even imagining such a balance—surely one of the first requirements of a new order of things—can never be possible without each Self being confronted by an Other, or by the Other being approached from the point of view of the Self in its own specific historical and cultural conditions. Like intrapsychic resistance, political resistance has a use, particularly where brute survival is at issue.

Civilized, superior Western white male heterosexual colonizers are foundationally privileged; we know in advance and without appeal to specific circumstance or historical context that this is so. Foundational difference makes a truth claim about the world; foundational difference prescribes positions, inscribes hierarchy, proscribes recombination. In and of themselves, such differences are descriptive at best, their insistent fixity rendering them insufficient for the analysis of dynamic problems, whether the problems are intrapsychic, social, or political.

Allied binaries and binary realignments only build a thicker epistemological foundation. Thick epistemology is vulnerable epistemology. Infelicitous combinatories undermine foundational privilege, whether the claim of privilege operates as an entitlement or an accusation. He has entered the territory of the combinatory of combinatories, the Lacanian unconscious—the Lacanian Other.

Referring to himself, Mencia points out that in L. The ideas Lacan forms during his medical training lead him to counter the prevailing psychiatric view of psychosis as a biologically-based personality trait by positing a developmental phenomenology he only later finds in Freud. The interpersonal here seems undeniable.

Lacan writes about the crime of the two Papin sisters. Even the mirroring moment can be read as involving the infant and the mother. All in all, early on, Lacan seems deeply involved with the interpersonal, the social, even the cultural.

Not until his theory of the registers does Lacan achieve the post-humanist position he seeks. In the theory of the registers, by contrast, the phenomenal is folded within the structure of language and intrapsychic structure is irremediably fissured with the gaps between the imaginary, the symbolic, and the real. Since none of the registers is confluent with the others, Lacan avoids the problem of a seamless solipsism. He avoids a tabula rasa subjectivity passively constructed from without as well.

It is not the many instances of communication with other people but language as a whole that signifies in the symbolic. The problem of discussing alterity is made all the more difficult for Lacan because he continually engages the divide between the interpersonal situation of analysis in practice and the intrapsychic dynamics that underwrite whatever interventions analytic practice makes.

His paper takes issue with non-Lacanian forms of analysis that he finds therapeutically inadequate precisely because of their emphases on the interpersonal. Some of the examples contrast the other with the Other and emphasize the distinction between the registers. Without another person to play along with the habitual imaginary game, the subject looks to the intrapsychic Other.

If the analysis is successful, the Other will yield to the subject its Truth. In this reworking of his analytic roots, Lacan presents a clear decentering of the imaginary other from the symbolic Other. While passing her in the hall, the man had devalued her by saying a dirty word to her. He interprets. Though he does not explicitly articulate his failure in terms of the registers, the distinction is clear. It is effectively her message, but is it not rather her message to herself?

Who normally speaks in reality, for us? Is it reality, exactly, when someone speaks to us? The point of the remarks I made to you last time on the other and the Other, the other with a small o and the Other with a big O, was to get you to notice that when the Other with a big O speaks it is not purely and simply the reality in front of you, namely the individual who is holding forth.

The Other is beyond that reality. In true speech the Other is that before which you make yourself recognized. But you can make yourself recognized by it only because it is recognized first. Though she seems to look at another person, the girl sees only herself. The distinction Lacan makes here between the Other and the other, between the symbolic and the imaginary, involves the pact of language.

Part of the process of recognition for the Subject as a subject involves the risky business of addressing the absolute Other beyond all that is known. Addressed to another person, the very Otherness of speech puts that person in a position to be recognized by the speaker and to recognize the speaker in return because both speakers share a symbolic commitment of which neither speaker is the origin.

The following two examples of the discourse of identity theory—Abdul R. As critiques, these essays are discourses about discourses, meta-discourses in which Otherness signifies. Because meta-discourses offer levels of complexity, symptoms appear in such discourses as deflections of the discursive flow as such. In this first encounter between identity theory and Lacanian analysis, Abdul R. JanMohamed uses the Lacanian registers to make a distinction between forms of colonial discourse.

Since from the analytic point of view both the error and the symptom locate discursive truth, both JanMohamed and Butler tell the truth about the encounter between theories of identity and the Lacanian registers. The registers appear as unified and unifying descriptive categories when Abdul R. Abdul R. JanMohamed has broken the law!

