dig

Category: language

  • AG2022_1870575a

    AG2022_1870575a

    art in and of itself is not liberating; it either is or isn’t depending on the type of capacity it sets in motion, on the extent to which its nature is shareable or universalizable.

    […]

    An art is emancipated and emancipating when it renounces the authority of the imposed message, the target audience, and the univocal mode of explicating the world, when, in other words, it stops wanting to emancipate us.

    […]

    there is a more positive attempt today to give form to a continuity between artistic creativity and the forms of creativity manifested in objects and behaviors that testify to everyone’s capacities and to our inherent powers of resistance.

    […]

    Dissensus is a modification of the coordinates of the sensible, a spectacle or a tonality that replaces another.

    […]

    These are a few examples … of what “dissensus” might signify: a way of reconstructing the relationship between places and identities, spectacles and gazes, proximities and distances.

    […]

    Emancipation is the possibility of a spectator’s gaze other than the one that was programmed.

    Art of the Possible: An interview with Jacques Ranciere, Fulvia Carnevale and John Kelsey, ArtForum March 2007.

  • Daffodils+Rara-Document-121922-page011

    Daffodils+Rara-Document-121922-page011
    Maneuvers to other planes of there

    And from the future

    Comes the wave of the greater void 

    A pulsating vibration

    Sound span . . . bridge to other ways and

    Other planes of there

    Sun Ra “Other Planes of There” Saturn, 1964 via Renee Green.

  • AG2022_2110211a or utterances that animate

    AG2022_2110211a

    There are these utterances that are recurring and they continue to animate struggle, they continue to remind us of the possible.

    Interview with Saidiya Hartman, The White Review, June 2020.

  • AG2022_1000794a

    AG2022_1000794a

    Positioned to “stand between the realm and the darkness that [would] sweep[s]“

  • Columbia GSAPP Discussion: Scenes Of Subjection

    Saidiya Hartman, Columbia University
    Torkwase Dyson,  Artist & Scholar
    Marisa Fuentes, Rutgers University
    Sarah Haley, Columbia University
    Cameron Rowland, Artist & Scholar
    Alex Weheliye, NorthWestern University

    In Scenes of Subjection, Saidiya Hartman’s first book, now revised and expanded—her singular talents and analytical framework turn away from the “terrible spectacle” and toward the forms of routine terror and quotidian violence characteristic of slavery, illuminating the intertwining of injury, subjugation, and selfhood even in abolitionist depictions of enslavement. By attending to the withheld and overlooked at the margins of the historical archive, Hartman radically reshapes our understanding of history, in a work as resonant today as it was on first publication, now for a new generation of readers. This 25th anniversary edition features a new preface by the author, a foreword by Keeanga-Yamahtta Taylor, an afterword by Marisa J. Fuentes and Sarah Haley, notations with Cameron Rowland, and compositions by Torkwase Dyson.

  • Stay cosmic

    Glitch Feminism: Cosmic Bodies & Ghosting the Corporeal, Legacy Russell. Digital Selves. October 18, 2017.

    Get glitched, become your avatar, and stay cosmic.

  • AG2022_2080262a

    AG2022_2080262a

    …providing the requisite instruction in uplift and betterment (SH)

  • AG2022_2080243a

    AG2022_2080243a

    It defies the natural order and exists, a minuscule speck of something in a wide swath of nothing.

    The World Gives Way: A Novel, Marissa Levien