"The Grindstone of Israeli-Palestinian Violence"
And, at Haaret'z, reports of anti-war protests of anti-war protests in Tel Aviv and of resistance among IDF veterans.
“What we need is a critique of visual culture that is alert to the power of images for good and evil and that is capable of discriminating the variety and historical specificity of their uses.” - W.J.T. Mitchell. Picture Theory (1994).
I find it puzzling how much I, and some other people, love architecture. Most of the buildings that I love have pillars, either classical or Gothic. There is a nice dismissive word that applies to all other buildings: “astylar.” I also love the avenues in the French countryside, perhaps because the trees are like rows of pillars. (There were eight million trees in French avenues in 1900, and now there are only about three hundred thousand.) There are some astylar buildings that I love, such as some skyscrapers. The best buildings in Venice and St. Petersburg, though very beautiful, are not sublime. What is sublime, I remember hearing Kenneth Clark say, are only the interiors of some late Gothic cathedrals, and some American skyscrapers.Although he admired some skyscrapers, he believed that architecture had generally declined since 1840, and the world had grown uglier. On the other hand, anesthetics were discovered around the same time, so the world’s suffering had been greatly reduced. Was the trade-off worth it? He was not sure.
I may be somewhat unusual in the fact that I never get tired or sated with what I love most, so that I don’t need or want variety.He disliked overhead lights, in which category he included the midday sun, but he loved the horizontal rays at the two ends of the day. He waited for hours, reading a book, for the right sort of light and the right sort of weather.
"MA: Your work often has a political undercurrent - if not an explicit acknowledgment of the political situation.In The NYRB this week is this brief notice about a new short film - Skinningrove (2013) - made by Michael Almereyda about his friend photographer Chris Killip and his work. You can find the movie in its entirety (approximately 15 minutes) here. I have posted on Killip here several times before. The exchange above, from a 2012 interview Almereyda did with Killip will offer some insight into why I so much like his work.
CK: Well, it would, wouldn't it? I mean, I was living in the industrial community of Newcastle, starting in the mid-1970s. I remember the editor of the Saturday magazine of the Sunday Telegraph asking me to photograph the men from the miners' strike. I didn't want to do the story for them because it is such a right-wing newspaper. He asked me which side was I on? I was quite shocked by the question. It had never occurred to me that I could be on anything other than the side I was on!
MA: But including political elements in your work is not about picking sides; it's about openly saying that your work, your worldview, is conditioned by historical forces.
CK: It was natural. I had no wish to deny it. I was also influenced by John Berger's TV program Ways of Seeing. I was so excited by that. I was just trying to understand then that no matter what you did, you inevitably had a political position. How declared it was was up to you, but it was going to be inherent in the work, and it was something you should think about as a maker. I never worried about my position in the art world. I thought time and history would ultimately judge me, that my job was to get on with it, to make the work and to make it wholeheartedly from what had informed me."*
"Of course, none of the recent revelations about Heidegger should be suppressed or dismissed. But neither should they turn into mantras and formulas, meant to discredit one of the most original philosophical frameworks of the past century. At issue are not only concepts (such as "being in the world" or methodologies (such as “hermeneutical ontology”) but the ever fresh way of thinking that holds in store countless possibilities that are not sanctioned by the prevalent techno-scientific rationality, which governs much of philosophy within the walls of the academia."Having already sought to minimize any concern for Heidegger's anti-Semitism, the best the author can do is intone about his "ever fresh way of thinking?" If you say so, I suppose. But to me this sounds an awful lot like a demand that we sequester the man's Nazism from his philosophy. Indeed, that is pretty much the thrust of the entire essay. But the entire basis for ongoing criticisms of Heidegger precisely is that in his case it is not possible to do that in any plausible way. And if we have to read as extensively as the author's example seems to require (well beyond, by the way, "those minimally versed in his thought") in order to grasp the oh-so-subtle way that Heidegger the philosopher actually was not anti-Semitic, well doesn't that just suggest how his politics inflects his philosophy?
A Border Patrol agent reads the birth certificate of Alejandro, 8 -- the only thing he brought with him as he and others crossed the Rio Grande near McAllen recently. Alejandro is one of more than 52,000 minors traveling without parents who've been caught crossing the border illegally since October (Dallas Morning News).
__________"and I am waiting
for the American Eagle
to really spread its wings
and straighten up and fly right"*