Summary

• Objects (1 modified, 1 added, 0 removed)
  • Caselist.RoundClass[1]
  • Caselist.CitesClass[1]

Details

Caselist.RoundClass[1]

EntryDate

...	...	@@ -1,1 +1,1 @@
1		-2016-09-23 14:21:20.400
	1	+2016-09-23 14:21:20.0

Caselist.CitesClass[1]

Cites

...	...	@@ -1,0 +1,39 @@
	1	+====Sometime shortly before May of 1945, a young women works at the Glenn L. Martin Company Plant located in Bellevue, Nebraska. She, like many women at the time, enlisted her labor to help the war effort overseas; she installed rivets on bomber aircraft. It is at this plant that the triage of planes tasked with flying in the bombings of Hiroshima and Nagasaki are produced – Enola Gay, The Great Artiste, and Necessary Evil. It is almost inevitable that she passed into direct contact with the metal used to craft these planes - some say she even carved her name into the left rear corner of the Enola Gay. With this, a factoid lost to the depths of history, a molecular web between this women and the obliteration of approximately two-hundred thousand people was formed, both as a metaphysical cog in the machine of total war and a material fabricator of the weaponry used to enact its devastation. This women's name is Hazel Lillian Patton; she is my great-grandmother.====
	2	+
	3	+
	4	+====The bombing of Hiroshima and Nagasaki, equipped with the force of nuclear power, tested the human body in never before seen ways. Light, as it blasted through the bodies, produced both hypervisibility and invisibility – illuminating the material body while repressing the non-material being– a regime known as avisuality. A perceptual paradox forms a rift at the level of representation itself - language and its ability signify the subject is ruptured. This forms the basis of a liberal repression of difference that cannot be understood within preconceived models – this is a phenomenological violence. ====
	5	+Akira Mizuta **Lippit,** 20**05**
	6	+Lippit is the Vice Dean of Faculty in the School of Cinematic Arts, and Professor in the Division of Cinema and Media Studies at the University of Southern California. "Atomic Light (Shadow Optics)", University of Minnesota Press, pg 108-111.
	7	+Slightly more than a decade after Tanizaki's reflection on shadows, another form of radiography
	8	+AND
	9	+crypt of another, but never blends with the world that frames it.
	10	+
	11	+
	12	+====While the West has erased the bombings, they have had a prevailing visibility in Japanese thought as a phantasm that haunts social consciousness. Consider our tracing of the atomic webs of Hazel Patton to the bombings as a revolt against Western avisuality.====
	13	+Akira Mizuta **Lippit,** 20**05**
	14	+Lippit is the Vice Dean of Faculty in the School of Cinematic Arts, and Professor in the Division of Cinema and Media Studies at the University of Southern California. "Atomic Light (Shadow Optics)", University of Minnesota Press, pg 101-103.
	15	+"One particular cell," one atom, that is, particle or building block
	16	+AND
	17	+of the impossible signifier burns, cinefied: radiant, specular, avisual.
	18	+
	19	+
	20	+====Therefore, we affirm the prohibition of nuclear power through the resistance method of the "shadow archive".====
	21	+
	22	+
	23	+====Western interpretation operates through making everything visible –to illuminate and reveal all. Atomic light is an unequivocal form of exposure which threatens to destroy the very archives in which thought resides. In defiance, literature operates against this, requiring darkness. Literature relies on an imperceptible subjectivity to create an imaginary at odds with the real. This is the process of the shadow archive – a creation of subjective space that thrives on divisibility rather than homogenization. Divisibility uses difference as a weapon, constantly splicing into divergent perspectives, eluding totalizing histories. The shadow archive combats avisual repression through an atomic and secret language in which darkness can reside, hidden from the light.====
	24	+Akira Mizuta **Lippit,** 20**05**
	25	+Lippit is the Vice Dean of Faculty in the School of Cinematic Arts, and Professor in the Division of Cinema and Media Studies at the University of Southern California. "Atomic Light (Shadow Optics)", University of Minnesota Press, pg 24-27.
	26	+In the electric Western archive, in the arkheion, radiation descends from above and
	27	+AND
	28	+invisible afterimage: it threatens an atomic reaction that will incinerate the archive.
	29	+
	30	+
	31	+====The role of the ballot is to vote who best methodologically activates imminence – a model of the world in which things are imminent, always impending – never fully coming to an end.====
	32	+
	33	+
	34	+====Transformation – be it social, metaphysical, or political – must be understood as a process. When viewed as imminent, decision-making and ethics become a constant interrogation of our past inheritance and future goals. This creates a stasis of present-tense action. Binaries become frustrated as the unknowability of our future collides with the necessity to act. This compounds into a simultaneously abstract and material singularity, rather than a calculable planning.====
	35	+Nicole **Anderson,** 20**12**
	36	+Anderson is the Head of the Department of Media, Music, Communication and Cultural Studies as well as an Associate Professor at Macquarie University, she is also a co-founding editor of the Derrida Today Journal, published by Edinburgh University Press, and the Director of the Derrida Today biannual conference, an international fellow of the London Graduate School, and a member of the Biocultures Project at University of Illinois, Chicago. "Derrida: Ethics Under Erasure", Continuum Studies in Continental Philosophy, series editor: James Fieser, Continuum International Publishing Group, pg 106-108.
	37	+Transformation is traditionally defined as a radical change or alteration: radical because what is
	38	+AND
	39	+structure of cause and effect following the form of a traditional linear trajectory.

EntryDate

...	...	@@ -1,0 +1,1 @@
	1	+2016-09-23 14:21:22.20

Judge

...	...	@@ -1,0 +1,1 @@
	1	+Shatzkin, Sigalow

Opponent

...	...	@@ -1,0 +1,1 @@
	1	+Scarsdale ZE

ParentRound

...	...	@@ -1,0 +1,1 @@
	1	+1

Round

...	...	@@ -1,0 +1,1 @@
	1	+1

Team

...	...	@@ -1,0 +1,1 @@
	1	+Millard North Brown Aff

Title

...	...	@@ -1,0 +1,1 @@
	1	+1 - 1AC - Shadow Optics

Tournament

...	...	@@ -1,0 +1,1 @@
	1	+Valley RR