I fall for the @Palgrave December sale every year, hook, line and wallet. Just unpacked this year's <cough> third consignment.
(All you'd need to add would be some vegan Caribbean food and this would be a detailed and strikingly lifelike self-portrait.)
Teaching Spanish Romanesque sculpture today & its ‘choreography without music.’ I love this Deposition from Santa Maria in Taull: only Joseph of A, the Virgin, the Bad Thief, & Christ survive - the L side of the narrative lost. A half-portrait of grief in suspended animation #art
Floating Coast by @brdemuth is not just the single most important -and most gorgeously written—book I read in 2020, but is also the reason I finally began a history postgrad this autumn. Life changing in several senses.
Greg Dickinson: Spaces express which bodies are welcome, which excluded. H'wood Farmers market engaging city 'sensuously' through dirt - the emplacedness of embodied experiential event and place, and how they produce eachother.
Two dirtinesses - the appealing and appalling in the dirty city.
- the unhomed and marginalised as problem that needs 'cleaning up'
- Tinseltown pop culture as symbolic dirt
Farmers market as symbolic recreation of dirt. Matter out of place. Order contravened.
"Where there is dirt, there is system." Dirt as the index of life that dreams it., as marker of boundaries. What is the rhetoric of dirt?
Here, abject dirt replaced by 'authentic' dirt. Market = hipster bodies performing & performed by upscale down-to-Earth dirt.
World as noise while otherwise engaged. Attention no longer the desired mode of engagement. We intersect with screens rather than view.
Heroic urbanism imagined public as subjects; data city is plastic in post-apocalypse as commercial becomes civic.
Meaningful background: 'posthuman' in the sense it does not privilege attention, evokes an overall feeling of heterogeneity not managed by humans, of encounter and reaction as performative element. These screens conceal as much as display or dominate.
How scenography (horticulture, architecture) of walking spaces (eg Hampstead Pergola) cultivates sensory participation & solicits specific (conventional) social behaviours. A "learned grammar of sociability" which shapes—reclaims—emotional performativity
Monica Degen: (on Smithfield)
Atmosphere a sensory correlate of:
- the multiple histories drawn on by different groups to frame their experience of place
- the multiple temporalities by which it is experienced
- manufacture and staging of constructed meanings