By Frances Hughes, Aristides Ruiz, Dana Thompson, Del Thompson

X-Men: Gambit and the Shadow King Hardcover - November 15, 1994

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However, the publisher has no responsibility for the websites and can make no guarantee that a site will remain live or that the content is or will remain appropriate. Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition. com Acknowledgments This book would not exist were it not for Laurent de Sutter and his keen editorial eye. It was he who plucked one of my all-too-frequent Facebook updates from the digital torrent and suggested that I turn it into a focused polemic for his new book series.

The latter is pre-diagrammed for us, by and through protocols, applications, and devices. For Benjamin, “the human apparatus of perception”functions just as much at the level of touch and habit as by vision. Thus, as if describing a twentyfirst-century city dweller, ordering a café latte while texting a colleague, Benjamin writes, “even the distracted person can form habits. What is more, the ability to master certain tasks in a state of distraction first proves that their performance has become habitual” (40).

Their waves lap around it; they encompass it with their tide” (39–40). Benjamin’s “prototype” of an artwork that is received collectively, and in a state of distraction, is architecture, since this form of art is experienced and inhabited through a cluster of ambient habits produced by, and acquired from, the human commons. Benjamin never fully fleshed out his “Theory for Distraction,” since this languished in his desk as a short series of notes. Yet it is here, in the idea of architecture as “reception in distraction,” that we reconnect to social media.

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