tag:blogger.com,1999:blog-12366039831333368642024-03-12T21:55:20.180-07:00Zoo, or Letters not about Loveone of the letters was completely crossed out, with a red penErin Trapphttp://www.blogger.com/profile/03472590835245430294noreply@blogger.comBlogger149125tag:blogger.com,1999:blog-1236603983133336864.post-13651698341632889652017-11-10T20:43:00.000-08:002017-11-10T21:00:41.619-08:00Liminalia: On (Professional) Academic Work and the Historical Construction of a Professional & Administrative Unit at the University of Minnesota in Light of the Recent Effort of Contingent and Tenure-line Instructors to Organize as One Faculty<br />
In an October 2017 essay, titled “<a href="https://www.insidehighered.com/views/2017/10/16/why-adjuncts-should-quit-complaining-and-just-quit-essay">Why adjuncts should quit complaining and just quit</a>” in Inside Higher Education, Claire B. Potter writes, “Perhaps per-course adjuncts are right to be angry at not being offered the full-time jobs that clearly should be available, but it is also possible that many may feel more trapped than [they] actually are.” Potter’s claims about the empowerment possible by quitting academic work have been well rehearsed. In another recent piece, “<a href="https://thebaffler.com/the-poverty-of-theory/contingent-no-more">Contingent No More</a>,” Maximillian Alvarez describes the “acute, unsustainable crisis” in higher education and imagines robustly engaged work “storm[ing] the castles of our disciplines” and “only cit[ing] the work of non-tenured scholars.” Both of these pieces take a perspective that identifies the powerlessness of the contingent academic as the problem with contemporary academic work.<a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftn1">[1]</a> Perplexingly, these lines seem little informed by critiques such as Stefano Harney and Fred Moten’s in “The University and the Undercommons,” which explores the possibility of a practice of work in/for the undercommons that refuses the terms of power, refuses to “take arms against a sea of troubles”; and Roderick Ferguson, who examines how the power (via student protests and student movements) and empowerment (through the racializing discourse of excellence) of minority students was managed by the university and articulated to the state. Moten and Harney and Ferguson all also make something of Kant’s reading of the conflict of faculties and of Derrida’s reading of Kant, and though I won’t be dealing with these texts in as much detail here as I would wish to, they are very much at the forefront of my mind. I wouldn’t want to have begun citing Potter’s line had it not so evidently—the line “that many may feel more trapped [they] than actually are”—demonstrated how ignoring the experience of powerlessness (linked in Moten, Harney, and Ferguson, to experiences being minoritized) leads in a straight line to administrative logics that frame the problem of academic work as a matter of career. <br />
<br />
tracking regulation regulatory experiences regulative work regulation time<br />
at the outskirts right before the end right after all signs pointed to reason being the regulator <br />
<br />
a sense that the powerlessness described in experiences of difference, dissent, non-existence, and contingency in the university was there, was it not, not just because these experiences were captured, devalued, rendered powerless, but because there is<br />
<div>
<br />
a kind of regulatory process bent around powerlessness too<br />
that writes powerlessness as its own experience, not just as an absence of power<br />
<br />
Kant, in The Conflict of the Faculties: “The reason why this faculty, despite its great prerogative (freedom), is called the lower faculty lies in human nature; for a man who can give commands, even though he is someone else’s humble servant, is considered more distinguished than a free man who has no one under his command.” (29)</div>
<div>
<br /></div>
<div>
James Siegel’s 1981 line from “Academic Work: The View from Cornell”— <br />
“notions of absence arising within work”—comes into view here<br />
as that which a view that equals death protects from<br />
<br />
Siegel writes: “When one has risked total immersion in the view and won, that is, held back, the view is established as the place of death. The view is valuable precisely for being the place of death, the site where death may be safely located, because that place is not ‘here’, not the university. The particular myth of suicide at Cornell, however, indicates that, though the view itself suggests death, to become mythologized something more is needed. One also needs a notion of ‘academic pressure’ or some equivalent. The availability of suicide, the bridges and Cornell for mythologizing depends on looking at the view from the standpoint of work. From there, the interest in the view is an interest in creating a place to which notions of absence arising within work can be expelled, as we shall see.” (78)<br />
<br />
Situating death on the outside, establishing work’s relation to it—so that academic work<br />
<br />
is perpetually on the side of life. Into this scene, contingency and its images of the living death of academia<br />
<br />
assure, among other things, that death is still a view outside of academic work, a view<br />
<br />
that protects academic work from an interrogation, a saying of what it is.<br />
<br />
Kant, again, in “On the Power of the Mind to Master its Morbid Feelings by Sheer Resolution,” concluding with an example of not being able to master through resolution, describes his “inability [Unvermögen] to maintain unity of consciousness in his ideas”: “And the result of this pathological condition is that when the time comes for me to connect the two, I must suddenly ask my audience (or myself, silently): now where was I? where did I start from? This is a defect, not so much of the mind or of the memory alone, as rather of presence of mind (Geistesgegenwart).” <br />
<br />
Kant writes “absence arising within work” as the opposite of presence, a being “with it,” but “presence of mind,” Geistesgegenwart is also a temporal figure—gegenwart, an index of the present, of “of today.”<br />
<br />
For him—and for who else?—unity of consciousness is the imperative against which absence is registered.<br />
<br />
And for whom is Los Halos’s refrain “You should have known by now” [in the 7 minute 11 second song of the same name, which repeats, with increasing volume, this line] the absence in perpetuum arising in work?<a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftn2">[2]</a><br />
<br />
an absence as notable as<br />
<br />
a non-tenure-track line<br />
<br />
a throughline<br />
<br />
inured lines <br />
<br />
Dwelling around Siegel’s passing idea of “notions of absence arising in academic work,” this paper inquires about experiences of powerlessness in academic work<a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftn3">[3]</a> that are regulated not just by university administration but by administrative academia. I look at one of the employee units at the University of Minnesota, written into PELRA (Public Employees Labor Relation Act) and thus state law in order to find terms for thinking about how this conflict between contingent professional academics (a classification of instructional employees) and academic administrators (which includes low-level administrators, as well as provosts, deans, the football coach, and the president) rather than the issues or even the division of faculty defines the problem of academic work. I cite Potter’s and Alvarez’s articles because they demonstrate the extent to which discourse around contingency deflects rather than interrogates the problem of academic work—that is, intellectual work, the work of the lower faculty, freedom, the presence of mind, that which is taken as not pertaining to contingent faculty, depicted as “unfree” in relation to their working conditions in the contemporary university.<a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftn4">[4]</a><br />
<br />
It’s okay with people if contingent work is not a site of academic work, a non site for academic work, even if this implies the being-ill of those who are compulsively working there, <br />
maybe per course adjuncts are right to be angry but there is also a question <br />
of whether they have a right to be there.<br />
<br />
In her 1994 essay, “The Crisis of the Negro Intellectual: A Post-Date,”<a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftn5">[5]</a> Hortense Spillers, reflecting on Harold Cruse’s 1967 book Crisis of the Negro Intellectual, interrogates the question of what to do, the question of the responsibility that the black intellectual faces, insofar is it dictates or is symptomatic of the framing of the problem of academic work. She asks, “Can we say more clearly now, after his example, perhaps because of it, what the problem is that constitutes a “crisis” for the African-American creative intellectual at the moment” (429)? The crisis of the African American intellectual is not what I am taking up here, but I find that Spillers’s articulation of the problem that constitutes this crisis asks a similar question about the right to be. <br />
<br />
Spillers’s “saying” in this essay is necessarily not a “seeing”; proceeding through a reading of Althusser and Balibar’s Reading Capital, Spillers describes the “real-concrete” of knowledge production which cannot be seen but is a sighting in order to “expose the primary non-dit—not said—of African American intellectual work, ironically, and that is its right to exist not only within the “real totality” of its natal life-world but within the “real-concrete” of knowledge production, of which one of its key sites in American society is the academy, mainstream and otherwise” (456). In exposing this not said, Spillers alludes to the significance of “saying” not just as an assertion but as an articulation of the institutional, administrative codes that define this right. <br />
<br />
She proceeds to interrogate the question that is asked of African American intellectuals: “The ‘real-concrete’ question, then, that is posed to black creative intellectuals—What will you do to save your people?—and its thousand and one knee-jerk variations, is, therefore misplaced. It seems to me that the only question the intellectual can actually use is: To what extent do the ‘conditions of theoretical practice’ pass through him, as the living site of a significant intervention? In other words, as it passes through “I,” what alterations of its properties does the “I/eye” perform?” (456). <br />
<br />
Spillers describes this process of alteration, a regulatory process bent around “necessary reflection” before it articulates the contradiction of condition/intervention.<a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftn6">[6]</a> <br />
<br />
It is literally today the eye (the mind’s eye) of the university which sees what exists in the field defined by a theoretical problematic.<a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftn7">[7]</a> <br />
<br />
Since writing my proposal for this paper, the years-long anti-unionization battle waged by the University of Minnesota against faculty organizing with SEIU ended with a decision by the Minnesota Court of Appeals in favor of university administration.<a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftn8">[8]</a> In January 2016, organizing faculty petitioned the State Bureau of Mediation Services to move selected contingent instructional classifications from the Professional & Administrative Unit, the unit constituted by all those employees of the University of Minnesota who do not fall into another unit and generally speaking characterized as having semester or 9-month contracts, into the faculty Instructional Unit, which the university argued, is governed by the tenure code and the tripartite mission of the university (research, service, teaching).<a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftn9">[9]</a> In September 2016, after weeks of hearings throughout the spring of 2016, in which university administration sought explicitly to diminish the work done by contingent faculty by pursuing a line of argument that began and ended with idea that the tenure code manifests an idea of integral responsibility, equally inclusive of teaching, research, and service, the Bureau of Mediation Services ruled that the selected contingent faculty (roughly 1200 people) did share a community of interest with the approx. 1800 instructional faculty and that they should proceed to an election as a combined unit. Following this ruling, the university administration, with the support of faculty organized against unionization operating under the name MNExcellence, appealed this decision, taking the case to the Minnesota Court of Appeals, where it was overturned. <br />
<br />
According to the text of the Court of Appeals decision, the issue at stake was whether the BMS, a state agency, had the authority to make a decision about the classification of university employees, which, according to the legal text, could be established through two conditions: 1) whether the contingent titles under questions had already been assigned or (2) whether there were “significant” changes to these positions. <br />
<br />
Under state labor law, the P&A unit (11) “consists of all academic professional and administrative staff positions that are not defined as included in an instructional unit, the supervisory unit, the clerical unit, or the technical unit,” and the Instructional Unit (8) “consists of the positions of all instructional employees with the rank of professor, associate professor, assistant professor, including research associate or instructor, including research fellow, located on the Twin Cities campuses.” <br />
<br />
Unlike the Instructional Unit, state labor law does not list those job titles that fall within the P&A classification, which is well over 100. Ostensibly a question about authority or jurisdiction, the Court of Appeals presented a conflict between contingent faculty and the university administration as a conflict of the faculties: both between state and university (as two faculties) and as a division internal to the faculty (between who counts as faculty and who doesn’t). In centering public discourse on questions of what defines faculty (implicitly denying contingent faculty the right to exist as faculty), the university administration as well diverted attention from the intense conflict of interests captured in the very structure of the P&A unit. <br />
<br />
Against those, on the side of organizing faculty, who felt, optimistically perhaps, that the Court of Appeals decision did not uphold or corroborate the University administration’s elitist definition of faculty as defined by the tripartite mission of the tenure code, I find that this is the line around which the case was resolved and the right to exist drawn, and yet I read this obfuscation as further indication of the avoidance of the absence that arises in academic work and therefore of the problem of academic work. <br />
<br />
In this key sentence, from the Court of Appeal’s decision, the administration’s influence in interpreting state labor law is evident: “Rather, it supports our conclusion that academic and professional instructional staff who are not faculty members and are also not civil service employees are plainly designated for Unit 11.” In state labor law’s description of Unit 8, the instructional unit, it is noteworthy that the term “faculty” is never used. In the above sentence, when the Court of Appeals writes “who are not faculty members,” it steps outside of its interpretation of state labor law, which makes no comment on who is or is not faculty. Using the University Policy on Tenure rather than Regent’s Policy on Employee Classes to further read state labor law,<a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftn10">[10]</a> the Court of Appeals adopts an equation between faculty tenure code and the instructional unit that speaks in excess of what it is required to make a determination about the extent of the authority of the BMS.<a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftn11">[11]</a> <br />
<br />
In saying that the court upholds this distinction, we see that this distinction, like other “foundations” is extra-juridical—as Derrida notes at the end of “Mochlos; or, The Conflict of the Faculties,” just as he gets to the figure of the mochlos as “something, in short, to lean on for forcing and displacing” (19)—but in seeing its “saying” of the separation of faculties, there is a capacity to register or articulate an experience of powerlessness, which I read as internalization, a “passing through.”<br />
<br />
to the extent that temporal absence is a process of internalization</div>
<div>
by pooling you should have known by now </div>
<div>
contingent labor forms in these pools and the whole idea is to extract it so slowly<br />
and to spool, as it were, semester-long, and only the sound of drool can be heard,<br />
so slowly according to the demands of clock time so that the work both appears as academic work<br />
and contains within it its destruction as academic work, an enclosure of its powerlessness<br />
<br />
In “Re-Shaping the Faculty: Emergence and Development of ‘Permanent-Contingent’ Roles through the Lens of Cultural-Historical Activity Theory,”<a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftn12">[12]</a> Oleksandr Tkachenko and Karen Seashore Louis describe the emergence of contingent faculty as a subset of the Professional & Administrative Category at the University of Minnesota. Of their study, they claim, “it provides a cautionary observation about the way in which decisions that are made to solve temporary inconsistencies or perceived anomalies in large higher education settings may accumulate in ways that could not have been anticipated” (149). These “temporary inconsistencies” refers to a narrative that begins by locating a need for the P&A classification, in order both to allow create a category for workers with “duties enhancing” the teaching, research, and service “functions” of the University. So in order to provide a place for the classification of other “professional academics” and “academic administrators,” the University administration in 1980 pursued the P&A classification which subsequently became written into the state labor law of the University of Minnesota.<a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftn13">[13]</a> This pooling, or “accumulating,” described by Tkachenko and Seashore, as a resolution to “temporary inconsistencies or perceived anomalies” refers not to labor power but to the ways administrative decisions accumulate. Tkachenko and Seashore claim that labor itself, the work force, was not supposed to pool: “As of 1980, the P&A category comprised 214 employees; that number was not expected to rise significantly according to the author of the recommendations.” In 2017, the number of P&A employees is estimated at around 6,000. <br />
<br />
Perhaps commenting on the atopia of administrative power in 1980, Derrida describes a nostalgia for the University that Kant imagined. Describing a letter that Kant received from The King of Prussia, which “reproached him for abusing his philosophy by deforming and debasing certain dogmas,” Derrida writes, “Among us, perhaps, in 1980, there may be some who dream of receiving such a letter, a letter from a prince or sovereign at least letting us locate the law in a body and assign censorship to a simple mechanism within a determined, unique, punctual, monarchical place. For those who dream of so reassuring a localization…” (3). In the absence of this localization, Derrida claims, that he holds, comes from being able to locate the “value of responsibility.” In the absence of this, Derrida describes a being-ill “doubtless more grave than a malady or a crisis.” A being-ill “that we lack the categories for analyzing.” And he claims that it is the seeming “powerlessness” of this code [of responsibility, philosophical, political, hermeneutic], the “im-pertinence of the code” that is “at the source of this being-ill” (Derrida, 4)<br />
<br />
“But we feel bad about ourselves, who would dare to say otherwise? And those who feel good about themselves are perhaps hiding something, from others or from themselves.” (Derrida, 4)<br />
<br />
In 1980, the University of Minnesota sent a letter to the P&A Unit/Itself, just as in 2017, the state Court of Appeals sent a letter (a decision) to the university, one that affirmed the value and responsibility of the university. This later letter cannot be read without the former—the former, concerning the nature of academic work. <br />
<br />
The 1980 letter said: Please don’t tell anyone you exist/dream of “so reassuring a localization.” Signed, the professional administrators. This was the first conflict over the “academic” nature of work and then it was written off. Today, the professional and administrative unit hides the “academic” investments of the university and this internally divided group—the “professional academics” and the “academic administrators”—perform its regulatory work, around powerlessness and power, respectively.<a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftn14">[14]</a><br />
<br />
Every act of creation and destruction by the university is invested in diminishing regulative experiences of powerlessness—experiences of difference, of work, of contingency, of non-existence—that fall outside of (the limits) of reason, which gets coded as the tripartite mission, the capacity for “unity of consciousness.” In his 1982 essay, “The Limits of Professionalism,” Samuel Weber describes how “the services rendered by the professional draw their ‘value’ not from the usual exchange procedures of the market, but rather from the specific social needs they claim to fulfill” (27). He claims that the professional attempts to “distinguish himself from the businessman, on the one hand, and from the worker, on the other” (27). Weber goes on to describe how professionalism exploited the creation of a “corresponding passivity and dependence of the layperson” (28), claiming that “the culture of professionalism drew much of its force, its ‘social credit’, credibility, from the cultivation and exploitation of anxiety” (28). <br />
<br />
So there’s your “being-ill” totally delinked from the experience of code,<br />
a being-ill related to the production of need<br />
the residual, ambivalent, obdurate:<br />
<br />
I’m told professional academics are professionals, not academics—contingent, adjunct, non-tenure-track, a variety of classifications obscures while relying on the academic nature of their work.<a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftn15">[15]</a> <br />
<br />
So it’s a “being-ill” that is an experience of having found a code hidden within<br />
saying how what passes through you is this view, the pooling, <br />
a being-ill. I can’t say what goes on for those who<br />
see this view of the contingent academy, like Claire B. Potter, the tenured radical, <br />
as a site of death in order to<br />
secure the feeling that academic work can be still is vibrant, vital. <br />
<br />
But Siegel, Derrida, Kant: none of them were talking about this kind of academic work either, exactly,<br />
about how the conflict of the faculties is itself the place<br />
“to which notions of absence arising within work can be expelled” <br />
and there within how making it about<br />
who is faculty and who not<br />
colludes with those for whom the position of contingent labor represents the “death” of the academy, <br />
whether in terms of the devaluation of teaching, or the defunding of liberal arts departments, or the shutting down of lines, or the very working conditions of those who work academia contingently<br />
whereas sighting the necessary reflection of the field on its objects<br />
implies a being-ill, the feeling that academic work<br />
should not—for why ever should it have?—feel sustained by academia, by the university,<br />
<br />
just as, you should have known by now <br />
<br />
_________________________________________</div>
<div>
<br /></div>
<div>
<br />
This essay was presented on Thurs Nov 2, 2017 at UC Irvine's University Thought/State Reason Conference, November 2-3, 2017. I was grateful for an opportunity to present this writing, even though I felt like the presenting of them was itself a demonstration of its failure. These thoughts come from and are inspired by the organizers working with SEIU that I have had the opportunity to work with and faculty at the University of Minnesota who have been involved in organizing work, especially Anne Burkhardt, Filiberto Nolasco Gomez, Nazir Khan, Rica Highers, Isuru Herath, Rahhel Halle, Matt Pollari, Mary Pogatshnik, Sumanth Gopinath, Eric Van Wyk, Amy Livingston, Anna Kurhajec, Irene Duranczyk, Mark Borrello, Jason Stahl, and Mindy Kurzer. Analysis of the P&A situation vis a vis the faculty unit also came out of conversation with Travis Workman and a 500-word version of this was also to be published in the as-yet non-existent newsletter of MN Academics United.<br />
<br />
<a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftnref1">[1]</a><a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftnref1"></a> These readings bolstered by Miya Tokumitsu’s “In the Name of Love” and subsequent writings on the ideology of the love of creative work.<br />
<br />
<a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftnref2">[2]</a><a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftnref2"></a> Los Halos, “You Should Have Known By Now,” Los Halos (2003), 7 minutes, 11 seconds, consisting only of an increasingly louder refrain “You Should Have Known By Now.”<br />
<br />
<a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftnref3">[3]</a><a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftnref3"></a> I am indebted to Rica Highers and Filiberto Nolasco Gomez for their foregrounding of this experience as central to the work of organizing faculty and their understanding of the role of this in producing an analysis of the university. My discussions of organizing work at the University of Minnesota come out of our research and work together on the state of contingency and the structure of P&A classifications, especially during the Spring and Summer of 2017.<br />
<br />
<a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftnref4">[4]</a><a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftnref4"></a> For a recent piece that does deal with teaching the “neglect of justice,” see <a href="http://www.chronicle.com/article/The-Pernicious-Silencing-of/241601">http://www.chronicle.com/article/The-Pernicious-Silencing-of/241601</a><br />
<br />
<a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftnref5">[5]</a><a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftnref5"></a> Hortense Spillers “The Crisis of the Negro Intellectual: A Post-Date” boundary 2, vol. 21, no. 3 (Fall 1994): 65-116. Republished in Hortense Spillers, 428-470. Spillers is referring to Harold Cruse’s Crisis of the Negro Intellectual, written in 1967.<br />
<br />
<a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftnref6">[6]</a><a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftnref6"></a> Spillers’s interrogation of the question asked about intellectual power moves from the key phrasing of Althusser and Balibar: “It is literally no longer the eye (the mind’s eye) of a subject which sees what exists in the field defined by a theoretical problematic: it is this field itself which sees itself in the objects or problems it defines—sighting being merely the necessary reflection of the field on its objects” (454).<br />
<br />
<a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftnref7">[7]</a><a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftnref7"></a> It is not surprising that sighting as the “necessary reflection of the field on its object” is tied up in the struggle for a right to exist. What is not the temporal present? The absence arising within work—what it means to be “not present” temporally—implies non-existence, either in past or future. But academic administration assigns, as it were, a place to this. Temporal absence quickly becomes historical absence of the kind Spillers writes about as the absence of space over time for the work of African American intellectuals in the academy. And this “passing through” itself—making the tension between contingency and necessary reflection—what kind of “absence within work” is this? If present is what exists, then temporal presentness, as Donna Jones describes in “Invidious Life,” has seemed to be beholden to this idea of substance.<br />
