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By Charles R. Garoian

Examines the interrelationships among artwork, politics, and visible tradition post-9/11.

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Repeats with force as if to underscore the word) 48 Spectacle Pedagogy MARK: Exactly. Has there ever been a time when you were so exposed? KAREN: Do you remember that day I came home and told you about the truck? BRYAN: Yes. About two months ago. KAREN: I was on my way to the store through a back alley. As I was walking a truck turned in. It was spraying trees. Do you think that’s what’s causing to. . MATTHEW: No, that was only the beginning. You see something happened to that insecticide after it was in your system.

In particular, an insecticide, a great deal of insecticide? KAREN: INSECTICIDE . . (repeats with force as if to underscore the word) 48 Spectacle Pedagogy MARK: Exactly. Has there ever been a time when you were so exposed? KAREN: Do you remember that day I came home and told you about the truck? BRYAN: Yes. About two months ago. KAREN: I was on my way to the store through a back alley. As I was walking a truck turned in. It was spraying trees. Do you think that’s what’s causing to. . MATTHEW: No, that was only the beginning.

The toppling of the regime and nation building . . refugees caught in crossfire in Basra . . Allies intensify air assault, . . . bla-laul-tualt-toulst-sowout-toudtoudk-tout-ruog-pout-pa,it speaks, speaks, and speaks . . ESSAY TWO The Spectacle of Visual Culture In a society dominated by the production and consumption of images, no part of life can remain immune from the invasion of spectacle. —Christopher Lasch, 1991, p. 122 The spectacle is the acme of ideology, for in its full flower it exposes and manifests the essence of all ideological systems: the impoverishment, enslavement and negation of real life.

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