First, I will look at the interpersonal symbolic law of discourse that, once invoked, binds writer to reader in an intrasubjective and impersonal pact. This is a symbolic pact par excellence since neither the writer nor the reader originate the discourse but both agree to be bound by its rules in order to allow the possibility of a meaningful exchange, in order to agree on the terms by which they will produce meanings together.

Because and only because he has involved his reader in this pact of the registers, JanMohamed is free to explore the implications of the encounter between Lacanian theory and the colonialist novel. Creativity thus requires the law; creativity is paradoxically both bound to the law and unbound by it. At the breaking of the pact, the terms cease to be terms within a discourse; released from the pact they are signifiers only.

The markers come and go—in and out of the linguistic unconscious—for reasons that may or may not be related to the colonialist novel, the stated project at hand. Once the pact has been broken by the writer, the reader can always declare the discursive failure an accident and continue as if the pact were still in place—but the reader is now on alert and any additional error will render the text indecipherable in terms of its stated project.

Consequently, the discursive symptom provides a profitable alternative to the sterile fusion of Lacanian theory with the discourse of post-colonialism. It seems that the entified Other appears here as the symptom of a post-colonial commitment that runs deeper than the Lacanian discourse to which the writer is ostensibly committed.

Since the Other of humanism cannot signify save by suturing the gap between the imaginary other and the symbolic Other, this is precisely what JanMohamed does. The discursive symptom manifest in Abdul R. As we have earlier seen, though mirror stage theory and register theory do share signifiers, their variant theoretical models constellate variant signifieds; if the terms remain the same, their meanings have structurally altered.

Like JanMohamed, Butler substitutes the symbolic Other for the mirroring other. It is as if, having merged mirror stage theory with register theory, Butler is literally unable to see a significatory difference between the two.

As a result, Butler continually fails to distinguish the imaginary other from the symbolic Other, a collapse of terminological distinction equivalent to suggesting there is no difference between the Subject and the ego. Since the distinction within alterity is so central to Lacanian theory generally and to his model of the Subject of the unconscious specifically, other and Other are definitional.

Moreover, the other and the Other draw a precise and consistent distinction between the mirroring imaginary and the symbolic treasury of signifiers. In short, a phallic imaginary is masculine and any explanatory function such an imaginary might serve is inherently phallogocentric. Here, more explicitly, is the problem. Lacan theorizes that there is a privileged signifier in the symbolic register and that this privileged symbolic signifier is the phallus. But Lacan did not stop with his mirror stage theory, and though he once situated the body helpfully in the imaginary, he later positioned the phallus in the symbolic register—where Butler very much needs it not to be if her argument for a projective materialization of a phantasmatic phallus is to succeed.

Consequently, a collapsing of Lacanian paradigms and issues ensues. But issues of significatory slippage are not issues of reference, nor are they issues of meaning, and this series of conflations simply reiterates the earlier fusion of psychoanalytic models, creating a theoretical pastiche against which Butler then argues with great sophistication and subtlety. Returning the phallic signifier to the symbolic register, in turn, shows how the signifying phallus generates a post-humanist Otherness.

Unlike the unity of the imaginary imago, which provides a simple referential image of an other, the symbolic phallic signifier constrains Otherness by buttoning a signifier, an identification, and a discourse together into one neat package.

In the wildly overdetermined signifying multiplicity of the symbolic register, the phallus provides a determined and determining force. It is precisely the phallic propensity for self-replication that inseminates the reproduction—the reiteration as Butler calls it—of the Subject.

Since this is a far more complex idea than either the decentering of the Subject or the gap within alterity, we will proceed slowly. Thus, the active, agentic function of language resides in mark-making, and signifying is an active rather than a reflective process. Appeal to the concrete is beside the Freudian point. Lacan next invokes his theory of the registers to reiterate his argument for the symbolic character of the phallus as a privileged signifier.

But it is a signifier with a difference from other signifiers. We can tell that a phallic signifier is present by its effects. And what are these effects? The linguistic fate of the speaking being is to be unable to articulate need save as a demand that empowers the Other as a repository of love. The residue of inarticulable need returns from this Otherness as desire. Thus, while real needs can be satisfied, imaginary demands may persist—opening a gap generative of desire.

