9 hours ago
singular complayntes set in lethal contradiction, the dialectics of plaice, geographic gyna-fascism, failed love poems, gamelan metaphysics, the whole human geography of song.
[The] aura is no longer based on the permanence of the “original,” but on the transience of the copy. It is no longer anchored within a classical public sphere mediated and supported by the frame of the nation-state or corporation, but floats on the surface of temporary and dubious data pools. [Hito Steyerl, The Wretched of the Screen (Berlin: Sternberg Press, 2012), p.42.]
As much and as far as other things and essences exist outside of you, so much and so far you do not exist. And as many of these things as exist, so many edges and boundaries, in and at which you and your being cease, have you. In every tree, every wall, every table that you touch, you touch your death, as it were, you touch the boundary and the edge of your existence. [Ludwig Feuerbach, Thoughts on Death and Immortality: From the Papers of a Thinker, trans. James A. Massey (Berkeley and Los Angeles: University of California Press, 1981), p.31.]
Perhaps I imagine such a viewer especially now, in our current circumstances of image production, when stasis and smallness and meticulous coordination are by and large the opposites of the qualities – the kinds of world-making – that visualizations are involved with. [T.J. Clark, The Sight of Death: An Experiment in Art Writing (New Haven and London: Yale University Press, 2006), p.63, p.43.]
Robertson seems to be saying that any lapse of our attention to what we love hurries love off to capital; she is noticing that it is perfectly human to want to soak up the light, but that whatever it falls on, it is always falling on cash, so that one cannot perceive without ingesting it […] [see 'Reading on the Left,' Representations 108.2, Fall 2009]I like Nealon's reading, but I'm unsure as to whether the discrepancy that he reads into the poem, that between what is perfectly human, and what is the unfortunately inescapable result of its attention, is really there in the lines themselves. What if what is "perfectly human" in this poem is rather less capable of wanting something as natural and pleasurable as soaking up the light; what if the "you" is as much a part of the fabric of determination, command and imperative as the "silent money" into which is inserted "love"? After all, the lines exhibit a grammatical ambiguity that seems to actively eschew a clear-cut discrepancy between the good human and the bad money, as do the later lines "this afternoon the beautiful / light on the cash is human to guzzle / with." Does everything, you forget, insert love into the silent money; or does everything you forget insert that love; or does the line break act as an icon of forgetting itself, so that what inserts love into the silent money remains as arbitrary and inexact as a "self" that says so not because it needs to, or wants to, or desires to, but merely "because it can." What agency, if any, do "you" have with regard to the love that gets inserted into the "silent money"?