Affects are, Berlant insists, “radically private, and pretty uncoded,” and like the fetishized commodity, they make their dazzling appearance with the labor behind them obscured. These private experiences are in fact beyond analysis—an affect, after all, “is just a fact.”
Marie Claire and affect theory; Gombrich and neoliberalism; reparations for the ugly and the continuing hold of Degenerate art.
Poet and critic Paul Valéry held two strong and conflicting views of literary meaning. On the one hand, he affirmed his “verses have whatever meaning is given them.” And in a phrase that entered into the post-modern literary canon, he declared “Once a work is published its author’s interpretation of it has no more validity than anyone else’s.” On the other hand, he suggested that “One is led to a form by a desire to leave the smallest possible share to the reader.” Valéry’s career can be divided along these lines of anti-intentionality and intentionality. My larger claim is to show the primacy, or perhaps the invention of a dominant mode of twentieth- and twenty-first century thought.
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Paul Cézanne famously observed to Joachim Gasquet that “The landscape thinks itself in me and I am its consciousness.” “Nature is on the inside,” Cézanne further reflected. He clearly felt landscape painters before him were insufficiently responsive to—too detached from—the natural world and he hoped to break down the barriers that separated observer from the [...]
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