This intrapsychic formula for desire leads Lacan to think relationally, and so he goes on to rework the role of the Other in terms of the sexual relation. Here, moreover, the intrapsychic and the interpersonal seem utterly and ambiguously mixed. Since the sexual relation seems to involve the signifying phallus irretrievably in the interpersonal beyond of signification, I want to review the intrapsychic dynamics of this crucial Lacanian concept.

The phallic signifier, the foundational difference in and of itself, is rendered latent by the emergence of the signifying binary terms. It is retained as the bar separating the terms, a signifier rendered inarticulable by the terms it leaves behind, yet simultaneously a signifier imperative to their signifying difference. As a result, this phal logic entrism provides an extraordinarily valuable analytic tool. On first reading, years ago now, this section of the essay struck me as irrecuperably sexist and heterosexist—though it is imperative here to point out that the Freudian libido has nothing no thing?

Now, since Butler has returned, I want to bring back theories of identity for one last encounter with Lacanian Otherness. Preferring the symbolic to the imaginary as Lacan himself does , Spivak applauds those who stand up for the rights of groups with whom they are not primarily identified.

Instead, the primarily identified analyst understands rather than listens; knows in advance rather than finds out. Consequently, phallic foundationalism is a tactic with which Lacan does not agree, though it is a tactic to which he is not himself perpetually immune, especially when he is caught up in polemics over the practice of psychoanalysis.

In matters of politics more generally, Lacan remains skeptical, feeling that those who oppose oppression today will, once empowered, commit the very oppression they accuse. It is precisely because the subject is not the same as the ego identity that interpersonal misapprehension can trigger the anxiety of intrapsychic Otherness. Since the gesture of disowning Otherness is so very protective of identity, it seems counterintuitive to own alienation when it appears. At the moment of alienation the subject has not merely reached its boundaries, it has exceeded them.

Since Lacanian analysis supports neither the discourse of categorical identity nor the rhetoric of blame that so frequently accompanies it, it might appear that Lacan has little to offer political analysis, especially where issues of identity are foremost. However, I believe that neither the otherness of hostile objectification nor the Otherness productive of alienation alone offers the resource for political critique that examining the disjunction between the two affords.

And what is Truth? Since the engendering of a new symbolic form was very much at issue in the Macy Conferences on Cybernetics, I draw one final example of the political use of decentered Otherness from N. The role of Otherness here is all the more compelling because the discussion illustrative of alterity is not an application of Lacanian terms to cultural texts.

The woman in question appears in a photograph taken at the Macy Conference, the meeting at which psychoanalyst Lawrence Kubie made his last ditch attempt to insert subjectivity into the debates defining information as universally portable, disembodied data. Unlike Kubie, Gregory Bateson, Margaret Mead, and the other intellectual luminaries, the woman sits with her back to the photographer.

The position of her hands and body suggest that she is typing. But such a reading would betray a phallic investment in gender, and Hayles does not yield to the temptation to play phallic politics with Freud. By holding the meeting under erasure, attendees distanced themselves from the hostilities erupting in its wake. At that conference, the dueling paradigms of homeostasis and reflexivity met head to head over the issue of scientific objectivity.

The dominant group of intellectuals, including the neurophysiologist Warren McCulloch credited as one of the fathers of the neural net , propounded an idea of information founded on assumptions of a detached observer safely distanced from the observed. Arguing against McCulloch was the hard-line Freudian analyst Lawrence Kubie, who insisted on the implication of the observer in the observation. The stand-off between the two paradigms and their champions exceeded the conference.

Taken out of context, his words fly, by themselves, into books. Anders originally played drums but switched to guitar. By 17, he had already travelled through Europe and the Middle East, eventually arriving in the U. Never settling he toured Southeast Asia finally returning to New Orleans, where he's lived now for over ten years. Anders has said that, "I don't look at music in categories at all. I like all kinds of music, but as long as I can feel the roots, feel some sort of heart and soul, feel the connection to everything, then it's real for me.

Coming Down 2. Spotlight 3. Summertime in New Orleans 4. Back on Dumaine 5. Oh Katrina 6. I've Got a Woman 8. My Old Heart 9. Miss You When I'm Gone Osborne was born in Sweden in His father was a professional drummer and a jazz fan whose early-'60s jazz combo played clubs throughout Europe.

