Articles

Empathetics: A somatic approach

Frustrated by debates over Conceptualism v. “Other,” I’m hoping, in this small space, to swerve and focus on what is, to me, a more daunting divide in contemporary experimental writing: that between Empathic and Apathetic art. These are notes towards locating a gradation within US-based writing, art, and performance that points towards what’s at stake in literary practice.

A note on terrapoetics

Eugene Thacker's 'In the Dust of this Planet' (2011), Evelyn Reilly’s 'Apocalypso' (2012), and Juliana Spahr’s 'Well Then There Now' (2011).

 There appears to be an anaesthetic edge to the conceptual, as the concept’s generality implies an inactuality that thwarts the presence presupposed by the here-and-now of aesthetic experience. Conversely, things that exist but cannot be encountered are nothing but pure concepts to us. As the concept of an ecosystem, for example, is not exemplified by anything you may encounter wandering through it, it escapes our aesthetic faculties entirely.

There appears to be an anaesthetic edge to the conceptual, as the concept’s generality implies an inactuality that thwarts the presence presupposed by the here-and-now of aesthetic experience. Conversely, things that exist but cannot be encountered are nothing but pure concepts to us. As the concept of an ecosystem, for example, is not exemplified by anything you may encounter wandering through it, it escapes our aesthetic faculties entirely.

Appropriative resistance

Derailed MRT train. Photo by Rey Laguda, from an article by T. J. Dimacali, courtesy of GMA News.

I am writing this two days past Independence Day, a national holiday that witnessed anti-imperialist rallies organized by a broad multisectoral alliance that critically involves the Philippine Left to combat bureaucrat capitalism of which expansionalist efforts by China and the US are symptoms and operations.

An affective response

On canon, Kenneth Goldsmith, and reading

Photo by Gina DeCagna.

I pitched this piece before Kenneth Goldsmith’s March 2015 performance at Brown University, and I wrote the interlinking reflections that follow the first section right after Goldsmith’s performance, so the progression of my thinking within this reflection is contorted and strange, especially now that I’m writing this preface months later.

Preface 

'I'M A REAL ARTIST'

I’M A REAL ARTIST
I’M A REAL MAMMAL

I’M A REAL SON

I’M A REAL AMERICAN

I’M A REAL HOMOSEXUAL

I’M A REAL BROTHER
I’M A REAL HOMINID

I’M A REAL CREATOR
I’M A REAL THIRTY-YEAR-OLD
I’M A REAL FRENCH
I’M A REAL UNCLE
I’M A REAL COOK
I’M A REAL MASTURBATOR
I’M A REAL DESCENDANT

I’M A REAL PRACTITIONER
I’M A REAL READER