<br />
<a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftnref8">[8]</a><a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftnref8"></a> See the text of the full decision: <a href="http://www.mncourts.gov/mncourtsgov/media/Appellate/Court%20of%20Appeals/Holiday%20Opinions/OPa161985-090517.pdf">http://www.mncourts.gov/mncourtsgov/media/Appellate/Court of Appeals/Holiday Opinions/OPa161985-090517.pdf</a><br />
<br />
<a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftnref9">[9]</a><a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftnref9"></a> From Regents Policy: “Regular (tenured/tenure track) faculty are engaged in teaching, research, and service. Term faculty are engaged in one or more of these functions.” And “Academic professionals parallel faculty in having the requisite preparation and specialized knowledge in an academic discipline or field and in exercising independent professional judgment. These individuals may be engaged in teaching, research, service, and a wide variety of other professional functions within the University” (Regents Policy). <br />
<br />
<a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftnref10">[10]</a><a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftnref10"></a> Tenure Policy: <a href="http://regents.umn.edu/sites/regents.umn.edu/files/policies/FacultyTenure1_0.pdf">http://regents.umn.edu/sites/regents.umn.edu/files/policies/FacultyTenure1_0.pdf</a> ; Employee Definitions: <a href="https://regents.umn.edu/sites/regents.umn.edu/files/policies/Employee_Group_Definitions.pdf">https://regents.umn.edu/sites/regents.umn.edu/files/policies/Employee_Group_Definitions.pdf</a> Furthermore, it should be noted that the faculty tenure document is titled “Faculty Tenure” and is only once described within the document as a “code”; elsewhere referred to as a “policy.”<br />
<br />
<a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftnref11">[11]</a><a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftnref11"></a> From the Court of Appeals Decision: The first statement, issued in 1980, states that “[t]hese individuals are not engaged in full-time teaching and scholarly work, as are faculty, but rather are assigned to duties enhancing the research, teaching, and service functions of the University.” The second statement, issued in 2005, does not expressly contrast members of these classifications with faculty, but states that “[t]hese individuals may be engaged in teaching, research, service, and a wide variety of other professional functions within the University.” <br />
<br />
<a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftnref12">[12]</a><a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftnref12"></a> Oleksandr Tkachenko and Karen Seashore Louis, “Re-Shaping the Faculty: Emergence and Development of ‘Permanent-Contingent’ Roles through the Lens of Cultural-Historical Activity Theory,” International Journal of Higher Education 6: 1 (2017) 140-152.<br />
<br />
<a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftnref13">[13]</a><a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftnref13"></a> From the article (143): 1) Professional personnel whose appointments paralleled regular faculty. These employees were not supposed to perform full-time teaching and scholarly work as faculty, but were “assigned to duties enhancing the research, teaching, and service functions of the University.” 2) Administrative personnel who were envisioned to be involved in policy development and implementation, or in coordinating and supervising activities of the University. The intention was that matters related to P&A benefits, pay, and raises were to be covered by the same policies that applied to the faculty. The policy specified four types of P&A appointments: annual, fixed term, probationary, and continuous. Probationary and continuous appointments were parallel to tenure-track and indefinite tenure appointments available to faculty. As of 1980, the P&A category comprised 214 employees; that number was not expected to rise significantly according to the author of the recommendations.<br />
<br />
<a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftnref14">[14]</a> Talking about the removal of historic grain silos in order to make room for the construction of a new “sports bubble,” University of Minnesota President Eric Kaler said: “But, at the end of the day … they become an attractive nuisance. We have urban explorers that think climbing the fences and going into those buildings is a good past time. I don’t want to own a grain elevator that somebody died in. I think the best thing to be done for several reasons is to take them down.”<br />
<br />
Death is, over there.<br />
<br />
I don’t want to own a university that someone has had the thought of death in.<br />
<br />
a good past time, a letter of non-renewal, a “vague disquiet,” a “being ill.” <br />
<br />
<a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftnref15">[15]</a><a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftnref15"></a> Academic administrators capture the “academic” and carry it over, addressing faculty in anti-unionization messages as “dear colleagues,” shuffling the files of academic work out of departments and into the office of the provost. An analysis Yuichiro Onishi has begun to make about administrative labor in the Provost’s Office at the University of Minnesota, related to the Grand Challenges Initiative and the “Driven to Discover” Campaigns.</div>
Erin Trapphttp://www.blogger.com/profile/03472590835245430294noreply@blogger.com0tag:blogger.com,1999:blog-1236603983133336864.post-91972016568403579572017-07-21T10:22:00.001-07:002017-07-21T10:31:01.858-07:00Academic Work: The View from Stadium Village <div style="margin-bottom: .0001pt; margin: 0in;">
<div class="MsoNormal">
<span style="font-size: 12pt;"><span style="font-family: "times" , "times new roman" , serif;">Speaking at Cornell in 1982, Jacques Derrida begins and ends</span></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">“The Principle of Reason: The University in the Eyes of Its
Pupils,”<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">later published in Diacritics, with this question: <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">“Today, how can we not speak of the university?”<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">Derrida is responding to, and citing an essay published two
years before,<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">also in Diacritics, by James Siegel, titled “Academic Work:
The View from Cornell”<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">which, among many other things, articulates the coming into
being of Cornell<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">as the removal of the university from the “reminders of
death”: <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">“Today,” Siegel writes in 1981, “the opposition between the
university and life on the one side and death on the other still stands, as we
shall see.”<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">an opposition, like a bridge that continues to stand even
when a view from it is ruined<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">from the bridge, confronted with the logic of the sublime,
thoughts of death, Siegel thought<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">and also found that there is an interest “in putting
suicide, suggested by the view, in relation to work.”<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">“The connection between work and suicide in this assumption
is not that work causes death but that not being able to work does so. Not
standing up to pressure, one is overwhelmed. But so long as one does work, one
stands up to it, one lives.”<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">we see this standing opposition today but we also see more
than this<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">we see the work the university has done in time,<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">in the time since Siegel wrote this essay, to lay claim to
death, to produce death, political economy,<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">out of the difference between faculties—we see it in this
university in particular<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">on the one side, those who fulfill the tripartite mission of
the university (teaching, research, outreach) and on the other, those who make but
a “vital” contribution.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">it’s not the matter of this difference in ways of dying, but
the fact of it. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">the dream, mocked to death by the university, is still a
dream<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">In the Reorder of Things: The University and the Pedagogies
of Minority Difference, Roderick Ferguson:<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">“the academy is not simply an entity that socializes people
into the ideologies of political economy” but </span><span style="font-family: times, "times new roman", serif;">“an institution that socializes state and capital into
emergent articulations of difference.”</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">which is no longer exactly like <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">what in 1865 began as the work of setting “death” on the
other side<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">death is already a figure that comes to fill in for
non-existence<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">a figure that affirms difference in order to erase it<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">In 2012, Stefano Harney and Fred Moten ask in “The
University and the Undercommons”: “What is the price of refusing to be either for
the Universitas or for professionalization, to be critical of both, and who
pays that price?”<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">Harney and Moten imply: labor pays the price, labor
developed<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">in a particular way, universally, labor that occupies a
stage of “self-incurred minority”<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">a Kantian term, pays the price, but there is more: <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">work as an experience of difference, of non-existence, is
the price paid.<br style="mso-special-character: line-break;" />
<!--[if !supportLineBreakNewLine]--><br style="mso-special-character: line-break;" />
<!--[endif]--><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">President Kaler, a couple of weeks ago: </span><br />
<span style="font-family: "times" , "times new roman" , serif;">“I think it makes
the environment a little bit more sterile in the sense that it’s more homogeneous
and less individualistic. I had my last meal at the Village Wok a few weeks
ago, and I had my first meal there in 1978. Those places have been an important
part of our community for a long time. I hope that as the new spaces are
developed … that some of those businesses can come back into that newer space
and provide the same kind of food and opportunities…”<o:p></o:p></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">in the late blue in the burnt out<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">looking for longer lines<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">Longing, a public art installation set in place by artists
Jennifer Newsom and Tom Carruthers, a.k.a. Dream the Combine, last year. a
suspended walkway, in view of the grain silos, at the north end of stadium
village.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">From the Artists’ Statement: “Using two inward-facing, 10′ x
15′, moveable mirrors suspended at either end of the skyway from a tensegrity
supported gimbal, Longing creates a visually infinite environment that bridges
toward distant horizons.”<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">before the sun reaches the pines<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">the pines are full of blue-tailed <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">woodpeckers. say there's nothing<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">else there and say you knew it all<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">along. where would you go<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">with everything else?<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">there are other ways to find stillness<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">and still, and yet--<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">a strangeness you might never wake from<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">persistent thoughts<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">and annihilation<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">say there's no other way<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">to take care of, to be taken care of<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">except to circle in on that<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">unceasingly.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">there’s bad infinity, and good—<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">Longing presents what is good, about infinity<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">how endlessness cannot be seen without illusion<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">how the draw cannot be explained.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">from the other side only unreal.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">the dry needles hang, having fallen<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">in other trees as well,<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">and have the feeling of being after.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">there's no way to turn the bad<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">into good. it takes something else.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">the universal in ruins<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">by night what becomes evident is this:<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">you cannot go back tomorrow<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">there’s a small square in your head<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">not literally a gland but something quilted<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">purple steel and always shifting<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">a glimpse of your own non-existence<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">a staring into your own non-existence, indulgent,<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">glittery with absence, then not even that<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">moving up in the university<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">like swiftly walking down ever smoother hallways<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">only one thing does not recede<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">only one thing becomes perceptible here<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">that there is no talk of non-existence here, of Longing<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">everyone acts like it just doesn’t happen<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">like non-existence just doesn’t doesn’t just happen<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">in the high rises constructing themselves up<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">around campus there will be rooms in the highest floors<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">and floors within those rooms<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">where no one will ask why are we here?<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">Kaler from the president’s office, on the top floor of
Morrill Hall: “But, at the end of the day … they become an attractive nuisance.
We have urban explorers that think climbing the fences and going into those
buildings is a good past time. I don’t want to own a grain elevator that
somebody died in. I think the best thing to be done for several reasons is to
take them down.”<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">A good past time.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">So it’s really this: if you don’t want to own a grain
elevator <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">that somebody has died in, take it down. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">take down a grain elevator that somebody has died in so that
you don’t have to own it. take it down and build a 27-story studio-to-luxury
apartment complex that no one will ever think to fall from. that no one will
ever want to die in. that non-existence will never be thought in.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">espresso exposé, village wok, bun mi sandwiches: goodbye.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">in the shadow of the grave silo<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">you are something that stands by<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">an attractive nuisance bought and sold in the heights of
another high.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">Somebody has died here too.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">I don’t want to own a university that somebody has had the
thought of death in.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">let death, let non-existence never be a thought.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">slow dying is the university in ruins<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">but non-existence, the ontological state of the university
precedes this dying<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">Derrida in “The Principle of Reason: The University in the
Eyes of Its Pupils”: “From now on, so long as it has the means, a military
budget can invest in anything at all, in view of deferred profits: “basic”
scientific theory, the humanities, literary theory and philosophy.”<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">but maybe not non-existence.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">if non-existence is a kind of infinite regress, a totality
not so much full<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">as empty of everything, the total environment of real
abstraction,<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">it’s this that both the investment and its logic cheapens.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">dividing & deferring, the logic of profits:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">Kaler, on the use of University money to pay half a million
dollars in legal fees to demonstrate the difference between professors and
professionals: “The legal fees are not coming from tuition and state money. The
legal fees were paid from an account that contains those monies. It’s a little
bit like a checkbook. You write a check and then you reconcile where the funds
should come from. Tuition or state money will not be used for those legal fees.
They are paid from other sources of revenue for the institution…. You reconcile
each item in the account as you review to close the books and then you assign
money from an appropriate source to pay the appropriate bill.”<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">who pays the price? those who experience non-existence in
the eyes of the university.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">Students who called for the University of Minnesota to: 1)
Treat College Education as a Public Good 2) Grant Immediate Free Tuition for
American Indian Students 3) Demand President Kaler's Immediate Resignation 4)
Divest from Black Rock Investment Portfolio.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">When Roderick Ferguson writes, “Contrary to the idea that
the lower faculties internalize the elements of a preexistent and fully formed
state, the lower faculties internalize the interests of government only after
they have articulated those interests for the state and its constituents,” he
gets to the reason why the half million dollars spent by the university to
enforce the division of faculties is not about labor, or the power of labor
(although, parenthetically, it’s also about this) but about work.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">the point of the division is to diminish regulative
experience—experiences of difference, of work, of non-existence—that articulate
interests “for the state and its constituents,” experience that is the
experience of what Moten and Harney call the “self-incurred minority” and that
they list as follows: <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">"Maroon communities of composition teachers, mentorless
graduate students, adjunct Marxist historians, out or queer management
professors, state college ethnic studies departments, closed-down film
programs, visa-expired Yemeni student newspaper editors, historically black
college sociologists, and feminist engineers."<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">the point of the university—whose transparency, the
transparency on view in yet another skyway on campus, has become/has always
been unbearable— the point of the division is to diminish regulative
experiences of work that refuse an experience of identity over difference and
to reduce such experiences to an identity that is manageable.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">deciding what gets to be a piece and what gets to be a side<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">versus either being a piece and how<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">or being a side and how is the undertaking of academic work
inside Longing<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">still, then what? an array<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">of what is inaudible and nothing else<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">no one wants to call that being<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">being in the middle of it all<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">and the end of every branch--<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">that's where things get hairy,<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">tiny leaves uniformly displayed before<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">become furled, multiply inexplicably<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">take on shapes not otherwise seen,<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">further back. it oozes, trickles, seeps,<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">before it flows. but even in <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">receding, the lines have already <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">been lost, the pines' daybreak <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">gives glimpse. but who would<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">take those moments you'd have to be<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">crazy to take those moments<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">because you'd have to take them<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">as if they were all that's there.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">as if they were all there.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">before internalizing interest, before being invested in, the
experience of this regulative act<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">is an impossibility, according to the Kantian system, as it
is, according to the university.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">It is something that does not exist.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">But does this mean it is non-existent? Siegel talks of the
“interest in the view,” which signals an investment in the view “precisely for
being the place of death, the place where death can be safely located, because
that place is not ‘here’ in the university.” But what is put here, what is it
that comes “before” this articulation of interest in the view of death? Siegel,
in an ambiguous phrase several lines later: “notions of absence arising within
work.”<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">To which, we could just ask, why? we can see why it is this
from which profits are derived, and see how escape in the form of a sublime
view, a glance out a window, across a bridge, is already a way that the
university “socializes state and capital into emergent articulations of
difference.” It oozes, trickles, seeps, before it flows, Césaire said of the
“barbarism” of colonialism becoming Nazism—once the engulfment happens, it’s as
if it becomes impossible to see the countless ways in which “emergent
articulations of difference” were deployed—and not just the “countless ways,”
but even worse: that they were deployed at all. Not raising the question of
non-existence converges here with covering tracks. Academic work that takes up
the regress, the illusive infinity, the non-existence of the page upon which
work is done, the work of writing, of thinking, may or may not think about
itself as destructive, but that it’s self-destructive, it seems, we can be
pretty sure—in its gesture of not turning away from the “notions of absence”
that arise within it.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">When were you growing up? Couldn’t that always<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">be the question no one ever gets asked? And then someone
does<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">and it’s as if it had always been there for the asking.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">Just as<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">someone somewhere<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">swallows things whole,<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">suffocates, comes up for air,<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">keeps seeing what<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">is there to see, even seeing too much,<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;">where there's too much to see.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times" , "times new roman" , serif;"><o:p> </o:p><span style="font-size: 12pt;"> </span></span></div>
</div>
<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
<o:PixelsPerInch>96</o:PixelsPerInch>
</o:OfficeDocumentSettings>
</xml><![endif]-->
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-US</w:LidThemeOther>
<w:LidThemeAsian>JA</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
<w:UseFELayout/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="false"
DefSemiHidden="false" DefQFormat="false" DefPriority="99"
LatentStyleCount="382">
<w:LsdException Locked="false" Priority="0" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 9"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 9"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="header"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footer"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index heading"/>
<w:LsdException Locked="false" Priority="35" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of figures"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope return"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 9"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Mention"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Smart Hyperlink"/>
</w:LatentStyles>
</xml><![endif]-->
<style>
<!--
/* Font Definitions */
@font-face
{font-family:"MS 明朝";
mso-font-charset:128;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:-536870145 1791491579 134217746 0 131231 0;}
@font-face
{font-family:"Cambria Math";
panose-1:2 4 5 3 5 4 6 3 2 4;
mso-font-charset:0;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:-536870145 1107305727 0 0 415 0;}
@font-face
{font-family:FangSong;
panose-1:2 1 6 9 6 1 1 1 1 1;
mso-font-charset:134;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:-2147482945 953122042 22 0 262145 0;}
@font-face
{font-family:Menlo;