He traveled around the world, earning money from shows, and settled in New Orleans, where he has been based since The introspective Ash Wednesday Blues was issued in early He didn't record again until , when he released the larger band session Osborne Orchestra.

Osborne was playing nonstop in New Orleans and occasionally in Europe during this period. His recording, Coming Down, issued on the M. Live at Jazz Fest , featuring Osborne's killer road band, appeared that year. In he signed with Chicago's Alligator label. His first offering for the imprint was the driving, boisterous American Patchwork, issued in During relentless touring to celebrate what was his most critically acclaimed album, Osborne took a break late in the year to record the uncharacteristically casual Three Free Amigos, a semi-acoustic, six-track EP which was released in Feburary of the following year.

Later that fall he returned with the full-length Peace. Labels: 's Folk Rock. Jarle H. His full-length debut album, Quadrasonic, showcases his talents through its emotive atmospheres, surgically precise performances, and lavish harmonies. Rooted in neoclassical metal and fusion playing styles, Jarle has forged a recognizable voice on his instrument; one which he never fails to pair with memorable melody and elegant songwriting. All Rights Reserved.

Featuring some of the best musicians in the business. So complete, so interesting, so mature, and last but not at least not at all boring or annoying. That's probably well, apparently speaking for myself but that may be your concern, too because of the vocals that don't exist alongside with the instruments, to complement one another.

But you don't have to worry, Quadrasonic is way different than what I wrote just above. It's almost like having the guitars singing. And that's because of the technical difficulties a mediocre or even higher guitarist could face trying to play the Uuadrasonic's songs. Nice prog and heavy riffs, catchy and ingenious solos, relaxing and sexy slow parts are some of the main points of the album.

I must not forget to do mention the oriental melodies used at times. To sum up, this is the album where inspiration meets technique. You gotta give it a try, I highly recommend this to any metal fans. If you like melody and progressive playing, you are gonna love this.

Try this album if you like modern progressive shred instrumental albums by artists such as Jeff Loomis, John Petrucci and Marco Sfogli. Even here though, odd meters and tricky lines are employed which lend a prog-rock vibe to the track. Heavy riffs ride alongside clever, memorable lines in these songs, while the arrangements are such that everything has room to breathe. His picking and legato chops are as fast and clean as anything you are likely to hear, and his vibrato is very well-developed.

Quadrasonic is an album where the chops are used first and foremost to execute the smart, progressive ideas the songs call for, and to enhance the overall vibe of the disc. If this fine, well-produced effort is any indication, Olsen is one player whom we are certain to hear more from in the future.

The tracks are not all going to blow you away with frantic shredding. However, there's not a dud track on the album and Jarle's tone is terrific throughout, and there are plenty of great solos to enjoy. Alex Argento provides sensational keyboards and Bjarte K. Helland on drums really needs to be heard. Keyboardist, Manuel Soto from the great Chilean prog rock band Crysalida plays some wonderful keys on "Exordium".

This album received many great reviews, and deservedly so. A very impressive album from a remarkable guitarist and HR by A. Exordium 2. Pro 3. Dark Matter 4. Enigmatic Mind 5. From Deep Within 6. Event Horizon 7. Chimerical Moments 8. Osiris - The Omnipotence 9. Osiris - Reawakening A year later I received my very first guitar for Christmas which was a B.

C Rich. In those days I was seriously into bands like Iron Maiden, Testament and Metallica and learned every song and solo from their albums. I could put on an album and play along with it from the beginning to its end, none stop". This was the beginning of the long lasting relation with Carvin and was the guitar that changed my playing style a lot. I never really started practicing before some years later when I discovered more progressive and technically advanced music.

This issue annoyed me because I wanted to be able to play whatever was on my mind without any limitations. So I was fed up with that way of working and decided to focus on my own material which eventually became "JHOP". After many years of member exchanges I finally found the right guys to join forces with. The chemistry is now very good and everyone seems to fit the project and music perfectly with their own styles and musical sense".

The name Michael Lee Firkins is synonymous with modern musical virtuosity. The writing is always focused on the song and on expressiveness, not on boasting hyperspeed solo etudes. There are two less interesting tracks on it and the quality of the artwork is beyond any discussion at least in my opinion. CC could have been produced with more care. Sometimes you can hear the click in the fadeout and the mix is very crude yet transparent so that every detail of the guitar, the bass and the drums is covered.

