Posts Tagged ‘ theory ’

MerriCatherine is creating Fourth World Strategy | Patreon

So, what do you propose? To destroy the biggest threat to humanity, America, we need to unite regardless of race, religion, ethnicity, age, level of able-bodied/mindedness, and work together to decolonize our movement— to move beyond our dependence on white academia predominantly sold to us at “higher education”, and into theory brought to us from subaltern populations here. What does this mean for the makeup of the movement? There is no room for racists. There is no room for dogmatism. There is only room for absolute autonomy of an oppressed peoples. Tactics? We need to identify these populations, and listen to what they need, what they want, and the means they seek to achieve it. Then, we need to call upon consensus. Consent. That is the program I am campaigning for.


And with this, I’d like to introduce what I’ll be calling low-end theory [see essay on poet-scholar Fred Moten’s subversive black-studies scholarship, The Low End Theory at https://www.harvardmagazine
.com/2018/01/fred-moten-black-and-blur] for the time being, a combination of inner-circle Leftist critiques, long-form autobiographical experiences as a radical activist, as well as the translation of obscurist academic literature into vernacular and access to revolutionary tactics otherwise mystified beneath personality cults, sectarianism, and other noisy distractions. And as always, I want to answer questions people have.

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Source: MerriCatherine is creating Fourth World Strategy | Patreon

Q&A: Canisia Lubrin speaks to Dionne Brand about her two new books, The Blue Clerk and Theory | Quill and Quire

(Jason Chow)

Dionne Brand, winner of the Griffin Poetry Prize, the Governor General’s Literary Award, the Trillium Book Award, member of the Order of Canada, and one of the country’s most respected and b

Source: Q&A: Canisia Lubrin speaks to Dionne Brand about her two new books, The Blue Clerk and Theory | Quill and Quire

The Low End Theory Fred Moten’s subversive black-studies scholarship | Harvard Magazine


Fred Moten
Photograph by Robert Adam Mayer

Fred Moten’s The Low End Theory | Harvard Magazine

THEORY (english edition) Kenneth Goldsmith | Jean Boîte Édition


THEORY (english edition) Kenneth Goldsmith | Jean Boîte Édition

Book Details : Nomadic Theory

Book Details : Nomadic Theory.

Taking Care of Digital Dementia |


Josef Stoitzner

Digital Dementia | CT Theory

curated from  wood s lot ~


Raewyn Connell: Gender and masculinities in Southern perspective

Raewyn Connell: Gender and masculinities in Southern perspective.

A Very Brief Introduction to Luce Irigaray | Bluestockings


Irigary | Bluestockings

Lisa Robertson: Theory, A City | Lemon Hound

Lisa Robertson: Theory, A City | Lemon Hound.

Infinities art works by Maxwell Clark at New Haven Free Public Library


Maxwell Clark “Topographical Map” acrylics on canvas 26×22


My Psychosis + My Paintings

by Maxwell Clark

Maxwell Clark would prefer, in accord with his ethics, to leave himself absolutely unidentified. If there were any possible social justice available in his own self-description, however, he would call himself a creator of infinities, or Infinitist. Maxwell Clark is a young New Haven artist who, in addition to his skill as a painter, also takes a deep interest in the study of historical art and philosophy. He studied Art at the University of Vermont, and Urban Studies at Yale.

All faces envelope an unknown, unexplored landscape; all landscapes are populated by a loved or dreamed-of face, develop a face to come or already past. – Deleuze and Guattari, A Thousand Plateaus


If you were to take my paintings as landscapes and my expressions trace in them as the face of my beloved others, then you would be very neatly and justly identifying my paintings.

I express your faces, my beloveds, inasmuch as they are proximate to me in the poesy (or doing) of my paintings. Unlike as in the joyous melancholia[1] of my poems, my paintings evidence my passion to educate a future of new love. Or, whereas my poems ever so delicately lament my loss in various estrangements from beloveds, my paintings very rigorously investigate how love itself is to be renovated. The erotically zen languor of my painting practice, it is my imagination of the good life incarnated. In my poems as in my paintings, however, I am obligated to obey the sway of my exteriorities. I just obey their otherness, or the Other itself, with different modes of obedience in my poems as opposed to that of my paintings. My paintings are my oracles or augurs of a future sensuality. They do not predict the future at all, however, they merely register the traces of its affect on me or influence into me. I do not say my paintings are the future itself, I say they are archives touched with its absolutely unforeseeable imminence. My paintings may come to be known as having influenced the future, as in my dreams, of course, but this only when their own future is already long past. “Don’t it always seem to go/ That you don’t know what you’ve got till it’s gone” (Joni Mitchell).

[1] Melancholia, as in: suffering the loss of a beloved. Thus also a past oriented “facing”.


art works by Maxwell Clark

New Haven Free Public Library Gallery
(in the Business/Periodicals Room — main level)
133 Elm Street, New Haven, CT 06510

Artist Reception: Saturday, June 28, 2 to 4 p.m.

Exhibition: June 10 – July 28, 2014

Gallery Hours:

Monday – Thursday 10 a.m. – 8 p.m.

Friday and Saturday 10 a.m. to 5 p.m.