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• 23 Oct 2009 05:30

  BedRobert Rauschenberg1955

  October 22, 2009 Zoltán Vancsó _______________________ Memoirs of the blind - The Self-Portrait and Other Ruins Jacques Derrida Translated by Pascale-Anne Brault and Michael Naas available at aaaarg here free reg. req. I write without seeing. I came. I wanted to kiss your hand . ... This is the first time I have ever written in the dark . .. not knowing whether I am indeed forming letters. Wherever there will be nothing, read that I love you.   -  Diderot, Letter to Sophie Volland, June 10, 1759 - Do you believe this [vous croyez] r You'll observe that from the very beginning of this interview I've had problems following you. I remain skeptical ... - But skepticism is precisely what I've been talking to you about: the difference between believing and seeing, between believing one sees [croire voir] and seeing between, catching a glimpse [entrevoir]-or not. Before doubt ever becomes a system, skepsis has to do with the eyes. The word refers to a visual perception, to the observation, vigilance, and attention of the gaze [regard] during an examination. One is on the lookout, one reflects upon what one sees, reflects what one sees by delaying the moment of conclusion. Keeping [gardant] the thing in sight, one keeps on looking at it [on fa regardel. The judgment depends on the hypothesis. So as not to forget them along the way, so that everything be made clear, let me summarize: there would be two hypotheses. - You seem to fear the monocular vision of things. Why not a single point of view? Why two hypotheses? The two will cross paths, but without ever confirming each other, without the least bit of certainty, in a conjecture that is at once singular and general, the hypothesis 0/ sight, and nothing less. - A working hypothesis? A purely a~ademic hypothesis? - Both, no doubt, but no longer as suppositions (a hypothesis, as its name indicates, is supposed, presupposed). No longer beneath each step, therefore, as I set out, but always out ahead of me, as if sent out on reconnaissance: two antennae or two scouts to orient my wanderings, to guide me as I feel my way, in a speculation that ventures forth, simply in order to see, from one drawing to the next. I am not sure that I want to demonstrate this. Without trying too much to vert/y, my sights always set on convincing you, I will tell you a story and describe for you a point of view. Indeed the point of view will be my theme. - Shall I just listen? Or observe? Silently watch you show me some drawings? _______________________ David Bromige (October 22, 1933 – June 3, 2009) Photo by James Garrahan They Gain Control of My Tongue David Bromige Which is to say, in lieu Of playing the blue-tinted guitar, A sociology of this process Offers its studies of color. The imagination In complete autonomy Disregards known outcomes Now mounting into thousands Because millions are incredible, All those unwasted lives Whose right companion , well.... Yes, a dead lion feeds bees, Its rot is sweet, sweet And unbreathable. An objection To test the hope eternal In a prehistoric ploy On the part of that great historian, The gang. They sit there Ordering the $3.99 breakfast At three in the afternoon (That terrible three in the afternoon Standing for your incessant woe) Chaired by Chuck Custer, An obvious leader. And history as tribes native To a landscape all-too-familiar In the Torah of Regret Live on mistake, mistake That doesn’t exist in California, Whose holy ones banished it. Yet the line at the DMV keeps shuffling Toward validations Required if control Is to exist in a church spire. Sit down I think I love you That causes you to stalk out Of every channel we click to. Explode the car. Ten Poems David Bromige from As In T as in Tether Bromige feature at Jacket Edited by Susan Gevirtz _______________________ Questions to my father Werner Bischof zone zero _______________________ M/C Journal Vol. 12, No. 4 (2009) Climate and Culture Calculating Interests: Climate Change and the Politics of Life Emily Potter M/C There is a moment in Al Gore’s 2006 documentary An Inconvenient Truth devised to expose the sheer audacity of fossil fuel lobby groups in the United States. In their attempts to address significant scientific consensus and growing public concern over climate change, these groups are resorting to what Gore’s film suggests are grotesque distortions of fact. A particular example highlighted in the film is the Competitive Enterprise Institute’s (CPE—a lobby group funded by ExxonMobil) “pro” energy industry advertisement: “Carbon dioxide”, the ad states. “They call it pollution, we call it life.” While on the one hand employing rhetoric against the “inconvenient truth” that carbon dioxide emissions are ratcheting up the Earth’s temperature, these advertisements also pose a question – though perhaps unintended – that is worth addressing. Where does life reside? This is not an issue of essentialism, but relates to the claims, materials and technologies through which life as a political object emerges. The danger of entertaining the vested interests of polluting industry in a discussion of climate change and its biopolitics is countered by an imperative to acknowledge the ways in which multiple positions in the climate change debate invoke and appeal to ‘life’ as the bottom line, or inviolable interest, of their political, social or economic work. In doing so, other questions come to the fore that a politics of climate change framed in terms of moral positions or competing values will tend to overlook. These questions concern the manifold practices of life that constitute the contemporary terrain of the political, and the actors and instruments put in this employ. Who speaks for life? And who or what produces it? Climate change as a matter of concern (Latour) has gathered and generated a host of experts, communities, narratives and technical devices all invested in the administration of life. It is, as Malcom Bull argues, “the paradigmatic issue of the new politics,” a politics which “draws people towards the public realm and makes life itself subject to the caprices of state and market”. ...(more) _______________________ Charlene Robert Rauschenberg b. Oct. 22, 1925 _______________________ "Once…" David Bromige Once in a dream of Meaning Meaning drifting came into a mise-en-scene I thought Saskatchewan or thought some extra holding up a cue-card that said it was, as in another part of Shakespeare We rejoice for the brown grass or simpler, the hour itself, the first flakes named at all because they hint of a prior fall, the prairie white with it, the soft inviting banks beside where the hiway is becoming inaccessible. permanent link

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