typewriter awry

affirming molecular revolutions

on the phonography of the photograph; on the sound of black mo’nin’

“There’s a massive itenerancy here, a fugitivity that breaking only left more broke, broken and unbroken circle of escape and return. And the gap between them, between their modes of audibility vis-à-vis the photograph, is the difference within invagination between what cuts and what surrounds, invagination being that principle of impurity that, for Derrida, marks the law of the law of genre where the set of ensemble or totality is constantly improvised by the rupturing and augmentative power of an always already multiply and disruptively present singularity. So that speech is broken and expanded by writing; so that hieroglyphics is affected by phonetic script; so that a photograph exerts itself on the alphabet; so that phonographic content infuses the photo. […] The implications of this aural aesthetic—this phonographic rewriting of/in the photograph—are crucial and powerful then, because they mark something general about the nature of a photograph and a performance—the ongoing universality of their absolute singularity—that is, at least for me, most clearly and generously given in black photography and black performance.” —Fred Moten, In the Break: The Aesthetics of the Black Radical Tradition

— 1 year ago with 1 note
  1. machinic posted this