All Tomorrow's Cultures

Children's day (어린이날) is upon us, so the family was off to the neighborhood CGV at 군자역 to see "Avengers: The Age of Ultron."  I'm not a fan, but I consoled myself with the thought that the movie would somehow work into my research on Seoul and science fiction.  And, indeed, it's certainly gratifying to see Avengers battling it out in front of "Kimbap Heaven."  However: without the still, I would have missed it.  For all of the money spent (and for all of the incentives the city of Seoul dished out), there's barely five minutes of Seoul in this film, and that--beside a couple of signs in Korean and an 옥상 텃밭--is of a generic "any city," bits and pieces of Seoul strung together into a non-place. And I was not the only one disappointed.  As Gang Yu-jeong argued in 경향신문: A masterpiece of atmospheric kitsch, the back alleys where the action takes place in the Avengers don't really look that different from the back alleys of Hong Kong...

My colleague, Matthew Durington, and I have just finished our final iteration of a 4-year collaborative project,  Anthropology By the Wire .   From the outset, we sought to produce YouTube Video from this year’s Anthropology By the Wire, “Clean and Green Superheroes”. Photo courtesy Samuel Collins counter-narratives to David Simon’s “The Wire,” alternative representations that contest urban imaginaries of Baltimore premised on crime and drugs.  Through collaborative productions shared through social media, we have tried to challenge the directionality of these representational regimes by making local media disseminated on YouTube, Tumblr and Flickr. But what we have realized is that the urban imaginary (as  LiPuma and Koelbe describe it), is constituted not only by representations of urban circulation, but the imagination of the circulation of those representations of circulation (and it may be circulations all the way down).  In other words, it ...

Illustration for Edgar Allan Poe's story " The Man of the Crowd " by Harry Clarke (1889-1931), first printed in 1923 (from Wikimedia Commons) Edgar Allan Poe’s story fragment, “The Man of the Crowd” (published in 1840 when Poe was living between Baltimore, Richmond and Philadelphia), begins with the narrator peering out onto a London street from a café, making observations about passersby: typologies of urban dwellers (“the tribe of clerks,” the “race of swell pick-pockets”), divisions of the population into age, gender, race and ethnicity.   Finally, though, his gaze alights on an enigmatic character that eludes easy classification: “decrepit” and “feeble,” yet “he rushed with an activity I could not have dreamed of seeing in one so aged”; “without apparent aim,” yet characterized by “blood thirstiness” and armed with a “dagger”.   Seduced by these paradoxical attributes, Poe’s narrator follows the man until sunrise, without, though, gaining any insight into t...