NEWSgrist - where spin is art
An e-zine covering the arts since 2000
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Vol.5, no.22
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read it on the blog:
http://newsgrist.typepad.com
Archives:
http://newsgrist.net
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Saturday, October 16, 2004
Derrida's Quiet Gestures
[image: Derrida]
via ArtForum Online:
INTERNATIONAL NEWS DIGEST - 10.11.04
Derrida's last Interview
By Jennifer Allen
Critics, journalists, and fellow philosophers from across Europe remember
Jacques Derrida, who died last week in Paris at the age of seventy-four.
With stories from Le Monde, Libration, The Times (London), The Guardian,
Frankfurter Rundschau, Die Sddeutsche Zeitung, and Il Manifesto.
via The International Herald Tribune, Oct 15:
The real meaning of deconstruction
By Mark C. Taylor - New York Times [last week]
NEW YORK: Along with Ludwig Wittgenstein and Martin Heidegger, Jacques
Derrida, who died last week in Paris at the age of 74, will be remembered
as one of the three most important philosophers of the 20th century. No
thinker in the last 100 years had a greater impact than he did on people
in more fields and different disciplines. And no thinker has been more
deeply misunderstood.
To people addicted to sound bites and overnight polls, Derrida's works
seem hopelessly obscure. It is undeniable that they cannot be easily
summarized or reduced to one-liners. The obscurity of his writing,
however, does not conceal a code that can be cracked, but reflects the
density and complexity characteristic of all great works of philosophy,
literature and art.
What makes Derrida's work so significant is the way he brought insights of
major philosophers, writers, artists and theologians to bear on problems
of urgent contemporary interest. Most of his infamously demanding texts
consist of careful interpretations of canonical writers in the Western
philosophical, literary and artistic traditions, from Plato to Joyce. By
reading familiar works against the grain, he disclosed concealed meanings
that created new possibilities for imaginative expression.
Derrida's name is most closely associated with the often cited but rarely
understood term "deconstruction." When responsibly understood, the
implications of deconstruction are quite different from the misleading
clichs often used to describe a process of dismantling or taking things
apart.
The guiding insight of deconstruction is that every structure - literary,
psychological, social, economic, political or religious - that organizes
our experience is constituted and maintained through acts of exclusion. In
the process of creating something, something else inevitably gets left
out. These exclusive structures can become repressive, and that repression
comes with consequences. In a manner reminiscent of Freud, Derrida insists
that what is repressed does not disappear but always returns to unsettle
every construction, no matter how secure it seems.
As an Algerian Jew writing in France during the postwar years, in the wake
of totalitarianism on the right (fascism) and on the left (Stalinism),
Derrida understood all too well the danger of beliefs and ideologies that
divide the world into diametrical opposites: right or left, red or blue,
good or evil, for us or against us. He showed how these repressive
structures, which grew directly out of the Western intellectual and
cultural tradition, threatened to return with devastating consequences. By
struggling to find ways to overcome patterns that exclude the differences
that make life worth living, he developed a vision that is consistently
ethical.
Yet supporters on the left and critics on the right have misunderstood
this vision. Many of Derrida's most influential followers appropriated his
analyses of marginal writers, works and cultures as well as his emphasis
on the importance of preserving differences and respecting others to forge
an identity politics that divides the world between the very oppositions
that it was Derrida's mission to undo: black and white, men and women, gay
and straight.
Betraying Derrida's insights by creating a culture of political
correctness, his self-styled supporters fueled the culture wars that have
been raging for more than two decades and continue to frame political
debate.
To his critics, Derrida appeared to be a pernicious nihilist who
threatened the very foundation of Western society and culture. By
insisting that truth and absolute value cannot be known with certainty,
his detractors argue, he undercut the very possibility of moral judgment.
To follow Derrida, they maintain, is to start down the slippery slope of
skepticism and relativism that leaves us powerless to act responsibly.
This is an important criticism that requires a careful response. Like
Kant, Kierkegaard and Nietzsche, Derrida does argue that transparent truth
and absolute values elude our grasp. This does not mean, however, that we
must forsake the cognitive categories and moral principles without which
we cannot live: equality and justice, generosity and friendship.
Rather, it is necessary to recognize the unavoidable limitations and
inherent contradictions in the ideas and norms that guide our actions, and
do so in a way that keeps them open to constant questioning and continual
revision. There can be no ethical action without critical reflection.
