Without a representation of the operation of the credit system and the knowledge that comes from it, we are limited to sensing debt as simply part of our own experiences, as something natural and determined. In a period in which credit is absorbed into the flow of everyday life, where debt is both everywhere invisible and indeterminate, how can we see capital and map our relation to it?
If it’s true that many of our contemporaries and immediate predecessors – and particularly poets — haven’t been interested in Brecht, it isn’t quite right to say that it must be because Brecht’s work is “too didactic or too plain in its political motivations” (or, we could say, too committed). Rather, if Brecht has held little interest, with respect to aesthetics and politics alike, it’s because aesthetics and politics alike have been “strictly personal,” transformed into a matter of “talking about oneself” – of expressing one’s attitudes and “special feelings” — instead of what they were for Brecht: impersonal, a matter of accuracy and normative judgment.
I don’t notice the sky on my way to work. I couldn’t say what colors my neighbors’ flowers are. In fact, I’m not even sure that they have flowers…But if, as Scarry argues, the flowers in books are in constant danger of dying for want of the solidity of real flowers, then what is killing the real flowers? And what is the medicine? The analysts of literary effects from Edmund Burke through Viktor Shklovsky, from Scarry to the latest cognitive critics, have been distracted by formal features, structures, and techniques. The sickness of literary flowers may be a problem for literary technique. The sickness of living flowers is a problem for philosophy. And this philosophy, as I will argue, has been the constant practice of a literature that doesn’t want to imitate life, but to transform it.
Araeen’s “ecoaesthetics” insists that artists can and should make a difference in a world beset by environmental emergencies. He shows one way to move in this direction, by collectively implementing artistic ideas. Thinking of his polemic and of the many and various ecoart projects realized in recent years, we could be forgiven for wondering how much of a difference in this direction is “enough.”
In the case of Ballet mécanique, however, it is no longer a question of competing with or dominating spectacular vision from within painting. Opting for a different strategy, Léger works against cinematic absorption and the pseudo-intensity of cinema from within cinema itself.
In other words, following some difficult sentences on contingency, the play drive will “introduce form into matter and reality into form. To the extent that it deprives feelings and passions of their dynamic power, it will bring them into harmony with the ideas of reason; and to the extent that it deprives the laws of reason of their moral compulsion, it will reconcile them with the interests of the senses.”
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.
…for me much of what is most immediately gripping in June 8, 1968 turns on the contrast or say the felt difference between the stagedness plus residual “magic” of absorption of the “mourners” and the wholly unselfconscious albeit dramatic, in certain scenes one might say over-the-top beauty of the natural world…