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Michel Foucault

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Linda Bilda, Da juckt mich was!!, No Money, I love Sex, I hate Sexism, not dated

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"A sense of immeasurable happiness filled me. I breathed deeply and heavily, and in doing so my body appeared to change. I became taller than I really was, my hands, larger than before, stretched out with palms turned upwards. But the strangest sensation was that which affected my brow: I felt a bluish crystal just above my eyes at the root of my nose. I called it the amethyst. I have an amethyst in my head." – Charlotte Wolff cited in Sam Dolbear, Hand that Touches This Fortune Will, 130.

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This is sooo good!!!

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"Zart wäre einzig das Gröbste: daß keiner mehr hungern soll" – Theodor W. Adorno, Minima Moralia

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Denise Ferreira da Silva: "I was going to start to say and ask—but I was going to leave it to later. I was going to ask you if it is a feeling? Is it a feeling, intimacy?"

Hortense Spillers: "Yes. I think it's a feeling. I think it's a feeling umm, everywhere. This is what I mean.

Technology is taking this away from us, maybe it's giving us some other things, but it is taking this particular thing away from us.

When I write, I write long-hand. Everything that I have ever written that was important for me, unless it is a letter or an email or just a note I am sending o the top of my head—everything I've ever written starts long-hand. I am intimate with the process in the sense that I can actually feel it, I can feel the end of a sentence in my bones. I can feel the agitation to work out the puzzle of a sentence or an idea in my body, I can actually feel that.

And when I solve it, I can feel that too. I mean, it's an agitation that I feel it everywhere. So, on that analogy, I would say that intimacy is not only a feeling; that it might be feeling, period.

It might be that, um (tuts)...Well, I know I'm in the world because I'm surrounded, and every move that I make attests to it, right? And so, that's what I think intimacy allows. Or that is the way I think feeling allows intimacy. It is a kind of awareness of your connection to other... to other—just other."

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"For the most part, people don’t imagine that ordinary folks have that capacity for imagination. That they don’t have desires that are that enormous." –> awfully wrong

Saidiya Hartman on Fugitive Feminisms:

“In writing The Anarchy of Colored Girls Assembled in a Riotous Manner what I wanted to make visible is a long history, a long tradition of Black women’s radical anti-state struggles. There is a way these struggles fall out of view, because they are illegible to the interpretive grids of a Marxist tradition and even to the grid of a certain Black historiography, that is looking for signs of activity and agency under the aegis of the Black worker. Very much in the spirit of fugitive feminism, that I am looking at forms of practice that are trying to flee certain organised terms for making sense of them. One might be the category of “woman,” another might be the category of “worker,” another might be the category of “citizen”. So, I am thinking about The Anarchy of Colored Girls as really trying to unearth and tap into an imagination of freedom that is so much more capacious than what we usually imagine. The desire for a radical other way of being in the world. The desire for a different planetary set of arrangements. For the most part, people don’t imagine that ordinary folks have that capacity for imagination. That they don’t have desires that are that enormous. Looking at everyday practice, I try to attend to and unearth those dreams that fueled their waywardness. A waywardness that could only be understood as criminality, or pathology, or disorder, or feeble-mindedness, as opposed to waywardness as the latent text to a practice of creating the social otherwise, of living the social otherwise.”

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Joos van Cleve – Rihanna remix

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Kate Sutton: "[...] I find that there has been a lot of confusion of what the publishers’ role is and what editorial integrity actually means. I bring this up because in the wake of your firing, there was a counterargument from people saying, 'Oh, well, you know, it’s also your responsibility to look out for the financial health of the magazine, so that the magazine survives' — as if surviving were enough."

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language is for fucking idiots/

Danny Hayward

read 'Language is for Fucking Idiots' today....

some notes so I can remember :P

tendencies towards aesthetic violence that were once the distinguishing cultural characteristic of fascism have become incorporated into liberal capitalism through technical advances ......

fascist language is the pre-eminent form of violent language

in that sense....

fascism is neither the inevitable outcome of capitalist development nor something that it can necessarily overcome..but instead a dialectical operation of historically constituted technologies on socially constituted urges

on the aestheticization of politics, quotes..

"The promise of the internet + neoliberalism is that everyone gets to be a cop. Everyone gets to be the drone pilot of something [...] you can do anything but change a thing that matters" [I loved this part. it really resonates ]

Walter Benjamin:

"Fascism sees its salvation as granting expression to the masses- but on no account granting them rights"

both of these quotes ^ describe aesthetics of violent acting out.

that first quote is not arguing that the internet + neoliberalism are fascist, but that those characteristics that almost a century ago would be associated w fascist art are today widespread aspects of everyday culture.

Max Horkeimer's remark:

"the person who should remain silent about fascism is not the one who is unwilling to talk about capitalism, but the person who fails to talk openly about ego-collapse, sexual violence, or themselves." ... everyone knows that capitalism invests heavily in all three

The same process that establishes the icons of racism and authoritarianism as foreign icons and as 'lessons from the past' is also the one that allows us to become convinced of the existential OTHERNESS of fascism to our own lives

Another part which feels very true...

Fascists imagine themselves as blocks because the idea that their personalities might contains holes or gaps is unbearable to them.

Basically:

Insofar as the aestheticization of politics still occurs, it does so in language.

Also said that it was here more than anywhere else that fascist cultural tendencies realized themselves in fascist politics +

that it was a very real contradiction of capitalism social relationships that the same process that allows capital to interiorise fascism, also produces new, consciously revolutionary fascists through the new technical affordances of language to hurt, brutalize, and cause pain .

also...

theoretical language is, or it feels, block-like and gapless, and, because it is block-like and gapless language more than any other kind that does duty as a bludgeoning instrument for the inflection of intellectual injury

There was way more covered in the full piece, but these were the main points / takeaways I wanted to highlight for myself :3

if anyone else has read this and has insights/thoughts that would be cool to hear :P

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"I think the essay film offers the opportunity to first of all suspend the distinctions between creation, which artists do, and then criticism, that which critics do, and then curation, that which curators do. There's a certain indeterminacy in the essay film which we like. It's not clear whether it's creation, criticism or curation. In fact, it's floating between all of those three qualities. So that's what we like because a lot of our work is to do with studying other works from different geographies and responding to that work. There's a kind of analytical dimension and the essayistic allows for that. It's a work of thought imagined through editing. It's not necessarily or only about going out into the field and documenting this or that or filming this and that. It's a lot of sitting at the desk looking at images and sounds and working out how to use images and sound to talk about images and sounds. That's kind of how we learn about what it is we are doing." – Kodwo Eshun from the Otolith Group

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"For Marina, infrastructural critique begins with the tradition within conceptual art of institutional critique where the artist takes the art institution as the object of their artwork. Marina is very interested in that history but she felt that it had become stale and that it wasn't really adequate to our political and historical circumstances. The idea of infrastructural critique is that the artist or other people in the institution begin to think about what the infrastructural conditions of the institution are. Whether that means buildings, or money, or the labour required to reproduce the institution. And they think about how those conditions can be changed, disregarding the boundaries between the inside of the institution and the outside. So, in that sense, you could say that an infrastructural critique is a kind of disloyal institutional critique. It's disloyal to the institution and its own imperative to reproduce itself. It thinks about what conditions, what infrastructures the institution provides us for our goals, whatever those might be."

– Danny Hayward about the joint project of studying and synthesising Marina Vishmidt's writing and thought on Infrastructural Critique

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Bären- oder Sternbilderbrunnen von Hanna Gärtner, erbaut 1928 für den Herweghof im Wiener Bezirk Margareten.

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