During the last decade of his life, Derrida became preoccupied with
religion, and it is in this area that his contribution might well be most
significant for our time. He understood that religion is impossible
without uncertainty, that God can never be fully known or adequately
represented by imperfect human beings.
And yet we live in an age when major conflicts are shaped by people who
claim to know, for certain, that God is on their side.
Derrida reminded us that religion does not always give clear meaning,
purpose and certainty. To the contrary, the great religious traditions are
profoundly disturbing because they all call certainty and security into
question. Belief not tempered by doubt poses a mortal danger.
As the process of globalization draws us ever closer in networks of
communication and exchange, there is an understandable longing for
simplicity, clarity and certainty. This desire is responsible, in large
measure, for the rise of cultural conservatism and religious
fundamentalism.
Fortunately, he also taught us that the alternative to blind belief is not
simply unbelief but a different kind of belief - one that embraces
uncertainty and enables us to respect others whom we do not understand. In
a complex world, wisdom is knowing what we don't know.
In the two decades I knew Derrida, we had many meetings and exchanges. In
conversation, he listened carefully and responded helpfully. As a teacher,
he gave freely of his time.
But small things are the measure of the man. In 1986, my family and I were
in Paris, and Derrida invited us to dinner at his house in the suburbs 20
miles away. He insisted on picking us up at our hotel, and when we arrived
at his home he presented our children with carnival masks. At 2 a.m., he
drove us back to the city. In later years, when my son and daughter were
writing college papers on his work, he sent them letters and postcards of
encouragement as well as signed copies of several of his books.
Jacques Derrida wrote eloquently about the gift of friendship, but in
these quiet gestures - gestures that served to forge connections among
individuals across their differences - we see deconstruction in action.
Saturday, October 16, 2004 at 05:05 PM in Current Affairs | Permalink:
http://newsgrist.typepad.com/underbelly/2004/10/derridas_quiet_.html
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The Atlas Group: Real + Imagined Narratives
[image: from The Atlas Group]
Issue 2 of Bidoun Magazine is out with articles ranging from the politics
of archiving to the Egyptian literary scene to what's happening at Cannes.
Featured is a profile of Walid Raad and the Atlas Group:
The Atlas Group Opens its Archives
by Kaelen Wilson-Goldie
Walid Raad has a knack for tricks. A thirty-seven-year-old contemporary
artist based between Brooklyn and Beirut, Raad has been known to confuse
form and fact. He is the driving force behind an organization called the
Atlas Group, which takes a serious and fastidious approach to the
accumulation of documents related to Lebanons recent history in general,
and the countrys fifteen years of civil war in particular. As such, Raads
work has all the trappings of traditional documentary research. Yet
appearances can be deceptive. Imagine Lebanese historians frittering away
their time at the racetrack, gambling on finish-finish photos, while
shells are being lobbed back and forth throughout the country. Imagine
police investigators, tasked with solving the crimes of car bombings, but
fixating instead on the particular trajectory of the engines launched from
those detonated vehicles. Raad may not be pulling his viewers legs, but he
may just be holding back the hint of a smile and cocking one eyebrow as if
to suggest slyly, You see? Things arent always as they seem.
[…]
As Raads brainchild, the Atlas Group erupted onto the art scene several
years ago, afforded a space in such high-profile venues as Documenta XI,
the 2002 Whitney Biennial, and the Venice Biennale in 2003. As to when the
Atlas Group was established, and by whom, answers depend on how one asks,
when and where. At this point, the story of the organizations origins has
settled on the year 1999, but previously Raad has tossed about dates from
1975 through 1996, along with the names of such co-founders and
co-conspirators as Maha Traboulsi and Zeinab Fakhouri. In short, the Atlas
Group started firmly in the realm of Raads imagination, but now exists in
real, concrete terms. Its work has been documented, after all.
[…]
To look at the Atlas Group as a conceptual artwork in and of itself raises
interesting questions about contemporary art practices across the board.
At the same time, however, one runs the risk of overlooking the nature of
the documents and archives themselves, as well as the Atlas Groups
particular approach to them all. And it is here, underneath the set-up and
the framework, where some of the most trenchant questions lie.