panose-1:2 11 6 9 3 8 4 2 2 4;
mso-font-charset:0;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:-436198657 -771687941 33554472 0 479 0;}
@font-face
{font-family:"Iowan Old Style Roman";
panose-1:2 4 6 2 4 5 6 2 2 4;
mso-font-charset:0;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:-1610612497 1073750219 0 0 147 0;}
/* Style Definitions */
p.MsoNormal, li.MsoNormal, div.MsoNormal
{mso-style-unhide:no;
mso-style-qformat:yes;
mso-style-parent:"";
margin:0in;
margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:"Times New Roman";
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;}
p
{mso-style-priority:99;
mso-margin-top-alt:auto;
margin-right:0in;
mso-margin-bottom-alt:auto;
margin-left:0in;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:"Times New Roman";
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;}
.MsoChpDefault
{mso-style-type:export-only;
mso-default-props:yes;
font-family:Calibri;
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
@page WordSection1
{size:8.5in 11.0in;
margin:1.0in 1.0in 1.0in 1.0in;
mso-header-margin:.5in;
mso-footer-margin:.5in;
mso-paper-source:0;}
div.WordSection1
{page:WordSection1;}
</style>
<br />
<br />
<style>
<!--
/* Font Definitions */
@font-face
{font-family:"MS 明朝";
mso-font-charset:128;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:-536870145 1791491579 134217746 0 131231 0;}
@font-face
{font-family:"Cambria Math";
panose-1:2 4 5 3 5 4 6 3 2 4;
mso-font-charset:0;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:-536870145 1107305727 0 0 415 0;}
/* Style Definitions */
p.MsoNormal, li.MsoNormal, div.MsoNormal
{mso-style-unhide:no;
mso-style-qformat:yes;
mso-style-parent:"";
margin:0in;
margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:"Times New Roman";
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;}
.MsoChpDefault
{mso-style-type:export-only;
mso-default-props:yes;
font-family:Calibri;
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:Calibri;
mso-fareast-theme-font:minor-latin;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
@page WordSection1
{size:8.5in 11.0in;
margin:1.0in 1.0in 1.0in 1.0in;
mso-header-margin:.5in;
mso-footer-margin:.5in;
mso-paper-source:0;}
div.WordSection1
{page:WordSection1;}
</style>
-->Erin Trapphttp://www.blogger.com/profile/03472590835245430294noreply@blogger.com0tag:blogger.com,1999:blog-1236603983133336864.post-70460052947601705782016-09-11T21:59:00.002-07:002016-09-11T22:00:32.515-07:00impalpables<span style="font-family: Georgia, Times New Roman, serif;">Sometimes the things held are so tiny, it's easy to forget</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">that there's a smallness of relation you're also holding.</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">you lose one idea to keep another.</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">---</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">almost daily, it seems all of it could disappear</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">I can't find the way into the way I want to see things, now.</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">---</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">The university in ruins/visited by</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">over-abundance, the redundancy</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">---</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">oh, so, really? you wait to be told something you don't know.</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">and yet everything is something you don't know. every minute</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">that passes, a tidbit of once what was thought</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">disappears. next door, everything appears so generally that the edge</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">also seems immaterial, as in, non-constative.</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">---</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">if there's a trend responsible for the demise of the university already in ruins,</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">it social constructivism, its dispensing with the thought of the regulative.</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">---</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">what kind of risk is a silence that doesn't appear to risk anything? doesn't appear to risk</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">least of all its breaking from that ground of over-abundance/the spoiled, the in ruins?</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">---</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">risking that silence is grounds to not be admitted, with one's flocculated words,</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">from out of hiding. and knowing you might never find what you're looking for,</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">and that no one there might find it either. still, you risk this, even if some people might ask why</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">you find yourself without answer</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">---</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">a little bit, save refrain, for thought.</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">in scope, in scale, scapes not returning.</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">---</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">if you can't tell the size of what you're looking at, hold it up to something/</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">hold it up against something. sometimes what you're holding is so tiny,</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">not even this helps, not even this tells you anything. magnification does nothing.</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">---</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">even syntax is misleading, though at first, it seems it could hold/</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">could hold whatever there is. but there, too, indeterminacy turns to overdetermination,</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">and it's gone. and you are just where you were all along.</span>Erin Trapphttp://www.blogger.com/profile/03472590835245430294noreply@blogger.com0tag:blogger.com,1999:blog-1236603983133336864.post-3785922442132653802016-09-02T22:52:00.004-07:002016-09-09T08:19:55.483-07:00as in, parts<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-3iC1qvtemSY/V8pkdlpclrI/AAAAAAAABFA/vRxB9OKcxOgAcUjIcuKfJTzw5V_xAo-kQCLcB/s1600/IMG_1317.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://1.bp.blogspot.com/-3iC1qvtemSY/V8pkdlpclrI/AAAAAAAABFA/vRxB9OKcxOgAcUjIcuKfJTzw5V_xAo-kQCLcB/s400/IMG_1317.JPG" width="300" /></a></div>
<br />
<br />
"The exchange from part to whole generates wholes that turn out to be only parts."<br />
<div style="text-align: right;">
--Paul de Man, "Phenomenality and Materiality in Kant"</div>
<div style="text-align: right;">
<br /></div>
<br />
In Adorno's writing on damaged life, guilt—the “context of guilt” [<i>Schuldzusammenhang</i>]—is understood as constitutive of postwar society.<a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftn1">[1]</a> This phrase, which he uses in the lectures on Metaphysics, noting that “all culture shares the guilt of society [<i>alle Kultur am Schuldzusammenhang der Gesellschaft teilhat</i>]” (153), is key to thinking about how experiences of guilt becomes rewritten according to a model of complicity that functions as the predominant mode of figuring postwar European subjectivity. Even if it is the case that all culture shares in the “context of guilt,” by which Adorno refers to the inextricability of culture and barbarism, there is yet another question here, of how the European subject comes to know this inextricability, which is also a matter of how guilt is experienced. Adorno figures this as a problem of practical knowledge rather than aesthetic experience; insofar as they can be seen via the aesthetic problem of representation, artistic works share this problem of being imbricated in a barbarism they also seek to rise above. In Adorno’s description, culture’s “taking part” in society’s “context of guilt” phrases the latter as given and the former as acting upon it, the latter as a “crime,” and the former as a crime of the second order, of complice. The more colloquial phrasing Adorno uses through these lectures and his lectures on moral philosophy, about how to live a good life in a bad world, is a translation of this scenario. What kind of “good life” one might lead is not a problem Adorno or theorists of compicity take up, rather, the problem is dealing with the apparent necessity of dissolving the terms of the relation of inextricability—a problem for practical knowledge, echoed in aesthetic works. But if culture and society relate to one another through these logics of consumption and sustenance, which may—though do not necessarily need to—lead to an understanding of the social “context [<i>Zusammenhang</i>],” terms of extricability are also equally evident. Although they often get parsed as impossible “in reality”—in the sense that, we could say, it is impossible to isolate one’s psychic reality from social reality, and so forth (even though the obverse, that social reality can be imagined as separate from psychic reality, is often not just possible, but the dominant explanation)—such relations of extricability make it possible to think about how compelling the imagination of oneself as part rather than limit is. In their social untenability, such relations make it possible to think about spaces and cultural experiences that open under what might be called the aesthetic problem of sublimation, in which the relief afforded by state change, as in being able to make this distinction between part and limit, is not available, for one reason or another, including that defenses come to been seen as entirely necessary. The aesthetic problem of sublimation pertains to the illusiveness of the representation’s mediating determination about the kinds of state changes that go into the constitution of a dynamic that becomes construed as necessary, as between culture and barbarism, addressing the extent to which the achievement of the aesthetic is a negotiation of the availability of a perspective as part in contrast to as limit of the <i>Zusammenhang</i> of society. The problem of sublimation acknowledges a constraint on one’s ability to negotiate this perspective, as when the bad world described by Adorno seems not just bad, but as W.R.D Fairbairn might say, “unconditionally bad”—in other words, perhaps not “there” at all. In such a world, the terms and concrete conditions of the “guilt context” of society are apparently so diffuse and vast that everything seems to be a part; poetic modes that point out minute distinctions between sustenance and destruction challenge the idea that what can be used to explain them is actually there. If culture is not just a part of the guilt context of society but one of its limits, part of its task—which Adorno also recognizes and to which he assigns the task of art—is to resist the totalizing context of guilt. Left off, however, is the experience of culture as the expression of this limit, an experience of guilt that is extricable to the extent that it is non-utile. For it is preferable to think of what one “cannot do” when one imagines oneself as a part of the good world, and this is the perspective that complicity always produces; this is what it means, in Adorno’s world, to live (or not) the “good life.” It is preferable, only when one glimpses the alternative, ideas about forms of inaction that are not enough in a bad world—for here, where everything is dissatisfying and/or absent, what can possibly be enough? Only in this scape does asserting what is given assume a certain risk, as also it takes place in relation to what is lost; only here does it mean something to say that there is a there, there. <br />
<br />
Adorno’s concern with the adequation of culture to society leads to his 1955 essay “Guilt and Defense,” a qualitative summary of the findings of the Frankfurt School’s <i>Gruppenexperiment</i>, which surveyed Germans about conflicts present in accepting responsibility for Nazism. Adorno describes an “intermediate layer” of “transsubjective elements” that he imagines as a “subjective social-psychological disposition” (52) that spans social and psychological, ultimately explaining how it would be possible for individuals to take responsibility for their part in the context of guilt. If the “transsubjective” means to point to one’s implication in social institutions and discourses, it can be seen as a solution that also holds in place a certain dynamic between guilt and complicity, and maintains a set of assumptions about part/whole relations, more generally. Adorno describes this dynamic in the following way:<br />
<blockquote class="tr_bq">
Instead, it is most often a matter of trying to reconcile one’s own excessive identification with the collective to which one belongs with the knowledge of the crime: one denies or minimizes this knowledge so that one does not lose the possibility of identifying with the collective to which one belongs, which is the only thing that psychologically allows countless people to overcome the unbearable feeling of their own powerlessness. (53)</blockquote>
Here, Adorno positions the “unbearable feeling of…powerlessness” as that against which a certain tension between identification with a collective and knowledge of a crime defends. As Adorno argues, “identifying with the collective to which one belongs” is preferable to feeling powerless in committing a crime, and this amounts to the difference between living in a conditionally bad versus an unconditionally bad world, a world, which Fairbairn describes as a world ruled by god versus one ruled by the devil.<a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftn2">[2]</a> Denial or minimization is read as a defense that allows for identification and the feeling of belonging, and that ultimately protects people from experiencing the “unbearable feeling of their own powerlessness.” This dynamic of complicity, in which such a denial or minimization of knowledge secures a feeling of belonging, has the secondary but perhaps more significant function of holding away an experience of guilt that might come upon one as the feeling of this powerlessness. While we can glimpse, from Adorno’s perspective, the threat posed to the coherence of society by this guilt or powerlessness, we can also see that in his work, the maintenance of the dialectic, including the dialectic of civilization and barbarism—another iteration of the dynamic between the “possibility of identifying with a collective” and “knowledge of the crime”—serves a conservative function, in still protecting the idea of civilization [<i>Kultur</i>] against a more damaging idea about the guilt of society.<a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftn3">[3]</a> If the transsubjective refers to these relations of complicity that are secured within the dialectic, the experience of guilt, as a feeling unprotected from this badness, is a nonsubjective registration of the environment of destructiveness. One way of thinking about the contrast in modes I am trying to articulate might be to think about experiences of guilt as the loss of a registration of what is “whole” or total about society—it might be to indicate a realm of experiences in which one’s idea of oneself and others follows more closely a model of relations between part objects than between subject and objects. Experiencing relations as between part objects might be another way of thinking about not being able to afford the relief offered by state change—state changes that pertain to the shifting of attachment and investment (of instinct, for Freud), as for example, involved in experiencing oneself as part of society, or as belonging to it, rather than as a limit. The experience of European subjectivity in the postwar articulates the aesthetic problem of sublimation; there is no insight into or knowledge of destructiveness that can be used to negotiate the relation between one’s part and one’s limit, between one’s experience as a human [<i>menschliches</i>] subject and one’s experience as a metaphysical [<i>metaphysiches</i>] subject. Paul de Man’s reading of Kant’s location of aesthetic judgment as the mediation of pure reason and practical reason pushes in the direction of thinking about conditions that maintain the irreconcilability of these experiences. While it becomes clear that for certain subjects this means the re-entrenchment of an impossible politics of reparation, which counts on establishing not just lyric works but the artwork as a vehicle for change, what is far less clear is what is desirable about situations of imperceptible state change, or when what is desired is the obscuring of change. In much the same way, it’s always clear what sublimation, in its traditional sense as the shifting of instinctual energy from sexual to non-sexual, makes representable, though it’s far less clear what theories of sublimation have to say about how the logic of change governs ideas of the scapes that (part) objects find themselves in. <br />
<br />
<div style="mso-element: footnote-list;">
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<br />
<div id="ftn1" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "times new roman"; font-size: 10.0pt;">[1]</span></span><!--[endif]--></span></span></span></a><span style="font-family: "times new roman"; font-size: 10.0pt;"> </span><span style="font-family: "times new roman"; font-size: 10.0pt;">In his lectures on Metaphysics, Adorno uses the phrase in
this way: “all culture shares the guilt of society [<i style="mso-bidi-font-style: normal;">alle Kultur am Schuldzusammenhang der Gesellschaft teilhat</i>]” (153).</span><span style="font-family: "times new roman"; font-size: 10.0pt;"><o:p></o:p></span></div>
</div>
<div id="ftn2" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "times new roman"; font-size: 10.0pt;">[2]</span></span><!--[endif]--></span></span></span></a><span style="font-family: "times new roman"; font-size: 10.0pt;"> See W.R.D. Fairbairn,
“The Return and Repression of Bad Objects,” page 66-67.<o:p></o:p></span></div>
</div>
<div id="ftn3" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "times new roman"; font-size: 10.0pt;">[3]</span></span><!--[endif]--></span></span></span></a><span style="font-family: "times new roman"; font-size: 10.0pt;"> Consider </span><span style="font-family: "times new roman"; font-size: 10.0pt;">Michael Rothberg’s distinction between guilt and complicity,
for example, which I disagree with, in <i style="mso-bidi-font-style: normal;">Multidirectional Memory</i>:
“</span><span style="font-family: "times new roman"; font-size: 10.0pt;">The concept of complicity offers a way of thinking about the
iterations of the face that neither transcends race and racism, nor subsumes
all of the figures into identical subject positions as racist perpetrators. The
rhetoric of complicity suggests both a form of binding and a degree of
distance: to be complicit is to be responsible (bound to certain events,
processes, or people),” but it is not identical to begin guilty. Complicity suggests
an <i style="mso-bidi-font-style: normal;">ethical</i> binding distinct from <i style="mso-bidi-font-style: normal;">legal </i>guilt…[t]o be complicit, as
opposed to being guilty, implies at least a minimal distance from the center of
events” (250).”</span></div>
</div>
</div>
Erin Trapphttp://www.blogger.com/profile/03472590835245430294noreply@blogger.com0tag:blogger.com,1999:blog-1236603983133336864.post-57223372781652037412016-08-21T00:47:00.001-07:002016-08-21T00:47:37.361-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-zoLuLCC0S88/V7lXe1oFGyI/AAAAAAAABEc/sVJ5mEV_1SE7QO-v6VbLupuOd1WMP8a_QCLcB/s1600/IMG_1070.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://4.bp.blogspot.com/-zoLuLCC0S88/V7lXe1oFGyI/AAAAAAAABEc/sVJ5mEV_1SE7QO-v6VbLupuOd1WMP8a_QCLcB/s400/IMG_1070.jpg" width="300" /></a></div>
<br />Erin Trapphttp://www.blogger.com/profile/03472590835245430294noreply@blogger.com0tag:blogger.com,1999:blog-1236603983133336864.post-37086593951555510182016-08-02T22:02:00.000-07:002016-08-02T22:03:58.577-07:00softly dying world<div class="MsoNormal">
<span style="font-family: "athelas";">soft death the dying that
is what</span></div>
<div class="MsoNormal">
<span style="font-family: "athelas";">takes place between one moment
and another<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "athelas";">between the dark times and
the postwar<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "athelas";">a moment in which it is
impossible to think<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "athelas";">either of these as not
being there<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "athelas";">so that dark times and postwar<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "athelas";">merge and nothing else
emerges<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "athelas";">even though there is
something else there<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "athelas";">where we are<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "athelas";">there where<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "athelas";">in this domesticated swell<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "athelas";">the land—because what is
not<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "athelas";">clips forward<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "athelas";">paces itself out<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "athelas";">over all the years<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "athelas";">in Minnesota, anywhere,<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "athelas";">people look away<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "athelas";">from the sides of the road<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "athelas";">these minor escarpments<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "athelas";">their dearthed insides<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "athelas";">and wild overflower<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "athelas";">falling forever<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "athelas";">something <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "athelas";">in the what is not at all rare<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "athelas";">in the enabling to fall<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "athelas";">think about how softly the
whole thing<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "athelas";">takes place, has taken
place<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "athelas";">the falling off<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "athelas";">the falling into<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "athelas";">the falling away<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "athelas";">the fall out<o:p></o:p></span><br />
<span style="font-family: "athelas";"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "athelas";">the falling without</span><br />
<span style="font-family: athelas;">feeling the falling
forever</span></div>
Erin Trapphttp://www.blogger.com/profile/03472590835245430294noreply@blogger.com0tag:blogger.com,1999:blog-1236603983133336864.post-46235154091488110392016-07-14T13:31:00.000-07:002016-09-03T00:52:05.805-07:00July 3, 2016<span style="font-family: Georgia, Times New Roman, serif;">ecotonal innards</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">flattened squirrels</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">it's not that hot but</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">everyone says it is</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">minnesota, good city</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">all kind of withdrawal</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">sigh your little sigh</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">what else, but without end, to feel--</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">you might as well stop</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">the bad world, the one we live in:</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">no one sees it as such. sigh your</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">little sigh. the neighborhood blasts</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">how could they not be? how could they be anything other than</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">the blasts this week in Dhaka, Istanbul, Baghdad</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">coming home to roost?</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">living at the poles, it's possible to feel</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">you've no part in them, in any of it, except all of it</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">if you take words in your mouth, they'll likely come back up again</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">as ether</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">thistle troves rarefied--</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">anyone who lives after</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">may also mistake the airs</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">of this midsummer flowering</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">(sentient nostalgia, what else?)</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">for the descent of cluster flies</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">fleeing.</span>Erin Trapphttp://www.blogger.com/profile/03472590835245430294noreply@blogger.com0tag:blogger.com,1999:blog-1236603983133336864.post-9427184557944767762016-07-07T18:15:00.003-07:002016-07-07T18:17:14.185-07:00alles verloren, die Gedichte zuerstAlles verloren, die Gedichte zuerst<br />dann den Schlaf, dann den Tag dazu<br />dann das alles dazu, was am Tag war<br />und was in der Nacht, dann als nichts<br />mehr, noch verloren, weiterverloren<br />bis weniger als nichts und ich nicht mehr<br />und schon gar nichts war,<br /><br />Rückzug muss ein inneres Hinterland<br />mit allen verbriefte Jahre und gesehene Orte<br />noch vor den Augen, da die Erde<br />nicht mehr und keine Schmach, dann<br />hinten noch immer ein Raum<br />krallenumflogene Weiten für Taube, Stumme<br />Helle ruflange Weiten für er<br />die Ankunft, Erstummter<br /><br />Für den Erstummten die Wüstenei<br />mit dem verständlichen Gespinnst<br />das sanft seinen Wahnsinn einpuppt<br />bis er das gläserne Hotel malt,<div>
<br /><br /><i>Ingeborg Bachmann, 1962-1963</i></div>
Erin Trapphttp://www.blogger.com/profile/03472590835245430294noreply@blogger.com0tag:blogger.com,1999:blog-1236603983133336864.post-45743472519086975982016-06-18T21:47:00.000-07:002016-06-19T09:19:51.822-07:00"self-incurred minority"<blockquote class="tr_bq">
What, then, does the “intellectual elite” discover as it begins to take stock of its feelings? Those feelings themselves? They have long since been remaindered. What is left is the empty spaces, where, in dusty heart-shaped velvet trays, the feelings--nature and love, enthusiasm and humanity--once rested. Now the hollow forms are absentmindedly caressed. </blockquote>
<blockquote class="tr_bq">
[Was findet “die geistige Elite,” die an die Bestandaufnahmne ihrer Gefühle herantritt, den vor? Diese selbst etwa? Sie sind längst verramscht worden. Was blieb, sind die leeren Stellen, wo in verstaubten Sammetherzen die Gefühle—Natur und Liebe, Enthusiasmus und Menschlichkeit—einmal gelegen haben. Nun liebkost man geistabwesend die Hohlform.]</blockquote>
<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]-->
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-US</w:LidThemeOther>
<w:LidThemeAsian>JA</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
<w:UseFELayout/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="false"
DefSemiHidden="false" DefQFormat="false" DefPriority="99"
LatentStyleCount="380">
<w:LsdException Locked="false" Priority="0" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="0" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 9"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 9"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="header"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footer"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index heading"/>
