Enchantment matters because one reason that people turn to works of art is to be taken out of themselves, to be pulled into an altered state of consciousness. While much modern thought relegates such hyper-saturation of mood and feeling to the realm of the child-like or the primitive, the accelerating interest in affective states promises a less prejudicial and predetermined perspective. The experience of enchantment is richer and more multi-faceted than literary theory has allowed.Rita Felski (via knightofstorms)
I present this as a liveliness intrinsic to the materiality of the thing formerly known as an object. This raises a metaquestion: is it really possible to theorize this vibrancy, or is it…a quest that is not only futile but also tied to the hubristic human will to comprehensive knowledge and the violent human will to dominate and control?Jane Bennett, Vibrant Matter; a political ecology of things (via respectabledenofiniquity)
A life thus names a restless activeness, a destructive-creative force-presence that does not coincide fully with any specific body. A life tears the fabric of the actual without ever coming fully ‘out’ in a person, place, or thing. A life points to… ‘matter in variation that enters assemblages and leaves them. A life is a vitality proper not to any individual but to ‘pure immanence,’ or that protean swarm that is not actual though it is real: ‘A life contains only virtuals. It is made of virtualities.Jane Bennett, Vibrant Matter: A Political Ecology of Things
The “hermeneutics of suspicion” is a phrase coined by Paul Ricoeur to capture a common spirit that pervades the writings of Marx, Freud, and Nietzsche. In spite of their obvious differences, he argued, these thinkers jointly constitute a “school of suspicion.” That is to say, they share a commitment to unmasking “the lies and illusions of consciousness;” they are the architects of a distinctively modern style of interpretation that circumvents obvious or self-evident meanings in order to draw out less visible and less flattering truths. Ricoeur’s term has sustained an energetic after-life within religious studies, as well as in philosophy, intellectual history, and related fields, yet it never really took hold in literary studies. Why has a field that has devoted so much of its intellectual energy to interrogating, subverting, and defamiliarising found so little use for Ricoeur’s phrase?Rita Felski, Critique and the Hermeneutics of Suspicion
Interview by Ingrid Chu and Savannah Gorton of Forever & Today, Inc.
New York artist Alison Knowles is a founding member of Fluxus and performed worldwide with the group throughout the 1960s. Her influential performances, event scores, sound, sculpture, works on paper, printmaking, poetry, artist books, and book objects have been featured internationally at the Guggenheim Museum, the Museum of Modern Art, New Museum of Contemporary Art, and the Whitney Museum of American Art allin New York; Museum of Contemporary Art in Los Angeles; Walker Art Center, Minneapolis; The White House, Washington; Centre Pompidou, Paris and the Tate Modern in London, to name just a few; other accolades include a Guggenheim Fellowship, and educational appointments at Harvard University and Documenta X.
Allen Ruppersberg, Honey, I rearranged the collection using artists whom we know virtually nothing about.
“Una buena pregunta debeevitar a toda costa una respuesta (2002)” – a good question should avoid an answer at all costs.
So as soon as I could I lost myself in the immense world of books, and tried to blot out the real world which was so puzzling to me. Even then I had a vague, persistent feeling that I’d always be lost in it, defeated.Jean Rhys, from Smile Please, 1979