In collecting and archiving documents related to the contemporary history
of Lebanon, the Atlas Group seeks to analyze as yet unexplored dimensions
of the civil war (or wars) that raged through the country from 1975 to
1991. Along the way, it also digs into the manner in which that history
has been written and communicated, the dominant narratives and prevailing
discourses. […]
Saturday, October 16, 2004 at 10:38 AM in Art Exhibitions | Permalink:
http://newsgrist.typepad.com/underbelly/2004/10/the_atlas_group.html
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Thursday, October 14, 2004
Blogging Art Criticism
[image: Tyler Green]
via NYFA Current:
In Their Own Words
by Tyler Green
Tyler Green is the founder of Modern Art Notes, a blog of his criticism,
news, and chatty observations on modern and contemporary art. Greens
hilarious, caustic, and infectious writing has won him countless art-world
devotees over the past three years, and he recently became the staff art
critic for Bloomberg News. NYFA Current asked Green to write on how blogs
have changed, and will continue to change, the nature of art criticism in
the 21st century.
[…] Blogs haven't (yet) changed anything about how art criticism is
written. Jerry Saltz, for example, still covers art in New York City for
the Village Voice just as he did a year ago. And bloggers are more art
observers than critics; they mostly write about their favorite shows in
and around their towns or they talk about gallery openings they've
attended. (And, of course, they tell us how much they drank at those
openings.)
This isnt meant to imply that blogs aren't players in art criticism.
Here's where blogs have an impact: The local art critic is no longer just
local. Blogs have proven to be outstanding at making sure good art
writing, even if it's hidden in a Denver alt-weekly, is read nationwide.
Every art critic has become a national art critic. Before blogs, who in
New York read Washington Post critic Blake Gopnik? Who in Boston paid
attention to what Kenneth Baker was writing in the San Francisco
Chronicle?
Now every critic has a shot at a national audience. Only two newspapers
"hide" their critics from the blogosphere: the Wall Street Journal and the
Los Angeles Times. And, thanks to an underground email network among
bloggers and their pals, it's pretty easy to get a hold of what's being
written in those newspapers, too.
Strangely, not every art critic has realized this. This is all the more
remarkable given that art critics are the biggest navel-gazers in
journalism history. It seems like once a month someone, somewhere is
sponsoring an "Is Art Criticism Dead?" panel discussion where everyone
says the same thing: Yes, because nobody reads what I write. Hogwash.
Thanks to blogs, the best art writing is read by more people, in more
places, than ever before. If nobody is reading what a certain critic
writes, it's because that critic isn't worth reading.
To bloggers, theres no such thing as a local audience. To me, this is a
real plus. The art world is increasingly global and decreasingly local.
Group shows in Europe feature artists from Washington, DC. Museum exhibits
regularly travel between Europe, Asia, and the US. The local, one-city art
critic is a journalism rubric-turned relic. […]
Thursday, October 14, 2004 at 11:08 AM in Weblogs | Permalink:
http://newsgrist.typepad.com/underbelly/2004/10/blogging_art_cr.html
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This Week's New Yorker Cover
[Cover]
Thursday, October 14, 2004 at 10:17 AM in Current Affairs | Permalink:
http://newsgrist.typepad.com/underbelly/2004/10/theis_weeks_new.html
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I've Got Who Under My Skin?
[image: Implant]
via NYTimes:
Identity Badge Worn Under Skin Approved for Use in Health Care
By BARNABY J. FEDER and TOM ZELLER Jr.
The Food and Drug Administration has cleared the way for a Florida company
to market implantable chips that would provide easy access to individual
medical records.
The approval, which the company announced yesterday, is expected to bring
to public attention a simmering debate over a technology that has evoked
Orwellian overtones for privacy advocates and fueled fears of widespread
tracking of people with implanted radio frequency tags, even though that
ability does not yet exist.
Applied Digital Solutions, based in Delray Beach, Fla., said that its
devices, which it calls VeriChips, could save lives and limit injuries
from errors in medical treatment. And it expressed hope that such medical
uses would accelerate the acceptance of under-the-skin ID chips as
security and access-control devices.
Scott R. Silverman, chairman and chief executive of Applied Digital, said
the F.D.A.'s approval should help the company overcome "the creepy factor"
of implanted tags and the suspicion it has stirred.
"We believe there are far fewer people resisting this today," Mr.
