Pub Date : 2018-12-01DOI: 10.1215/10418385-7200210
Laura U. Marks
Abstract:This essay brings a process approach to the One-Many problem as treated in Gilles Deleuze's thought, by focusing on the work of Ṣadr al-Dīn Muhammad al-Shīrāzī (Shiraz, 1571–1640). First acknowledging Avicenna's concept of the univocity of being (attributed to John Duns Scotus) that influenced Deleuze, this essay examines how later Islamic philosophy, only recently transmitted to the West, provides methods for a lively process-based ontology. It compares Ṣadrā's process cosmology to those of Gottfried Wilhelm von Leibniz and Alfred North Whitehead and examines his critique of abstraction in light of tashkīk, systematic ambiguity or modulation. The essay argues that Ṣadrā's influence can make generative contributions to Deleuzean thought in terms of process realism, tashkīk as disjunctive synthesis, immanent causality, singularity, and an optimistic, worldoriented approach. Ṣadrā's work allows us to rethink the boundary between philosophy and theology, and the essay proposes means to de-transcendentalize religious philosophy, if necessary.
摘要:本文通过关注Ṣadr al- d n Muhammad al-Shīrāzī (Shiraz, 1571-1640)的工作，为吉尔·德勒兹思想中处理的一多问题提供了一种过程方法。本文首先承认影响了德勒兹的阿维森纳存在单一性的概念(归功于约翰·邓斯·司各特)，并考察了直到最近才传入西方的后期伊斯兰哲学是如何为生动的基于过程的本体论提供方法的。它将Ṣadrā的过程宇宙论与戈特弗里德·威廉·冯·莱布尼茨和阿尔弗雷德·诺斯·怀特黑德的过程宇宙论进行了比较，并从tashk k、系统模糊或调制的角度审视了他对抽象的批判。本文认为Ṣadrā的影响可以对德勒兹的过程现实主义思想、作为分离综合的任务论、内在因果关系、奇点以及乐观的、面向世界的方法做出生成性的贡献。Ṣadrā的工作让我们重新思考哲学与神学之间的界限，并在必要时提出将宗教哲学去先验化的方法。
{"title":"Lively Up Your Ontology: Bringing Deleuze into Ṣadrā's Modulated Universe","authors":"Laura U. Marks","doi":"10.1215/10418385-7200210","DOIUrl":"https://doi.org/10.1215/10418385-7200210","url":null,"abstract":"Abstract:This essay brings a process approach to the One-Many problem as treated in Gilles Deleuze's thought, by focusing on the work of Ṣadr al-Dīn Muhammad al-Shīrāzī (Shiraz, 1571–1640). First acknowledging Avicenna's concept of the univocity of being (attributed to John Duns Scotus) that influenced Deleuze, this essay examines how later Islamic philosophy, only recently transmitted to the West, provides methods for a lively process-based ontology. It compares Ṣadrā's process cosmology to those of Gottfried Wilhelm von Leibniz and Alfred North Whitehead and examines his critique of abstraction in light of tashkīk, systematic ambiguity or modulation. The essay argues that Ṣadrā's influence can make generative contributions to Deleuzean thought in terms of process realism, tashkīk as disjunctive synthesis, immanent causality, singularity, and an optimistic, worldoriented approach. Ṣadrā's work allows us to rethink the boundary between philosophy and theology, and the essay proposes means to de-transcendentalize religious philosophy, if necessary.","PeriodicalId":232457,"journal":{"name":"Qui Parle: Critical Humanities and Social Sciences","volume":"77 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126236783","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-01DOI: 10.1215/10418385-7200166
Jacques Rancière
Abstract:This essay uses constructions of avowed fiction from modern Western literature and criticism (Erich Auerbach, Virginia Woolf, William Faulkner) to question the sense of reality constructed by dominant social discourses that claim to be the mere expression of reality. Avowed fiction has in fact an "epistemological" privilege: it is not obliged to deny its fictional character. It must build and make visible these modes of presentation of situations and the connection of events that appear elsewhere to be imposed by the very obviousness of the real. In such a way it can better teach us the multiple ways of creating a sense of reality and their links with the forms of the social order.