<w:LsdException Locked="false" Priority="35" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of figures"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope return"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 9"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 6"/>
</w:LatentStyles>
</xml><![endif]-->
<!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin:0in;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;}
</style>
<![endif]-->
<!--StartFragment-->
<!--EndFragment--><br />
<div style="text-align: right;">
--Walter Benjamin, "Left-wing Melancholy”</div>
<div style="text-align: right;">
<br /></div>
<div>
In "The University and the Undercommons," Fred Moten and Stefano Harney dwell on Kant's phrase, which opens "What Is Enlightenment?," of a "self-incurred minority" [<i>selbstverschuldeten Unmündigkeit</i>]. They are talking about a stage of "teaching for food," which is either surpassed if one is "successful" or consigned to the sociopathological labor of the university. Moten and Harney propose that those who refuse to move past this stage remain in the "beyond of teaching," continuing to take sustenance from others around them. Kant's notion of the <i>selbstverschuldeten Unmündigkeit</i> refers, as M & H also parse, to "having the 'determination
and courage to use one’s intelligence without being guided
by another.'” <i>Schuld</i>--here the root of <i>selbstverschuldeten--</i>both "debt," as its translation "self-incurred" seems to imply, and "guilt." And <i>Unmündigkeit</i>, which M & H take as "minorities," carries <i>mündig</i>, "to be of age," "mature," "responsible," within. I'm drawn to this double implication of "guilt" and "responsibility" as minor terms of this phrase. How is being not "of age" something that is brought about by one's own fault? How does being "one's own fault" relate to what on the other side is a "being guided by another"? At what point is it not a stage that persists, but the guilt/debt itself? And at what point (at that point?) is this "eines anderes" also not "another"? Where, when does this become a personification of something like a holding environment? Is there a determination here, about personhood, that arises from the indeterminacy of environment?<br />
<br />
Moten and Harney write that "Certainly, the perfect subjects of communication,
those successfully beyond teaching, will see them [the self-incurred minority] as waste." Being seen as "waste," as objects sold "at a loss," and thus remaindered in this way--is it from this perspective of feeling something quite irrecuperable about yourself, as your sense of yours and others' estimation of you, of a persistent guilt, that the fuzziness of personhood/environment can also be registered? Then, this describes not so much what there is to be gained from a stage that one persists in (as a kind of self-sacrificial model might have), but it can perhaps help to think about why one might <i>want </i>to remain in such a place, even when all the reasons, social, political, psychological, and otherwise, point to the advantages of not.<br />
<br />
There are ample places here to link such a state of <i>Unmündigkeit </i>with Paula Heimann's idea of "children-no-longer," perhaps as the other side of it--for Heimann's "child-no-longer" is not someone who has surpassed such a stage, but someone whose being there "no longer" indexes a firm attachment to, rather than a leaving of, childhood.<br />
<br />
It's all happening within my wondering about being able to "return" to a place where I am "no longer"--and so a place where I left my "heart," where my "heart" remains. There's feeling that, and then the badness of that feeling. And there's the not knowing what to do with any of it. There's a question that seems silly and completely besides the point about all of it, and also completely narcissistic, because it's not at all about me, but it's a question about why my return to Irvine, which I had not been able to undertake at any earlier point since I left six years ago, coincided with Joe's death. There's always that question, why?, about death, especially about the deaths of people like Joe, like Frank. It's so futile, it often can't be asked, is not bearable. I had told Imogen about Joe dying when I returned from California three weeks ago. I don't think I've talked about it since then. Today, just a long day of feeling all these things and feeling like there's no place to put them, and no place to return to here, in Minnesota. So it's evening, before bed, and I say, finally, after being beyond and at the edge of tears all day, I'm just feeling so sad. Several minutes later, Imogen says, "Mommy, are you sad because your friend died?" Three weeks, for a three-year-old, is a long time to hold a memory, to hold something in mind. "Yes, I am." "What was his name?" This, I've already told her, too. She's asking not to know, but to be reminded, or to remind me, or to let me know, and it gives me a small place to return to.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-GrS8Ace2T8s/V2YjDCqfbOI/AAAAAAAABDk/M07PKnaY9DoOzVnAJny_reZz8Grm31MsgCLcB/s1600/IMG_0192.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-GrS8Ace2T8s/V2YjDCqfbOI/AAAAAAAABDk/M07PKnaY9DoOzVnAJny_reZz8Grm31MsgCLcB/s320/IMG_0192.jpg" width="240" /></a></div>
<br /></div>
Erin Trapphttp://www.blogger.com/profile/03472590835245430294noreply@blogger.com0tag:blogger.com,1999:blog-1236603983133336864.post-22421675558728360522016-06-09T23:32:00.000-07:002016-06-09T23:32:21.141-07:00complice in humanity<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-8xgMiBGRHSA/V1pemTC9DHI/AAAAAAAABDM/3WNrAHhU6KcMkYydPQvFQtB-tp57mIpKwCLcB/s1600/IMG_6894.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://2.bp.blogspot.com/-8xgMiBGRHSA/V1pemTC9DHI/AAAAAAAABDM/3WNrAHhU6KcMkYydPQvFQtB-tp57mIpKwCLcB/s320/IMG_6894.JPG" width="320" /></a></div>
<div>
<br /></div>
In his 1931 essay “Left-wing Melancholy,” which presents a critique of the poetry of Erich Kästner, Walter Benjamin makes a proposition about the “task” (Aufgabe) of “political lyric”: <br /><blockquote class="tr_bq">
Was Wunder, da sie ihre Funktion darin haben, diesen Typ mit sich selbst zu versöhnen und jene Identität zwischen Berufs- und Privatleben herzustellen, die von diesen Leuten unter dem Namen »Menschlichkeit« verstanden wird, in Wahrheit aber das eigentlich Bestialische ist, weil alle echte Menschlichkeit – unter den heutigen Verhältnissen - nur aus der Spannung zwischen jenen beiden Polen hervorgehen kann. In ihr bilden sich Besinnung und Tat, sie zu schaffen ist die Aufgabe jeder politischen Lyrik, und erfüllt wird sie heute am strengsten in den Gedichten von Brecht.<br /><br />[It is surprising that their [the poems’] function is to reconcile this type of person to himself, and to establish that identity of professional and private life which these men understand by the name “humanity” but which is in truth the genuinely bestial, since authentic humanity—under present conditions—can arise only from a tension between these two poles. In this tension, consciousness and deed are formed. To create it is the task of the all political lyricism, and today this task is most strictly fulfilled by Bertolt Brecht’s poems.]</blockquote>
In this somewhat involuted formulation, Benjamin describes as the task of political lyric its capacity to create “authentic humanity.” In contrast to recourse to a humanity that is actually “bestial” because it is formed through the identity rather than the difference of professional and private life, “authentic humanity” would be formed through the maintenance of this tension. In Benjamin’s estimation, the easy reconciliation, or identity, of professional and private life involves the absorption of “life” into professional interests, constituting the “bestiality” of bourgeois consciousness. The formulation is marked by the indeterminacy of the object (sie) of this task:<i> sie zu schaffen</i>--“to create it,” humanity; “to accomplish it,” the tension between poles; “to form them,” consciousness and deed. This indeterminacy is not merely an index of overdetermination, of the multiply determinate processes invoked by the task, but points to a series of mediating processes that must be moved through in order to oppose humanity and bestiality in such a way that an idea of “genuine humanity” can also be preserved. <br /><br />This scene, a scene that retains “genuine humanity” as a possible outcome of not reconciling one to oneself, begins to articulate the terms of complicity upon which political consciousness—and political lyric following the Brechtian model—is based. Benjamin values political lyric because it prevents an individual from becoming reconciled with himself—and from this tension, “consciousness and deed” can be seen to arise. Such tension can be described in the terms of guilt that complicity proposes. <br /><br />Complicity, <i>Mitschuld</i>, or <i>Teilhaberschaft</i>, is defined as “association or participation in or as if in a wrongful act,” and it’s the “complice” part of this that is important, as it sets up a relation between the act, or crime, i.e. what has been done, and a nebulous idea about what counts as “association or participation” in this act. In this sense, then, the problem that underlies complicity—and onto which this work opens—is a problem of part/whole relations, and how one can be seen, or see oneself, as having a part in a wrongful act. It could be said that complicity raises a question about the phantasy or reality of the wrongful act—and this, perhaps, in a way not dissimilar to the stakes of reality/phantasy in Freud’s thinking about seduction. So if complicity begins with an assumption that there is a crime and therefore someone who can assume guilt for it, it ends more speculatively, with relations of guilt as Freud describes in <i>The Ego and the Id </i>(and/or <i>Civilization and Its Discontents</i>), where something like aggression, the need for punishment, pushes guilt into a fantasy formation. Indeed, it becomes easy to see how complicity is a structure of fantasy. I am interested in relations of “associations or participation” that register at the most minimal level, and thus that hold this question of in what way the notion of “taking part” can be construed. If the effective relation of guilt/aggression holds complicity in place, at once offering an explanation for it and suggesting how it contributes to the compelling hold that complicity seems to have in thinking about political agency. <div>
<br /></div>
<div>
In what way—in what place, in what time—is living itself a form of complicity; more: in what way—in what place, in what time—is it not?<div style="mso-element: footnote-list;">
<div id="ftn1" style="mso-element: footnote;">
</div>
</div>
</div>
Erin Trapphttp://www.blogger.com/profile/03472590835245430294noreply@blogger.com0tag:blogger.com,1999:blog-1236603983133336864.post-27860398715903431992016-06-02T10:22:00.001-07:002016-06-02T19:55:19.987-07:00asking too much<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-AwFkAENSOAA/V1BrFsQIrhI/AAAAAAAABCw/-q23ZI9mb2IKAG2Dy34Rh4TMkwoAJq2PACLcB/s1600/IMG_7043.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://4.bp.blogspot.com/-AwFkAENSOAA/V1BrFsQIrhI/AAAAAAAABCw/-q23ZI9mb2IKAG2Dy34Rh4TMkwoAJq2PACLcB/s320/IMG_7043.JPG" width="240" /></a></div>
<br />
the egregiousness of living on, the ontology of death. when laura cubarubbia died in 9th grade, having hung herself in a forested area near her parents' house in ohio, there was no way to understand what had happened. remembering her life, her living, the moment of her death, or the moment of hearing about her death--none of it goes anywhere in thinking about the absence of her in the world. what i'm thinking about now is the feeling that comes with this. there were a couple of the teachers we had been close to, and whom we had all met with the next morning, and they told us not to act like we could just go on, that it was not like any other day. in many ways, that was the only thing to hold onto, the sense that just because everything else did, you didn't have to continue on. already quiet, i didn't have anything to say. i remember that about being in the counselor's office at school, and i remember that about being together with other classmates--not being able to say a thing, and how everything that was said felt like a blow; the incommensurability, a kind of violence enacted by just being there. as if this was asking too much.<br />
<br />
i've felt that in the past week, returning to minnesota from california, from the death of someone who was, unlike laura, very distant to me, but part of a community that i feel very close to. there is only a limning of a connection, and yet, there is a loss and an absence that i continue to stumble over, to not get beyond.<br />
<br />
writing about the death of her adult son in <i>Time Lived, Without Its Flow</i>, Denise Riley tries to account for an experience of time--located specifically in the experience of a mother following the death of a child--that is the stopping of time. She begins: "I'll not be writing about death, but about an altered condition of life. The experience that not only preoccupied but occupied me was of living in suddenly arrested time: that acute sensation of being cut off from any temporal flow that can grip you after the sudden death of your child. And a child, it seems, of any age" (7). death as "an altered condition of life." if death is what happens to the dead, then this altered condition is a way of describing how this death--and the person who remains dead--continues to relate to those who (must) live on. a state of insufficiency that is also an asking too much. and then one wonders, what is life ever, if not this?<br />
<br />
i've also been thinking in the past months about the acuteness or sensitivity to feeling after a loss of life, after a death, about what opens up here that does not elsewhere and what remains in this space that others seem to want to evacuate too soon, as it's suffocating or a form of death itself. i came to this in thinking about how palpable the sense of loss is to me in indiana, where my young cousin died, now nine years ago in a car accident. it's still not possible to go there, as i did just over a month ago, and not feel that his death lives on. it's not possible to not feel this everywhere, but especially, perhaps, in forms of silence that reach out to you, still. thinking about the poignancy of this, i went to thinking about how, with the death of my dad's mom when i was a year, it would have been quite possible to have a very acute (although unrecognized) sense of one's life being itself the continuing on after/of another's death. my dad's 30+ year depression is in this case not insignificant, itself something that has altered, it seems, only in the past two or so years.<br />
<br />
when laura died, all i could see for years was the side of death. it was only possible to see everything about "life" i was learning--i remember it especially in the case high school history--as about death, or end, or stoppage, or disappearance, or non-existence. it was as if it was some kind of hallucination, like the only thing you could see was something that wasn't there for others.<br />
<br />
riley writes, "How, then, can I struggle to convey this sharply distinctive life inside a new temporal dimension--while in the same breath I want to save it from being treated as unapproachable, and exceptional? That, straightforwardly enough, might be a question of allowing the myriad specificities of loss their distinctive impacts on lived time" (52). i have questions about what this temporal dimension might be--how to even think of "stopped time," making quick recourse to the tropes of repetition and the kind of stoppage or movement toward stillness that is deliberated there. a temporal dimension that opens up from image loss, or absence of impression, for example, of no longer having something you can "hold in hand," maintain (<i>main-tenir</i>).<br />
<br />
all of the photos of california i took after the party were on a camera that i then lost/left behind, somewhere between the car rental place and the airport. probably nothing special, but i wondered, like rei's having lost her keys, if there was a desire for divestment, or a sense of insufficiency, or a hint that that was already asking too much, about continuing.Erin Trapphttp://www.blogger.com/profile/03472590835245430294noreply@blogger.com0tag:blogger.com,1999:blog-1236603983133336864.post-23668089894162158132016-05-17T05:30:00.001-07:002016-05-17T05:30:49.758-07:00preference of paths<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-2MVaYjP40hU/VzsOvJyeplI/AAAAAAAABCY/oDnkzmaEOmYBupayLwouLd-Yzf0CFykNACLcB/s1600/IMG_6800.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://2.bp.blogspot.com/-2MVaYjP40hU/VzsOvJyeplI/AAAAAAAABCY/oDnkzmaEOmYBupayLwouLd-Yzf0CFykNACLcB/s320/IMG_6800.JPG" width="320" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Supposing the other letters have not been about love, this
one makes its proclamation to the contrary. In a final essay, a student of mine
(CC) wrote about the perspective of the object in relation to Margery William’s
story, <i style="mso-bidi-font-style: normal;">The Velveteen Rabbit or How Toys
Become Real.</i> It’s easy to see from the very beginning, how inanimateness or
deadness is taken as preceding existence or presence in the world, and that
also places emphasis on the use of the term “object” in relation to people;
what seems to be a metaphor-concept for people is perhaps more than that
already. As CC describes, the rabbit emerges as an object through processes of “real”
abstraction, which demonstrate the ways in which its being acted upon is a
means of its becoming worn, its “fraying,” a term Derrida takes up from Freud
in “Freud and the Scene of Writing” (thanks CM for this reference). The
difficulty of grasping this process (not just a matter of understanding but of touching/taking
hold of/feeling) has a correlate, as CC notes, in Winnicott’s discussion of
object relating vs. object use: “Within the context of Winnicott’s
understanding of object use there seems to be an implication that object usage
is equitable to the love of an object; that the child must destroy the object
so that it can love the object, or that in loving the object the child destroys
the object. One cannot love an object that they cannot accept is an ‘entity in
its own right’ and not simply a ‘bundle of projections,’ for the love of the
self-made projected object is simply the love of oneself (Winnicott 118-120).”
It’s Williams’s story that adds the terms of love explicitly, and CC’s paper
identifies and lingers over these terms. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In thinking about this, I’m interested in how this process of
destructiveness “places the object outside,” which is the moment responsible
for the object becoming an “entity in its own right,” about which there is an
implicit priority. In other scenes, such a placing “outside” is a gesture that
is protective or defensive on one side and hallucinatory on the other, part of
the distorted perspective of mental abstraction, which registers in complicity’s
desire to see oneself there simply so that an “outside” can be experienced or
felt as non-illusory. I’m interested in how this constitutive relation detailed
in the Winnicottian scene relates to the otherwise protective /defensive gesture.
Perhaps, as Balint describes, this indifferentiation accounts for the primacy
of primary love, which disregards the object totally. But this prevalence
raises a question about the implicit value placed on the “entity in its own
right.” If this common work of putting something “outside” brings complicity
and love into relation, it’s interesting that love becomes significant because
it carries the possibility of feeling that complicity otherwise denies. Love
(perhaps here it’s useful to re-invoke preference as <i style="mso-bidi-font-style: normal;">Vor-liebe </i>(although below Derrida will cite Freud as using “<i style="mso-bidi-font-style: normal;">Bevorzugung</i>)) is able to shore up the
inadequacy of complicity not because it is reparative but because it reveals
itself (from the perspective of the object) as destructive. This is a possible
explanation of how the protective or defensive aspect of complicity also wants
to hide from or de-link its destructiveness so that one can continue to love
oneself (through others). Maybe that’s much the course of things but I feel
radically uninclined in this way. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
How to love that which is real about the object, when what
is real is the process only of fraying? Derrida writes, <o:p></o:p></div>
<blockquote class="tr_bq">
“An equality in resistances to the fraying or an equivalence
in the forces fraying would eliminate any <i style="mso-bidi-font-style: normal;">preference
</i>in choice of itinerary. Memory would be paralysed. It is the difference
between frayings which is the real origin of memory and thus of the psyche.
Only that difference frees a “preference of path” (<i style="mso-bidi-font-style: normal;">Wegbevorzugung</i>): ‘Memory is represented’ (<i style="mso-bidi-font-style: normal;">dargestellt</i>) by the differences in the frayings between <span style="font-family: Symbol; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-char-type: symbol; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin; mso-symbol-font-family: Symbol;"><span style="mso-char-type: symbol; mso-symbol-font-family: Symbol;">y</span></span>-neurones.’ We must then
not say that fraying without difference is insufficient for memory; it must be
stipulated that there is no pure fraying without difference.” </blockquote>
<div class="MsoNormal">
<o:p></o:p></div>
<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
<o:PixelsPerInch>96</o:PixelsPerInch>
</o:OfficeDocumentSettings>
</xml><![endif]-->
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-US</w:LidThemeOther>
<w:LidThemeAsian>JA</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
<w:UseFELayout/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="false"
DefSemiHidden="false" DefQFormat="false" DefPriority="99"
LatentStyleCount="380">
<w:LsdException Locked="false" Priority="0" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 9"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 9"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="header"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footer"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index heading"/>
<w:LsdException Locked="false" Priority="35" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of figures"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope return"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 9"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 6"/>
</w:LatentStyles>
</xml><![endif]-->
<!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin:0in;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:Calibri;
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;}
</style>
<![endif]-->
<!--StartFragment-->
<!--EndFragment--><br />
<div class="MsoNormal">
Memory’s being the “very essence” of the psyche accounts for
this imperative. This stipulation turns away, as does Williams’s story, from
the Lacanian real as hole or lack. If there is only fraying with difference, we
might also say that there is only loving as becoming real, but then how is it
that we must also account for so much brokenness, deception, misdirection,
errant and irreversible fraying in these processes, when “fraying with
difference” seems to displace the insufficiency of conceptualizing “fraying without
difference”? Thinking about what is being frayed in this differentiating moment
draws me back to CC’s earlier questions about the found/created distinction.
Perhaps this is a site of violence (in contrast to destructiveness) where there
is played out the demand of this question repeatedly. What if you were to see the
processes repeated, the movement of this repetition, even against the seductive
appearance of it being for the first time? Is this “entity in its own right”
something encountered along the <i style="mso-bidi-font-style: normal;">Wegbevorzugung</i>
or not, I wonder? And what is the difference between the “preference of path” (<i style="mso-bidi-font-style: normal;">Wegbevorzugung</i>) and “fraying” (<i style="mso-bidi-font-style: normal;">Bahnung</i>), the “breaking of a path (<i style="mso-bidi-font-style: normal;">Bahn</i>)”?<o:p></o:p></div>
Erin Trapphttp://www.blogger.com/profile/03472590835245430294noreply@blogger.com0tag:blogger.com,1999:blog-1236603983133336864.post-54581205738079760782016-05-09T13:38:00.002-07:002016-05-09T13:39:20.081-07:00wall of clouds<blockquote class="tr_bq">
<span style="font-family: "times" , "times new roman" , serif;">"No one is better than Proust at giving the sense that the true interest of a psyche, a landscape, or indeed a sentence may be actually inexhaustible."</span><br />
<div style="text-align: right;">
<span style="font-family: "times" , "times new roman" , serif;">--Eve Kosofsky Sedgwick, from "The Weather in Proust"</span></div>
<span style="font-family: "times" , "times new roman" , serif;">
</span></blockquote>
<span style="font-family: "times" , "times new roman" , serif;">Sedgwick's suggestion, which aligns psyche, landscape, and sentence, as units, or concept-units measured out by an inexhaustible </span>"true interest," speaks to the problem of state change, of the extent to which change in degree also spans a qualitative realm, and how a shifting of interest may or may not bring into question the "trueness"--here, the aspect, perhaps of being "steady, firm, and dependable in allegiance or devotion to a loved one, friend, leader, group, or cause : not false or perfidious" forms a slight tension in relation to "trueness" as "conformable to fact," or as "conformable to nature, reality, or an original : accurate in delineating or expressing the essential elements." What is there in this connection between "trueness" and a condition of "inexhaustible" interest? Where does the psyche/landscape/sentence stand in relation to this "true interest"?<span style="font-family: "times" , "times new roman" , serif;"> </span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">State change. Cloud formation. Later: an idea about the sublimation of snow, under conditions of low temperatures, high winds, sun, and low air pressure, snow becomes vapor, passing directly rather than moving through liquidity. A rain shadow wind, a wind whose moisture is expended windward and becomes dry leeward, expending nothing, except itself. The "Chinook Arch," a cloud formation that appears as a gathering storm, a wall of clouds, elevated; below the wall, sky is visible above the horizon. This is one of the few illusions the Minnesotan sky engages in, foreboding (or not) snow. This illusiveness is/appears inexhaustible. Inexhaustible, in the sense of only just barely existing. The sense of having an awareness of something being held up, being held, period, having a sense somewhere that this is false even as, through its continued persistence, it appears, in an aspect, true. </span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">Sublimation, as state change: the "path of energy of the sex drive or impulse towards nonsexual activities" (Laplanche, "To Situate Sublimation"). Yet, in Loewald, in Heimann, even in Laplanche, the suggestion is otherwise, about the kind of transformation effected. Laplanche: "although sublimation is most often regarded as a transformation of some sexual activity into nonsexual activity, as a 'destined impulse', we find several passages where what is in question is the genesis of <i>objects</i>, of myths or illusions" (9). At the edges of this transformation, then, the production of illusion. Commenting on Freud's reading of Leonardo, Laplanche notes how two subliminatory activities take place--pictorial creation and scientific investigation--so that the questions raised by these different activities allows him to "dwell on this notion, so crucial in psychoanalysis": "of an <i>impossibility of transformation, </i>i.e., the fact that in certain areas the passage from, the conversion of, some site into another, some psychic reality into another, is not possible in both directions" (10). If counting in the idea delineated in the windworks above, of an omitted step--for what reasons we might not know, or know yet--then reasons for the irreversibility of this passage or conversion can be seen as already constitutive of the state change, but in addition to this, can yield the state change as less of a transformation from one thing to another, in response to concern for the existential aspect of the before and after, and more as an elaboration of the integrity of the unit-concept--the psyche, landscape, or sentence. </span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">Through "To Situate Sublimation," Laplanche makes use of what he calls a "dihedron model" to illustrate the idea of reciprocity (labeled dihedron, between mastery (the drive to know) and sado-masochism; top) against the possibility of "another, non-"mutual" way of understanding the return from sadism toward sublimated activities" (unlabeled dihedron; bottom).</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-MurjK2C4hCE/VzDpENTyfxI/AAAAAAAABCA/ltzYIsY_FSE5QRi4UjiUFsf6nWhbGpFigCLcB/s1600/Screen%2BShot%2B2016-05-09%2Bat%2B2.44.22%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://4.bp.blogspot.com/-MurjK2C4hCE/VzDpENTyfxI/AAAAAAAABCA/ltzYIsY_FSE5QRi4UjiUFsf6nWhbGpFigCLcB/s1600/Screen%2BShot%2B2016-05-09%2Bat%2B2.44.22%2BPM.png" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-pk79G0hmhLw/VzDpIEps6WI/AAAAAAAABCE/6lDQVRHhCDcy_hubaRbKxZ-y7Ope66HOgCLcB/s1600/Screen%2BShot%2B2016-05-09%2Bat%2B2.44.30%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://4.bp.blogspot.com/-pk79G0hmhLw/VzDpIEps6WI/AAAAAAAABCE/6lDQVRHhCDcy_hubaRbKxZ-y7Ope66HOgCLcB/s1600/Screen%2BShot%2B2016-05-09%2Bat%2B2.44.30%2BPM.png" /></a></div>
