Dig

  • AG2023_1033826a or quetzal

    AG2023_1033826a

    Heterotopias, place that opens behind the surface, holds an over-there-ness, represent a “reservoir of imagination” (MF). Within the fold. A garden as a microcosmic world build out of the juxtaposition or arrangement of elements. Place with temporal shifts and/or fragments. A cruise ship. An airport.


    n54_w1150
    FIGURE 49
    Plate: Calurus resplendens
    Accepted: Pharomachrus mocinno
    Common: Resplendent Quetzal
  • AG2023_1033822a

    AG2023_1033822a

    L’imaginaire de mon lieu est relié à la réalité imaginable des lieux du monde, et tout inversement. L’archipel est cette réalité source, non pas unique, d’où sont sécrétés ces imaginaires : le schème de l’appartenance et de la relation, en même temps.

    Glissant, Édouard, Philosophie de la Relation, Paris, Gallimard, 2009.

    “the imaginary of my place is related to the imaginable reality in all places …”


    Releted(?) : heterotopias–“In Of Other Spaces Foucault coined the term “heterotopias” to signify “all the other real sites that can be found within the culture” which “are simultaneously represented, contested, and inverted.” For Foucault, heterotopic spaces were first of all spaces of crisis, or transformative spaces …”

  • Conclusio and Marche

    Nicholas Britell, Song of Hal: Conclusio in C Minor, The King, 2019.

    Nicholas Britell, Marche – Agincourt, The King, 2019.


    AG2023_1033761a

    “The order that matters most is not spatial but temporal […] time itself as patterns, recurrences, the rhythmic passage of days, […] lunar cycles and the tides, birth and death” (RS)

  • AG2023_1033481a

    AG2023_1033481a

    “Becoming American would remain an incomplete project” (HH); especially with a preference for Congo peas.

  • Shine your light for the world to see

    January 19, 2023, Joey Bada$$ covers Yasiin Bey’s ‘UMI Says.’

    Umi said shine your light on the world
    Shine your light for the world to see

    […]

    I want black people to be free, to be free, to be free
    All my people to be free, to be free, to be free
    All black people to be free, to be free, to be free



    AG2023_1033386a
  • No quantifiable practical result

    “Ecology without class struggle is gardening” — Chico Mendes, via Marcela Cantuária’s The South American Dream at PAMM.

    Gardens are nodes “where pleasure and beauty and hours with no quantifiable practical result” may coalesce, but those aspects may align and “fit into the life of someone, perhaps of anyone, who also cared about justice and truth and human rights and how to change the world.” (RS)

    Mendes was assassinated in 1988. He might have added nuance to this quote, that seems too easily quotable.


    AG2023_1033493a
  • AG2023_1033596a or reach

    AG2023_1033596a

    Reach passed the “imposed conditions of apartness” (IF)


  • macandal

    Cameron Rowland, macandal, 2023 Oxalic acid 37.5 x 30.5 x 67 cm Packets of materials that could invoke spirits, protect against punishment, and poison slave masters were called macandals. They were at the center of a plot in 1757 to poison all the white people in Haiti. The plot was organized by hundreds of enslaved and free black people. All macandals were subsequently outlawed. Their trade and use continued despite their criminalization. Enslaved people throughout the Atlantic world used arsenic, manioc juice, ground glass, and oxalic acid to poison overseers, masters, masters’ children, and livestock. Oxalic acid is a stain remover and household cleaner.

    Cameron Rowland: Amt 45 i

    Museum MMK für Moderne Kunst, Frankfurt, Germany
    10 February 2023 – 15 October 2023

    Negations of accumulation manifested in theft, fugitivity, praise meetings, and plots.[53] Stealing the crops, eating the livestock, and refusing to work diminished the output of the plantation.[54] The formation of fugitive communities emptied the plantation of its value.[55] Sharing information evaded supervisory control.[56] Coordinated poisonings of masters and overseers instilled fear of the slave population.[57] Arson destroyed sugar mills, masters’ houses, and entire fields, inflicting property damage and halting production.[58] These black negations are unwritten losses. They are neither failed nor successful. Their impact is incalculable. They operate beyond the rubrics of value and production. Rather they were grounded in “the shared sense of obligation to preserve the collective being, the ontological totality” of blackness.[59]

    Cameron Rowland: Amt 45 i

    Maxwell Graham / Essex Street. Image via C&.