He has a slide technique that is bar none and a finger picking style that could really rank up there with Atkins. I have thoroughly enjoyd this release, as well as all the others. Firkins choice of compositions is always fresh and new. His playing style is not full of flash, yet his abilities speak volumes as to his abilities. He can rip, tear, weep and funk with the best of them.

I enjoy his changes in tempos and rather upbeat melodies. Firkins is as accomplished as Satriani or Vai or Eric Johnson, yet retains his own style without sounding like anybody else. NO imitations here! Labels: Nineties Rock. Bill "The Buddha" Dickens. Bobby, Neil and Bill take no prisoners as they blast through two killer sets of mostly original material Rock is simply among the best drummers on the planet The set features over minutes of hard driving, straight-forward instrumental rock music delivered with a funk-tinged groove and infused with progressive jazz sensibilities.

So why is it these guys aren't household names? Beats the heck out of me These 15 tracks have just the right balance of structure, melody and virtuosic showmanship to keep you enthralled from start to finish. Then of course, there are those jaw-dropping solos. And on this album they are solos - 19 minutes?! The original material is top-notch, with choices from Zaza's and Rock's respective solo albums, plus material vritten for the trio.

Highlights include "Lightworker" and "I'm Alright," two melodic springboards for ripping instrumental flash, plus "Hailin and "The Duel" - perhaps the most intense bits of al1. The set closes in an minute radio interview with Rock and Zaza that puts the music, the tour, and the personalities of these fine musicians in context. No, this isn't "prog" per se - but that shouldn't matter. It's rock it's fusion.

It's close enough. And it's recommended. This live album is HR by A. Sound quality varies on the tracks Kbps, but overall the bitrate will not spoil your enjoyment of this great album. Also, if you are playing these tracks on shuffle, you may get some abrupt endings on a few tracks as the tracks generally run into each other. Mike Stern - Give And Take - - Atlantic This is a relatively straight-ahead set by the distinctive guitarist Mike Stern, whose airy sound seems quite fresh in this context.

Percussionist Don Alias helps out on a few tracks; pianist Gil Goldstein is on two, and tenor great Michael Brecker nearly steals the show with three high-powered solos. Actually, the biggest surprise is "That's What You Think," a straight-ahead blues that has a very credible alto solo from guest David Sanborn.

All in all, an excellent outing. Sure, there's always John McLaughlin. But not many other guitarists then - or now - could play rock guitar with the high degree of intimacy and the non-assaulting technical prowess that Mike Stern has always possessed".

In he was listed as one of Down Beat's 75 best jazz guitar players. His exceptional guitar skills are undeniable, and when he's at work, he never fails to create new ideas. Some of the wonderful artists playing on this album include John Patitucci on bass, and Michael Brecker and David Sanborn on sax. Great music and HR by A. Stern played and recorded with Davis until , when Stern toured with Jaco Pastorius, but he rejoined Davis in , which also brought about Stern's debut release as a leader, the warmly received Neesh.

This time, Stern remained with Davis for a year, after which he cycled through projects by David Sanborn and Steps Ahead while simultaneously recording his follow-up to Neesh, titled Upside Downside, which marked his first release for Atlantic Records' jazz division. Stern continued a steady string of releases for Atlantic over the next few years while continuing to play with several other projects, including Michael Brecker and the reunited Brecker Brothers, eventually scoring his first Grammy nomination with the release of Is What It Is in , then garnering another nomination for his follow-up, Between the Lines.

Stern received his third Grammy nod for his release Voices, which was Stern's first recording with vocals -- albeit wordless vocalese -- and also marked the end of his tenure with Atlantic. Labels: Nineties Jazz. Gregor Hilden - Westcoast Blues - - Acoustic Music Records "His style has matured, its lines have even more charm and his sound is very direct and straightforward.

The ax work of Mr. Hilden is indeed a pleasure to take in, unadulterated blues with masterful executions. These are brilliant Compositions and arrangements Watch for this guy. And they are considerable. Gregor plays a blend of soul, blues and swing and his influences come from guitarists like Peter Green, Larry Carlton, Wes Montgomery and many more. His playing is "honest" but highly skilled. He is not a "flashy" player, but his phrasing is lean, very cultured, and he celebrates traditional and modern blues and jazz with great panache.

