In writing about visuality, I learned one major lesson that I keep having to re-learn: visuality is a colonial technique and it is best understood from the places of it application–the plantation, the colony, the neo-colony–looking back at its metropolitan sites of deployment. ... read more »
After nine days of warfare, President Obama has deemed the new war worthy of our attention with a broadcast on Libya on Monday at 7.30 EDT. We have so many wars going on, it seems there isn’t even time to get on TV and announce the newest one. I’m drafting this review ahead of the actual speech because it’s not too hard to guess what will have been said. Really, once the speech is announced, there’s almost no need to give it. ... read more »
Visuality is not yet fallen but it is falling. A countervisuality is rising. And on the horizon, coming into view, is something else, a reconfiguration of the political and the everyday. I say this because of the current conflict in Libya, not despite it. It is the most significant crisis for visuality since the Second World War. ... read more »
The revolution is watching. That is to say, the revolution is watching us and we are watching the revolution. It is also to say that there has been a certain revolution in watching, although the casual use of “revolution” in such contexts is less convincing now. Nonetheless, despite all injunctions to the contrary, to watch is a form of action. ... read more »
These photographs were sent in response to my last blog post from Tahrir Square. All were sent by Cairo based artist collective and artist HR. [Names removed to protect photographers], who suggested the title “Made in the USA,” derived from the gas canister in the first photograph below.
I’m putting them up as is without commentary: a piece on the impact and problems of “watching” the revolution (whether from the USA or elsewhere) follows on Monday. ... read more »
It’s quite common for authors to report that it was only after finishing a book that they realized what it was really about. In my own case, I never really knew exactly what my 1995 book Bodyscape was about but its readers seemed to work it out for me. WJT Mitchell has told how it was a review of his Picture Theory that generated his next project What Do Pictures Want? In this case, the process has been different. ... read more »