<span style="font-family: "times" , "times new roman" , serif;">He writes, "For example, we an imagine something that would resemble a refolding of the sexual level back into the level of self-preservation" (15). The level of self-preservation, drawn by Freud as that which takes place in distinction to the sexual (and thus here, on the side of mastery or the drive to know) thus can be seen to hold the same place as that of the sublimated activities, if such reciprocity were to be maintained. In Laplanche's reading, however, the drive to know already "'works with the energy of <i>Schaulust'</i>, the drive or desire to see" (15). He writes, </span><br />
<blockquote class="tr_bq">
<span style="font-family: "times" , "times new roman" , serif;">The activity of seeing is thus considered to consist of two sections, one nonsexual and self-preservative [the other, "the sexual drive to see" forms the other aspect of this "propping movement"]: after all, sight enables each creature endowed with it to orient himself in the world, quite apart from any question of sexual pleasure, and from this point of view Freud links it directly to touch: the act of seeing is an extension of the act of touching. This is linked to the whole Freudian theory of perception, which views perception as consisting of a sending out of feelers, of sensitive tentacles, at rhythmic intervals. Imagine the cilia of a protozoan or the horns of a snail endowed with a kind of in and out movement...indeed, the snail's horns do bear sight organs. That is the image Freud has in mind when he connects sight to touch and compares it to a gathering in of samples from the outside world. The non-sexual activity of seeing, in the propping process, becomes a drive to see as soon as it becomes <i>representative</i>, that is, the interiorization of a scene. (15)</span></blockquote>
<span style="font-family: "times" , "times new roman" , serif;">Working across the arrows, then, is this register of a passing through seeing, something which we can glimpse as dislocated from either side. In what sense is this "extension" of touching to seeing an illusive "genesis of objects" even when it appears merely as state change or transformation? </span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">In the above, it's hard not to read the "one nonsexual and self-preservative" as "one nonsexual and one self-preservative," since this highlights the way in which the return appears and is not the same. Laplanche, further: </span><br />
<blockquote class="tr_bq">
<span style="font-family: "times" , "times new roman" , serif;">Here we have what I was trying to indicate with regard to the dihedron schema, namely, that the plane of self-preservation <i>is so defective that in certain cases it can be almost virtual </i>and cannot be made active other than at the moment when the right-hand plane (sexuality), as it is called, arouses it. Thus we have a propping reinforced or buttressed by something it has itself brought into being. In other words, the notion of propping still holds surprises. (16; italics mine)</span></blockquote>
<span style="font-family: "times" , "times new roman" , serif;">I wonder, in relation to some of the point of outset, whether it is the idea of propping itself, or this notion of "still holds surprises" that could be imagined as a condition of inexhaustibility. Is it, instead, not the "true" interest that is inexhaustible, but the defective one? Or, in what aspect must the true appear so as to appear "defective"? There is a later link made between sublimation and repression, which Laplanche describes as the type of propping associated with sublimation, which is, as fitting for sublimation, the "most rarest and most perfect." Here, "the libido stands aloof from representation, it is sublimated from the beginning into the desire to know and reinforces or buttresses the already powerful drive to investigate" (21). Being sublimated "from the beginning," the libido does not stand outside, as an indication of this non-mutual investment; Laplanche notes, "sublimation is not a repression and yet there is still a turning back" (21). But in/of what does the turning back consist? To which: a defective site of an activity of perception on a plane <i>almost virtual, </i>an inexhaustibility that continues to yield a "turning back," a rain shadow wind, a wall of clouds. </span>Erin Trapphttp://www.blogger.com/profile/03472590835245430294noreply@blogger.com0tag:blogger.com,1999:blog-1236603983133336864.post-65914845030300869142016-05-07T17:47:00.002-07:002016-05-07T17:56:57.438-07:00bit by bit<div class="tr_bq">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-rOfeYGVmZas/Vy6Md4A_53I/AAAAAAAABBs/5QjvXG6Dua01s7_ya_eU9uQabYBNpDgjQCLcB/s1600/IMG_6700.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-rOfeYGVmZas/Vy6Md4A_53I/AAAAAAAABBs/5QjvXG6Dua01s7_ya_eU9uQabYBNpDgjQCLcB/s320/IMG_6700.jpg" width="240" /></a></div>
<span style="font-family: "georgia";"><br /></span>
<span style="font-family: "georgia";">The point being: to forget the object, or the terms of this object, and to pick it up again, after it has acquired a strange familiarity, which is the externality proper to itself. </span></div>
<div class="tr_bq">
<span style="font-family: "georgia";"><br /></span></div>
<div class="tr_bq">
<span style="font-family: "georgia";">Does this psychoanalytical process of abstraction, following the determinations of the Real in object relations, suggest an alternate ontological figure for capitalism, as it's interesting to note that Toscano's reading of "real abstraction" takes the Lacanian real as <i>real</i>: "This ontology of real abstraction--which is inextricably political, historical, and economic--is, in Finelli's view, a <i>dual </i>ontology to the extent that it both affirms concrete reality as a 'specific articulation of differences' <i>and </i>reveals the void at the heart of Capital, as it were, as the fact of the Real of its abstraction--to speak in a Lacanian vein--is its absence of determinations, the fact that it has no historical or cultural <i>content</i> per se" (Toscano, "The Open Secret of Real Abstraction" 276). My reading of object relations permits thinking about a "real" that is not void or absence, though it too appears in this form. For if there it is the object's perspective that is the real--and all of the terms of inaccessibility that go along with this--then abstraction's connection to thought might also not be as Toscano describes in the Marxian schema, where "<i>abstraction precedes thought</i>," and as he qualifies, "More precisely, it is the social activity of abstraction, in its form as commodity exchange, that plays the pivotal role in the analysis of real abstraction" (281). </span></div>
<div class="tr_bq">
<span style="font-family: "georgia";"><br /></span></div>
<div class="tr_bq">
<span style="font-family: "georgia";">Psychoanalysis loses grip of the way that abstraction is a social activity; it seems to immediately dispense with the idea of anything social, about activity. But if this all sits inside of the inaccessibility of the perspective of the object as a form of knowledge, if this is something like psychoanalysis's grounding of "knowledge" in the parameters of the irrational, it might mean something else for abstraction to precede irrational thought, for even if this is implied in the Marxian analysis of real abstraction, lingering in the phantasy world of real abstraction would imply a form of "knowing" somewhere between Winnicott's notions of relating and using. Impossible to sustain this perspective, which includes the "false" separation of psychic interiority from the "world," it is perhaps a way of thinking about the Real not as void, but as a space in which the Real is acquired, and acquired, as it were, bit by bit. </span></div>
<span style="font-family: "georgia";"><br /></span>
<span style="font-family: "georgia";">Along these lines, the lines about forgetting the object, this is the very first post I made to this blog, back on Thursday May 3, 2007: </span><br />
<blockquote>
<span style="font-family: "georgia";">where does a strange silence begin? some have suggested that it is in the forest, the sound that a falling tree makes when no one is around to hear. at times, for brecht, it's the talked-about tree that is the strange silence. <em>A Strange Silence</em> is the title of the project, my dissertation, the thing that everything here is a footnote to, especially the poems, since they are the leaves, what is left over.</span><span style="font-family: "georgia";"><br /></span><span style="font-family: "georgia";">from 4/4/07//:</span><br />
<blockquote class="tr_bq">
<br />
<span style="font-family: "courier new";">and the green fall to unsafe water:</span><span style="font-family: "courier new";">welcome to the 21st century </span><span style="font-family: "courier new";">let not many other things be spared--save your </span><span style="font-family: "courier new";">happiness; this was Brecht's nightmare.</span><span style="font-family: "courier new";">Humanity, the human dog, wants to let go </span><span style="font-family: "courier new";">to forget, dismiss, judge, pee wherever it wants.</span><span style="font-family: "courier new";">a condition remiss, or a saying unheard.</span><span style="font-family: "courier new";">in the woods, we are all quiet; it is solace.</span><span style="font-family: "courier new";">and save to other things, too, save to find yourself </span><span style="font-family: "courier new";">alone. the distance is unmarked. cross-hatches </span><span style="font-family: "courier new";">are what i saw in the desert and didn't draw.</span><span style="font-family: "courier new";">the things nightmares are made of </span><span style="font-family: "courier new";">leave you with the distance </span><span style="font-family: "courier new";">of their unmarkings. </span><span style="font-family: "courier new";">becky's dreams are about writing (ask me </span><span style="font-family: "courier new";">how i felt when my mom died. it's a feeling </span><span style="font-family: "courier new";">i can't think of). i watch her grow.</span><span style="font-family: "courier new";">communism is short-lived. the brown notebooks </span><span style="font-family: "courier new";">are filled. you are always thinking of brecht. </span><span style="font-family: "courier new";">his return is unsettling, a time </span><span style="font-family: "courier new";">when autonomy in writing is needed.</span></blockquote>
</blockquote>
<blockquote>
<blockquote class="tr_bq">
<img alt="" border="0" height="166" id="BLOGGER_PHOTO_ID_5067557101406391314" src="https://1.bp.blogspot.com/_O3ruOmKl1kQ/RlOUVaxWDBI/AAAAAAAAACM/WestPesw6dI/s200/silenceOne.jpg" style="cursor: pointer; display: block; height: 158px; margin: 0px auto 10px; text-align: center; width: 212px;" width="220" /></blockquote>
</blockquote>
<br />
<i><span style="font-size: x-small;">picture: smoke-covered Minneapolis, with winds shifting downward from the wildfire in Alberta. </span></i><br />
<span style="font-size: x-small;"><i>Question posed by RT: "To what extent is it missing from psychoanalysis or occluded in the general category of mourning--the sociology or ethnography of objects and the real abstractions that make them?" Question abstracted and taken up in both "Psychoanalysis and Lit II" and "Poetry as Cultural Critique," classes which have now come to an end. I don't think I've ever said this seriously before, either, least of all to a class, but "it's been real."</i></span><br />
<div>
<div align="left">
<span style="font-family: "courier new";"></span></div>
<div align="left">
</div>
<div align="left">
</div>
<div align="left">
<span style="font-family: "courier new";"></span></div>
</div>
Erin Trapphttp://www.blogger.com/profile/03472590835245430294noreply@blogger.com0tag:blogger.com,1999:blog-1236603983133336864.post-31706421011512454882016-05-06T21:56:00.000-07:002016-05-06T21:56:11.781-07:00counting in silence<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-qnsFYczEh6s/Vy10AlKe3UI/AAAAAAAABBE/OjUqUGEnNQsdR2CjRHWnxUVhpH5SswPlgCLcB/s1600/IMG_4151.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://3.bp.blogspot.com/-qnsFYczEh6s/Vy10AlKe3UI/AAAAAAAABBE/OjUqUGEnNQsdR2CjRHWnxUVhpH5SswPlgCLcB/s320/IMG_4151.JPG" width="320" /></a></div>
<br />
What does it mean to draw attention to Brecht's poetry--to poetry in general--without redeploying the terms of genre, without, for example, deriving from the contrast of his poetic work and his dramatic, a distinction that matters, as genre distinction? At the end of this semester's poetry class, it seems three conclusions were reached: 1) as David Lloyd suggests in "A White Song," that poetry is a condition of "endless readability"; 2) that poetry is something that is an experience of feeling language; and 3) that poetry represents the perspective of the object. Potentially, each of these involves a certain "unrealizability topos," a term Christopher Nealon uses to describe the non-closure of language in the world it discloses. Is it simply that "poetry" names the space for talking about these things--always these things--at the expense of other things?<br />
<div>
<br /></div>
<div>
In reading Brecht, I am drawn to the spaces of non-closure, those spaces that also mark or play at something like the entanglement of illusive appearance and reality in Marx, their nearly impossible extricability from one another. Where is the desire for this extrication? (would be one place to start). Seen in another way, the scene of this extrication takes place only opposite to another no-less real scene--that of the absence, lack, or hole of the Real. Thus Lacanian psychoanaysis and Hegelian dialectics allow for the fantasy of locating oneself on one side or another and develop from the resultant dynamism a sense of the governance by convention of these spaces, as genre. Staying with the impossibility of this extrication is not the equivalent of saying there is no outside; it is a matter of saying there is nothing, outside--of counting in silence, of literally "counting in" silence, as a positive, substantive form of omission. Brecht's lines from "To Those Born After":</div>
<blockquote class="tr_bq">
Ah, what kind of times are these, where<br />
a conversation about trees is almost a crime<br />
because it includes a silence about so much injustice! </blockquote>
<blockquote class="tr_bq">
Was sind das für Zeiten, wo<br />
Ein Gespräch über Bäume fast ein Verbrechen ist<br />
Weil es ein Schweigen über so viele Untaten einschliesst!</blockquote>
<div>
On first reading, these lines register an experience of civilian guilt, a feeling or acknowledgment of one's complicity in the injustice of the world. This complicity, while both implicating the individual and registering the injustice in the world, also holds a place for oneself outside of that imagined world. If the trees could not be imagined as standing outside of the injustice of the world--fantasized as not included--then the terms being spoken about would not even be of human conversation about trees, but about the trees speaking themselves. Complicity then registers this kind of fantastic activity of hallucinating oneself into a scene so that one actually comes to stand outside of it. This is the entire mode in which Brecht's poetry--and the problem of civilian guilt that I also come to describe through the illusiveness and indeterminacy of the poetic speaker--toils. The inadequacy or failing of this mode is a way of thinking about how "silence," a term that is meant to signal the unrealizability of a gest(ure) that is not properly social or symbolic, is not just about what is left out of conversation, the merely "mental abstraction" of reality that retains the rights to perspective, but also consists of something, or has substance as such.<br />
<br />
In what sense would this kind of silence be (almost) criminal? The crime here would not be one's guilt or complicity in injustice, as is implied in the first reading; to count in silence, to speak poetically (i.e. in a conversation about trees) would be a crime on the basis of the constraints on speaking in "times, where" saying nothing is already saying too much. This kind of silence would not be inadequacy; it would already be too much. Counting oneself in in order to count oneself out--the defensive move that Brecht's work manifests--defends against the world, and in doing so, speaks to the limitation of the mode of complicity as moving toward the kind of political, socialized realization that Brecht imagines possible.<br />
<br />
<i><span style="font-size: x-small;">picture: the North Shore (from my first trip there). Poetry questions, thanks to the members of "Poetry as Cultural Critique." All other things are very old and the effort is to see what remains to maintain.</span></i></div>
Erin Trapphttp://www.blogger.com/profile/03472590835245430294noreply@blogger.com0tag:blogger.com,1999:blog-1236603983133336864.post-47852300147427516932016-04-25T21:42:00.005-07:002016-04-26T10:52:27.565-07:00Further thoughts on the non-space of the university<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-ol0V3PQFypA/Vx7w8VoqekI/AAAAAAAABAs/1mW6TLok4K4TUBhGIVgLyP_tVlDxtQt0QCLcB/s1600/Screen%2BShot%2B2016-04-25%2Bat%2B11.37.20%2BPM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="138" src="https://4.bp.blogspot.com/-ol0V3PQFypA/Vx7w8VoqekI/AAAAAAAABAs/1mW6TLok4K4TUBhGIVgLyP_tVlDxtQt0QCLcB/s400/Screen%2BShot%2B2016-04-25%2Bat%2B11.37.20%2BPM.png" width="400" /></a></div>
<br />
<br />
At an institutional event today—a forum on unionization sponsored by the faculty senate and the MN Daily—I was reminded of what institutional space does. It frames a debate around the terms of those who represent power but appear as the market, as if those terms were somehow simply “there” to be represented. This is common enough and easily perceptible as the structure and effect of capitalism, but within an institution, such as the public university, where this phenomenon also sits as subject to a critique of power/knowledge, to behold it is yet another thing. This is a comment about incivility, on the one hand—it’s a comment about the space not being able to hold, within the terms it had established, a challenge to this frame itself. In this regard, it’s possible to see the apparent contingency of the event being called to an end before I got a chance to ask my “question” as far less contingent than that. I was about to ask a fairly “civil” “question” (the discussion, it had been stressed, should be considerate and should be civil, as should the Bureau of Mediation Services hearings, which had taken place in the preceding week), but also to call into question the terms that were being put forth, including the terms of civility (from which I also feel myself excluded, as someone who has been identified as too angry or as too aggressive, in tone, which I also feel amounts to my exclusion from the BMS hearings). The fact is, incivility is not an appealing position for unionization, either. The question, my question—How is it that a union could address and be critical of the changes in the public university in the past ten to fifteen years?—is always to be balanced against needing to appeal to individuals’ self-interest, in other words, strategically needing to validate the concerns expressed by both Aaron Sojourner and Joel Waldfogel about the compression of salaries, for example, when Waldfogel’s salary is over three hundred thousand dollars. So this is the point at which my civil question turns uncivil, and I hope that in writing about it, I can also attempt to do some further work on understanding the “work” of contingency in the university.<br />
<br />
I have come to use the phrase “contingent faculty” to identify those who work in a position “without guarantee” at the university. This can include non-tenure-track faculty who are already included in the faculty instructional unit but don’t have tenure positions (term assistant professor, contract assistant professor). Here, contingency is seen as a politicized term, which many of these people may not identify with, due to the closeness of their standing to the tenure line and their disinclination to instead identify with those perceived as being still below, or of a different type of employee altogether. This group below, at the University of Minnesota, is understood as part of the P&A category (Professional & Administrative) and what I am writing to address is the unchallenged claim that held at tonight’s event, which was that these two groups of employees—tenure-line faculty and P&A instructional (“professional”) faculty—have separate interests and are distinct groups. <br />
<br />
Waldfogel put forth this claim by initiating a distinction between tenure-line faculty and contingent faculty on the basis of research work, that contingent faculty teach “to eat” (and he has sympathy for anyone in this position and hopes they can find a way to get better terms) but that this is fundamentally different from what faculty do. He cited his own “research” study on those who supported the University of Oregon unionization and found that those who had a greater interest in research were less likely to be supportive of unionization. It’s easy to see where the argument goes, but I was struck by this formulation: “More productive, less supportive.” He went on to cite how just like other “amenities” that can be used (like the sports facility and new recreation center) to attract graduate students, amenities are need to bring in research faculty and unionization would be less appealing to those folks. <br />
<br />
In my question turned uncivil, I would say, the only difference between my productivity and yours is that yours is paid for and supported by the institution, including this pathetic “research” study put forward to us tonight, which confuses effect for cause and is blind to the conditions of production. <br />
<br />
I do research, I publish peer-reviewed articles, and I have a press interested in reviewing a book manuscript for which I will receive no “course release” to work on, no sabbatical to take, and no institutional grants to apply for. The people who are invested in maintaining this distinction, even at a very minimal level, are those who directly benefit from not having to share the responsibility of doing the work done by these employees. These are tenure-line faculty who can afford to “not get” the difference between the way that contingent labor is valued and the way their own is (acknowledging that there are still many who do get it). Is there much of a difference between the elitism espoused by Joel Waldfogel and the structure of this institutional space (the forum event itself) in which such a difference could go unchallenged? I wonder, tonight, how many more of such things I can sit through—the annihilating feeling of no one objecting to these terms (except, thank you, Michael Goldman). Waldfogel called the “method” of his research study “hogwash,” but its terms still stood. His measure of productivity was challenged but its ontological presuppositions were not and do not tend to get challenged even by faculty members in my own department (all of whom claim to be concerned about contingent faculty): the fact that within the university, the adjunct occupies the position, according to the definition in Merriam-Webster of being “added or accompanying in a subordinate capacity.” This is further qualified, in Merriam Webster, as “attached to a faculty or staff as a temporary or part-time member.” It is in this light that the stakes of Waldfogel’s phrase, “more productive, less supportive” emerge. In the humanities, productivity’s more familiar name is publication. The “more supportive, less productive” side, in contrast, is not, in actuality, another side, it is an included aspect of this productive labor, in all of the ways that are described in Marx and taken up by Silvia Federici, Selma James, and other Marxist feminists. Of course, this makes apparent the investment in the invisibility of this work. The way in which the reality-effect of the two sets of separate interests flickers and blinds.<br />
<br />
I would go on to say: see here, your productivity is the result and real abstraction of so much other productivity. And this is probably obvious to a number of people in the room. It’s not the “market,” it’s the politics of the university. What’s less obvious, though, is what all the silence is about. Why didn’t I just say—I was right in front of the microphone when it was called done—oh, I’m sorry, I’ve got this question and I really just have to ask it? We’ve all been here, and we’ve been waiting, and we’ve heard enough from you. Silence, complicity (the past participle of adjungere, “to link up, join, add, attach”), “civil” guilt. This is also an a/effect of the terms in which it was all framed. The adjunct is included; she is invited to speak, so long as it’s in these terms; she can stand in line for the microphone, to ask her question, but her turn will never come. She will never get to decide about the terms of productivity, even though, ontologically, she is committed to that productivity. I think when we say that tenure-line faculty “don’t get it,” this is what I we mean, even though it’s often offered as an excuse or justification for this lack of understanding. <br />
<br />
I can’t help but think of this “not getting it” in those terms that Brecht uses in explaining his dissatisfaction with how Mother Courage (in his 1938 play <i>Mother Courage and Her Children</i>) was received by audiences. He was disappointed that by and large, audiences felt empathy for Mother Courage (Anna Fierling), who killed, or let die, her three children, in her blind drive to profit off of the war. Brecht was disappointed that audiences empathized with her conflict rather than that they able to perceive that she “didn’t get it.” I often think about that difference when it is described (empathetically) that faculty “don’t get it.” Can Mother Courage be seen differently for not getting it, for not perceiving her life is contingent upon the death of her children? As Rei Terada describes in “Repletion: Masao Adachi, Landscape Film and Real Abstraction,” this distinction is also apparent in thinking about real abstraction, that “understanding real abstraction by definition departs from the sensory experience of real abstraction rather than being constituted in it.” Brecht’s dissatisfaction with the reception of Mother Courage can be seen in this way; it’s no wonder that he gives up on experience. He would have to in order to want to insist upon Mother Courage’s not-getting-it. If, in Terada’s model, understanding real abstraction can be seen as constituted by the sensory experience of real abstraction, not-getting-it is already inside all of that. Not-getting-it isn’t a transcendental position that fails to think outside itself; not-getting-it is the condition in which real abstraction is experienced, sensorily, by contingent faculty. It is a different kind of failure. <br />
