This article examines 50 films produced and released between the years 2001 and 2012 that are concerned with the American wars in Iraq and Afghanistan. Using Jacques Ellul’s theories set out in his book Propaganda, the article argues that while the films have failed at the box office, they were intended to function as integration propaganda. The article proposes six different tropes or common frames for understanding how the films avoid dealing with problems raised by the wars. Why the films (...) failed, and what functioned as integration propaganda instead, is the subject for a second article titled “Eyeless in America, the Sequel.”. (shrink)

This article builds on conclusions drawn in the article “Eyeless in America,” by the same author and considers how 50 American films about the wars in Iraq and Afghanistan intended to function as what Jacques Ellul called “integration propaganda,” fared. This article considers and rejects a number of theories about why most feature war films failed between 2002 and 2012 and proposes what war films might look like in the near future.

Development requires not only the correct specification of organs and cell types in the right places (pattern), but also the control of their size and shape (growth). Many signaling pathways control both pattern and growth and how these two are distinguished has been something of a mystery. In the fly eye, a Pax6 homolog (eyeless) controls eye specification together with several other genes. Now Dominguez et al.1 show that Notch signaling controls eye growth through a second Pax6 protein (Eyegone). (...) In mice and humans the single Pax6 gene appears to encode both specification and growth controlling proteins through alternative mRNA splicing. BioEssays 26:600–603, 2004. © 2004 Wiley Periodicals, Inc. (shrink)

In 1995, the eyeless (ey) gene was dubbed the “master‐regulator” of eye development in Drosophila. Not only is ey required for eye development, but its misexpression can convert many other tissues into eye, including legs, wings and antennae.(1) ey is remarkable for its ability to drive coordinate differentiation of the multiple cell types that have to differentiate in a very precise pattern to construct the fly eye, and for its power to override the previous differentiation programs of many other (...) diverse tissues. Even more remarkable, the ey homolog Pax6 and homologs of other eye determination genes from Drosophila are also required for eye development in vertebrates,(2,3) prompting reassessment of the evolution of vision throughout the animal kingdom.(4,5) Now Kumar and Moses have published a study that throws a new light on ey function in Drosophila.(6) According to their work, ey becomes a master regulator of eye development much later than previously thought, and is regulated by signalling through the Notch and EGFR signaling pathways. BioEssays 23:763–766, 2001. © 2001 John Wiley & Sons, Inc. (shrink)

Color FilmAs if from darkness, from gloom, from nothing —this moment is sewn through us like a thread —from above our shoulders — from primeval night —a shining river. A flying light.Onto the screen, onto a white calm,onto a cloth, onto the ground of spatial fields,it flies through the eyeless dark,it's as voluminous as seed or salt.And in this theater, where light's been banished,where even streetlight fades away completely,other light channels vibrate,and reflections wander through the eye.The curtains open up (...) — the wings of a gate.The screen shifts our eyes and soulsso that we reach new perspectives,blown by the wind into the changingof colors, landscapes, rooms,we touch fire, earth, water.But no! Not those! And not like that!There's a wall here, the screen's always a wall.So, when the shades are opened and it's over,daylight pours through the aisles,we walk as if from underground corridors,we reach for cigarettes in our pockets.We exit like a flood, like a tide,and start talking again.O reality, blinding and sublime!We learn to love. We learn to see.StanzasThose years are slowly fading.Our house was by the railroad stationwhere engines covered in soot hammeredand invisible locomotives roared at night.Pedestrians passed by our porch,their moods dependent on loveand weather, coats and sorrowscarried over their shoulders, invisibleswords drawn but hesitant — as if awaitingtournament trumpets to launch their lives.The acacia (the one that was cut down later)grew according to a centuries-long spanof rain and sun and, like a lively banner,the windows reflected its green flash.And there was lilac, a skinny creature,diminished from the leaves to the roots.But once a year it flushed numb madlyand flourished although it was in pain.(It's worth mentioning the elderberry —dense, aromatic, and luminous,and how, after trembling on the bush,a rainbow surfaced through the drizzle.)Those lands were also full of winter —Christmassy and audacious, like an invasion,and a piercing whirlwind flew inthrough cold doorways and frozen windows.And in the lanterns oranges burned,buckets clanking through the morning,snow trampled after a blizzard,brown brick ovens roaring inside houses...Those years are fading like those legends,but who will weave us sweeter memories?Elegy for the SixtiesSummer, the smell of a soccer ball, elderberry, currant,couples made out in the evening bushes,and when the twilight descended beyond the river,the stony sidewalks smelled of warm rain.The soccer ball flew over antennas and linden trees,its body leather and cosmic.From grape-covered arbors, with pubescent sobs,songs of the prodigy Robertino spread through the world.The night thickened instantly, the ball meltedin the darkness, lamps lit up in the orchards and porches,a mysterious depth opened in a treetop,the shadows on the faded curtains spoke.The ball never came back: disappeared in the distance.Frogs croaked from neglected fountainsin the park where there were dances every night,where a saxophone wheezed, where they carried knives.The ball remained in the air, and the years unfoldedlike sandy seas, like salty deserts,and spooky carousels horrendously circledand creaked for us, as in a dream, until morning.The Museum of AntiquitiesHow the two of us walkthe cramped labyrinths of an old house!...Tapestries and trumpetsglorify an unknown couple,as if seeingour conspiracy:every toucha warm flash.And then again and againwe passin the mirrors.The clock with blazonsindicates, as always, it's two,and sneaking after usmaybe anguish, maybe a fugue...Passing portraitsand palanquinsan echo of footstepswalks with us.We disappeared somewhere for a long time(for two hundred years?For three hundred?).And when it gets dark,from unheated rooms(I seem to have behaved well,I did nothing wrong),into hot neon lightswe return forever.I carry you in my hand,and life is so vast... (shrink)

