User:Aitantv/top quotes

Quotes

"the big other” / the subject never fully dominates the effects of his acts / "beneath the chaos of market, the degradation of morals, and so on, there as the purposeful strategy of the Jewish plot". (Zizek, 2001, p. 214)

Reflecting on Freud's interpretation of dreams - "the real kernel of the dream is not the dream's latent thought, which is displaced/translated into the explicit texture of the dream, but the unconscious desire that indscribes itself through the very distortion of the latent thought into the explicit texture" (Zizek, 2001, p. 224) - "the real kernel" of artworks is not the work's latent thought, but the underlying unconscious desire.

"The entire gamut of social models, theories, and worldviews that seek to universalize have arisen from the notion of the center: the modern nation-state and democracy, capitalism and communism, Christendom, the notion of the world as a harmonic organism or as a single gigantic mechanism." (Zielinski, 2006, p.25)

"It seems to me that in the human supremacist culture of the West there is a strong effort to deny that we humans are also animals positioned in the food chain." (Plumwood, 2000)

"The idea of human prey threatens the dualistic vision of human mastery in which we humans manipulate nature from outside, as predators but never prey." (Plumwood, 2000)

"This denial that we ourselves are food for others is reflected in many aspects of our death and burial practices the strong coffin, conventionally buried well below the level of soil fauna activity, and the slab over the grave to prevent any other thing from digging us up, keeps the Western human body from becoming food for other species." (Plumwood, 2000)

"Crocodiles and other creatures that can take human life also present a test of our acceptance of our ecological identity. When they're allowed to live freely, these creatures indicate our preparedness to coexist with the otherness of the earth, and to recognize ourselves in mutual, ecological terms, as part of the food chain, eaten as well as eater." / "how misguided we are to view ourselves as masters of a tamed and malleable nature." (Plumwood, 2000)

"A proxy is “an agent or substitute authorized to act for another person or a document which authorizes the agent so to act.” (Steyerl, 2014)

"Proxies are devices or scripts tasked with getting rid of noise as well as the bot armies hell-bent on producing it. They are masks, persons, avatars, routers, nodes, templates, or generic placeholders. " (Steyerl, 2014)

“In spite of film having already ostentatiously won the competition for biggest screen, it still deems it necessary to set rules to avoid distraction from other durational devices; film’s claims on space have to be aggressively defended because it has lost its monopoly on time. More precisely, cinema has lost its monopoly over the dominating inner-time that the screen acts as a conduit for.” (Metahaven, 2018)

“Cinema is a material practice. It’s made up of bodies, technology, money, effort, sacrifice — and it is also a place of exclusion, where sharp boundaries are being drawn between those who are let in, and those who aren’t. These boundaries are produced by, translated into, and reinforced as access to the material means that are necessary to create and sustain cinema.” (Metahaven, 2018)

"Decolonial artistic practices are mobilizing non-eurocentric cultural archives, embodied experiences and memories that have been under erasure." (Vázquez, 2021, p9)

"Modernity is characterized by the dominance of vision" (Vázquez, 2021, p23)

"The dominance of the gaze in western aesthetics has to do with a history of the possibility of abstrating reality into an object of representation, and in turn exercising the power of represenation to produce a world as artifice." (Vázquez, 2021, p25)

"Modernity worlds the world as representation" (Vázquez, 2021, p25)

"We must somehow make the relay, inherit the trouble, and reinvent the conditions for multispecies flourishing, not just in a time of ceaseless human wars and genocides that sweep people and critters into the vortex." (Haraway, 2021, 130)

"We must "dare 'to make'the relay; that is to create, to fabulate, in order not to despair.” (Haraway, 2021, p130)

“Kinetic structures are not anthropocentric because what is in motion are matters both human and nonhuman, with their own kinetic agency” (Nail, 2019)

“Political theory, in particular, cannot go on as if humans and human social structures were not entangled in much larger regimes of motion and material agencies: climate change, mass migration, landscape and environmental transformations, and the agencies of the matters and critters that populate and suffuse all political events.” (Nail, 2019)

For every form retains life, and a fossil is not merely a being that once lived, but one that is still alive, asleep in its form. The shell is the most obvious example of a universal shell-oriented life.” (Bachelard, 1958, p132)

“Duchamp proposes that we should approach each work of art as if it is the very first work of art. That implies that the definition—and thus also the method—of the work of art is determined again and again during the artistic process.” (Slager, 2015, p28)

Science has to throw up propositions, rules and shifting models that are subject to constant evaluation, restoration, and rejection. Thus, there should be space for “ironic, experimental strategies, ludic modes, reversible states, contradiction, non-binary, nonlinear associations, paradoxes.”." (Slager, 2015, p28)

“Whereas in many traditional (academic) forms of research the objective seems to be collecting or noting identical characteristics between situations and contexts, often at the expense of the consideration of differences, artistic research seems critically inclined to seek out divergences more than similarities." (Slager, 2015, p29)

"Viewed from that perspective, artistic research is a Duchampian endeavor pur sang. During each separate research project, one has to re-establish and clarify time and again what in fact “artistic research” entails." (Slager, 2015, p31)

"...the situation of artistic research as experimental aesthetics is ultimately characterized by the continuous movement between fluidity and rigidity, laboratory and herbarium, smooth space and striated space, non-discipline and discipline, the particular and the universal." (Slager, 2015, p33)

Theatre "has lost any true sense of humour and laughter's physical, anarchic, dissolving power." (Artaud, 1978, p29)

"instead of harking back to texts regarded as sacred and definitive, we must first break theatre's subjugation to the text and rediscover the idea of a kind of unique language somewhere in between gesture and thought."(Artaud, 1978, p63)

"In Europe no one knows how to scream any more, particularly actors in a trance no longer know how to cry out, since they do nothing but talk, having forgotten that have a body on stage, they have also lost the use of their throats. Abnormally shrunk, these throats are no longer organs but monstrous, talking abstractions. French actors now only know how to talk." (Artaud, 1978, p99)

References

Artaud, A (1978) The Theatre and Its Double, Editions Gallimard

Bachelard, G (1958) The Poetics of Space

Haraway, D (2021) Staying with the Trouble

Hartman, S (2008) Venus in Two Acts

Kolk, B (2014) The Body Keeps the Score, Penguin Books

Metahaven (2018) Digital Tarkovsky

Nail, T (2019) ‘Kinopolitics’ in Braidotti & Bignall (ed.) Posthuman Ecologies

Plumwood, V (2000) Being Prey in O'Reilly, J., O'Reilly S, & Sterling, R. (ed.) The Ultimate Journey, Travelers’ Tales, Inc. (pp. 228-245)

Slager, H (2015) The Pleasure of Research

Steyerl, H (2014) ‘Proxy Politics: Signal and Noise’ in e-flux Journal issue #60

Tagg, J (1988) The Burden of Representation: Essays on Photographies and Histories

Vázquez, R (2021) Vistas of Modernity

Zielinski, S (2006) Deep Time of the Media

Zizek, S (2001) Enjoy Your Symptom