A Supermarket in California by Allen Ginsberg, Berkely, 1955
What thoughts I have of you tonight, Walt Whitman, for I walked down the sidestreets under the trees with a headache self-conscious looking at the full moon.
In my hungry fatigue, and shopping for images, I went into the neon fruit supermarket, dreaming of your enumerations!
What peaches and what penumbras! Whole families shopping at night! Aisles full of husbands! Wives in the avocados, babies in the tomatoes!–and you, Garcia Lorca, what were you doing down by the watermelons?
I saw you, Walt Whitman, childless, lonely old grubber, poking among the meats in the refrigerator and eyeing the grocery boys.
I heard you asking questions of each: Who killed the pork chops? What price bananas? Are you my Angel?
I wandered in and out of the brilliant stacks of cans following you, and followed in my imagination by the store detective.
We strode down the open corridors together in our solitary fancy tasting artichokes, possessing every frozen delicacy, and never passing the cashier. Where are we going, Walt Whitman? The doors close in an hour. Which way does your beard point tonight?
(I touch your book and dream of our odyssey in the supermarket and feel absurd.) Will we walk all night through solitary streets? The trees add shade to shade, lights out in the houses, we’ll both be lonely.
Will we stroll dreaming of the lost America of love past blue automobiles in driveways, home to our silent cottage?
Ah, dear father, graybeard, lonely old courage-teacher, what America did you have when Charon quit poling his ferry and you got out on a smoking bank and stood watching the boat disappear on the black waters of Lethe?
SOFT MATERIALS BY DARIA MARTIN, 2004 (16MM FILM)
What is the role of aesthetic processes in the drawing of the boundaries between nature and culture, humans and things, the animate and inanimate? Structured around the aesthetic processes and effects of animation and mummification, Animism—a companion publication to the long-term exhibition & research project of the same title, which premiered at Extra City Kunsthal Antwerpen in January 2010—brings together artistic and theoretical perspectives that reflect on the boundary between subjects and objects, and the modern anxiety that
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accompanies the relation between “persons” and “things.”
Animism (Volume I) edited by Anselm Franke/Sternberg Press
BIBLIOGRAPHY, Donna Haraway
Crystals, Fabrics, and Fields: Metaphors of Organicism in Twentieth-Century Developmental Biology, 1976.
A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century, 1985.
Primate Visions: Gender, Race, and Nature in
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the World of Modern Science, Routledge: New York and London, 1989.
Simians, Cyborgs and Women: The Reinvention of Nature, New York: Routledge, and London: Free Association Books, 1991.
The Companion Species Manifesto: Dogs, People, and Significant Otherness, Chicago: Prickly Paradigm Press, 2003.
When Species Meet, Minnesota: University of Minnesota Press, 2008.
dOCUMENTA (13): The Book of Books is dedicated to artistic research and forms of imagination, commitment, matter , things, embodiment, and active living in connection with, yet not subordinated to, theory. It includes an essay by artistic director Carolyn Christov – Bakargiev as well as the 100 Notes- 100 Thoughts publication series, a unique collection of texts, images, artiss’drawings, and notebook pages.
Silent Spring is a book written by Rachel Carson and published in 1962. The book is credited with helping launch the contemporary American environmental movement. The book was widely read and inspired widespread public concerns with pesticides and pollution of the environment. Silent Spring facilitated the ban of the pesticide DDT in 1972 in the United States. The book documented detrimental effects of pesticides on the environment, particularly on birds. Carson accused the chemical industry of spreading disinformation, and public officials of accepting industry claims uncritically.
Marjetica Potrc
24 May 2007 – 2 September 2007
The Curve, Barbican Art Center
The Cost for Love We Are Not Willing to Pay – Etel Adnan
In her poetic reflection, artist, poet, and essayist Etel Adnan (*1925) describes various forms of love: the love for ideas, for God, for things, and for nature. However, today we have distanced ourselves from a higher form of love that drove Nietzsche into madness and the Islamic mystic al-Hallaj into martyrdom. The love for nature, which Adnan describes through her own experience, even weekend pills cialis seems to have given way to contempt—how else could the ecological catastrophe toward which we levitra para que se usa are steering be http://viagra-genericon-online.com/ explained? The price to stop it would be too high, as it would involve a radical change in our way of canadian pharmacy life—similar to the experience of que es cialis generico conventional love between two people, which involves such intensity only a few are ready to endure it.