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Among the phenomena explored here are machine vision (images produced by machines for other machines without a human interface)-operational images (images that do not represent the world so much as intervene in it)- and the algorithmic scripting of information so pervasive in our everyday lives. Finally- a third section surveys transformations in media as reflected in recent art- film- and fiction. A second reviews the neoliberal makeover of art institutions during the same period. A first section focuses on the cultural politics of emergency since 9/11- including the use and abuse of trauma- paranoia- and kitsch.
If farce follows tragedy- what follows farce? Where does the double predicament of a post-truth and post-shame politics leave artists and critics on the left? How to demystify a hegemonic order that dismisses its own contradictions? How to belittle a political elite that cannot be embarrassed- or to mock party leaders who thrive on the absurd? How to out-dada President Ubu? And- in any event- why add outrage to a media economy that thrives on the same? What Comes After Farce? comments on shifts in art- criticism- and fiction in the face of the current regime of war- surveillance- extreme inequality- and media disruption.
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