He plays his Telecaster in a razor-sharp crisp, clear style and he can graduate from a cool, laid back style to a much more "grittier" style in a few chord changes, and he has the ability to demonstrate these great tonal qualities without adding any dramatic changes or special effects in the studio. If you like the sound of authentic vintage guitar with a slight retro blues style and melodic jazz sounds, you may enjoy this album of original songs and covers, by greats including Wes Montgomery, Sonny Rollins and Peter Green.

In Gregor's case, "less is definitely more". Down Home Blues - Trad 2. Ooh Wee Baby - Hill 6. Sleepwalk - S. Farina, J. Farina 7. Mercy, Mercy, Mercy - Zawinul 9. Sunnymoon For Two - Rollins Proud Pinto - Green Westcoast Blues - Montgomery Labels: Nineties Jazz Blues. The album title is a play on the german word 'jazzig' which means jazzy. Guitarist Philipp van Endert said " This is a very obscure but excellent album recorded in Cologne during The album is quite subtle in places, but the guitar work is wonderful and the album is a great listen.

This is crazy! The album is not going to be hung in The Louvre! It is well worth investigating the work of artists like Philipp van Endert, Alex Gunia and others playing on this album which is HR by A. Shortline - van Endert 2. Apple's Blues - Gunia 3. Moon, Moose and Bears - van Endert 4. Gimmes Never Get - van Endert 5. The Esher - Gunia 7. Capn' Crunch - Gunia 8.

Kathy - Willmott 9. Labels: Nineties Jazz Fusion. Peter Greier Between rocking fusion and catchy tunes and some jazz flavour now and then. More info www. Learning trumpet at the age of thirteen he switched to guitar one year later.

In the 80s to the early 90s he played in the local rock band "Precious Stone", releasing the Cd "feel it tonight". As a session player he was hired for various musicals like "rent", "jesus christ superstar", "little shop of horrors", "Hair", "Grease" and several bands from rock to funk to fusion. Although since the very beginning of his musical carrier he was writing songs, it took many years to come to bring out his first solo release "eat this!

By merging all the different influences and styles he grew up playing and listening to, "eat this! The music is from rock, to more jazzy approach here and there, always very catchy and well played. Also are two track with vocals, one with female Sabine Greier and one with Walch.

The music is ok, in places even great, but as a whole something is missing, I don't know exactly but if this was released 15 years ago it would be something else but today I'm not so impressed anymore, but doesn't mean is bad, only not really very interisting, just well played. Pieces like G1, Hendi or Saturday shows his talent, but the rest is just ok, good but nothing special. So a worthy 3 stars, but I'm not so impressed now as if I was 15 years in this kind of music.

Still, a good record. Some awesome playing by Greier and excellent musicianship all round including great guitar soloing from fellow Austrian Alex Machacek on "Hendi". The Austrian Popidol winner Michi Tschuggnall on bass, piano, and vocals also adds hugely to the quality of this album. Labels: 's Fusion. For them to standout in a crowd, they have to have that joie de vivre that le facteur X otherwise they become dull, uninspiring, their albums are listened to once and then gather dust.

The secret is to keep it short and succinct adding a few wow factors along the route, maintaining good melody and memorable tones. This is something that Patrick Vega has achieved, making it a most likeable album. What we have here is a guitarist who can ply his trade and entertain at the same time.

The right balance for me has been struck, featuring short passages, good melody, good pedal technique and some fantastic leads. The production and mix of the album is very impressive indeed, guitar, bass and drums levels having perfect balance. Vega has addressed this comment and what a difference it has made.

The approach of the tracks presented here are modern, powerful and confident. Bullets the opening track defines the tone for the rest of the album, having a slight Joe Satriani feel to it, without being plagiarist. As an opening track Vega has chosen well, allowing his guitar techniques to come to the front without being over facing, being fully supported by some rather excellent drum work.

Words Of Power sees Vega building lead breaks over some very powerful chord work but never becoming over imposing. The increase in metre part way through was kind of interesting, not necessarily required, not really adding anything. I really do like the feel of this track, the tone, metre and feeling; you can just imagine Vega's face on some of the lead breaks.