Silverman said. But it is far from clear whether implanted identification
tags can overcome opposition from those who fear new levels of personal
surveillance and from some fundamentalist religious groups who contend
that the tags may be the "mark of the beast" referred to in the Book of
Revelation. […]
Applied Digital has been free to sell VeriChip in the United States for
nonmedical applications, but lack of acceptance of the technology made
F.D.A. approval for medical uses a high priority.
"I've believed all along that the medical application was the best,
followed by security and financial applications," Mr. Silverman said.
Still, the science-fiction specter of a nation of drones tagged with
sub-dermal bar codes may be a difficult image for the company to overcome
in selling its technology.
Online conspiracy theorists, for example, often attach abilities to the
technology that do not exist, like the ability to track individuals via
satellite. […]
+ + +
Bigbro
more on tracking devices from the blog We Make Money Not Art:
RFID in driver's licences, patients and sci-fi plans to track anything
that moves
[…]
An influential group of Pentagon advisers, the Defense Science Board, is
convinced that the only way to win the war on terror is to track everyone,
and everything, that moves.
The Pentagon urgently needs a massive effort to develop tools to track
individuals, items and activities in ways that exist today only in science
fiction, a high-level advisory panel recently told U.S. Defense Secretary
Donald Rumsfeld.
Technologies that can identify people by unique physical characteristics
fingerprint, voice, odor, gait or even pattern of iris must be merged
with new means of tagging so that U.S. forces can find enemies who escape
into a crowd or slip into a labyrinthine slum.
"Cost is not the issue; failure in the global war on terrorism is the real
question."
Via Defense Tech < ISR Journal.
Thursday, October 14, 2004 at 10:08 AM in Current Affairs |
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Wednesday, October 13, 2004
Postcards From the Edge
via Visual AIDS:
Visual AIDS Postcards From the Edge Benefit: Artists Wanted
Visual AIDS invites artists to participate in our seventh annual Postcards
From the Edge benefit. We are looking for artists to create and donate a
4" x 6" work on paper for the exhibition and sale. Painting, drawing,
photography, printmaking and mixed media are welcomed. We are pleased to
announce that our host gallery this year will be Brent Sikkema. Added this
year will also be a pre-view event on Saturday, Dec. 4 from 6:00-9:00 PM.
The benefit sale will be Sunday, Dec. 5 from 3:00-6:00 PM.
Postcards From the Edge is a show and sale of original, postcard-sized
artworks on paper by established and emerging artists. All artworks will
be priced at $50 and sold on a first-come, first-served basis. The works
are signed on the back and exhibited so that the artists' signatures
cannot be seen. While the buyers have a list of participating artists,
they don't know who created which piece until it is purchased and the
signature is revealed. A collector might end up with a work by a famous
artist or someone they don't yet know. Either way, they walk away with a
great piece of art while supporting Visual AIDS's important work.
If you would like to participate, please send a 6" x 9" SASE to:
Visual AIDS
526 West 26th Street #510
New York, NY 10001
Postcards From the Edge Benefit 2003
Or create your artwork on any 4" x 6" paper. Remember to only sign the
BACK. Then download the submission form and mail your piece with the form
to the address above. Please consider including $1.00 for postage and
handling. If you would like confirmation that we received your artwork,
please send a self-addressed, stamped postcard with your submission.
Deadline is Saturday, November 15, 2004.
One submission per artist.
Some of the artists who have participated in past Postcards From the Edge
benefits.
Wednesday, October 13, 2004 at 10:52 PM in Benefits | Permalink:
http://newsgrist.typepad.com/underbelly/2004/10/postcards_from_.html
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Supreme Court Disses RIAA; Privacy Scores
[image: Riaa-boycott – Webmasters Unite]
via Copyfight:
Supreme Court Denies Cert in RIAA v. Verizon
- Posted by Donna Wentworth
This just in: the Supreme Court has denied cert in RIAA v. Verizon, the
case in which the recording industry initially won the right to unmask an
anonymous KaZaA user with a special non-judicial, PATRIOT Act-like
subpoena under the DMCA. The DC Circuit reversed (PDF) that ruling, but
the RIAA appealed. Now the Supreme Court has declined to hear the case.
It's wonderful news.
Despite the rhetoric surrounding P2P, this case is not about filesharers
"hiding" from the law. It's about making sure that the law keeps
protecting innocents until there is a bare minimum showing of illegal
activity. Just because someone suspects you of being a "pirate" – or
would like to use claims of copyright infringement to gain easy access to
your personal information – does not make you guilty until proven
innocent.
