J. G. Ballard en
James Graham "J. G." Ballard was an English novelist and short story writer. His best-known works include Crash, adapted into a film by David Cronenberg, and the semi-autobiographical Empire of the Sun, made into a film by Steven Spielberg, based on Ballard's boyhood in the Shanghai International Settlement and internment by the Japanese Imperial Army during the Second Sino-Japanese War. The literary distinctiveness of his work has given rise to the adjective "Ballardian", defined by the Collins English Dictionary as "resembling or suggestive of the conditions described in J. G. Ballard's novels and stories, especially dystopian modernity, bleak man-made landscapes and the psychological effects of technological, social or environmental developments." According to some, he was a member of the New Wave movement in science fiction. The author Will Self describes Ballard's work as being occupied with "eros, thanatos, mass media and emergent technologies". Wikipedia [ - ]
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- James Graham Ballard
- J.G. Ballard
- James G Ballard
- James Graham "J. G." Ballard
- J.G. Ballard was a novelist
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- Given that external reality is a fiction, the writer's role is almost superfluous. He does not need to invent the fiction because it is already there.
- Hell is out of fashion -- institutional hells at any rate. The populated infernos of the 20th century are more private affairs, the gaps between the bars are the sutures of one's own skull. A valid hell is one from which there is a possibility of redemption, even if this is never achieved, the dungeons of an architecture of grace whose spires point to some kind of heaven. The institutional hells of the present century are reached with one-way tickets, marked Nagasaki and Buchenwald, worlds of terminal horror even more final than the grave.
- I believe that organic sex, body against body, skin area against skin area, is becoming no longer possible, simply because if anything is to have any meaning for us it must take place in terms of the values and experiences of the media landscape. What we're getting is a whole new order of sexual fantasies, involving a different order of experiences, like car crashes, like travelling in jet aircraft, the whole overlay of new technologies, architecture, interior design, communications, transport, merchandising. These things are beginning to reach into our lives and change the interior design of our sexual fantasies. We've got to recognize that what one sees through the window of the TV screen is as important as what one sees through a window on the street.
- People nowadays like to be together not in the old-fashioned way of, say, mingling on the piazza of an Italian Renaissance city, but, instead, huddled together in traffic jams, bus queues, on escalators and so on. It's a new kind of togetherness which may seem totally alien, but it's the togetherness of modern technology.
- I thought it was a wonderfully conceptual act actually, to fire a replica pistol at a figurehead -- the guy could have been working for Andy Warhol!
- The car as we know it is on the way out. To a large extent, I deplore its passing, for as a basically old-fashioned machine, it enshrines a basically old-fashioned idea: freedom. In terms of pollution, noise and human life, the price of that freedom may be high, but perhaps the car, by the very muddle and confusion it causes, may be holding back the remorseless spread of the regimented, electronic society.
- Perhaps violence, like pornography, is some kind of an evolutionary standby system, a last-resort device for throwing a wild joker into the game?
- Science and technology multiply around us. To an increasing extent they dictate the languages in which we speak and think. Either we use those languages, or we remain mute.
- Pop artists deal with the lowly trivia of possessions and equipment that the present generation is lugging along with it on its safari into the future.
- The marriage of reason and nightmare which has dominated the 20th century has given birth to an ever more ambiguous world. Across the communications landscape move the specters of sinister technologies and the dreams that money can buy. Thermonuclear weapons systems and soft drink commercials coexist in an overlit realm ruled by advertising and pseudo-events, science and pornography. Over our lives preside the great twin leitmotifs of the 20th century -- sex and paranoia.
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