Virginia Heffernan’s book Magic and Loss: The Internet as Art (Simon and Schuster, 2016) has by and large made its reviewers happy. It’s easy to see why: it has the capacity to make people feel good about the Internet again, while inoculating people against naïve liking. Continue reading
What forms of aesthetic judgment do we have at our disposal to help us with this:
At the heart of Stefano Harney and Fred Moten’s The Undercommons (Minor Compositions, 2013) is an astonishing conditional. Continue reading
I see you, American, yearning for a less polarized electorate, for parties that are pragmatic, a public sphere less riven by ideology, a president with less power—I hear how you name these things, with a hopeful quiver in your voice, democracy. Continue reading
The Persistence of Form: Introduction – Christa Noel Robbins and Kris Cohen | Beyond Formaldehyde: An Interview with Lauren Berlant – Kris Cohen and Christa Noel Robbins | Andrew Raffo Dewar on Form – Andrew Raffo Dewar | Form-as-Movement – Michele Matteini | Daniel Morgan on Form – Daniel Morgan | A brief and provisional rumination on a Black Form – Matthew Metzger | Form Fatigue? – Anahid Nersessian | The Persistence of Formalism – Scott C. Richmond | Michael Robbins on Form – Michael Robbins | Dash Shaw on Form – Dash Shaw | Religion and Narrative Form – John Paul Spiro | Digital Form and the Human – Janine Utell | The Historicity of Form: Challenges Posed by Wolf Vostell’s Concrete Traffic – Lisa Zaher
conducted by Kris Cohen (KC) and Christa Noel Robbins (CR)
Question 1 You said in the lead up to this interview that you’re writing a lot about form right now. What’s driving that interest in form? Why now?
I always feel stupid in front of “why now” questions, because they seem to presume a shared “now” and, you know, I don’t think we can presume that, since I think of the present as an effect of mediation, a time-genre giving form to an affective sense that gains traction through circulation. I have always written about form: the nation form, the couple form, the form of life… Think of Formica, a laminate that appears as a single hard substance so stable it can be cut to order. Continue reading
I’ve been trying to develop a way of thinking about film, and other audiovisual media, in which form is both necessary and primary.