{"title":"The Politics of Fiction","authors":"Jacques Rancière","doi":"10.1215/10418385-7200166","DOIUrl":"https://doi.org/10.1215/10418385-7200166","url":null,"abstract":"Abstract:This essay uses constructions of avowed fiction from modern Western literature and criticism (Erich Auerbach, Virginia Woolf, William Faulkner) to question the sense of reality constructed by dominant social discourses that claim to be the mere expression of reality. Avowed fiction has in fact an \"epistemological\" privilege: it is not obliged to deny its fictional character. It must build and make visible these modes of presentation of situations and the connection of events that appear elsewhere to be imposed by the very obviousness of the real. In such a way it can better teach us the multiple ways of creating a sense of reality and their links with the forms of the social order.","PeriodicalId":232457,"journal":{"name":"Qui Parle: Critical Humanities and Social Sciences","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123166291","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-01DOI: 10.1215/10418385-7200276
Amy Fung-yi Kiran Lee, Kiran Chandra
I opened up this project to Kiran with a rather structured idea about process—a blind drawing game whose rules resembled Exquisite Corpse. When I work on my own, I usually work within boundaries that describe the images and methods I believe suit me. With Kiran, I started simply by putting pencil to paper next to a friend I know, who loves drawing as much as I do. After beginning, I soon learned about Kiran’s process. She expressed to me that she learns through doing. So we drew (and ate, and chatted). These pages came from that. Neither of us would have done this on our own.We swapped drawings, reached over each other to find new materials, marked over each other’s work, and tried weird imagery just to see what the other would do with it. We lost track. This collaboration forged an exploratory path. An unknown place. These pages feel laid bare to me. There are “mistakes” and vulnerabilities. I actually changed and found that I am willing to bring imagery unlike myself into my own work again.
{"title":"How Do You Draw a Frog? A Visual Conversation","authors":"Amy Fung-yi Kiran Lee, Kiran Chandra","doi":"10.1215/10418385-7200276","DOIUrl":"https://doi.org/10.1215/10418385-7200276","url":null,"abstract":"I opened up this project to Kiran with a rather structured idea about process—a blind drawing game whose rules resembled Exquisite Corpse. When I work on my own, I usually work within boundaries that describe the images and methods I believe suit me. With Kiran, I started simply by putting pencil to paper next to a friend I know, who loves drawing as much as I do. After beginning, I soon learned about Kiran’s process. She expressed to me that she learns through doing. So we drew (and ate, and chatted). These pages came from that. Neither of us would have done this on our own.We swapped drawings, reached over each other to find new materials, marked over each other’s work, and tried weird imagery just to see what the other would do with it. We lost track. This collaboration forged an exploratory path. An unknown place. These pages feel laid bare to me. There are “mistakes” and vulnerabilities. I actually changed and found that I am willing to bring imagery unlike myself into my own work again.","PeriodicalId":232457,"journal":{"name":"Qui Parle: Critical Humanities and Social Sciences","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127138762","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-01DOI: 10.1215/10418385-4383010
Dora Zhang
What difference does an atmosphere make to an environment, a situation, or a horizon of possible action? If getting a handle on this question is tricky, it is in no small part because atmosphere itself names something elusive and vague: What kind of being does it have? And where exactly does it reside? Deriving from the Greek atmos, vapor or steam, combined with sphaira, ball or globe, in its basic sense the word refers to the envelope of gas surrounding the earth or any other celestial body.1 Used figuratively, it has a much wider reach, indicating the characteristic tone or pervading mood of a surrounding environment or object. Its referent varies in ontology, but in ordinary speech we attribute atmospheres to a variety of things, including spaces, situations, individuals, societies, historical epochs, objects, and artworks.2 But for all their seeming haziness, atmospheres have real effects. They alter the kinds of things that can be said in a space, the kinds of actions that are thinkable, and the modes of sociality that are possible, and I want to suggest that we have still yet to fully recognize and attend to their importance as social and political phenomena of everyday life. A persistent atmosphere of hostility can cause someone
