--empyre- soft-skinned space--
dear Ana
only a short remark, when I am writing about my pain and my memories I am
also using literary tools, the body remembers but the language or the brain
don't. I read Butler's Frames of War, Agamben's Homo Sacer and The
--empyre- soft-skinned space--Gracias, Johannes, por alentarnos a escribir en nuestros idiomas
identitarios y no en el omnipresente inglés, y por generar el compromiso
de lectura y de escucha que es uno de los temas implícitos en esta
situación de pensamiento
--empyre- soft-skinned space--[an important array of inquiries, ana. looking forward.
to earlier question about the position of the performer/re-performer in the art
of testimony... the act of re-presenting, including first person,
autobiographical accounts, is to
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Erik writes,
[...]
9/11, as an act of terror, was recognizable because it was a clich? ? we
had already seen it. Looking at the live broadcast: ?This must be a movie;
this is just like a movie? but really ? ?This is just like a movie
--empyre- soft-skinned space--
dear all:
The following, in response to Pia's post and also Erik's allegorical texts on
darkness and theatre, implicitly and directly engages what Alan had asked early
on, namely whether there can be artistic responses to terror. What
--empyre- soft-skinned space--
[Alicia schreibt]
Gracias, Johannes, por alentarnos a escribir en nuestros idiomas
identitarios y no en el omnipresente inglés, y por generar el compromiso
de lectura y de escucha que es uno de los temas implícitos en esta
situación de
--empyre- soft-skinned space--
(I sent this to nettime when I started thinking about the
history of the region; I have a number of texts and books
from the late Armand Schwerner, who worked with the
material. I've also been interested in semitic languages
and the
--empyre- soft-skinned space--museveni is known for exerting crowd control by just killing one or two
people as a ugandan friend pointed out to me. wade into a crowd, kill a couple
of folks, and everybody quiets down or disperses. this doesn't always work, but
seems
--empyre- soft-skinned space--
Dear empyreans,
I know the question of representation has been and will continue to be
raised in view of trauma, torture and crisis and I recognise there is
hardly a consensus about what it means. There is possibly an operative
--empyre- soft-skinned space--yes, you're right... the terroristic act caused real terror... i'm wondering
why i said what i said. perhaps - my mind raced to relate it to cliches - part
of the design of terror (banality?) - built at such an extreme that we will not
--empyre- soft-skinned space--
I translated from Swedish to Spanish the testimony of a young
indigenous peasant from Guatemala, she walked from her village to the
nearby village to borrow some corn. The villages were in the
Cuchumatanes mountains, the border between
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It's disturbing that the same patterns repeat over and over again, that
they're successful, that the violence is a useless violence, that
everything is so unbearably fragile. We just had elections here, and I
sense the violence there
--empyre- soft-skinned space--
Hi, a few things. First, on the surface, 'biopower' to me is an odd term,
connected with 'biofuel' and so forth - it skitters and deflects. Perhaps
I am wrong.
The images you speak of slide from the indexical to the ikonic, or both
--empyre- soft-skinned space--
Hola yo he recibido solo en ingles. Si hay un espacio en español o francés, yo
participo encantada!
Vivian Fritz
UFR des Arts
Université de Strasbourg
www.seuil-lab.com
___
empyre forum
--empyre- soft-skinned space--
Dear Vivian, as Johannes so kindly pointed out we should be able to
express ourselves in the language we feel more comfortable or at ease.
Querida Vivian, como Johannes lo ha escrito tan simpáticamente,
deberíamos poder expresarnos en
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