[spectre] ..no point made....just this is what it all feels like to this worried lone writer

[hight at 34n118w.net]

The difference is everywhere and nowhere.  It informs sounds, shapes,
colors, fragments of conversations.  The media images are confetti,
scatterings, small bits of controlled color and uncertain textures
captured together; they are details and pieces of something, but are so
small, so not of a whole.  The walk past a television or a news display
reveals war in so many other ways, in infusions of anger in piles of paper
to be collected as though the clutter is of something more, and the futile
tiny feeling that at least this can touched with my hands, sorted.  It
reveals  feelings of helplessness among something so much larger than the
puny geometry of a human life and its ephemera.  The spectre of some
unfound context looms in years ahead when whatever this leads to reveals
itself in books, documents with zebra stripes of what will never be known,
in the cooling of magma that comes in time in terms of what this all will
be seen as , and what we are not being told.  It makes history seem to
reach with bony hands from texts and seem to be given patches of flesh, to
seem to violate laws of time and seem so prescient and fused to "now" and
all it entails.  The air is the same, a rind of orange tastes the same,
salt falls on eggs in the same trajectories as before, but something
looms, is nestled in pauses in conversations, in unsaid things, and at
times breaks volcanic in hot frustrated jets or oozes out slow in
narcotized black discussions as though from the grave itself.  These are
our times.
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> LACKING WORDS
>
> The second edition of the DICTIONARY OF WAR this weekend in Munich
> takes place during a war that provokes fear, rage and horror across
> the world.
>
> The recent escalation of military force in the Middle East and its
> responses reveil how difficult it got today, to assess the extent of
> a war, that is as mad as calculated, that in its actuality is total
> and unquestionable, a war that is endless and apparently without
> ends.
>
> "At least when we create concepts we are doing something" - the slogan
> borrowed by Deleuze and Guattari might gain urgency and special
> relevance these days:
>
> The Lebanse video artist Akram Zaatari, who stayed in Paris when the
> Israely army started to bomb Beirut and could not return home,
> spontaneously agreed to come to Munich and to contribute a concept.
>
> Mansur Jacoubi, who created the concept of "Realtively Calm" for the
> last edition, will join live from Beirut through an internet relay.
>
> Eyal Weizman, israeli architect, is going to formulate an "exergue"
> that will deal with the actual situation and build a connection to the
> first edition in Frankfurt.
>
> Additionally to her concept, the New York based artist Julieta Aranda
> is going to screen films by Lebanse artists like Walid Raad, Akram
> Zaatari, Lamia Joreige, Joana Hadjithomas/Khalil Joreige, Ali Cherri
> und Nesrine Khodr from the "e-flux Video Rental" project.
>
> The Munich edition of DICTIONARY OF WAR features contributions by 25
> scientists, artists, filmmakers, architects, theorists, and activists
> from twelve different countries:
>
> Amsterdam based performance group andcompany&Co; the mexican artist
> Julieta Aranda; media theorist Konrad Becker from Vienna; sociologist
> Ulrich Bröckling from Freiburg; artist Hans-Christian Dany from
> Hamburg; Berlin based writer Katja Diefenbach; sociologist and
> theorist Avery Gordon from Los Angeles; architect Manuel Herz from
> Cologne; Paris based art critic, translator and activist Brian Holmes;
> Beirut based media activist Mansur Jacoubi; human rights expert Tom
> Keenan from New York; Belgrad based architect Ivan Kucina; filmmaker
> and media artist Naeem Mohaiemen from New York and Dhaka; artist
> Ariane Müller from Berlin; slovenian artist Marko Peljhan; Armin
> Petras