{"title":"Notes on Atmosphere","authors":"Dora Zhang","doi":"10.1215/10418385-4383010","DOIUrl":"https://doi.org/10.1215/10418385-4383010","url":null,"abstract":"What difference does an atmosphere make to an environment, a situation, or a horizon of possible action? If getting a handle on this question is tricky, it is in no small part because atmosphere itself names something elusive and vague: What kind of being does it have? And where exactly does it reside? Deriving from the Greek atmos, vapor or steam, combined with sphaira, ball or globe, in its basic sense the word refers to the envelope of gas surrounding the earth or any other celestial body.1 Used figuratively, it has a much wider reach, indicating the characteristic tone or pervading mood of a surrounding environment or object. Its referent varies in ontology, but in ordinary speech we attribute atmospheres to a variety of things, including spaces, situations, individuals, societies, historical epochs, objects, and artworks.2 But for all their seeming haziness, atmospheres have real effects. They alter the kinds of things that can be said in a space, the kinds of actions that are thinkable, and the modes of sociality that are possible, and I want to suggest that we have still yet to fully recognize and attend to their importance as social and political phenomena of everyday life. A persistent atmosphere of hostility can cause someone","PeriodicalId":232457,"journal":{"name":"Qui Parle: Critical Humanities and Social Sciences","volume":"93 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121116313","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-01DOI: 10.1215/10418385-4382974
J. Sharpe
{"title":"Thinking \"Diaspora\" with Stuart Hall","authors":"J. Sharpe","doi":"10.1215/10418385-4382974","DOIUrl":"https://doi.org/10.1215/10418385-4382974","url":null,"abstract":"","PeriodicalId":232457,"journal":{"name":"Qui Parle: Critical Humanities and Social Sciences","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131082299","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-01DOI: 10.1215/10418385-4382965
Cesare Casarino
The concept of expression appears in Gilles Deleuze’s two-volume study of the cinema as early as the second page of Cinema 1: “We take snapshots, as it were, of the passing reality, and, as these are characteristics of the reality, we have only to string them on a becoming abstract, uniform and invisible, situated at the back of the apparatus of knowledge. . . . Whether we would think becoming, or express it, or even perceive it, we hardly do anything else than set going a kind of cinematograph inside us.”1 These, however, are not Deleuze’s words. Deleuze is quoting a passage from Henri Bergson’s Creative Evolution, a passage in which becoming—substance considered in its aspect of incessant metamorphosis—is understood as
{"title":"The Expression of Time (Spinoza, Deleuze, Cinema)","authors":"Cesare Casarino","doi":"10.1215/10418385-4382965","DOIUrl":"https://doi.org/10.1215/10418385-4382965","url":null,"abstract":"The concept of expression appears in Gilles Deleuze’s two-volume study of the cinema as early as the second page of Cinema 1: “We take snapshots, as it were, of the passing reality, and, as these are characteristics of the reality, we have only to string them on a becoming abstract, uniform and invisible, situated at the back of the apparatus of knowledge. . . . Whether we would think becoming, or express it, or even perceive it, we hardly do anything else than set going a kind of cinematograph inside us.”1 These, however, are not Deleuze’s words. Deleuze is quoting a passage from Henri Bergson’s Creative Evolution, a passage in which becoming—substance considered in its aspect of incessant metamorphosis—is understood as","PeriodicalId":232457,"journal":{"name":"Qui Parle: Critical Humanities and Social Sciences","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128613804","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-01DOI: 10.1215/10418385-4383001
Peter Szendy
