By Eshwar Sundaresan
A techie group of round 2 hundred Indians stationed in Milwaukee unexpectedly unearths itself below a siege. On a fateful Friday, a cyclonic snowstorm— great Susan—is breaking iciness documents outdoor their home windows. And past, someplace within the inky darkness,a serial killer who objectives immigrants is at the unfastened. An indiscreet television journalist has already proficient him that just about the whole group is living inside of a 3 block
radius in downtown Milwaukee. younger techies belonging to the community— Partho Sen and Varun Belthangady—are really lower than hazard. ignorant of this truth, they bring about on as ordinary. Varun needs to carry a very important software program software for his Fortune-500 consumer prior to the weekend ends. in the meantime, Partho needs to confront his internal demons to avoid wasting crucial relationships in his lifestyles. they have to care for those pressing wishes, while they take care of their rapacious company enterprise, an overambitious boss, unpredictable occasions unfolding within the residing rooms and bedrooms in their colleagues—and the results of the main powerful cocktail on this planet. there's one guy who can keep them but from the serial killer—Detective Farley of the Milwaukee Police division. yet will the serial killer turn out too shrewdpermanent even for him?
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Extra resources for Behind The Silicon Mask
While one of the defining axioms of cultural studies is the death of the author, the authors of cultural studies seem to exempt themselves from the full effect of this theory, much the way a queen might be exempted from her own decrees. The theory death of the author seems to apply to other people's authors. If we are to understand, following Bourdieu, that the value of a work of art is determined by the same system of discriminations-class-based dispositions or tastes-that determines the differential value of styles of furniture or dresses or table manners, then why not apply this to Bourdieu's Distinction: A Social Critique of the Judgment of Taste?
The present crisis of cultural studies results from the seeming autonomy of the frames of interpretation from what they are to interpret; we have less objects of study than what Stanley Fish calls "interpretive communities". What is to be interpreted is by no means secure, nor are the objects of interpretation necessarily of any determining significance. This is a somewhat awkward, even anxious situation. But it is not fundamentally different from the methodological approach of much modernist and contemporary art, where forms of interpretation constitute the subject.
38 WHAT'S ART GOT TO DOW I T HIT? The vehemence of the attacks on cultural and new historical studies has left too little room for a critique of the ways in which these approaches continue to perpetuate a deterministic or professional rather than rhetorical or poetic approach to its subjects. This left-libertarian or aesthetic critique of cultural studies becomes almost impossible to hear amidst the mischaracterizations of the goals of cultural studies that seem mischievously aimed at preventing any thoughtful discussion of the issues.
Behind The Silicon Mask by Eshwar Sundaresan