dig

Dig

  • 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

  • AG2022_2110521a or the revery alone will do

    AG2022_2110521a

  • General Idea

    https://birdbird.tumblr.com/post/700949509412405248/somerecommendations-general-idea-the-armory

    Ecce Homo: The Drawings of General Idea, The Drawing Center.

  • AG2022_2090832a

    AG2022_2090832a

    Landscape exerts a subtle power over people, eliciting a broad range of emotions and meanings that may be difficult to specify. This indeterminacy of affect seems, in fact, to be a crucial feature of whatever force landscape can have. As the background within which figure, form, or narrative act emerges, landscape exerts the passive force of setting, scene, and sight.

    W.J.T. Mitchell

    New topographics : photographs of a man-altered landscape, International Museum of Photography at George Eastman House, Rochester, NY, 1975.

  • AG2022_2090830a or weighty and dazzling presence of things

    AG2022_2090830a

    “Human lives are led in the weighty and dazzling presence of things”

    […]

    For all her [Chamberlain] initial misgivings, she has no doubt of the continuing centrality of art and the powers of the imagination to our essential humanness:

    [Rilke] was trying to find a new sensibility for the twentieth century, at a time when a certain style of philosophy had not yet made “the meaning of life” a naive question. His poems concern our gender and sexuality, our sense of what we ought to be doing with our lives, the possibility of the existence of God, the charmed kinship with animals which brings us such happiness, the importance of childhood, the attraction of the physical objects we make and buy and choose to live among, the landscapes we respond to, the books we read and the paintings in whose company we live. There is no object under Rilke’s gaze that resists transformation into a feature of a marvellous universe that envelops us in a world that might otherwise leave us restless and afraid.

    John Banville reviews Rilke: The Last Inward Man by Lesley Chamberlain. The New York Review, November 3, 2022.