At the Prada Foundation in Milan, I recently visited an exhibition curated by Germano Celant and dedicated to the works of the American artist William Copley (1919–96), who was also a gallerist and friend of Man Ray and Marcel Duchamp. With a distant interest (I wasn’t really convinced by what I saw), I was strolling in front of the paintings, drawings, and collages, when I stumbled upon a mirror embedded in—or grafted on—an enlarged reproduction of a $100 bill, a banknote hollowed out by the empty contours of feminine bodies. I stepped closer to the wall to read the label: “Feel Like A Hundred Bucks, 1986; acrylic, charcoal, and mirror on canvas.” I then stepped back and took a picture in which I appear in the mirror, with my face masked by the device (an iPad) that I am holding to photograph it (fig. 1). Of course, there are many works with or about money in modern and contemporary art. In 1919 Duchamp drew a check (in both senses of the verb to draw, not unlike its French equivalent, tirer) for his dentist Daniel Tzanck, thus creating—according to his own terminology—a “readymade imité” titled Chèque Tzanck orDessin Dada.1 In 1924 Duchamp issued a limited edition of thirty Monte
{"title":"Face Value (the Prosopa of Money)","authors":"Peter Szendy","doi":"10.1215/10418385-4383001","DOIUrl":"https://doi.org/10.1215/10418385-4383001","url":null,"abstract":"At the Prada Foundation in Milan, I recently visited an exhibition curated by Germano Celant and dedicated to the works of the American artist William Copley (1919–96), who was also a gallerist and friend of Man Ray and Marcel Duchamp. With a distant interest (I wasn’t really convinced by what I saw), I was strolling in front of the paintings, drawings, and collages, when I stumbled upon a mirror embedded in—or grafted on—an enlarged reproduction of a $100 bill, a banknote hollowed out by the empty contours of feminine bodies. I stepped closer to the wall to read the label: “Feel Like A Hundred Bucks, 1986; acrylic, charcoal, and mirror on canvas.” I then stepped back and took a picture in which I appear in the mirror, with my face masked by the device (an iPad) that I am holding to photograph it (fig. 1). Of course, there are many works with or about money in modern and contemporary art. In 1919 Duchamp drew a check (in both senses of the verb to draw, not unlike its French equivalent, tirer) for his dentist Daniel Tzanck, thus creating—according to his own terminology—a “readymade imité” titled Chèque Tzanck orDessin Dada.1 In 1924 Duchamp issued a limited edition of thirty Monte","PeriodicalId":232457,"journal":{"name":"Qui Parle: Critical Humanities and Social Sciences","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127859229","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-01DOI: 10.1215/10418385-4382992
Kathleen Biddick
In his introduction to Leviathan (1651), Thomas Hobbes (1588– 1679), a skilled scholar of Greek and Latin, unexpectedly rendered a well-known Latin maxim, nosce ipsum (know yourself), as an English imperative: read yourself! The printer used italic font to set off the Latin and its English translation typographically. In other words, this imperative, “to read,”mattered optically.1 Some 350 years later, in his critical study of biopolitical readingmachines,TheOpen:Man and Animal (2004), Giorgio Agamben evocatively returned to this imperative of Hobbes and implicated it with the optical machines of the time.2 According to Agamben, such optical machines induced Carolus Linnaeus (1707–78), a generation after Leviathan, to view the species Homo as merely a diffraction of an ape and to relegate Homo to the order of the primate (to, 27). Click, it’s an ape; click, it’s a human. As a medieval historian unfamiliar with the kinds of early modern optical machines to which Agamben alludes, I sought out an
{"title":"Read Yourself! The Griffn Condition on the Day before the Last Day","authors":"Kathleen Biddick","doi":"10.1215/10418385-4382992","DOIUrl":"https://doi.org/10.1215/10418385-4382992","url":null,"abstract":"In his introduction to Leviathan (1651), Thomas Hobbes (1588– 1679), a skilled scholar of Greek and Latin, unexpectedly rendered a well-known Latin maxim, nosce ipsum (know yourself), as an English imperative: read yourself! The printer used italic font to set off the Latin and its English translation typographically. In other words, this imperative, “to read,”mattered optically.1 Some 350 years later, in his critical study of biopolitical readingmachines,TheOpen:Man and Animal (2004), Giorgio Agamben evocatively returned to this imperative of Hobbes and implicated it with the optical machines of the time.2 According to Agamben, such optical machines induced Carolus Linnaeus (1707–78), a generation after Leviathan, to view the species Homo as merely a diffraction of an ape and to relegate Homo to the order of the primate (to, 27). Click, it’s an ape; click, it’s a human. As a medieval historian unfamiliar with the kinds of early modern optical machines to which Agamben alludes, I sought out an","PeriodicalId":232457,"journal":{"name":"Qui Parle: Critical Humanities and Social Sciences","volume":"285 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121447657","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-01DOI: 10.1215/10418385-4382983
