Phew I'm catching up on the critique/postcritique stuff. Tempest teapot etc. But I guess here's what I have to say to the delightful promise of unproblematized white pleasure. Your pleasures are a form of terrorism for everybody else in the world.
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But the criticism that comes from THOSE people is actually so full of shimmering joy in what is & what could be that I am utterly full of pity for anyone who cannot detect it, these so-called "close readers" who clearly can't close read anything that doesn't affirm their worlds.
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Quoting a brilliant friend here until she gives me permission to name her: what are you going to do about the fact that the neoliberal material conditions that underlie the nostalgic affect of postcritique is not actually giving you the tools to understand where you are right now
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and dare I quote myself: "White sovereign entrepreneurial terror sounds and feels like relief and entertainment to a white population whose very sense of selfhood and power has been seemingly threatened by the work of progressiv- ism and civil government....
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....; thus, it is an aesthetic and affective genre that reasserts itself in such a way that feels like fun for whiteness but codes as terror for everyone else." https://read.dukeupress.edu/social-text/article-abstract/35/4/53/133563/You-Make-Me-Feel-Right-Quare-Promiscuous-Reading …
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To put it another way: I'm not sure postcritique exists. Honestly some of it sounds just like how people describe taking MDMA. Personally I like my vigilance; for the most part it has served me well.
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End of conversation
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Do you think of phenomenological approaches as post critique?
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I am worried about phenomenological critique that considers the self to be transparent to the self, a form of liberal individualism. I am interested in the intersection of performance/phenomenology/ minoritarian aesthetic cultural production and theory that engages the senses...
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