Culture & Theory | Volume 226
Janina Wierzoch has been working as a research assistant at Universität Ham-
burg and as a lecturer at Leuphana University, Lüneburg. She holds a degree
in British literature and culture, media studies, and German literature. Her
research and teaching interests include British prose fiction from the 19th cen-
tury onwards as well as contemporary drama; a special focus lies on film and
television, also extending to other visual and newmedia.
Contemporary War in
Gallery; Cambridge, MA: MIT, 2006. Print.
218 | MIRANDA JULY’S INTERMEDIAL ART
Bloom, Harold, ed. T.S. Eliot. New York: Infobase, 2011. Print.
Bolter, Jay David and Richard Grusin. Remediation. Understanding NewMedia.
Cambridge, MA: The MIT Press, 1999. Print.
Boldt, Laurence G. Zen and the Art of Making a Living. New York: Penguin,
Boncza-Tomaszewski. Rev. of No One Belongs Here More Than You by Miran-
da July. The Independent. 2 Mar. 2008. Web. 17 April 2013.
Bourriaud, Nicolas. Relational Aesthetics. Transl. Simon Pleasance and Fronza
the (clerical) confession is one
of the most important institutions for the specific Western form of the self. Its
identity implies a certain form of self-thematization and self-conception. Its issue
is not only self-control, but also subjectivization, self-approval and appreciation
from others (58). In LTLYM, this logic is made futile. Many of the assignments
apply the principle of confession by asking for the participants personal narra-
tives. Drawing upon Bublitzs argument, LTLYM appears as an art project in the
newmedia that applies the confessional
remix, independently and collaboratively. They have created fictitious autobi-
ographies and truthful mythologies, experimenting with newmedia and novel forms
of expression. Some authors, like Thomas Pynchon, have practiced privately and
outside of the public limelight, thereby creating mystery around their author
personae. Others, like Björk, have fully embraced the celebrity world by inventing
powerfully public authorial selves.9 Yet all authors have performed their authorship
in the world-beyond-the-text. Authors, as agents of self-invention, have
project is a technological history of the Nielsen ratings that examines the role
of audience analytics and consumer surveillance in the foundation and evo-
lution of commercial television. She has published work in Television & NewMedia,The Velvet Light Trap, and Media Fields.
Dorothee Marx (née Schneider) is a research associate and PhD candidate
at the chair of North American Studies at Kiel University, where she teaches
classes in literary studies and works as a coordinator at the Center for North
American Studies. Her PhD project is entitled “Bodies
space. With Pierre
Nora’s notion of the lieu de memoire, for example, space becomes not
only a crucial component of remembering but the medium through
which cultural memory is conceptualized. For Nora, a lieu de memoire
2 Benjamin’s historical materialism has been used extensively to explain
phenomena in our culture of postmodernity, in which newmedia, virtual
realities, and consumer capitalism have rendered a traditional conception
of history or reality obsolete. In a postmodern world, the past can
– with common everyday life, by the integration of high culture into
consumer culture. Avant-garde art has lost its possibility for radical critique.
Thus, this possibility has moved from the center of society, the white middle-
class, to marginalized groups. What is left for the white middle-class is the cri-
tique of the self. This class, in its situation of complacency, does not need any
radical changes. Nevertheless, it suffers from a certain amount of dissatisfaction.
This is the tenor that emanates from Julys art. Graham and Cooks question
science, which shall be linked to its heightened extent of amalgama-
tion with the practices and styles of American popular culture. In accordance
with sociological and cultural studies scholarship on boundary work and cultural
map-making, respectively, science will be understood as a space whose borders
are increasingly infiltrated by and mingled with popular culture. Conversely, it
is the realm of popular culture, above all the channels of film, television, and
newmedia, which readily exploits the literally »awesome authority that science
, the late twentieth century signified not only an era of
political and cultural fears but also the era of a more philosophical
crisis. When, in the 1980s, Baudrillard noted that Western societies are
experiencing “the death of the real,” induced by the newmedia and
simulated spaces such as Disneyworld, he already signaled that
information technologies producing copies, clones, and cyborgs were
to become a major threat not only to empiricism but also to humanity
in general. Postmodern subjectivities and realities, indeed, seem to be