When the chorus at the end of Samson Agonistes declares that “all is best,” what it means is that the best of all possible things, the thing everyone in the play most desires, has finally happened: Samson is dead. This is, of course, not quite fair. What the chorus most wants is that things once more be as they were, and its moment of highest joy in the play involves the speculation that a revived Hebrew hero may “now be dealing (...) dole among his foes / And over heaps of slaughtered walk his way” .1 “That were a joy presumptuous to be through” , responds Manoa, indicating that he too wishes for nothing more than the return of the days when his son “walked about … / On hostile ground” “like a petty god” . This is also what Harapha wants for different reasons when he says of Samson’s change of fortune, I “wish it had not been, / Though for no friendly intent” ; and it is what Dalila wants for more reasons than Samson can shake a stick at when she laments an event more “perverse … than I foresaw” and attempts to mitigate if she cannot cancel the effects of her “rash but more unfortunate misdeed” . Everyone, in short, wants to turn back the clock, and this, of course, includes Samson, who is obsessed with the disparity between his present and his past states: “Why was my breeding ordered and prescribed / … / … if I must die / Betrayed, captive[?]” ; “Promise was that I / Should Israel from Philistian yoke deliver; / Ask for this great deliverer now, and find him / Eyeless in Gaza” ; “The base degree to which I now am fall’n” ; “I was his nursling once and choice delight” . 1. John Milton, Samson Agonistes, The Poems of John Milton, ed. John Carey and Alastair Fowler ; hereafter cited by line number. Stanley Fish is Arts and Sciences Professor of English and Professor of Law and chairman of the English department at Duke University. His most recent book is Doing What Comes Naturally: Change, Rhetoric, and the Practice of Theory in Legal and Literary Studies. (shrink)

Only rarely does life imitate art in the starkness and directness of its message. When that message is a tragic one the effect becomes indelible. Such was the impact on Peru of the events of Uchuraccay, a small village located in its central highlands. Peru’s Truth and Reconciliation Commission called it “an emblematic referent of the violence and pain in the collective memory of the country” (TRC, 121). [i] In the twenty-year turmoil that engulfed Peru at the end of the (...) last century, 69280 violent deaths were recorded. What makes Uchuraccay emblematic of this carnage is not just its own destruction; it is the web of misunderstandings that entangled the participants. On January 23, 1983, eight journalists from Lima were caught in this web. Mistaken for terrorists, they and their guide were attacked by the natives of the village. Remarkably, one of the journalists left a photographic record of their slaughter. There also exists a photograph of the bodies of the journalists after they were exhumed a few days later. In it, their eyeless sockets are clearly evident.[ii] When I saw the photo in Lima, it reminded me of the moment in Greek tragedy that is called “recognition.” This is the point when the veil of illusion is stripped from the characters. The most striking example of this is Oedipus’ appearance after he has blinded himself. In his eyeless state, the audience recognizes his previous blindness to his unnatural condition. This moment of recognition is a public exhibition. It is a disclosure of the way things actually were during the events depicted. In what follows, I am going to take this final image of the journalists as a disclosure of the communal blindness that engulfed Peru. My aim is to relate this blindness to the violence that was its tragic correlate. (shrink)