<br />
Although “contingency” is a term that is located, philosophically, opposite to necessity, perhaps as Merriam-Webster again, “happening by chance : affected by unforeseen causes or conditions : not patently necessary : unpredictable in occurrence or outcome,” contingency bears traces of the same kind of dependence that comes up with the term “adjunct”: “dependent on, associated with, or conditioned by something else.” Etymologically, this goes further, through an association with “touch,” as the present participle of contingere “to touch on all sides.” Contingency is a position whose associated sensorial experience is one of being touched on all sides by not-getting-it, so that one’s merely being the effect of this is equivalent to one’s annihilation, or feeling of being destroyed, even when “included.” It’s not just about the visibility of the work done by these faculty, although I often come back round to that; it’s about the way in which these positions form the basis of a critique of the institution of the university that does not in turn continue to valorize the uncritical linking of power/knowledge.<br />
<br />
Last week in the BMS hearings, a senior lecturer in the Carlson School of Management testified, via his experience on the faculty senate, to the percentage of courses taught, across the university at each level (from 1000-level courses to 8000-level courses), by non-tenure-track faculty. Beginning with 1000-level classes, this number was over 50%; even at 8000-level courses, the number was still around 39%. The university maintains a quoted standard that no more than “25%” of courses should be taught by non-tenure-line faculty. These are courses that should be taught by tenure-line faculty; that they are not illuminates the extent to which the university is underfunding departments with enrollments that exceed their faculty teaching capacity. Where does this divestment in teaching come from? It does not come from “the market,” even if the market were some kind of veritable Mississippi, dividing the campus in two; it comes from the political investment in the financialization of the university, its professionalization, and its optimalization of profit (plus everything else and all that). No one can get out of it, but can you feel “dead” to it even as you are touched on all sides? That space that is most appropriated, most exploited, most alienated? How do you not-valorize that space?Erin Trapphttp://www.blogger.com/profile/03472590835245430294noreply@blogger.com0tag:blogger.com,1999:blog-1236603983133336864.post-21467365266911053032016-04-22T23:19:00.001-07:002016-04-23T07:13:17.127-07:00there, there<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-RgUY44JfPJI/VxsSQXZiKxI/AAAAAAAABAY/eyvDnuYJXIUcRvFXHwylsCd7IRs9MLjSgCLcB/s1600/IMG_6532.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://1.bp.blogspot.com/-RgUY44JfPJI/VxsSQXZiKxI/AAAAAAAABAY/eyvDnuYJXIUcRvFXHwylsCd7IRs9MLjSgCLcB/s320/IMG_6532.JPG" width="320" /></a></div>
<br />
I can still recall the feeling of certain words--words, perhaps, that I read a long time ago. Maybe this is the minimal index of there being a <i>still there</i>, there. It's kind of like thinking back to certain things I was doing or did when pregnant, and being able to viscerally glimpse the clumsy, over-affected way I felt, tinged with a nausea that still remains poignant, when I read or thought about certain things--about Edith Jacobson's book <i>Depression</i>, for example, or the poems in Grünbein's <i>Grauzone Morgens</i>. Words that I remember from other times retain a place on this spectrum--about the way that they felt going down. I can still recall the feeling of taking them in.<br />
<br />
In <i>Don't Let Me Be Lonely </i>(2004), Claudia Rankine explores a tension there, between different ways of feeling, between expressing emotion and feeling loss "to the point of being bent over each time" (57). I'm not endorsing this kind of distinction and its perhaps implicit valorization of the rough form of the latter, as the embodied aspect of an experience, but I am interested in the persistence of associative "feeling." How you are even supposed to "think" about this might be the subject of <i>Feeling in Theory</i>, which I have been coming back round to, largely out of the desire to give it as a gift to a couple of my undergrads, and then realizing that I have forgotten its arguments, though perhaps "forgetting" means internalizing to the point of nonrecognition. "Forgettable living" (Rei Terada, "The Life Processes and Forgettable Living").<br />
<br />
On the last double page spread of Rankine's <i>DLMBL</i>, there is an image of a billboard with the words "HERE." Above this, in the text, there is a fair amount of writing that explicates "here" as both a statement of presence (of being in a place) and an assertion of a certain kind of exchange, like a "handshake," Rankine says, referring to a comment of Paul Celan's about the poem being like a handshake, an offering. One of my students observed that this billboard was the same as the image featured on the cover, in which case, these were photoshopped words on the billboard. This provided us with a sort of formal circularity, between the cover and the last pages (at least the last of the pages of poetry, before the many pages of notes). And, as I spun my book around performatively, trying to feel like we could make some kind of cohesive (or complete?) statement about the book in the last 5 minutes we had, I said, what is it that this kind of circularity allows us to see? A student responded, it's a sentence: Don't let me be lonely here." We were all captured, I think, by the simple brilliance of this statement, about the completion of syntax; there was a looking at that, for a while. It was also about the way that completing the sentence undermined the feeling that we had initially had, that the book is announcing its arrival at a particular place, a particular time, that the book gets somewhere, that the speaker <i>gets </i>somewhere. I then asked, what does it mean, then, if it's a sentence? Another student spoke up, "Don't let me be lonely <i>here.</i> But you could let me be lonely <i>there</i>." Another moment, differently felt, of yes. But what is this distinction? What seems to speak in it?<br />
<br />
Throughout the book, loneliness seems linked to a certain being towards death. I don't myself know if Rankine is inviting us into this irresolvable space or critiquing the lack of resolve for it not to be. On some level, what's the difference? Where would it be okay to be lonely? Maybe on the "other side," thinking with Fatih Akin's <i>Auf der anderen Seite </i>[translated: <i>The Edge of Heaven</i>, but literally, in my translation: <i>On the other side</i>]. But then, it's the transcendence that cannot be supposed--it's like, waking in the middle of the night, inches away from wall, and thinking of death, thinking of death from within your dreams, waking from thinking of death, inches from the wall. <i>Let me be lonely there. </i><br />
<i><br /></i>
People talk about the "flow" of the market. Today, in the Gender, Culture, Capitalism Reading Group, talk was about the market as a river. Fuck the river, I thought. What a fantasy of life, what ontology, presupposing life, as if this is all we "know." It's not a "fiction" wherein fiction is a river. On the other side, there's nothing like this. Imagine the river: don't let me be lonely here. I think Rankine is still on this side. The parts of her text that seem to suggest that living is dying don't seem to go <i>there</i>; they don't seem to say <i>let me be lonely there</i>. They seem to stay on this side of here. Consider that there is no river; there is no flow, except as perceptible entities. The wall is also a perceptible entity, and so is the billboard. So there.<br />
<br />
<span style="font-size: x-small;"><i>picture: Wisconsin, sunset</i></span>Erin Trapphttp://www.blogger.com/profile/03472590835245430294noreply@blogger.com0tag:blogger.com,1999:blog-1236603983133336864.post-79956556672221174722016-04-08T20:32:00.002-07:002016-04-08T20:34:07.901-07:00"Maybe, I prefer a bit of muddle to the use of a gadget." <div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-Iw6Z6zzuatc/Vwh3gmmbmRI/AAAAAAAABAE/hz9Ywhzeua8F2lVE5ZrZRQCzIITvplZuw/s1600/Screen%2BShot%2B2016-04-08%2Bat%2B10.28.56%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="255" src="https://3.bp.blogspot.com/-Iw6Z6zzuatc/Vwh3gmmbmRI/AAAAAAAABAE/hz9Ywhzeua8F2lVE5ZrZRQCzIITvplZuw/s400/Screen%2BShot%2B2016-04-08%2Bat%2B10.28.56%2BPM.png" width="400" /></a></div>
<br />
This title quote comes from Paula Heimann's essay, "About Children and Children-No-Longer," about which I have been thinking and writing. After making the above statement, she rescinds it, writing, "I must contradict my last sentence. I do not like muddled thinking at all, although I am guilty of it only too often as just now. I meant to express my strong dislike against introducing any gadget into the psychoanalytic relationship. I probably should not be able to handle it correctly" (339). The quick distance Heimann takes from the "muddle"--it's only there to illustrate a kind of option that might represent a state of not having the "gadget" (the "gadget" in question, a tape recorder)--is something I'd like to think about. But the impulse to ask a question about status of the muddle in relation to the gadget also opens immediately into the problem that such a question is, as Winnicott writes, "not to be formulated" (<i>Playing and Reality </i>17)* and yet: does the renunciation of the muddle take place because it is already too much like a "gadget"--too much of a thing that can be applied to thinking--or because it operates as a kind of fetish, and so threatens to expose a space that might indicate the absence of method in psychoanalysis?<br />
<br />
What is interesting to me about Paula Heimann's term "children-no-longer" is that it clearly locates the adult in relation to a state now passed; in contrast, "grown-ups" suggests having one's sites on the movement forward. Philli, the other day, talking about her feeling that it would be "impossible" to grow up, for example, that it "would take so long." The "grown-up" who knows the other side of this feels the pressure to "grow up" in his/her various ways. The pressure to do so is in every place; even when it is not clearly ideological, as in professionalization, or in determining one's identity, it is there, perhaps simply, as time.<br />
<br />
The child-no-longer has no better method than anyone else for getting through the day and the way it throws up, at every juncture, something that needs to be gotten through. But since these forms of mediation appear socially, they seem to require a facility with method--with something, I think, that we think of as providing a procedure or process for getting through. It's, I suppose, obvious why "method" is posited here. Or why the question of method is so firmly lodged in the junctures. Conversations in the recent panel I took part in at the ACLA, "From Extraction to Exhaustion" repeated these questions--something like, what if you move backward into rather than forward from/with method? Maybe it's not spatial (backwards) or regressive but one thing to contend with, on the one hand, is the feeling that it is; on the other hand, it registers in the feeling of not being included in the any of the movements are are pushing forward, coming into being. There, the psychotic aspect of the "child-no-longer" comes into play, in the feeling of having hallucinated oneself into the story about how something has come to be.<br />
<br />
Today in the bi-weekly installment of a reading group that I've been taking part in on financialization, led by Miranda Joseph, we were joined by Leigh Claire La Berge, who has written about literary aspects of abstraction and representation in relation to finance, and I felt like this conversation somehow took place for me in the above framework, roughly sketched out. Here, the conversation was explicitly about method and interdisciplinarity, proposing the mediation of various dualisms, such as form/content, or abstract/concrete, or representation/reality, as the work to be done (does the child play and not work simply because it is not required to muster the same kind of energy just to keep things going, to maintain the capacity to set things in motion at every instance?).<br />
<br />
So I think the question raised for me here--after a day like today, a day that felt like a continuous hallucination of myself into forms of being that no longer count me in, or that have counted me dead, in various ways, which is a very intensely narcissistic thing as well--is why I'm always lingering in these spaces, from which it feels like others have passed on through, or if they haven't, they are aiming to? Or it's this idea of myself as doing so that I can't let go of. But if the insistence on that is not pathological but rather a part of one's being a child-no-longer, does it mean it's a state that you can continue to hold, even though it's dead to others--dead to those who have moved on to other terms, to fields and disciplines where the stakes require justification on other terms? Why, or in what situation, do we see the dead things behind as "everything"--the everything we want to bring along with us--and not the "nothing"? This was a question that arose for me in Michelle Cho's lovely talk, "Genre Worlds," and in the discussion that followed. Here, I lose a sense of what I'm talking about because I'm talking about so many levels, and for much of the time of the talk all I could be aware of was the way that the room like a space of total loss, giving rise to a very acute feeling of suffocation, a form of the feeling of not making it through. That's what it was, anyway.<br />
<br />
Winnicott, who discusses the importance it being a "matter of agreement" not to ask and thus decide whether something was found or created, and yet that's always the demand that method makes, to determine this in some way. I wonder if the feeling that going "back" and trying to pick something up is painful comes not so much from one's encounter with reality (i.e. that whatever it is that is being picked up is not "there") but from being compelled to make this choice between what is found and what is created (which is just as unfathomable as the "impossibility" of growing up).<br />
<br />
In object relations, this would be the pain associated not with the destruction of the object, but with pain affecting the ego, the "narcissistic hurts" suffered in time. Looking back on this formulation in Heimann's essay, "About Children and Children-No-Longer," it's notable that the description of "narcissistic hurts" comes up when she is talking about the difference between the "regressed" person and the state of original childhood. She writes, "The regressed person, adult or child, suffers from a breakdown of advanced functions, suffers from destructive processes affecting developmental achievements. This implies narcissistic hurts, wounds to self-esteem, shame, a sense of being let down by oneself, failure in many respects" (335). These "hurts" or "wounds" or "shame" seem to point to the vulnerability that the ego must always feel, on the edge of its own destructiveness, as Freud describes, as a border-animal, a <i>Grenstier, </i>whose method, though it might be perceptible to others in this kind of retrospective glance, is nothing other than a kind of hugging to oneself of something--a piece of "time" frozen, an otherwise nothing--about which you have not been compelled to choose, I found it/I created it.<br />
<br />
Such was the view out/of the window today in Walter 101: against the backdrop of the fallen classic grandeur of the building of the Department of Physics and Astronomy, which is in the middle of being torn down and so boarded up, an April snow large-flaked and gusty. And there continues to be something about the snow--about the way that I experience it as an enclosure (or the perceptibility of an enclosure) close to the form of an embrace--that seems to lend itself to imagining the afterlife of dead letters, those objects that continue to transmit their messages, as falling down to earth.<br />
<br />
<span style="font-size: x-small;">*Winnicott's passage reads: <i>"Of the transitional object it can be said that it is a matter of agreement between us and the baby that we will never ask the question: 'Did you conceive of this or was it presented to you from without?' The important point is that no decision on this point is expected. The question is not to be formulated.</i> (<i>Playing and Reality</i> 17; italics in original)</span><br />
<i><span style="font-size: x-small;"><br /></span></i>
<i><span style="font-size: x-small;">Note: As always, a form of working through with RT. So much also moves from the totally moving series of conversations had around what is found/what is created with RP, CC, and AL in the Spring 2016 course "Psychoanalysis and Lit II"; this, in turn, was found/created in "From Exhaustion to Extraction" and continues to converse there, after the conversing is past.</span></i><br />
<i><span style="font-size: x-small;"><br /></span></i>
<span style="font-size: x-small;"><i>Picture: Still from Hirokazu Koreeda, </i>After Life <i>(1998).</i></span>Erin Trapphttp://www.blogger.com/profile/03472590835245430294noreply@blogger.com0tag:blogger.com,1999:blog-1236603983133336864.post-82251191587519094242015-12-12T15:33:00.001-08:002015-12-12T15:33:48.905-08:00precisely there where<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-2DYOtQBzI0g/VmytXIrrcrI/AAAAAAAAA_g/2A0zirw7E9g/s1600/IMG_6073.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-2DYOtQBzI0g/VmytXIrrcrI/AAAAAAAAA_g/2A0zirw7E9g/s320/IMG_6073.jpg" width="240" /></a></div>
<br />
Though it's not that this hasn't happened, or doesn't happen, at other points, this semester it has felt especially hard to maintain a thinking life that short-circuits the text/class cycle. So everything feeds into the classroom, plays out there, is expended there, with nothing left over--with it feeling like there is nothing left over, like everything expended has also been exhausted. But as I'm describing the feeling that this is a total experience, with nothing left over/left out--in the moment of this very expression--the inadequacy of the formulation also presents itself: I have been thinking about things, in fact, about these very things, about "expression" and in particular the expression of the destructive instinct and how, in Freud's thinking and in those who come after him, the expression of the destructive instinct is never total, or never equal to the primacy of the "death drive," from which it can be seen to arise. So the matter here, the thing that those who pick up and talk about the death drive and aggression discuss, is what happens to after the drive is externalized in the destructive instinct, what happens to that "part" that is internalized <i>post-expression</i>?<br />
<br />
Jean Laplanche takes up the problem of the before/beyond of aggressiveness in <i>Life & Death in Psychoanalysis</i>, a book I read many years back in Jonathan Hall's seminar on Laplanche, during a period of relative immersion in his work that I shared with my friend Michelle Cho. I have the feeling that my attempt to work through these problems now was already done at that point, in a different way, and that I have long forgotten any of the conclusions I arrived at then but seek them out now, again. In Chapter 5, "Aggressiveness and Sadomasochism," he writes,<br />
<br />
<blockquote class="tr_bq">
And yet, the essential dimension of the affirmation of a death drive lies neither in the discovery of aggressiveness, or in its theorization, nor even in the fact of hypostatizing it as a biological tendency or a metaphysical universal. It is in the idea that the aggressiveness is first of all directed against the subject and, as it were, stagnant within him, before being deflected toward the outside--"subject" here being understood at every level: the most elementary biological being, a protist or cell, as well as the multicellular biological organism, and, of course, the human individual both in his biological individuality and in his "psychical life." Such is the thesis of "primary masochism," and there appears to be massive evidence leading us to suppose that that thesis is profoundly new, that it emerges only with the positing, in 1920, of the mythical being called the death drive. Nevertheless, without wishing to minimize the novelty of Freud's last theory of drives, we shall attempt to show precisely the tenuous but solid link binding it to the thesis evolved in 1915 from both clinical and dialectical considerations concerning the genesis of sadomasochism. That theory--which is implicit, no doubt imperfectly elaborated by Freud himself, and, above all, quickly covered over--entails, we believe, a double armature: the use of the notion of "propping" or anaclisis in the theory of sadomasochism, and the priority of the masochistic moment in the genesis of the sadomasochistic drive insofar as the latter is a sexual drive (and consequently a drive in the true sense of the Freudian <i>Trieb</i>). (86)</blockquote>
<br />
In this passage, it is striking that Laplanche wants both to identify the death drive as "new," as not otherwise formulated by Freud, in his earlier work, and to indicate its earlier form in the idea of sadomasochism (which also, and importantly for Laplanche, expounds the notion of "propping" or anaclisis), as developed in "Instincts and Their Vicissitudes." What interests me about this description is the location of aggressiveness in "primary masochism,"which locates or implies the "subject" as being the initial aim or target of aggressiveness. "Propping" or anaclisis is important to this it comes in where masochism threatens to become generalized to characterizing all phenomena. Laplanche writes, "But it remains that the subject is masochistic only insofar as he derives enjoyment <i>precisely there where </i>he suffers, and not insofar as he suffers in one place in order to derive enjoyment in another, as a function of some arithmetic or algebra of pleasure. This may also be formulated as follows: the subject suffers <i>in order to </i>derive enjoyment and not only <i>in order to be able </i>to derive enjoyment (or to pay the "tax" [wonders: is this "tax" like the "incentive bonus" of <i>forepleasure </i>(<i>Vorliebe</i>)] for enjoyment)" (104). What this stress on "<i>precisely there where</i>" does is highlight the extent to which this point of juncture corresponds to the logic of "propping," to the "that leaning of nascent sexuality on nonsexual activities" that Laplanche describes in the chapter on aggressiveness and sadomasochism (88). And this is mirrored in the distinction drawn between aggressiveness (non-sexual) and sadism/masochism (sexual). Propping provides a way of talking about this relation of dependence or emergence that is not actualized as the expression or externalization of an instinct (as in the destructive instinct). Instead, "Sexuality appears as a drive that can be isolated and observed only at the moment at which the nonsexual activity, the vital function, becomes detached from its natural object or loses it." (88). This "<i>movement of anaclisis or propping</i>" (87) yields a "<i>slippage...within the genesis of the sexual drive</i>" and it is this "slippage" that is present even in relations of masochism whose pleasure is "<i>precisely there where</i>" it suffers.<br />
<br />
This is all a somewhat roundabout and not yet quite coherent way of getting to the idea that the distinction between paying for the object (<i>precisely there were</i>) vs. paying a "tax" for its future use is relevant to the remainder that is left after the externalization of the death drive in the destructive instinct. In his 1960 essay, "Aggressivity," Daniel Lagache describes this exchange as an abandonment (this is resonant with Laplanche's description of the detachment of the "vital function" from the "natural object" above):<br />
<blockquote class="tr_bq">
There is a series of actions--scratching, excretion, ejaculation, autotomia--in which the reduction of tension occurs by modifying, destroying, or abandoning a part of the body that was the "source" of an unpleasurable tension and by transforming it into an external thing. It is close to Freud's idea on the constitution of the object by the projection of the unpleasurable. But, it must be noted, this self-mutilation is a sacrifice of the part for the whole. The lizard abandons his tail, but it does not lose its head. In other words, it is only by artificially limiting the field of thought that such reactions can be considered as being favorable to a primary tendency to active self-destruction. ("Aggressivity" (1960) in <i>The Works of Daniel Lagache 1938-1964</i>, 230-231)</blockquote>
With the phrase "limiting the field of thought," Lagache recalls his starting point in the essay, where he stated that "[i]n a limited field, an activity appears to be quite simply an activity. Extend the tempero-spatial field ever so little, and it is enough to look like a fight" (210). These phrases point to the conflict, rather than the harmony, inherent in a the field, and this, in turn, registers the "primary" state (in both "primary masochism" and "primary narcissism") as that "proceeds from the force of things, from circumstances, from a convergence of the child's weakness and the environment's caretaking" (231). From this schema, needs precede wishes, and wishes, in turn, "resort deviously to the demand," and demands go on to become protests when the demand is frustrated. With this chain of relations, Lagache proposes that aggressivity, "the unity of meaning or intention of the world of aggressions," is of greater concern that acts of aggression, for in his view, all actions can become act of aggression. So "aggressivity" thus implies this relation of different impingements: "Aggressivity is mobilized by the endogenous emergence of a need, felt as a threat within the body or, if it is preferred, as an internal frustration. It is logical, in Freudian metapsychology, to consider as secondary the aggressivity with which the wish pursues its aims through the mediation of the demand" (218). Here, we can see that Lagache returns to a point of trying to think the "force of things" but that aggressivity itself still seems to imply some notion of a unity of meaning. Is this the return emergence of the anaclitic relation at the heart of the death drive? Or in the "heart's desire" of the death drive?<br />
<br />
<i><span style="font-size: x-small;">picture: Faded Lizard Tail</span></i>Erin Trapphttp://www.blogger.com/profile/03472590835245430294noreply@blogger.com0tag:blogger.com,1999:blog-1236603983133336864.post-42687452075704939752015-11-02T14:22:00.002-08:002015-11-02T21:26:17.260-08:00a scribble-scrabble<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-2qzW8roSGwE/VjfhuUEHeII/AAAAAAAAA_I/765xvM1ESj0/s1600/IMG_5966.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-2qzW8roSGwE/VjfhuUEHeII/AAAAAAAAA_I/765xvM1ESj0/s320/IMG_5966.JPG" width="240" /></a></div>
Lodged at the side of the many disappointments of the public aspect of "<a href="http://icgc.umn.edu/events/4659/cultural-critique-symposium-state-things" target="_blank">the state of things</a>"--a phrase that is neither precise, nor substantive, nor promising, and gestures not just toward the academic conference of this name but toward a ever more general, ever more exhaustive-because-devouring-intensely public sphere--there was, for me, a smaller disappointment. Maybe it's not a disappointment, maybe it's a quibble, or a scribble-scrabble, or an indelible mark of some sort that then does get moved past, brushed away, contorted into a more realized figure.<br />
<br />