The DMCA allows anyone simply claiming copyright infringement the ability
to get your name, address, phone number, etc. This removes critical
constitutional and privacy safeguards on the mere assertion of wrongdoing.
Many people are angry about the PATRIOT Act for removing these kinds of
safeguards. Shift the context to filesharing, and they tend to shrug it
off because it's about "pirates." But it's the same Consitution, and the
same rights are being eroded. […]
Wednesday, October 13, 2004 at 11:44 AM in Current Affairs | Permalink:
http://newsgrist.typepad.com/underbelly/2004/10/supreme_court_d.html
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Tuesday, October 12, 2004
Charged Image Mischarged?
Oldloeb
[image: an an older but not a-typical Damian Loeb painting ca. 1996; the
painting in question, "Blow Job (Three Little Boys)," dates from 1999]
I agree with the take that this is about privacy and not a copyright
issue; I really don't get why they are bothering to drag it into the
nightmarishly ambiguous copyright arena as it seems like the case for
privacy would have more teeth anyway–isn't privacy really what this is
about? Are greedy, predatory IP lawyers trying to take over every issue
now or what?
LOEB WORK PULLED FROM CRAMER SHOW 10/05/04
A provocative painting by Damian Loeb has caused a rumpus in Hartford,
Conn. Loebs 1999 Blow Job (Three Little Boys), which shows a trio of
blueblood boys in the foreground with a teen girl performing oral sex on a
boy in the background, was abruptly pulled from the equally provocative
new show, "The Charged Image: Work from the Collection of Douglas Cramer"
at the University of Harford Joseloff Gallery. The reason given was
copyright infringement, and the museum refused to comment further – but
the Hartford Courant got on the case and discovered that the image of the
three boys was copied from a photograph by Tina Barney of the sons of a
prominent local art patron and former member of the Wadsworth Atheneum
board.
Presumably, the powerful patron didnt like the association and demanded
that the picture be suppressed. The Courant wrote a long story on the
controversy, noting that Loeb has made his reputation by reproducing
appropriated imagery in his paintings, often in suggestive combinations.
Subsequently, Steven Holmes, director of visual arts at the Hartford
alternative space Real Art Ways, wrote a commentary in the paper urging
the museum to provide the forum for dialogue that the exhibition promised
in the first place. "If the real reason for the removal of the painting
was to protect the privacy of a family," he wrote, "why not say so?"
Kauper_1
[image source: Kurt Kauper painting in The Charged Image]
Here's more:
via the NYTimes:
Coincidence Sets Off Storm Over Erotic Work
By WILLIAM YARDLEY
[…]
Some critics have accused the school of bowing to pressure from a patron
and parent. The Hartford Courant, which first reported the removal of the
painting, ran a commentary last week by Steven Holmes, a curator at an art
center in Hartford, criticizing the university for not explaining its
actions more fully. But by every account, from the curator to Mr. Cramer
to Mr. Loeb, the painting's removal was less a clear censorship case than
it was one of copyright and surprising coincidence.
Several intellectual property lawyers said in interviews that Mr. Loeb's
painting might have violated laws by appropriating Ms. Barney's image, and
left the university vulnerable to charges of copyright infringement for
displaying the image of the boys without permission.
"We were made aware that there was a possible copyright permission issue
with this painting," said David Isgur, a spokesman for the university.
"With that, it was deemed that the most appropriate action to take was to
remove the painting from the exhibit while that issue hung over."
[…]
Mr. Loeb expressed regret that the family was offended by the image. "I am
saddened by the effect it has had on the subjects used in the painting,
and I am embarrassed by the inconvenience it has caused the people
involved in curating the show," he said.
But he also defended his work. "I do not, however, regret the images I
created, or the way in which they were made," he wrote in response to an
e-mail query. "When we as a society lose the ability to comment on what we
see and to have an opinion on what we are exposed to, then we have all
lost what makes us unique on this planet." […]
Prince_1
[image source: Richard Prince piece in The Charged Image]
via ArtsJournal:
Copyright, Or A Father's Ire, Forces A Painting's Removal
A Damian Loeb painting that borrows an image from a 1990 Tina Barney photo
was pulled from a University of Hartford exhibition, but why? "Was it
merely a question, as the University of Hartford insists, of a painting
removed from an important show because of suddenly discovered 'copyright
issues'? Or did an angry, powerful university parent, incensed that images
of his children were included in a work titled 'Blow Job (Three Little
Boys),' demand that the painting be taken down?" Hartford Courant 09/29/04
via FreeRepublic:
Banished Painting Raises Questions
BY MATTHEW ERIKSON
Was it merely a question, as the University of Hartford insists, of a
painting removed from an important show because of suddenly discovered
"copyright issues"?