This is a track that has been very cleverly built. It features a very strong rhythm propped by some fantastic lead and pedal effects. Oceans In Between Us is where Vega has really developed his melodic passages to perfection, using them to great effect, creating some really driving crescendo work, oozing absolute quality. The solos are just note perfect for my taste. Washed Away opens with some rain effects that pave the way for some sad emotional guitar lead work featuring some very interesting underlying guitar passages that direct the whole piece.

This is a multi-layered track with some stunning pedal effects contributing to another storming track. Novocaine displays some great pedal work, sounding vaguely like Satriani including an awesome sounding bass line holding the piece together. I love the way the track builds, the power and magnitude of each note. No Surrender is built around a really funky bouncy bass and guitar passage, which hits all the right passionate tones throughout, a more than fitting closing track.

All the instrumentation is really allowed develop and grow with maturity. I am not going to perform the usual reference points here as I honestly believe that this would do a disservice to Patrick Vega as an artist and what he has created here. Patrick Vega has produced something special here, with its rather eclectic but approachable rhythms, rather tasty lead work and unusual tunings, which all in all has created a stunning album.

This time round Vegas has utilised all his strengths maximizing them to great effect, never once outstaying his welcome, sticking to what had to be done without be distracted or self indulgent. Patrick Vega is going to be a name to be reckoned with if he gets the correct exposure and continues to produce work of this quality. He immediately attracted my attention. I gave him my compliments for his guitar playing and he spontaneously offered to send me his album.

After a week or so, I received a huge envelope in my mailbox. I only expected the new album, but on opening the package, I was happily surprised that beside his new album 8 Bullets he had also sent his previous album Freefall, Faith, Firestorm, together with some guitar picks and information cards including his business card. In short: his complete promotion package! The least I could do in return is writing a review and giving this guy some credits.

Concerning guitar playing, there are roughly two ways of playing for me. Well, I do like both ways and on this album Patrick Vega impressed me with a fantastic guitar technique, as you can experience from the likes of Steve Vai or John Petrucci, combined with the sensibility and the touch of musicians like Jose DeCastro or even Stevie Ray Vaughan.

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The rest of his records, fine as they are, have leaned more heavily on one side or the other. His songwriting has reached an entirely new skill level, no matter the manner -- or volume -- he chooses to display it. American Patchwork is a journey of hope but the road there is often rough, rowdy, personally treacherous, and deeply emotional.

It opens with a cacophonous roar inside the heart of darkness. It longs for home and the beloved so badly, it aches. American Patchwork testifies that self-destruction, violence, and selfishness can all be transformed; that life, however damaged, wounded, or even wrecked, is still precious and full of possibility.

These songs are metaphors; they're personal in nature, but they extend beyond the rebirth and redemption of an individual to a city, a society, and hopefully a nation. AllMusic relies heavily on JavaScript. Please enable JavaScript in your browser to use the site fully.

Blues Classical Country. Electronic Folk International. Jazz Latin New Age. Aggressive Bittersweet Druggy. Energetic Happy Hypnotic. Romantic Sad Sentimental. Sexy Trippy All Moods. Drinking Hanging Out In Love. Introspection Late Night Partying. Rainy Day Relaxation Road Trip. Romantic Evening Sex All Themes. Articles Features Interviews Lists. Streams Videos All Posts. His Alligator Records debut, American Patchwork, is a moving collection of soul-baring rock, blues and ballads.

Contact Anders Osborne. Report this album or account. If you like Anders Osborne, you may also like:. The Whole Pulse by Lightning Cult. In songs that swing from giant and anthemic to distortion-caked and widescreen, Lightning Cult conjure galaxies of sound. Love Is Yours by Flasher. The D. Bandcamp Album of the Day Jun 16, Endless Afternoon by La Luz. Two playful outtakes from La Luz's beautiful self-titled record reveal a great rock band at the peak of their power.

Legacies by Deau Eyes. Soulful indie pop with an ambient twist, the latest from Deau Eyes is ghostly and bewitching. Circles by Grass Jaw. All proceeds from this gorgeous album of low-lit indie Americana will be donated to the National Network of Abortion Funds. Bandcamp Daily your guide to the world of Bandcamp.

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