I had been prepped for the explicit psychoanalytic content of Jacqueline Rose's October 23 talk, "Feminism and the Abomination of Violence," after noting that someone had commented in this way on a Facebook thread about her <a href="http://coursethreads.berkeley.edu/october-15-16-feminism-and-abomination-violence-violencenon-violence-conversation" target="_blank">recent dialogue at UC Berkeley with Judith Butler</a>: that there was "too much" psychoanalysis. Arriving to a conversation after her talk, this was also the topic: that psychoanalysis is "unnecessary," or that it is merely applied when it seems hardly to be suggested by the "material," that it's even "creepy," to the extent that it engages children coercively in feelings/thoughts/fantasies that are not their own, thoughts that are, instead, often thought to belong to the adult analyst instead. Teaching psychoanalysis in a non-systematic way to undergrads, I've also gotten this reaction: that it's "ridiculous" to attribute fantasies of aggression or the anxiety of castration to the infant or the young child.<br />
<br />
If Rose's talk was simply aware of itself as a large, public event (thus necessarily reducing some of the complex or content), she did, then, deliver in popularizing the psychoanalytic content to some extent. This was not necessarily a "bad" thing; her most resonant comment was about the deep desire that the young child has for his/her unconscious to be understood, profoundly, by someone else. In this regard, Melanie Klein's insights into destructiveness and unconscious phantasy are not just supplementary to actually existing reality. They do not just "overlay" what is really there with an interpretive framework; they provide a way for thinking about ambivalence that moves outside of those parameters that we usually accept for thinking about the non-contradictory nature of external (or actually existing) reality. Despite the fact that Rose dwelled on Klein, and Klein's account of her analysis of Richard (a ten-year-old boy), she quickly relegated the significance of psychoanalysis to consciousness, to conscious thought. In so doing, she separated the practice of psychoanalysis, as well as its theory, from its radical potential to deliver, to <i>get to</i> ambivalence. For Richard, she said, the therapeutic encounter gave him a way to keep the line in place between war and peace; he could "think," with psychoanalysis. Thus, joined with Arendt, thinking, or "thought," became the means through which compassion and avoidance of social violence could be achieved.<br />
<br />
In her response, Jane Blocker, who took the occasion to speak about the violence that absorbs the life, death, and work of Ana Mendieta (appropos both her book, <i><a href="https://www.dukeupress.edu/Where-Is-Ana-Mendieta/" target="_blank">Where is Ana Mendieta?</a> </i>and the current exhibit of <a href="http://cla.umn.edu/art/galleries/katherine-e-nash-gallery/exhibitions-schedule" target="_blank">Ana Mendieta's short films at the Nash Gallery</a> right now), raised questions about whether making a distinction between war and peace, or between the violent father and the violated mother was the point to be taken about aggression, psychological, physical, social, or otherwise. Blocker suggested that in Carl André's work <i>Lament for the Children</i>, there is a death that he seeks to grapple with (not Mendieta's (whose fall from their 34th story apartment in NYC, which happened during an argument they had, he was found innocent of)), the death of "knowing." I puzzle over just what this means--the "death of knowing"--in much the same way that i puzzle over how the death drive, the movement toward self-dissolution, continues to operate even after it seems it has exhausted itself, in the expression of a destructive instinct.<br />
<br />
To return to an underside of the state of things. "Read her [Arendt] against yourself," Rose said in the Q&A in response to a question about Arendt's "thoughtless" dismissal of Fanonian violence and forms of aggression whose expression as destructiveness may not be their most important aspect. A slip, to read her "against yourself," not against "herself." A slip that marks the difference between psychical aggression that may never get expressed but is always directed "against yourself," and destructiveness that takes place as social violence in a "state of things," against "herself." A slip that reminds us of the ambivalence rather than the distinction between subject/object, between state/thing, an ambivalence--to return again--whose excess lends itself to regulation by those who see it, all things being equal (which of course they are not), as a waste of resources.<br />
<br />
<span style="font-size: x-small;"><i>picture: a herself/yourself: Imogen's first "figure"</i></span>Erin Trapphttp://www.blogger.com/profile/03472590835245430294noreply@blogger.com0tag:blogger.com,1999:blog-1236603983133336864.post-63944491575075407122015-07-30T21:30:00.000-07:002015-07-30T21:32:50.241-07:00A Surge of Silence<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-XeoY5VMmFDg/Vbr4zgZwlXI/AAAAAAAAA-g/iJImCK9U_J0/s1600/IMG_3131.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://2.bp.blogspot.com/-XeoY5VMmFDg/Vbr4zgZwlXI/AAAAAAAAA-g/iJImCK9U_J0/s320/IMG_3131.JPG" width="320" /></a></div>
<div dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: Georgia; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br /></span></div>
<br />What happens when you try to respond to the tone of a letter not written to you? There’s a gap that is akin to the silence in a forest when a tree falls and no one is there to hear it; perhaps it's like what we could imagine remains of the death drive after some destructive instinct has been acted upon, acted out.<br /><br />This is such a response, a respose to a writing by Commune Editions titled <a href="http://recluse.poetryproject.org/issue-11/commune-editions/">"Dear Simone."</a> The piece by Commune Editions is addressed to Simone White, who asked a number of poets to write about "matters of capital and class" for an issue of The Recluse (a journal of <a href="http://poetryproject.org/publications/the-recluse/">The Poetry Project</a>) that she was editing titled "Capital P." In her introduction, White clarifies that by "capital and class" she means the "systematic dehumanization of the human into laboring factions." The script of the introduction is not apparently the same as the initial phrasing of the request for responses, since Commune Editions invokes several times the phrase "a surge of interest in class (by which some people mean race),” and attributes this phrase to White’s initial request. So when I say I'm responding to "tone," I mean that I'm responding to what lies behind the citation and repetition of this phrase, and to something that begins, and perhaps ends, with the appropriation of this phrase. <br /><br />Would it matter if we could read Simone White’s initial request? Reading it might give one a sense of the tone of the original phrase, but it's not this that is really at stake--and also not the reality status of it, whether or not Simone White is right or not about this surge, although it's this that is disputed throughout Commune Edition's letter. At stake in this question about the reality of this surge is the organization of a world almost entirely around internal objects, and the extent to which a radical poetic-political project organized in this way can make its hoped-for intervention, its destruction of the world. I find this letter to be mostly about and addressed to internal objects. Internal objects, in contrast to external objects, represent people and events but they involve, as psychoanalyst Paula Heimann writes, "the subject at the same time as her objects." This is significant because in attacking these objects, one is also attacking oneself. Does all the talk about destroying the world in the letter--"the resolute rejection of this world," "the world to be abolished," "in every poem that insists it all has to go"--fold back upon the part that remains as much about the subject as the objects included in this world? If the world includes all struggles worthy of abolition (struggles, Commune defines, aimed at "the unmaking of whiteness, or of gender") but not this capacity to reflect upon the specificity of these struggles in contrast to their inclusion within this totality, might there not be a need to place some pressure upon just what is meant by "the world"?<br /><br />Reading the letter--its content signalling but never locating, never externalizing, those who've claimed that "the problem is the hubris of purportedly Jacobin militants always going too far"--one gathers some of the referents of these internal objects, if one knows enough of this world. Commune Edition's dispute, for example, with the "surge of interest" is a response to (perhaps other things, too, who knows?) a <a href="http://www.bostonreview.net/poetry/daniel-tiffany-cheap-signaling-class-conflict-and-diction-avant-garde-poetry">dossier arranged by Daniel Tiffany for The Boston Review on class</a>. I'm inferring this because I was there in the FB forest when the vitriol about Tiffany's column fell, and it seems likely, given Commune's use of terms "kitsch" and "rhetoric" that Tiffany is an object of critique. Beyond this kind of matching of internal with external objects, one is left feeling like the letter itself, its elliptical response, remains in a world peopled by internal objects, phrases, and discussions whose representation exists almost entirely within the life of the mind. In the letter, the coordinates to external reality cannot be spoken, and one wonders why: Out of tact? Because it's not just a single example, but a set of examples, massified, in this way? Because it's not worth naming these enemies of class, giving this recognition? Because in order to "get" this letter, one should know already, who or what the objects are? To be a reader of this letter, but not the reader, is to be in a forest when the tree fell and not to have heard the noise, to have missed the tone of falling limbs. From this position, a question that is not supported within the discourse arises: how is it that you've come into this place of knowledge?<br /><br />Perhaps one way of thinking about this circumscription of knowledge is to approach one of the most obvious features of the letter-- its attachment to poetry. This attachment comes with an expressed commitment to the question of "the relation between revolutionary politics (which we take to demand a cothinking of race and class among other things) and a poetry which threatens certainty, commitment, didacticism." We might just as well ask, why poetry? What work is being done by poetry? How is the vaunted antagonism or contradiction of destruction and creation, "between absolute political demand and the proper tonalities for poetry" held in place by the law of genre? And what sort of dynamic of sublimation, of the transfer of destructive and creative energies or vice verse, must be imagined in order to achieve this worldview?<br /><br />To kind of extend this overextended metaphor, we might imagine that the tree that has fallen--producing or not a noise, a sound, a tone--is itself the poem, and insofar, roughly correlates with Commune's example of the pop song. I am drawn to how Commune theorizes the moment of pleasure--"a cross-class pleasure," a "real pleasure--from the pop song, and by extension from the "pop song in the poem." I quote at length from their description of these moments of pleasure, of "negative delight":<br /><blockquote class="tr_bq">
But we are also not sure we see the pop song that way. In truth it sounds more true about Eliot; much has changed since then. Here’s our thought: it matters how you see the pop song. We certainly get that, even after the supposed collapse of the hi-lo distinction, turning your nose up at the pop song is still class-marked, a kind of upper-middlebrow Philistinism. Still, it’s a sort of cross-class pleasure, the pop song, isn’t it? A real pleasure. We hope you will not hear irony. We think that a great pop song, and there are a lot of them — Top 40, sing along, solid gold — is sensually thrilling and emotionally powerful. It is one of the finest things (still no irony) that civilization has produced.<br /> <br />But not just any civilization. Its affordances are capitalism itself, its technologies, its circuits of distribution, its reascriptions of race, its microleisures, invention of the world market, the world audience. In this sense the pop song is emblematic of much human making in the last couple-few centuries. We could speak of Hollywood, or Bollywood, or a videochat with a distant friend, or the Hong Kong skyline. Or bicycling out on the path alongside the Bay Bridge and sitting over the water while the birds and porpoises and oily wakes of container ships pass underneath.<br /> <br />This is the thing about even the most resolute rejection of this world. We know also that this world is in many ways an astonishing achievement of human making, with incomparable pleasures, unevenly distributed. This knowledge is always with us, this pleasure and maybe even wonder. It is with us even in the moments when we think of surplus populations in Dhaka and Sao Paulo, when we think of manganese in the Pearl River and Mike Brown’s body moldering in the street in metropolitan St. Louis. And when we say that it has to go, we say that knowing this means forsaking all of these things. </blockquote>
<br />I read these lines as being about the way in which the "pleasure" that is evoked is subsumed within a total system, and about how these moments "sit inside" this larger system. No single moment could be greater or more expansive than the entirety of the system. And yet, in a way, it's just that--the way that the "poetic" destroys by consuming--that David Marriott, via Cesaire, describes in a recent response to The Boston Review's issue, "<a href="http://bostonreview.net/poetry/david-marriott-response-race-and-poetic-avant-garde">Race and the Poetic Avant Garde</a>": <br /><br /><blockquote class="tr_bq">
Césaire’s immense productivity consists in creating a poetry of events that does not have form or content as its end, but is rather the pursuit of their irremedial alienation. Instead of claiming, as the various European avant-gardes did while reading Marx, say, or Freud, that he was producing a new dialectics (of culture, or meaning), Césaire claimed that poetic production was productive because it consumed knowledge. Or rather–that it was the ‘poetic’ itself that was productive, often against the express conscious and political wishes of the poet.</blockquote>
Marriott emphasizes how for Cesaire the contradiction between the poetic and political does not express an antagonism that becomes about the tension or maintenance or resolution of this contradiction, i.e. its sublimation in written work, but about an “irremedial alienation” that is consumptive, i.e. destructive, in relation to knowledge. Thus knowledge is not a position from which to maintain certainty or perspective, it is a position that is always threatened by poetry's destructive aspect. <br /><br />And one might wonder, how much would poetry have to consume, in order to destroy? But I wonder, even if it were just a little bit, would there not be less--quite a bit less--to say about how a knowledge of the whole world pertained to this damaged part?<br /><br />In Commune Edition's lines, knowledge of the pleasures afforded by capitalism is held alongside "thinking" about surplus populations, manganese, and Mike Brown's body. There's quite a bit of assumption already in the way that "pleasures" and "thinking" constitute the antagonism that is then the aesthetico-political. It's a certain universalism that feels tiring. But there is something here worth thinking about, and it's the way in which these moments of "incomparable pleasures" are in a line with complicity. Here, another tone I am deaf to: "But are we not all complicit, none of us pure, all of us benefitting from entanglement with the very thing from which we claim to take absolute distance? No shit." How do we read the inclusiveness or exclusiveness of no shit? Does this mean that "we" have been accused of complicity? Does it mean that the accusation of complicity is to be read as politically irrelevant? Does it mean that even complicity is a concept that sits inside the structure of this system? Or is it an invocation of complicity as a kind of precursor to this "knowledge"?<br /><br />In psychoanalysis, complicity is perhaps the least evident thing. It refers, even in the most complex form, in its relation to political emotion, to an ambivalence on the level of a distinction between subject and object, but one that is perhaps even more indeterminate, to a non-integrated state that precedes but is not outside of relating. For those independent analysts in the British postwar, including Paula Heimann and D.W. Winnicott, this state was all about the primacy of destruction, and these formulations followed from Freud's ideas about complicity or guilt being a defense against feelings of aggressiveness or destruction. Complicity, because it involves this defensive relation to aggression, sits not too far afield from sublimation, in terms of the function it assumes to redirect instinctive energy.<br /><br />In a recent post, I described how Paula Heimann recalls an interaction with a patient in which the patient spontaneously recites a poem in analysis. Heimann recounts the patient's deep joy in this recitation and in the phrasing of words. She reads this withdrawal not as an expression of hostility, a turning away from the analyst, not just as destructive of that structure in which it takes place, but as a moment of reprieve, a momentary lifting, a sublimation that is not just about the recovery of a lost object or about the destruction of analytic space but about finding a self that survives the expression of destructiveness. What does Heimann’s discussion of these moments bring to to the moments of pleasure, of negative delight, that Commune describes? Heimann makes visible the fact that the world Commune wishes to destroy is maintained by a fantasy of omnipotence. It’s a wish that is construed politically--admirably, to some extent--but it’s a wish that, because of this relation to fantasy, to internal objects, involuntarily destroys the struggles of others whose experiences become subsumed within this world as well. The militancy of destruction as a political project does indeed involve a hubris about the scope and aims of such a venture. Being willing to ignore how one’s definition of the “world” affects those it claims to include is also an extension of not taking responsibility for the unintended destruction that one enacts by holding knowledge in such an intimate relation, or the damage that is done by reinforcing the knowledge afforded by a poetics of class, by saying for example that poetic struggles for racial justice and against antiblack racism, transphobic violence, gender discrimination, and racial profiling have “played at least as great a role as a poetics of class.” Because what does that mean to qualify this poetry by quantifying its impact--”at least as great a role”--and to hold firm to this worldview?Erin Trapphttp://www.blogger.com/profile/03472590835245430294noreply@blogger.com0tag:blogger.com,1999:blog-1236603983133336864.post-29250852783117006762015-07-16T21:54:00.000-07:002015-07-16T21:54:04.316-07:00Muteness Envy<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-hAR0DIuKjhk/VaiJdvvVhjI/AAAAAAAAA-I/0s68lUsiiRg/s1600/IMG_5731.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://4.bp.blogspot.com/-hAR0DIuKjhk/VaiJdvvVhjI/AAAAAAAAA-I/0s68lUsiiRg/s320/IMG_5731.JPG" width="320" /></a></div>
<br />
Threading through psychoanalytic writing on aggression in the 50s, 60s, 70s, lines worn where entrenched divisions formed around the existence of the death drive, the primacy of destructiveness, the attribution of envy to infantile experience, the existence of a primary non-integrated state. In particular, I've begun reading the work of Paula Heimann (her essays collected in the volume <i>About Children and Children-No-Longer: Collected Papers 1942-1980, </i>edited by Margret Tonnesmann; The New Library of Psychoanalysis, vol. 10 (London (Tavistock): Routledge, 1989) who is often associated with Melanie Klein, becoming one of Klein's biggest supporters during the 1942-1944 "Controversial Discussions," which split the British Psycho-Analytic Society. Heimann (1899-1980) studied psychiatry in Germany and entered psychoanalytic training in Berlin in the late 1920s; she moved from Berlin to London in 1933 after Hitler came to power, where she encountered Klein and began her own work as an analyst and as a theoretician. Heimann was loyal to Klein and her theories up until Klein's presentation of her essay, "Envy and Gratitude" in Geneva in 1955, but as Pearl King notes in her introductory memoir to Heimann's collected papers, Heimann herself acknowledged a rift that preceded this by several years. Winnicott, too, critiqued what he saw as Klein's over-valuation of envy, in particular her identification of the primacy of this emotional state.<br />
<br />
Though I've encountered Winnicott's critique, and even recently returned to it as I continue to think about aggression, Heimann's departure from this notion is accompanied by an idea about the relationship between sublimation and the death drive that illuminates the significance of this theoretical difference. In her separate discussions of sublimation and the death drive throughout the course of her early work, when support of Klein's defense of the death drive was at stake, Heimann asserted its conceptual significance as providing a context for the complex relationship that individuals hold in relation to internal objects. Because of her interest in sublimation, which is about the ego's creative activity, Heimann pursues the idea that the state of primary indeterminacy theorized by Balint as "primary love" and by Winnicott as the "unintegrated state," is not restricted to "object-relatedness" ("Some Notes on Sublimation" (1957; 132). Heimann is thus insistent that the internal objects that we experience as damaging or persecutory or destructive are not primarily objects, but also the self. In her essay "A contribution to the problem of sublimation," from 1939, she writes:<br />
<blockquote class="tr_bq">
But since these defences consist of attacking the persecutors inside the self, they are of no avail as a solution, for they involve the subject at the same time as her objects. The battlefield is in the home country, not on enemy territory. A vicious circle is thus set up and a perpetual warfare ensues which his played out in the subject's internal world--always affecting her external life and often expressed in terms of physical symptoms. (33)</blockquote>
The "perpetual warfare" that sets itself up here does so to the extent that the internal objects are not recognized as subject to a double aggression: first, the attribution of destructiveness to objects represents a defensive externalization of one's feelings of destructiveness and aggression, as is characteristic of splitting and about which Melanie Klein spoke of especially through recourse to "projective identification"; and second, that the ambivalence; but second, that in addition to this destructiveness that achieves externalization in the internal object, there is something of the death drive that is also not realized in this externalization, and this quotient is the difference between the death instinct and the destructive instinct.<br />
<br />
Heimann illustrates this in her example of a patient who breaks off into reciting a poem during analysis. Heimann regards this as a moment of "withdrawal" (130) that is motivated "not by hostility or fear" but by "an urge to engage in creative ego activity," in other words, a sublimation. Here, sublimation is linked with aggression because it represents an interpretive choice not to read this moment as a deflected or destructive impulse. In "The theory of the life and death instincts," which is the essay that she wrote in defense of Klein's work and presented in 1942, she describes the muteness of the death instinct in a manner consistent with this reading of withdrawal as sublimation. Because of the difficulty, often noted in psychoanalytic literature, of locating aggression in a "pure" or "unalloyed" state, it's possible to grant that "reading" it may indeed involve scenarios when the other side--object-relatedness, the reparation of lost or destroyed objects, destructiveness displaced onto/into other objects--can also be read. What compels this reading, then? Perhaps the thesis about perpetual warfare, a statement that gathers significance in the present day, requires thinking more profoundly about the damage that is done by reparative work as well. Here, it's not just that destructiveness accompanies reparative work--the narrow dialectic of civilization and barbarism, the exceedingly harsh strictures of the super-ego suggesting that civilization's destructiveness is greater than not--but that missing the destructive aspect of reparative work means that the capacity for sublimation, in the form of creative activity--figured by Heimann as a reprieve, "short-lived," or as "dwelling on certain instances" (126)--becomes impoverished, constrained, inoperable as well.Erin Trapphttp://www.blogger.com/profile/03472590835245430294noreply@blogger.com0tag:blogger.com,1999:blog-1236603983133336864.post-20074107671004759262015-04-06T13:13:00.003-07:002015-04-06T13:17:19.620-07:00Enough Is Enough<div class="MsoNormal">
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-Oh15KKePQtE/VSLonK8osTI/AAAAAAAAA9k/NTY7e5QzjGA/s1600/Screen%2BShot%2B2015-04-06%2Bat%2B3.11.39%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="color: black;"><img border="0" src="http://3.bp.blogspot.com/-Oh15KKePQtE/VSLonK8osTI/AAAAAAAAA9k/NTY7e5QzjGA/s1600/Screen%2BShot%2B2015-04-06%2Bat%2B3.11.39%2BPM.png" height="246" width="320" /></span></a></div>
<span style="font-family: "Times New Roman"; font-size: 11.0pt;"><br /></span>
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">Fred
Moten and Stefano Harney, from <a href="http://www.minorcompositions.info/wp-content/uploads/2013/04/undercommons-web.pdf" target="_blank">“The University and the Undercommons”</a>: </span></div>
<blockquote class="tr_bq">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">But
for the subversive intellectual, all of this goes on upstairs, in polite
company, among the rational men. After all, the subversive intellectual came
under false pretenses, with bad documents, out of love. Her labor is as
necessary as it is unwelcome. The university needs what she bears but cannot
bear what she brings. And on top of all that, she disappears. She disappears
into the underground, the downlow lowdown maroon community of the university,
where the work gets done, where the work gets subverted, where the revolution
is still black, still strong. (26)</span><span style="font-family: 'Times New Roman'; font-size: 11pt;"> </span></blockquote>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">***<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">In
2014, the Institute for Policy Studies put out a report, titled “<a href="http://www.ips-dc.org/wp-content/uploads/2014/05/IPS-One-Percent-at-State-Universities-May2014.pdf" target="_blank">The OnePercent at State U: How Public University Presidents Profit from Rising StudentDebt and Low-Wage Faculty Labor</a>.” ^^The report found that the U ranked fourth
worst of those 25 public universities with the highest executive salaries (the
1%). President Kaler and the rational men upstairs have promised to reform
privatization, including—following a 2012 <i style="mso-bidi-font-style: normal;">Wall
Street Journal</i> article reporting that the <a href="http://www.mprnews.org/story/2014/05/19/university-of-minnesota-administration-spending" target="_blank">administrative bloat did notfloat</a>—his promise to freeze tuition and his plan to implement measures of
“<a href="https://www.youtube.com/watch?v=QzxRYLygzWo" target="_blank">operational excellence</a>,” which he claims would cut administrative costs by $90
million by 2019. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">There
is the old question, not how the minutes are counted, but of whose minutes are
saved (and whose stolen) in a zero sum game that reflects, as Kaler
pronounces, no “general trends at the U.” Initially ranked 3<sup>rd <span style="mso-spacerun: yes;"> </span></sup>worst in the 1% report, <a href="http://discover.umn.edu/news/campus-community/university-minnesota-response-institute-policy-studies-report-flawed" target="_blank">Kaler and the Udisputed these findings</a> on the basis of the way that adjunct and contingent
workers are counted. How are the low-wage workers of the university—the
graduate student workers, the adjuncts, and the contingent laborers—counted?