Or did an angry, powerful university parent, incensed that images of his
children were included in a work titled "Blow Job (Three Little Boys),"
demand that the painting be taken down?
That's the issue this week as a photograph snapped more than a dozen years
ago figures prominently in a sexually charged painting that was whisked
off the walls of a University of Hartford gallery nine days after the
Sept. 7 exhibit opening. Copies of the exhibit's catalog, which included
the Damian Loeb painting on its cover, are no longer available.[…]
via Hartford Informer:
Controversial Painting Removed From Exhibit
By Caitlin Bailey, Published: Thursday, September 23, 2004
[…] Loeb's work, described by many critics as "hyper-realistic",
typically features oil paintings centered on a recognizable movie still or
a photograph. Two of his most well-known paintings involve elements of
"Jaws" and "Poltergeist".
This is not the first time Loeb's chosen style of art has led to copyright
issues. A 2001 issue of The New York Post told of a lawsuit filed against
Loeb by photographer Lauren Greenfield, who claimed that one of her
photographs was the model for one of Loeb's paintings. […]
Yuskavage
[image source: Lisa Yuskavage painting in The Charged Image]
About the exhibition
via Litchfield County Times:
Roxbury Art Collector Loans Works to 'Charged' Exhibit
By: E.L. Lefferts, 09/10/2004
"To anyone with an awareness of the New York art scene they are anything
but shocking," Mr. Cramer said of the pieces in the exhibit. "At this show
you can see what's been done with the human form and sexuality for the
last 100 years."
via New Mass Media:
Carnal Knowledge: Sex and the body at the Charged Image show at the
University of Hartford
by Alistair Highet - September 2004
Damian Loeb's "unofficial site".
About the Douglas Cramer Collection
More about Cramer and Loeb from the NYObserver (1999)
Tuesday, October 12, 2004 at 11:11 AM in Art Exhibitions | Permalink:
http://newsgrist.typepad.com/underbelly/2004/10/charged_image_d.html
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Stop Sinclair's Anti-Kerry 'Attackumentary'
Attackumentary
[image]
via Eyeteeth:
STOP SINCLAIR!
As you may have heard, Sinclair Broadcast Group–owner of TV stations that
reach 25% of American viewers and owner of KMWB here in the Twin
Cities–has decided to pre-empt programming on the eve of the election to
air a documentary, Stolen Honor, that bashes John Kerry's service in
Vietnam. Sinclair was the network that refused to air Nightline's episode
The Fallen, where Ted Koppel read off the names of soldiers killed in
Iraq, deeming it a political act (Ah, the irony: "patriots" who won't
honor the dead, fierce partisans bemoaning perceived partisanship!). For
more on their rightwing bias and disturbing embrace of centralized,
non-local news, read my piece "The Death of Local News."
Here's what you can do: several websites have been set up, one hosting a
petition and another, more effectively, offering contact info for
companies advertising on Sinclair-owned stations, nationally and locally.
Please, write a letter to these advertisers, especially in your town where
you can have more impact. Then, search for markets in swing states, where
Sinclair's Kerry-bashing can do more damage (the "Barely Kerry," "Weak
Kerry," and "Barely Bush" states shown here), and put pressure on
advertisers there. Feel free to repurpose my letter […]
………………………………………..
or use this easy form to send a letter to the FCC. Stop Sinclair now.
Tuesday, October 12, 2004 at 10:17 AM in Current Affairs | Permalink:
http://newsgrist.typepad.com/underbelly/2004/10/stop_sinclairs_.html
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JibJabbing DC
Jibjab [image]
Gregg and Evan Spiridellis have done it again with Good To Be in DC.
Tuesday, October 12, 2004 at 10:05 AM in Current Affairs | Permalink:
http://newsgrist.typepad.com/underbelly/2004/10/jibjabbing_dc.html
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NEWSgrist: Derrida's Quiet Gestures
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Type: discussion