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Premarket Safety and Efficacy Studies for ADHD Medications in Children
Published 2014Get full text
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Wulgarity and Witality: On Making a Spectacle of Oneself in Pickwick
Published 2018“…For some of Mayhew’s subjects, vulgarity is a form of tax evasion, amounting to an oblique protest against the would-be hegemony of bourgeois standards and a defense of their own territories, customs, and traditions. …”
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The Cavern of Antimatter: Giuseppe "Pinot" Gallizio and the Technological Imaginary of the Early Situationist International
Published 2010“…In the first installments of the Internationale situationniste, alongside articles by Asger Jorn, Giuseppe “Pinot” Gallizio, and others are several unsigned articles, most of which were written by the editor, Guy-Ernest Debord, advocating the “destruction of the subject” and the use of contemporary machines to systematize and consciously organize “what the Surrealists had still experienced as random, as the marvelous.”1 According to Debord, the surrealists originally provided useful insights in their indictment of bourgeois society but soon regressed into an occultist movement that failed to recognize the potential of modern “conditioning techniques.”2 As a response to such a deterioration of surrealism’s subversive potential and its cooptation by commercial interests, Gallizio’s “industrial paintings” were championed by Debord as a new technological form of creativity that would bring a fatal blow to the outdated avant-garde and that could be used to create liberating, transitory “situations” signaling the emergence of a revolutionary movement.3 By using “industrial painting”—as well as détournement and several other technological and scientific metaphors—Debord attempted to work through the influential practices of André Breton’s group, which still occupied a prominent role in postwar Europe.…”
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e.g., Dogtooth
Published 2013“…The film is either a careful study of the insularity and paternalism of the contemporary Greek family and nation in its focus on a household of five in which the adult children are limited to the boundaries of their house and yard, as they have been since childhood, while the minutiae of their lives, from the manner in which they will dance to how long to rinse with stinging mouthwash, is governed by the arbitrary and absolute control of their parents; Or, it is a drama about the devastating effects of the repression of sexuality in the bourgeois family, one undone by the figure of an outsider brought in to satisfy the son’s desires but who ends up, like some Pasolinian messenger of doom, fucking and ruining the daughters as well; Or, in examining the limits of perception, it is a cinematic articulation of Wittgenstein’s famous pronouncement in the Tractatus that “The limits of my language mean the limits of my world” (5.6)—indeed, for example, in making up a “game of endurance,” with finely-tuned rules, order, and protocol for submerging fingers in the hottest water, the adult children in the film are unable to create a name for this game, and thus unable to realize it at the conclusion of the opening scene; Or, it is a retelling of the history of national cinemas wherein contraband VHS copies of Rocky 4 and Jaws, which ultimately upend the eldest daughter’s world, suggest that post-Classical Hollywood is no longer suited to account for this world, now better represented by Lanthimos as a figure of New Greek Cinema; Or, it is a wildly humorous satire of discourses of good intentions towards children; Or, it is about, rather, or, perhaps it is about, for example,—repeat ad libitum.…”
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