Buried in the ruins of operation excellence, both the number—which ranges from
500 to 5600, depending on how it’s counted—and the category of those “downlow
lowdown” workers are obscured. What else is obscured: “the university needs
what she bears but cannot bear what she brings.” What the subversive intellectual
bears, carries, births, sustains: the university needs the products of her
labor; it ingests these accumulated goods, uses them in the production of
profit, and appears to do so efficiently, without waste. There would be much
critical work to be done in this vein: exposing, bringing to the surface these
conditions, making visible, and so forth, and it’s all necessary. But my
interest is on the other side today: what she brings that cannot be borne, what
cannot be consumed and so used, that part of the work that yields, that bears,
feeds her. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoListParagraph" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: Symbol; font-size: 11.0pt; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">><span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span style="font-family: "Times New Roman"; font-size: 11.0pt;">Fred Moten and Stefano
Harney, again: </span></div>
<blockquote class="tr_bq" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">The moment of teaching for food is therefore often mistakenly
taken to be a stage, as if eventually one should not teach for food. If the
stage persists, there is a social pathology in the university. But if the
teaching is successfully passed on, the stage is surpassed, and teaching is
consigned to those who are known to remain in the stage, the sociopathological
labor of the university. (27)</span></blockquote>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">I’d
like to begin, then, with the question: what is there to be said about the
value of teaching for food? <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">The
other-value of food, that which is not fed back into the meaning-affirmative
circuit of exchange and use, tends toward that which is destructive in love, a destructiveness,
a desire, that is brought but not born into material relations that are always,
on the surface, about reparation and resources, about that which provides the
“real” sustenance. Moten and Harney’s phrase implies that “teaching for food”
means “teaching to live,” means subsistence, but I read it as is already
ambivalent: it’s a thing only insofar as it’s a stage to be passed. The phrase,
“teaching for food” is already ironic, a term lifted from the DSM, on the list
of “symptoms” under the category “sociopathological labor of the university.” <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">One
has the suspicion, however, that this stage is not so much a diagnosis as it is
a prescription, one that suggests that food functions not just as an index of
the minimum requirement to sustain life, but that it has another value—t</span><span style="font-family: "Times New Roman"; font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">he other-value of food: a sustenance that allows us to “get
to” feelings of destructiveness that we otherwise locate in the world. We find a
model of this use for food in objects-relations psychoanalysis, where, for
example, ^^DW Winnicott describes the continuous destroying that is at work in
“object constancy,” in the very maintenance of an object as outside oneself:
“The object is always being destroyed. This destruction becomes the unconscious
backcloth for love of a real object; that is, an object outside the area of the
subject’s omnipotent control…In this way a world of shared reality is created
which the subject can use and which can <i style="mso-bidi-font-style: normal;">feed
back other-than-me substance into the subject</i>” (126, emphasis mine).<a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[1]</span></span><!--[endif]--></span></span></a> Winnicott’s
key move is to show us that what appears to be a closed circuit of exchange and
use contains a sequence of psychical equations or relations that must be passed
through. While he tends to assume not that this always happens, but that it has
the capacity to, a full account of the ambiguity of the prescriptive/diagnostic
aspect raises questions, again, about the value of surpassing stages.<span style="mso-spacerun: yes;"> </span></span><span style="font-family: "Times New Roman"; font-size: 11.0pt;"><o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">In </span><span style="font-family: "Times New Roman"; font-size: 11.0pt;">“On Eating, and Preferring Not To” Adam
Phillips writes,<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">The person who refuses to eat can do something
so devastating to the environment—the parents, the therapists, the hospital
staff—that they often need to dissociate parts of themselves to manage it. The
food refuser, often unconsciously, engineers the possibility of a dissociation
in the people who try and help. At first the boss takes it for granted, in a
commonsensical way, that Bartleby will do the work demanded of him; just as, in
a commonsensical way, one might assume that people will eat, simply in order to
live, or feel well; as though food only has a use-value, and not an
exchange-value as well. The boss assumes, in other words, that there is a kind
of natural (or contractual) order in the office, that people are there because
they have agreed to play the game...In this essay, it is the parents and/or the
therapist being browbeaten in some unprecedented and violently unreasonable way
that I want to consider; just what this preferring-not-to does to the people
addressed. Do they, we, begin to stagger in our own plainest faith (in our
therapeutic beliefs)? Are we able to experience, to find useful words for, what
I want to call the aesthetics of defiance, and Melville calls the vague surmise
that all the justice and all the reason is on the other side? (283-285)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">In
the phrase—“as though food only has a use-value and not an exchange-value as
well”—the contrast between use-value and exchange-value seems to misname
exchange-value, since it’s not that the exchange value of food was forgotten,
but rather that, in addition to the circuit of use and exchange value, there is
an “other” value of food—the 0ther-value of food—and its value is as an
“other-than-me substance,” which can be “f[e]d back…into the subject”
(Winnicott 126). <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Phillips shifts the terrain of
voluntary/involuntary activity; he proposes that “</span><span style="font-family: "Times New Roman"; font-size: 11.0pt;">what are called
symptoms—of which refusing to eat and being unable to stop eating are often
stark and frightening examples—are experiments in living” (287). These
“experiments in living” are not experiments in reparation but experiments in
destructiveness, since it is destructiveness and not reparation that is the aim
of the reparative mode.</span><a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[2]</span></span><!--[endif]--></span></span></span></a><span style="font-family: "Times New Roman"; font-size: 11.0pt;"><o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">Is
the point to create others-in-dissociation out of institutional procedures that
usually confront the subject like any other object? Phillips points to how the
patient (as subject) might feel confused about the “willingness to suffer”
exhibited by parents/therapists who do the work of “surviving”—“accepting
projections, containing them and, as it were, feeding them back” (293). This is
not a motive or a cause for experimenting, but Phillips suggests that the
experimentation that is the other aspect of the symptom leads to the question,
“what kind of people will I have on my hands if I prefer not to eat?” It is
this that leads to a “necessary” dissociation on the part of the therapist/parent/family/neoliberal
university (with its familial classifications of labor), who, like the
narrator-lawyer in <i style="mso-bidi-font-style: normal;">Bartleby</i>, “begins
to stagger in his own plainest faith” (284). The latent insurgency of Moten and
Harney’s “subversive intellectual” involves the conceptualization of a
reparative moment that persists in drawing this relation of dependence into
question: why is it that what she is bringing is too much to bear? An off rhyme:
What is the value of teaching for food, teaching for good?<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">In
“<a href="http://thenewinquiry.com/essays/crazy-in-love/" target="_blank">Crazy in Love</a>,” an essay written for <i style="mso-bidi-font-style: normal;">The
New Inquiry</i>, Hannah Black describes the conflict she experiences in caring
for/about her brother, through his repeated episodes of psychosis: “As for me,
I could not deal with the day-to-day maintenance of B; I found ways to avoid
him, told myself lies about tough love and so on. But my love for him followed
me everywhere.” My love for him followed me everywhere. The love Black
describes “gets to” its own destructiveness, to that which is incapable of
loving in love. Like “teaching for food,” modes of identification that don’t
keep pace—modes that are about the maintenance of maintenance—become
pathological, not merely as an attribute of the system (the university) but as
an attribute of an identity within the system. The sociopathological adjunct
lecturer teaching specialists contingent.</span><span style="font-family: "Times New Roman"; font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">As 1970s Marxist feminism has shown,
and as the text “<a href="http://www.lowendtheory.org/post/19214802546/a-love-letter-to-radical-graduate-students" target="_blank">A Love Letter to Radical Graduate Students Past, Present, andFuture</a>,” by Nick Mitchell, aka low end theory</span><span class="apple-converted-space"><span style="font-family: "Times New Roman"; font-size: 11.0pt;"> </span></span><span style="font-family: "Times New Roman"; font-size: 11.0pt;">also notes, choices, in particular about objects
of love, are always also coercions. I keep dwelling on this insight, now
outdated—perhaps too outdated to explain love now, but also, I suspect, not—in
thinking about the close residence of love and hate and the role of
destructiveness in love. For as much as Black writes <a href="http://thenewinquiry.com/essays/you-are-too-much/" target="_blank">against "love,"</a>
she also gets that the joke about overattachment is not that funny: "One
side of the joke — that a woman would have to be crazy to long for entry into a
couple — is negated by the other — that a woman who can’t negotiate her way
into a couple is crazy." Put otherwise: One side of the joke—that a PhD
has to be crazy to long for entry into academia—is negated by the other—that a
PhD who can't negotiate her way into academia is crazy. <o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">For the Tenure-Track Professor and
the White Family (and with the understanding that these are not social
categories but upheld and often invisible ideals), there is no longer a reason
to feel ambivalent about love, or perhaps better, there's always another reason
to feel ambivalent about love, but perhaps there's no longer a reason to feel
ambivalent about one's love objects. In addition to the fact that this is
"too bad," and not “for good,” the loss of such ambivalence, of a
relation to a loved object that does not involve the capacity to hold one's
destructiveness, is a profound but perhaps less apparent price to be paid for
professionalism.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">***<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">it’s
all life’s all<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">thrills
and regression<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">flowering
cowering<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">and
all the in between<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">the
good and the bad<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">as
if not linking were |not|<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">an
option.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">trilling
water<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">the
next smallest drop<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">unentangle
desire<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">love-encumber<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">entangled
estates<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">pluming
is apposite<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">projecting,
providing cover<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">for
the operation<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">that
produces<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">the
other as negative in order to<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">produce
this negativity<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">as
an inhering substance<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">unentangle
this<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">from
thrall<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">this
is the white problem:<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">of
destroying mores<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">killing
the dead child<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">(the
child you were you never were)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">again
and again and again<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">and
every day<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">the
who you are<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">in
your eyes<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">who
you never were<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt; font-variant: small-caps;">***<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">attenuated
swings<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">around
to the outset<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman"; font-size: 11.0pt;">we have </span></i><span style="font-family: "Times New Roman"; font-size: 11.0pt;">|<i style="mso-bidi-font-style: normal;"> no access<o:p></o:p></i></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">to
dustings of green flowering trees<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">in
early spring<o:p></o:p></span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman"; font-size: 11.0pt;">to the wear and tear<o:p></o:p></span></i></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman"; font-size: 11.0pt;">of a (linguistic)
phenomenon<o:p></o:p></span></i></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">winter,
with all its wear and tear, is forgotten<o:p></o:p></span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman"; font-size: 11.0pt;">without giving it<o:p></o:p></span></i></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman"; font-size: 11.0pt;">some kind of<o:p></o:p></span></i></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">role
in this quantum qualia, this<o:p></o:p></span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman"; font-size: 11.0pt;">figurative
representation</span></i><span style="font-family: "Times New Roman"; font-size: 11.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">writ
of access<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">obverse<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">the
that which is effaced<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">the
child sashays around to the front<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">again,
<i style="mso-bidi-font-style: normal;">foxglove</i>, <i style="mso-bidi-font-style: normal;">long days,</i><o:p></o:p></span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman"; font-size: 11.0pt;">rain pixilating, little
coming out<o:p></o:p></span></i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">***<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">so
if now you<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">can
be proposed— <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">propositioned
as above—<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">does
that mean<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">I
am no more?<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">I
my bitterness insufflated<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">nesting
dolls and centrifugitivity<o:p></o:p></span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman"; font-size: 11.0pt;">an object within a
similar object</span></i><span style="font-family: "Times New Roman"; font-size: 11.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">always
comes to rest<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">there
is always | that<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">nesting
| that<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">more
than less than | that <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">explains
all dynamic<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">and
still, we can want<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">something
more<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">even
if there’s nothing,<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">about
you that,<span style="mso-spacerun: yes;"> </span>about | that<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">we
can be sure<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">a
blocked parent has come to<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">some
part of her his child | that<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">still
hurts. it’s the bitterroot wound <o:p></o:p></span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman"; font-size: 11.0pt;">an object within a
similar object</span></i><span style="font-family: "Times New Roman"; font-size: 11.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">bears
fault: bears, assumes, repairs<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">to
come to something other than | this<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">you
all is object | this<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">proposition:</span><span style="font-family: "Times New Roman"; font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"> <i style="mso-bidi-font-style: normal;">I don't understand <o:p></o:p></i></span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman"; font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">why we can't—all of us who feel </span></i><span style="font-family: "Times New Roman"; font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">| <i style="mso-bidi-font-style: normal;">this <o:p></o:p></i></span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman"; font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">way—just do </span></i><span style="font-family: "Times New Roman"; font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">| <i style="mso-bidi-font-style: normal;">this <o:p></o:p></i></span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman"; font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">forever</span></i><span style="font-family: "Times New Roman"; font-size: 11.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<!--[if gte mso 9]><xml>
<o:DocumentProperties>
<o:Revision>0</o:Revision>
<o:TotalTime>0</o:TotalTime>
<o:Pages>1</o:Pages>
<o:Words>1969</o:Words>
<o:Characters>11228</o:Characters>
<o:Company>University of Minnesota</o:Company>
<o:Lines>93</o:Lines>
<o:Paragraphs>26</o:Paragraphs>
<o:CharactersWithSpaces>13171</o:CharactersWithSpaces>
<o:Version>14.0</o:Version>
</o:DocumentProperties>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]-->
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-US</w:LidThemeOther>
<w:LidThemeAsian>JA</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
<w:UseFELayout/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="276">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]-->
<!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin:0in;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;}
</style>
<![endif]-->
<!--StartFragment-->
<!--EndFragment--><br />
<div style="mso-element: footnote-list;">
<br />
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<br />
<div id="ftn1" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="color: black;"><a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast;">[1]</span></span><!--[endif]--></span></span></span></a><span style="font-family: "Times New Roman"; font-size: 10.0pt;"> </span><span style="font-family: "Times New Roman"; font-size: x-small;">Unlike Graham and
Thrift’s “continuous dying,” the subject is the agent of processes of
destruction. <o:p></o:p></span></span></div>
</div>
<div id="ftn2" style="mso-element: footnote;">
<div class="MsoNormal">
<span style="font-size: x-small;"><a href="https://www.blogger.com/blogger.g?blogID=1236603983133336864#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman";"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast;">[2]</span></span><!--[endif]--></span></span></span></a><span style="font-family: "Times New Roman";"> </span><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-fareast-font-family: "Times New Roman";">One of the outcomes of criticism of “administrative bloat”
at the University of Minnesota, as at many other institutions, has been the
implementation of “Operational Excellence,” a business model that advocates for
“continuous improvement.” In discussions and disputes over this model in the
business world, the term “continuous” versus “continual” is given some
attention. Reforms and improvements should be both endless (continual) and
discrete (continuous), infinite and measurable. Both “continuous dying” and
“continuousness improvement” posit the chaotic or entropic tendency of the
social organization of life. Seeing this “humble earthworm” from the right
perspective—something recently advocated by Eric Hayot, as a way of “seeing
others” in a cosmological sense —involves a dissatisfying resolution of the
paradox of “destructive love,” the resolution of contradiction rather than the
maintenance of indeterminacy. </span></span><span style="font-family: Corbel; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span><br />
<span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-fareast-font-family: "Times New Roman";"><br /></span>
<span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-fareast-font-family: "Times New Roman";"><i>***presented at the University of Minnesota Graduate Student Colloquium, Inter|Diction on April 3, 2015 (convened by Mikkel Vad, with Kai Bosworth, Emily Fedoruk, and Tom Pepper).</i></span></div>
</div>
</div>
Erin Trapphttp://www.blogger.com/profile/03472590835245430294noreply@blogger.com0tag:blogger.com,1999:blog-1236603983133336864.post-62720992253119955742014-12-04T20:11:00.003-08:002014-12-04T20:11:59.935-08:00Words Edgewise<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-0j0y1yvckGY/VIEv83t-HjI/AAAAAAAAA80/11wU-A34hRI/s1600/Screen%2BShot%2B2014-12-04%2Bat%2B10.07.41%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-0j0y1yvckGY/VIEv83t-HjI/AAAAAAAAA80/11wU-A34hRI/s1600/Screen%2BShot%2B2014-12-04%2Bat%2B10.07.41%2BPM.png" height="241" width="320" /></a></div>
<br />
<br />
Today, I attended a talk by Eric Hayot at the University of Minnesota, which took as intertext his essay "Against Periodization," although the talk concerned cosmology and poetics; the connection between these is interesting--the desire to challenge periodization of course comes from a perspective that values history. So it's not just that this value produces an ideological blind spot, which goes by the name of "aesthetic experience," as if this is the kind of exception upon which the value of the historical then emerges. Perhaps it's true that every theory has such a spot, but what seems untenable about Hayot's approach is that the critical value of history, which emerges out of a desire to raise the value of the humanities on its own turns, emerges as a theory of everything, a cosmology, if you will. Hayot claims that his interest is in thinking about concepts that can themselves overcome a split that itself functions to signify cosmological worlds and post-cosmological worlds: a split between the premodern and modern.<br />
<br />
What my interest is in is looking at the figure of this split. I don't think I would dispute the idea that periodization produces a rupture or fracture that is, perhaps, not all it is cracked up to be. I'm curious about the desire or gesture to unify around this split or to step outside of it from a distance that would render it invisible (Hayot uses the idea of asking his students what we will look like in 1000 years as an example of a distance that would render the division between Victorian and modern periods, for example, invisible), and mostly I'm curious about it because it seems to emerge from the shortcomings of the model of the split or fracture, which, I would propose, seems to assume the psychoanalytic model of projection or projective identification as its fundamental operating procedure. This models presents as the problem to be overcome the difficulty of stepping outside of your own aesthetic experience. When Hayot described the problem of not knowing if the split or rupture was there at the conceptual level (i.e. in terms of a presentist scholarly perspective) or at the level of the event (i.e. actually in history), he was invoking this model of the projection in order to conceptualize this split. Projection usually involves the idea of projective identification; it is there in formulations that make use of the figure of a self and other, in other words to think about how objects are set against and become external to individuals. As is often the case, the ethical problems associated with this model emerge from the difficulty in formulating a relation to the other that involves a problematic understanding of difference. The impulse to find a <i>transconcept</i>, or an idea that would assert the sameness of what lies on either side of the split, or a more general form that could traverse these sides can be understood as a way to negotiate with the difficulty of maintaining an adequate relation between these sides, to manage anxiety about one's blindspots actually--to include everything.<br />
<br />
So, to return again, my interest in this moment lies perhaps in my desire to maintain the ambivalence of this split, and the psychical experience that it entails. It leads me, in fact, to a point where I wonder whether one of the real values of psychoanalytic theory is that it allows us to understand aesthetics not merely as a theory of beauty or perception, but as a theory of experience, in particular of sensory experience, or as Freud says in "The Uncanny," "a theory of the quality of feelings." From this perspective, the value of the historical, which I mentioned above, does not <i>just </i>have aesthetic experience as its blind spot, because it would say that it includes it, but the value exerted by the historical encloses the aesthetic within it as a kind of foundational gesture of the split it then goes on to critique. Much like the theory of projective identification, which includes the aesthetic as a form of perception or identification, this model of the rupture-to-be-overcome includes the aesthetic but is not able to let aesthetic experiences stand, as "things" in their own right, "things" that are experiences before they are reified or turned into objects.<br />
<br />
This is, we might posit, the value of thought--which is not nearly equatable but always replaced in the institution with the idea of the value of the humanities. The value of thought, however, is less codifiable, less professionalizable, less justifiable. It made me think about how yesterday, when I showed students in my class on the rhetoric of everyday life Masao Adachi's film <i>AKA Serial Killer, </i>they had kind of set up some terms for thinking about being bombarded with the environment<i>. </i>Within the first twenty minutes, it becomes possible to experience even the image of a sunflower as<i> </i>a menace, or as demanding something from the viewer/the camera. In this way, it's about information overload before information overload (1969) and about how becoming desensitized is also, perhaps, a demand. I cite this because the film is the opposite of the mode discussed by Hayot; the mode that would relieve a viewer or reader of the perspective of rupture was one that "humbled" one, a view from a distance. Adachi loses sight of a rupture, split, or fracture because it is continually recast, and recast as the instantiation of environment. Rather than representing desensitization, the film produces an environment in which one is made to feel the demand or need for it. And by doing so, the film refigures the model of projective identification, which is generally assumed as the model of primary relating.<br />
<br />
To return, then, to psychoanalysis, this is where both Balint's and Winnicott's ideas about the destructiveness of primary love become significant. According to Balint, primary love is a state in which one partner has all of the interests, desires, and needs and the other partner has none. It replaces or is prior to the scene of projection, because, as Winnicott describes, it is a state that precedes integration/disintegration--a state he calls nonintegration, in which what can be seen is that the primary relation assumed by projective identification (between a self and other, in whatever conceptual terms undertaken) already moves to turn an environmental provision into the demand of an other, an object, a thing. This is always a destructive move. Trying to turn it into an ethical or moral relationship (to an other) or to use it as a "humbling" experience misses the point that Winnicott identifies: that these various attitudes do not help us to "repair" our destructiveness, though they can function as a signal that we could "get to" it, or experience it, and therefore take responsibility for it. The problem is, though, I think, that any sort of ethical or moral or epistemological or whatever gesture often functions to defend against or prevent one from taking what Winnicott calls "full responsibility for one's destructiveness." The destructiveness he's talking about--to return to where I started--and the reason that it's defended against has to do with the otherwise very meaninglessness of aesthetic experience, which is also something that does not sit well with those who value history or (inter-)disciplinary professionalism--in the sense that such meaninglessness becomes intolerable, or always seems to be in need of a rationale, justification, or schematization. This is the scene of obliteration that Denise Ferreira da Silva describes in <i>Toward a Global Idea of Race, </i>the scene that is produced via the deployment of the racial<i>. </i>In the schema I've been describing, it might be possible to see how the state of nonintegration or primary love enforces the idea that the deployment of reparative knowledge (as Silva describes via the racial) always contains within it a moment of violence or destructiveness that it seeks to cover over. What's interesting about Winnicott is that because he's so interested in the psychical usefulness of his theoretical information, he does end up "prescribing" the usefulness of this insight into one's destructiveness. Taking responsibility in this sense is not an ethical or positive formulation; Winnicott suggests that what experiencing feelings of destructiveness allows us to do is "not to mobilize it in the service of hate." To do more than this, to think that one is doing more when one takes responsibility, certainly seems today to be the basis of so many misperceptions about where, for example, the problems of this system of racialized state violence lie.<br />
<br />
<span style="font-size: x-small;">picture: Sunflower, from <i>AKA Serial Killer </i>(Masao Adachi, 1969)--film reference, Rei Terada. </span>Erin Trapphttp://www.blogger.com/profile/03472590835245430294noreply@blogger.com1tag:blogger.com,1999:blog-1236603983133336864.post-37752598810970591302014-11-23T19:00:00.000-08:002014-11-24T22:57:43.464-08:00letter nowherebuoying moorland more land<br />
hounds the steppe step<br />
escapo the fogs fog<br />
<br />
rise low where<br />
otherwise where wise<br />
they never<br />
<br />
tundra ice melts mid<br />
winter midst frost flower<br />
fleeting because cause<br />
<br />
pulls cause a string<br />
a wooden car<br />
on a string ten years<br />
<br />
from now now mid<br />
winter no more land<br />
you said too to write of<br />
<br />
trivialities but when<br />
where wise<br />
they never when<br />
<br />
correspondence breaks<br />
it breaks off<br />
ex folium<br />
<br />
the weeping once<br />
black-eyed susan will<br />
weep freeze again<br />
<br />
escapo down<br />
turn down the this<br />
of this thaw that again<br />
<br />
<br />Erin Trapphttp://www.blogger.com/profile/03472590835245430294noreply@blogger.com0