By Roger Green Steven Dunn and Selah Saterstrom, two novelists currently working in Denver, Colorado, share many aesthetic sensibilities. Here I as the interviewer particularly focuses on material approaches to language that we see in their work, arguing that what they bring to the novel is a notion of cultural…
In this essay, I want to explore the distinction between the “state of exception” and the “disaster.” In doing so, I am also drawing on an interesting seminar that Joshua Ramey has been providing online for the general public called “Debt as Original Sin.” Following arguments in Devin Singh’s Divine Currency, Ramey…
The following is the second of a two-part series. The first can be found here. Given the intense focus on the material and the deep and scientific knowledge of the material of the author in Where the Crawdads Sing, it is interesting to ask if there is a connection between…
The following is the first of a two-part series. In the recent punishing publishing environment where, for example, sales of adult fiction in America are down from 144 million units to 116 million units (20%) over a 4 year period, according to NPD BookScan, Delia Owens’ novel Where the Crawdads…
Here I am, in the “visual arts classroom” as it exists in the midst of the 2020 COVID-19 precautions. I t was while I was digging through my previous essays to help my senior students prepare for their HSC essay writing, that I stumbled across this paper from 2018 –…
“The sound is vibrate in itself or by itself: it is not only, for the sonorous body, to emit a sound, but it is also to stretch out, to carry itself and be resolved in to vibrations that both return it to itself and place it outside itself” Jean-Luc Nancy…
The following is the second of a two-part series. The first can be found here. Anthony Gardner, in a piece commissioned by GAM, proclaims a difference, in that one needs to “evaluate the possible shifts from the postcolonial to the global”, pointing out that there are “as many postcolonial studies…
The following is the first of a two-part series. In Contemporary Art as Global Art: A Critical Estimate, Hans Belting sets out to explain how the concept of ‘global art’ since the late 1980’s has transgressed our traditional understandings of art history, modernism’s ideals of “progress and hegemony”, and our…
The following is the second of a two-part series. The first can be found here. In the reaction to the photographs of Innes and Kardashian, both of which fit only tangentially within the boundaries of selfie, the meaning of “selfie” overruled and defined the means of production by which the…
The following is the first of a two-part series. Epistemologically, recognizing the importance of routines for media use, means that text and context cannot always be distinguished from one another.” —Joke Hermes (1993) Introduction When I think of the selfie, I am always drawn to a particular moment in my…