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August 12th, 2014
Questions for Adams
By (College of William & Mary)

How do we decide what factors are wheat and what are circumstantial chaff? Once we have, can we say that we are attending to history, or should we rather say that we are producing a carefully counterfactual story of our past history with the right features to motivate action in the present that suits our present sensibilities? Or, to put the matter in terms of the question I want to ask, does history provide evidence of historical consciousness (as opposed to antihistoricism) as a necessary condition of class-driven politics? This is the matter Adams assumes, and which I want to make explicit.

August 12th, 2014
On Modeling
Re: The Force of a Frame

Doesn’t the image’s power lie in its proliferation of meanings? So what is the point of arguing for such autonomy? Is it possible to separate ourselves from all the forces that teach us how to act in a room with an artwork?

August 12th, 2014
Response to Marina Pinsky

Another way of putting this is to say that the violence of the frame consists above all in making our lives as irrelevant as hers, and it’s in this indifference to our particularity (this allegorizing of its irrelevance) that I locate the politics of Kydd’s work.

January 2nd, 2012
Charles Altieri on Jami Bartlett, Jennifer Ashton, and John Gibson
By (UC Berkeley)

The critic can embrace aesthetic attention to the specifics of “how” the work unfolds and still avoid any trace of formalism: art is a means of combining and re-orienting imaginative spaces that attach us to features of the world.

December 30th, 2011
Robert Pippin on Oren Izenberg and Paul Grimstad
By (University of Chicago)

But the question is deeper: whether an illusion, on the order of some post-Cartesian misdirected agenda in epistemology, is a proper matrix for understanding the sort of suffering chronicled in the modern literature of loss, absurdity, alienation, meaninglessness and simple heartlessness. (For that matter, the larger question here: could McDowell be right that the Cartesian agenda is simply an illusion, to be recovered from, to be exorcised? Is not that image itself telling, as if it is something like possession, witchcraft? Could that be right?)

December 1st, 2011
Quarrelsome: Response to Camp, Harold, and Chodat
By (The Johns Hopkins University)

[T]alk of universal themes glazes the eyes because such themes always disappear when looked at closely. And they do so because they have neither formal nor phenomenal properties. But we needn’t be detained by themes in order to soften the habitual detachment of critical reading. Neither critical reading nor philosophical argument has to forswear literary experience; indeed it is likely such experience has a form illuminated by each.

December 1st, 2011
Wittgenstein, the Human Face, and the Expressive Content of Poetry: On Bernard Rhie and Magdalena Ostas
By (Bard College)

[T]he Cartesian points to the source in the inner world; the behaviorist points to the embodied movements of the outer world; the classical expressionist points with the Cartesian to the inner determinants of content; the appearance emotionalist points with the behaviorist to the outward determinants of content. Simply put, both pairs of theorists have buried in their conceptual substrates a picture that they share in common beneath their more visible differences.

March 21st, 2011
Distribution of U.S. Wealth, 2007Source: http://www.businessinsider.com/15-charts-about-wealth-and-inequality-in-america-2010-4
Responses to Neoliberal Aesthetics

Walter Benn Michael’s “Neoliberal Aesthetics: Fried, Rancière and the Form of the Photograph,” published in our first issue, has generated responses from Michael Clune, Nicholas Brown, and Todd Cronan.

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