102-0708 holds out interpretation

102-0708

Scale, impersonality, hold: these are some minimal contours of mediations that merit a new day in the sun. For enhancing circulation, immediacy stylizes essences that automanifest, language that concretizes, images that denude, streams that surge, and dissolutionisms that blur. The ensuing continuities, intensities, and expresses cradle the allure of that style . By contrast, a style of a different sort, less bent on negating mediation, would offer production that must be undertaken, possibilities that require relay, discontinuities in coordination, long-rather than short-cuts when adumbration and even artifice better suit the matter, order processing without same-day-delivery guarantee. In quest of that other style, this mediation against immediacy, this book synthesizes at saucy scale , speaks impersonally without “I,” and composes prose that holds off intuition and holds out interpretation.

Anna Kornbluh, Immediacy: Or, the Style of Too Late Capitalism

Justice Sotomayor dissenting

Supreme Court Docket No. 23–939, DONALD J. TRUMP, PETITIONER v. UNITED STATES


JUSTICE SOTOMAYOR, with whom JUSTICE KAGAN and
JUSTICE JACKSON join, dissenting.

Today’s decision to grant former Presidents criminal im-
munity reshapes the institution of the Presidency. It makes
a mockery of the principle, foundational to our Constitution
and system of Government, that no man is above the law.
Relying on little more than its own misguided wisdom about
the need for “bold and unhesitating action” by the Presi-
dent, ante, at 3, 13, the Court gives former President Trump
all the immunity he asked for and more
. Because our Con-
stitution does not shield a former President from answering
for criminal and treasonous acts, I dissent.

[…]

The Court now confronts a question it has never had to
answer in the Nation’s history: Whether a former President
enjoys immunity from federal criminal prosecution. The
majority thinks he should
, and so it invents an atextual,
ahistorical, and unjustifiable immunity that puts the Pres-
ident above the law
.
The majority makes three moves that, in effect, com-
pletely insulate Presidents from criminal liability. First,
the majority creates absolute immunity for the President’s
exercise of “core constitutional powers.” Ante, at 6. This
holding is unnecessary on the facts of the indictment, and
the majority’s attempt to apply it to the facts expands the
concept of core powers beyond any recognizable bounds. In
any event, it is quickly eclipsed by the second move, which
is to create expansive immunity for all “official act[s].”
Ante, at 14. Whether described as presumptive or absolute,
under the majority’s rule, a President’s use of any official
power for any purpose, even the most corrupt, is immune
from prosecution. That is just as bad as it sounds, and it is
baseless
. Finally, the majority declares that evidence con-
cerning acts for which the President is immune can play no
role in any criminal prosecution against him. See ante, at
30–32. That holding, which will prevent the Government
from using a President’s official acts to prove knowledge or
intent in prosecuting private offenses, is nonsensical.

[…]

In sum, the majority today endorses an expansive vision
of Presidential immunity that was never recognized by the
Founders, any sitting President, the Executive Branch, or
even President Trump’s lawyers, until now. Settled under-
standings of the Constitution are of little use to the majority
in this case, and so it ignores them.

AG2024_1130107a or often concealed

AG2024_1130107a

The subjects of her portraits are often concealed by an out-of-focus blur. This blur is her most recognisable – and beguiling – technique. She achieves it, she says, by keeping the shutter open while holding the camera very still and hardly breathing. The filmmaker Arthur Jafa argues that the blur is an act of resistance, circumventing ‘the ability of photography to function as evidence’ since ‘you can’t identify anybody.’ According to Jafa, Smith is exercising her Black subjects’ ‘right to opacity’: their freedom from the scrutiny of white society. In Julius + Joanne, her subjects are simply bodies in motion, repositories of light.

But Smith is also defending her own right to abstraction, to an expressiveness and lyricism that go beyond documentation.

On Ming Smith, Adam Shatz

always adheres

Something barbaric always adheres to the deliberate destruction of a work of art” — Judge Michael Ponsor quoted in Stephanie Bailey’s article on Christoph Büchel for ArtReview (041424).


Everyone’s entitled

to her own magic bullet

theory of self. There’s

the get-to-know-you

game we play …

[…]

I play my game.

I await the next campaign.

Stylized Facts, Zoë Hitzig

“… making it one of the most expensive liquid commodities in the world — after snake venom, Chanel No. 5, insulin, mercury, and human blood.” D.M. on HP OfficeJet Pro 9015e in The Drift : Isuue Twelve.