New York

Wallace as Visual Experience

David Foster Wallace mii figure playing tennis

"David Foster Wallace mii Playing Tennis" — Image Credit: Nick Maniatis, via Kottke.org

My first spring in Texas left me nostalgic for my Kentucky roots. This, of course, meant I’ve spent the last few weeks watching entirely too much March Madness. For Kentuckians, without a single professional sports team to call their own—and without Texas-sized performance and investment in college football—college basketball is a powerful source of sports identity. The showdown between the University of Louisville and the University of Kentucky in this year’s Final Four was an epic, almost state-shattering event.

I’m not much interested in halftime banter or commercial breaks, however, so the last few weeks have also included a good deal of channel surfing. As I surfed, I found myself catching glimpses of another sport I’ve always wanted to watch more of but never have: tennis. My potential interest in tennis has nothing to do with fond remembrances of my single season as a high-school tennis player (I was horrible). It’s a theoretical interest that is largely indebted to David Foster Wallace. Tennis figures prominently not only in Wallace’s well-known novel Infinite Jest, but in his essays.

Visualizing Censorship: Seals, Symbols, and the Visual Rhetoric of Vice

Watch and Ward Seal, detail 

                                                                                                                                      Photo by Jake Ptacek

We here at viz are deeply excited about our new partnership with the Harry Ransom Center, one of the premier research libraries for the humanities in the United States.  As part of that partnership, we’ve been given a tour of their current exhibitions and the chance to blog about some of the Center’s amazing holdings.  You may have already had a chance to read Matthew Reilly’s meditation on their Banned, Burned, Seized, and Censored exhibit and Jay Voss’s post on The Greenwich Village Bookshop Door exhibition.  Continuing that thread, this week I want to look more closely at two artifacts on display in the BBSC exhibit: the official seals for the New York Society for the Suppression of Vice and the New England Watch and Ward Society.

The thing with feathers

Image Credit : Timothy Schubert

As Cate’s post from last week illustrates, while we continue to be affected by the events of 9/11, we’re also faced with the task of interpreting an expansive and wide-reaching 9/11 memorial culture.

Do you know where your manholes came from?

Adam Huggins, a free-lance photograph for the New York Times recently made a visual argument that caused a lot of people to pay attention to manholes.

Foundry Workers wearing only cloth wraps carrying molten metal to the manhole molds

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