Thomas Nail
We live in an age of movement. More than at any other time in history, people and things move longer distances, more frequently, and faster than ever before. All that was solid melted into air long ago and is now in full circulation around the world like dandelion seeds adrift on turbulent winds. We find ourselves, in the early twenty-first century, in a world where every major domain of human activity has become increasingly defined by motion.1 We have entered a new historical era defined in large part by movement and mobility and are now in need of a new historical ontology appropriate to our time. The observation that the end of the twentieth century and the beginning of the twenty-first was marked by an increasingly “liquid” and “mobile modernity” is now something widely recognized in the scholarly literature at the turn of the century.2 Today, however, our orientation to this event is quite different. Almost twenty years into the twenty-first century we now find ourselves situated on the other side of this heralded transition. The question that confronts us today is thus a new one: how to fold all that has melted back up into new solids.3
{"title":"The Ontology of Motion","authors":"Thomas Nail","doi":"10.1215/10418385-4382983","DOIUrl":"https://doi.org/10.1215/10418385-4382983","url":null,"abstract":"We live in an age of movement. More than at any other time in history, people and things move longer distances, more frequently, and faster than ever before. All that was solid melted into air long ago and is now in full circulation around the world like dandelion seeds adrift on turbulent winds. We find ourselves, in the early twenty-first century, in a world where every major domain of human activity has become increasingly defined by motion.1 We have entered a new historical era defined in large part by movement and mobility and are now in need of a new historical ontology appropriate to our time. The observation that the end of the twentieth century and the beginning of the twenty-first was marked by an increasingly “liquid” and “mobile modernity” is now something widely recognized in the scholarly literature at the turn of the century.2 Today, however, our orientation to this event is quite different. Almost twenty years into the twenty-first century we now find ourselves situated on the other side of this heralded transition. The question that confronts us today is thus a new one: how to fold all that has melted back up into new solids.3","PeriodicalId":232457,"journal":{"name":"Qui Parle: Critical Humanities and Social Sciences","volume":"97 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134517790","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-01DOI: 10.1215/10418385-4383037
Joseph Albernaz
In September 2017 the Oakland gallery Pro Arts featured Past Presence, a joint exhibition of separately produced but thematically linked works by the artists Indira Allegra and Christopher R. Martin. What tied the two artists’ concerns together was precisely the question of the tie itself: the weave, the fold, the thread, and the tangle. As the description of the exhibition read, Past Presence was a “response to the politicized trauma in Black contemporary life through the medium of weaving,” whether in Allegra’s “digital weaving” of
2017年9月，奥克兰画廊Pro Arts推出了“过去的存在”，这是艺术家Indira Allegra和Christopher R. Martin分别制作但主题相关的作品的联合展览。将两位艺术家的关注点联系在一起的正是领带本身的问题:编织、折叠、线和缠结。正如展览的描述所述，“过去的存在”是“通过编织媒介对黑人当代生活中政治化创伤的回应”，无论是在阿利格拉的“数字编织”中
{"title":"Speculum of the Other Cene","authors":"Joseph Albernaz","doi":"10.1215/10418385-4383037","DOIUrl":"https://doi.org/10.1215/10418385-4383037","url":null,"abstract":"In September 2017 the Oakland gallery Pro Arts featured Past Presence, a joint exhibition of separately produced but thematically linked works by the artists Indira Allegra and Christopher R. Martin. What tied the two artists’ concerns together was precisely the question of the tie itself: the weave, the fold, the thread, and the tangle. As the description of the exhibition read, Past Presence was a “response to the politicized trauma in Black contemporary life through the medium of weaving,” whether in Allegra’s “digital weaving” of","PeriodicalId":232457,"journal":{"name":"Qui Parle: Critical Humanities and Social Sciences","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131959130","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：