Hyperculture, by Byung Chul-Han
Korean-German philosopher Byung Chul-Han is the quintessential postmodern figure. Having to come to Germany to study metallurgy, he switched fields and mastered the argot of German philosophy.(...)
400 Blows After Netflix
François Truffaut’s The 400 Blows is one of cinema’s all-time classics, the 1959 film that demonstrated how deftly a new generation of French critics could transform themselves into the filmmakers of la nouvelle vague.(...)
What Will Smith Should Have Said
III, by Holy Tongue
Holy Tongue is a testament to the ongoing versatility of the dub aesthetic, roughly half a century since it began to branch off as a separate musical genre.(...)
Until the End of the World, Director’s Cut
The director’s cut of Wim Wenders’ 1991 film Until the End of the World is both a masterpiece and a remarkably astute commentary on its demise as an artistic category, shattered into fragments by the technological advances it both celebrates and repudiates.(...)
Geographies of Digital Exclusion, by Mark Graham and Martin Dittus
In all but the most prosaic discussions of cartography today, it’s obligatory to mention “On Exactitude in Science.”(...)
Escapology, by Kode9
Kode9’s new record, Escapology: Music from Darien, is a strange document, yet all the more compelling for that strangeness.(...)
Reconsidering Susan Sontag, Part II
Even as Susan Sontag’s celebrity has dimmed, the time she spent in battered Sarajevo in the 1990s, directing Samuel Beckett’s Waiting for Godot remains a touchstone in discussions of intellectual engagement.(...)
The Starmer Project: A Journey to the Right, by Oliver Eagleton
Boris Johnson has been a dead man walking for months. His resignation has been more of a relief than a shock.(...)
Folk on Acid, by OOPUS
If you stumbled upon Estonian band OOPUS at a festival, where many different acts are on the schedule, it might take you a few minutes to realize how special they are.(...)