Sensory organs are specialized to receive different kinds of input from the outside world. However, common features of their development suggest that they could have a shared evolutionary origin. In a recent paper, Niwa et al.1 show that three Drosophila adult sensory organs all rely on the spatial signals Decapentaplegic and Wingless to specify their position, and the temporal signal ecdysone to initiate their development. The proneural gene atonal is an important site for integration of these regulatory inputs. These results (...) suggest the existence of a primitive sensory organ precursor, which would differentiate according to the identity of its segment of origin. The authors argue that the eyeless gene controls eye disc identity, indirectly producing an eye from the sensory organ precursor within this disc. BioEssays 26:825–828, 2004. © 2004 Wiley Periodicals, Inc. (shrink)

Pioneering molecular work on chelicerate visual system development in the horseshoe crab Limulus polyphemus surprised with the possibility that this process may not depend on the deeply conserved retinal determination function of Pax6 transcription factors. Genomic, transcriptomic, and developmental studies in spiders now reveal that the arthropod Pax6 homologs eyeless and twin of eyeless act as ancestral determinants of the ocular head segment in chelicerates, which clarifies deep gene regulatory and structural homologies and recommends more unified terminologies in (...) the comparison of arthropod visual systems. Following this phylotypic stage, chelicerate visual system development differs fundamentally from other arthropods during the compartmentalization of the ocular segment in that eye and optic neuropil primordia originate independently from each other. Comparative analyses of this phase identified further gene regulatory homologies but also major differences, most notably the possibly compensatory replacement of Pax6 by Pax2 in lateral eye specification. Also see the video abstract here: https://youtu.be/Hdfr3z5kEXU. (shrink)

Panopticism is commonly taken to rely on something like a panoptic gaze – a reading of Foucault which still prevails in the discussion of today’s surveillance technologies in the wake of Surveiller et punir. In my re-reading of the relevant chapters of Foucault’s book I argue that the gaze does not occupy a central role in the techniques of discipline and power that Foucault describes. Quite to the contrary, Foucault analyses virtualization and automatization procedures that – after cutting off of (...) the King’s head – invert and eliminate the sovereignty of the gaze as well: they also rip out the sovereign’s eye. Surveiller et punir thus should be read as a book about a certain eyelessness of the modern political. Where truly modern power is assumed to be, there is nothing to be seen. This also means that panopticism does not provide a master key to understand digital technologies of power. (shrink)

Co‐option of the eye developmental gene regulatory network may have led to the appearance of novel functional traits on the wings of flies and butterflies. The first trait is a recently described wing organ in a species of extinct midge resembling the outer layers of the midge's own compound eye. The second trait is red pigment patches on Heliconius butterfly wings connected to the expression of an eye selector gene, optix. These examples, as well as others, are discussed regarding the (...) type of empirical evidence and burden of proof that have been used to infer gene network co‐option underlying the origin of novel traits. A conceptual framework describing increasing confidence in inference of network co‐option is proposed. Novel research directions to facilitate inference of network co‐option are also highlighted, especially in cases where the pre‐existent and novel traits do not resemble each other. (shrink)

Co‐option of the eye developmental gene regulatory network may have led to the appearance of novel functional traits on the wings of flies and butterflies. The first trait is a recently described wing organ in a species of extinct midge resembling the outer layers of the midge's own compound eye. The second trait is red pigment patches on Heliconius butterfly wings connected to the expression of an eye selector gene, optix. These examples, as well as others, are discussed regarding the (...) type of empirical evidence and burden of proof that have been used to infer gene network co‐option underlying the origin of novel traits. A conceptual framework describing increasing confidence in inference of network co‐option is proposed. Novel research directions to facilitate inference of network co‐option are also highlighted, especially in cases where the pre‐existent and novel traits do not resemble each other. (shrink)