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"We are scientific because we lack subtlety..."
at TTC Wilson Subway Station

at TTC Wilson Subway Station

Lease signed. Moving to Parkdale.

Lease signed. Moving to Parkdale.

Across artistic, theoretical, and popular cultures (in SoHo, at Yale, on Oprah) there is a tendency to redefine experience, individual and historical, in terms of trauma. On the one hand, in art and theory, trauma discourse continues the poststructuralist critique of the subject by other means, for again, in a psychoanalytic register, there is no subject of trauma; the position is evacuated, and in this sense the critique of the subject is most radical here. On the other hand, in popular culture, trauma is treated as an event that guarantees the subject, and in this psychologistic register the subject, however disturbed, rushes back as witness, testifier, survivor. Here is indeed a traumatic subject, and it has absolute authority, for one cannot challenge the trauma of another: one can only believe it, even identify with it, or not. In trauma discourse, then, the subject is evacuated and elevated at once. And in this way trauma discourse magically resolves two contradictory imperatives in culture today: deconstructive analyses and identity politics. This strange rebirth of the author, this paradoxical condition of absentee authority, is a significant turn in contemporary art, criticism, and cultural politics. Here the return of the real converges with the return of the referential, and to this point I now turn.
— Hal Foster, The Return of the Real (1996)
Filed under: hal foster, quote,
Source:
And if governmentalisation is indeed this movement through which individuals are subjugated in the reality of a social practice through mechanisms of power that adhere to a truth, well, then! I will say that critique is the movement by which the subject gives himself the right to question truth on its effects of power and question pwoer on its discourses of truth. Well, then! : critique will be the art of voluntary insubordination, that of reflected intractability. Critique would essentially insure the desubjugation of the subject in the context of what we would call, in a word, the politics of truth.
— M. Foucault, What is Critique? (via libertychee)
Source: libertychee
at Faith Lutheran Church

at Faith Lutheran Church

at Keele and Sheppard

at Keele and Sheppard

tanacetum-vulgare:

Let it be known that this is the summer in which I’ve made it a firm policy to always swim when at the lake or beach, even if it’s cold. This is the best life choice I’ve made in awhile.

My long forgotten url wasn’t called “swimminginlakes” for nothing. Always - it is one of the most wonderful things.

Doug Ford tells father of boy with autism to ‘go to hell’ after integrity complaint | Metro

Responding to an integrity complaint by the father of a boy with autism, Councillor Doug Ford said the man should “go to hell” and accused him of being part of a “jihad.” The man, Tommy Lenathen, is a 35-year city employee who sits on the executive board of Canadian Union of Public Employees Local 416. He filed the complaint with the city’s integrity commissioner after Ford said an Etobicoke home for teenagers with autism has “ruined the community” and suggested, with no evidence, that the teenagers are criminals.

Old news in Toronto but …….

Source:
In this seminar [“The Unconscious and Repetition”] Lacan defines the traumatic as a missed encounter with the real. As missed, the real cannot be represented; it can only be repeated, indeed it must be repeated. “Wiederholen” Lacan writes in etymological reference to Freud on repetition, “is not Reproduzieren”; repetition is not reproduction. This can stand as an epitome of my argument too: repetition in Warhol is not reproduction in the sense of representation (of a referent) or simulation (of a pure image, a detached signifier). Rather, repetition serves to screen the real understood as traumatic. But this very need also points to the real, and at this point the real ruptures the screen of repetition. It is a rupture less in the world than in the subject—between the perception and the consciousness of a subject touched by an image. In an allusion to Aristotle on accidental causality, Lacan calls this traumatic point the tuché; in Camera Lucida (1980) Barthes calls it the punctum. “It is this element which rises from the scene, shoots out of it like an arrow, and pierces me,” Barthes writes. “It is what I add to the photograph and what is nonetheless already there.” “It is acute yet muffled, it cries out in silence. Odd contradiction: a floating flash.” This confusion about the location of the rupture, tuché, or punctum is a confusion of subject and world, inside and outside. It is an aspect of trauma; indeed, it may be this confusion that is traumatic. (“Where is your rupture?,” Warhol asks in a 1960 painting based on a newspaper advertisement, with several arrows aimed at the crotch of the female torso.)
— Hal Foster, The Return of the Real
Source: