dimarts, 24 de maig de 2016

Modern Political Geography

Studies in perception are based on the fundamental fact that human decisions are not formed in total knowledge of reality but rely upon perceptions of reality which are always incomplete and frequently grossly inaccurate. As reality exerts its influence upon decisions made, these decisions must often be adjusted to take account of unperceived factors. Assuming rational government, then the closer to reality the political decision maker's perceptions, the more successful will be the policies adopted. In terms of an international society in which the main actors are sovereign states, then the main determinant of political behavior will be perceived national interests, and a comparison of the policies applied to particular states by successive governments will reveal the wide range of variation in the perception of national interest which exists.
(Richard Muir (1975). Modern Political Geography. p. 68)

In reality, the barrier function of boundaries will be determined far more by adjacent state attitudes and policies than by the nature of the border terrain.
(Richard Muir (1975). Modern Political Geography. p. 129)

dilluns, 23 de maig de 2016

"Si els pronoms personals funcionen com un sistema fronterer, aquest es troba vinculat a una autoritat superior: la que marquen els límits del sistema lingüístic en el qual s’engloben aquests espais aporètics definits pels pronoms personals. Intentar viure una vida corrent obviant aquestes limitacions –per exemple, la que em separa a mi de tu- requeriria una transformació lingüística d’unes magnituds inimaginables." o com escriure cartes d'amor en coberta, plenes d'èpica, solitud i dramatisme.

dijous, 19 de maig de 2016



dimarts, 17 de maig de 2016

Adrienne Rich

When someone with the authority of a teacher, say, describes the world and you are not in it, there is a moment of psychic disequilibrium, as if you looked into a mirror and saw nothing.
("Invisibility in Academe")

la polifonía de Mijaíl Bajtín

"una obra de arte puede existir en una serie de (potenciales) actualizaciones visuales --un conjunto de latencias o posibilidades- sin que ninguna de ellas se eleve por encima de las demás."
(Sven Spieker, (2011). "Los archivos entrópicos de Muntadas". Madrid: MNCARS)

dijous, 12 de maig de 2016

dimarts, 10 de maig de 2016


la recerca és el sistema d'edició

dilluns, 9 de maig de 2016

Frederick Douglass's antislavery activities

Offered to the public -"price six cents" is plainly printed on the cover- the pamphlet reinitiates the conditions of slave labor as once again the work of the slave (in this case, a speech) is expropriated and surrendered to the financial and ideological profit of slaveholding society. In this context, one cannot forget Eric Lott's reminder that such interest in black performance on the part of white Americans "was indeed a matter of ownership" (43). Could these signs of recontainment effectively silence the critical acts ironically memorialized by this publication, namely, that a runaway had spoken out against the peculiar institution and that white persons had gathered to hear him do so? No -but then again acknowledgment of marginal speech is never pure and simple; instead, it always involves expropriation or, to recall the words of (Stuart) Hall, "the absolutely essential relations of cultural power- of domination and subordination." Thus, in the case of Abolition Fanaticism recognition does not entail respect, for slavery's supporters admit that Douglass can speak only to undermine his words and shackle their import to another agenda. It is at this point that racist caricature, made popular by the minstrel show, literally enters the picture of Douglass's speech. Accenting the way in which the word "Speech" stands out on the title page, a racialized portrait of Douglass in the act of delivering his oration to a white audience forms the most prominent aspect of the pamphlet's face. But any echo the graphic image provides of this "speech" is a sinister one: the illustration does not underscore that a runaway can discourse intelligently so much as it presents Douglass as the "dandy", puffed up to ironic heights, which mocks any pretensions to seriousness contained in the "speech"advertised. Lott's remark that "print caricature was probably a necessary but not a sufficient condition for racial burlesque, for it lacked the crucial presence of the body" is instructive, for it reveals how the juxtaposition of Douglass's "speech" and Douglass's "body" muffles his denunciation, reminding readers of the corporeal forms they can by law and custom silence (41). The image supersedes the textual message, thereby burying Douglass's words under stereotyped visual references to comic animality. Whereas the very idea of an oration delivered in the free states by a fugitive slave marks the abrogation and transgression of borders between North and South, man and chattel, and resistance and docility, the material circumstances and encompassing frame appended to his speech prove the need for a critical narrative, which questions the permanence and profundity of the deconstructive forces that arise with border crossing.

"Compromised Narratives along the Border", Russ Castronovo (1997), pp. 207 i 208. al llibre Border Theory.

de com citar i descontextualitzar comparteixen raó de ser

The "cultural relation" mapped by critical theorists of the border at first seem attuned to this continually shifting interplay between suppression and resistance. Yet the emphasis falls too predominantly upon resistance as the final and sustained outcome; the result is that "cultural relations" get read as a unidirectional narrative line that begins with oppression and ends with a dissident stance impervious to compromise or setback. Ramón Saldívar, for example, employs Foucault's famous dictum that "where there is power, there is resistance" as part of his argument that border texts can thwart national teleologies, but in Foucault's text it is not the word "resistance" that is emphasized (R. Saldívar 36; Foucault 1978, 95). Rather, the sentence continues, hinging on words not quoted by Saldívar: "and yet this resistance is never in a  position of exteriority in relation to "power", writes Foucault (95). The "and yet" does not so much discount the viable existence of cultural critique as it underscores the constant complicity between power and resistance that allows for some points of resistance to act as the "adversary" of power and others to act as the "support" of power (Foucualt 1978, 95). Ramón Saldívar's partial quotation of Foucualt aptly typifies the desire to narrate a story of the border that ends with resistance. Too often, however, the story continues and resistance is neither a new conclusion nor a promised land, but a temporary victory susceptible to national retrenchment.

Russ Castronovo, 1997, p. 204. al llibre Border Theory, de Scott Michaelsen i David E. Johnson.

divendres, 6 de maig de 2016

Mason Dixon Line

There is, perhaps, no line, real or imaginary, on the surface of the earth -not excepting even the equator and the equinoctial whose name has been oftener in men's mouths during the last fifty years. (John Latrobe, "The History of Mason and Dixon's Line", 1855)

Borges i els 72 noms per a Déu segons Kircher

Hablar es incurrir en tautologías. Esta epístola inútil y palabrera ya existe en uno de los treinta volúmenes de los cinco anaqueles de uno de los incontables hexágonos -y también su refutación. (1974, 470)