Howe’s radically disrupted page situates its readers in a position from which they might more empathetically respond to the issues of power addressed by their thematic treatment of personal and cultural violence. Faced with the aggressively restive, almost alien language of her pages, readers are likely to find themselves grappling with a discourse from which they are excluded and about which they must struggle to say anything at all; they may come one step closer, that is, to the position of Howe’s personæ: Anne Hutchinson, Hester Johnson, Ophelia. In the process, those readers must directly and personally come to some kind of terms not just with their response to power, but also with what Howe has called our culture’s strong “contempt for powerlessness.”while i’ve been trying to think about silence and performances of social violence / craig dworkin, the politics of noise
The opposite of rich is not poor; it’s free.Lynice Pinkard, Dangerous Love
aimé césaire, notebook of a return to the native land
shit’s getting real up in my house. top painting by emma. words on the right sourced from amira rammah. words on the left ??
from E. R. Kennedy’s twitter, boosting with permission.
the garbage patch state (wasteland), maria christina finucci, performance installation, 2013
open-source software funded by US army
MIXED WATER, LEBANON, ISRAEL, charbel-joseph boutros. glass of water, water: an equal mix of the lebanese mineral water (sohat), and the israeli mineral water (eden), woodenshelf, inkjet print on archival paper, painted nails, 70x40x21 cm, 2013.
i don’t care what yr mom says, yr not from the rockies
I made a conscious decision to inhabit my own subjectivity in this book in the sense that the middle-class life I live, with my highly educated, professional, and privileged friends, remains as the backdrop for whatever is being foregrounded. Everyone is having a good time together—doing what they do, buying what they can afford, going where they go—until they are not.Claudia Rankine x Lauren Berlant, BOMB magazine