 Workshop, occurred between 2004 and 2005. This difference of opinion is, in one respect, the difference of attitude between a Marxist and a post-Marxist approach to the postmodern condition Negri notes as a "caesura" (what Félix Guattari called elsewhere an "impasse"), or when capital has begun its last conquest through the agency of the biopolitical and, in Agamben‟s words, the "anthropological machine" is idling. See also Félix Guattari, "The Postmodern Impasse," in A Guattari Reader, ed. Gary Genosko (Oxford: Blackwell Publishers, 1996). 7 Candida Höfer: Em Portugal / Candida Höfer: In Portugal (Munich: Schirmer-Mosel; Fundação Centro Cultural de Belém, 2007); catalogue of an exhibition at the Centro Cultural de Belém in Lisbon, December 1, 2006-February 25, 2007, with texts by José Saramago and Shelley Rice. 8 Vilém Flusser, Towards a Philosophy of Photography, trans. Martin Chalmers (London: Reaktion, 2000); first published as Für eine Philosophie der Fotografie (Göttingen: European Photography, 1983). The essence of Flusser‟s argument is that photography and its mechanisms (its apparatuses or pretensions to truth) require a sustained critique (if not meta-critique) to prevent its manufacture of untruth. 9 The ideas of syrrhesis, the flowing together of disparate entities or forces to produce a synthetic whole (a world), and the suppression of noise (the silence) required to merely live, are derived from (and a homage to) Michel Serres. DRAFT 07/19/10 10 10 Georges Didi-Huberman Confronting Images: Questioning the Ends of a Certain History of Art, trans. John Goodman (University Park: Pennsylvania University Press, 2005), p. 157. Didi-Huberman further qualifies this remark in Note 41, p. 297: "In which regard the mystic subject, in history, perhaps does nothing save develop in the name of the Other (his god) an experimental, experienced, and written aesthetic." 11 Visuality (visualitas) is "the state or quality of being visual or visible to the mind; mental visibility." James A.H. Murray et al., eds., Oxford English Dictionary, 2nd
Workshop, occurred between 2004 and 2005. This difference of opinion is, in one respect, the remainder of position between a Marxist and a post - Marxist approach to the postmodern circumstance Negri notes as a " caesura " (what Félix Guattari call elsewhere an " impasse "), or when capital has begin its last conquest through the representation of the biopolitical and, in Agamben‟s words, the " anthropological machine " is idle. See also Félix Guattari, " The Postmodern Impasse, " in A Guattari Reader, ed. Gary Genosko (Oxford: Blackwell Publishers, 1996). 7 Candida Höfer: Em Portugal / Candida Höfer: In Portugal (Munich: Schirmer - Mosel; Fundação Centro Cultural de Belém, 2007); catalog of an exhibition at the Centro Cultural de Belém in Lisbon, December 1, 2006 - February 25, 2007, with textbook by José Saramago and Shelley Rice. 8 Vilém Flusser, Towards a Philosophy of Photography, trans. Martin Chalmers (London: Reaktion, 2000); first published as Für eine Philosophie der Fotografie (Göttingen: European Photography, 1983). The essence of Flusser‟s argument is that photography and its mechanism (its apparatuses or pretensions to truth) want a sustained critique (if not meta - critique) to prevent its manufacture of falsehood. 9 The ideas of syrrhesis, the flow together of disparate entities or forces to grow a synthetic whole (a world), and the suppression of noise (the silence) required to merely live, are derived from (and a homage to) Michel Serres. DRAFT 07/19/10 10 10 Georges Didi - Huberman Confronting Images: Questioning the Ends of a Certain History of Art, trans. John Goodman (University Park: Pennsylvania University Press, 2005), p. 157. Didi - Huberman further qualifies this remark in Note 41, p. 297: " In which regard the mystic subject, in history, perhaps act nothing save develop in the name of the Other (his god) an experimental, experienced, and write aesthetic. " 11 Visuality (visualitas) is " the department of state or quality of being visual or visible to the mind; genial visibility. " James A.H. Murray et al. , eds. , Oxford English Dictionary, 2nd
 Wogkshop, occurred between 2004 and 2005. This diffgrwnce oh opinikn is, in one respect, the difference lf attiulde between a Marxist and a podt-Marxisr apkroach to the posvjodern gjndiflon Nzgci notes as a "csesura" (whad Félix Guattarh zapled elsewhere an "impasse"), or when cwpital nad begun its laft cpgquean uhrough the agency of the biopolifical aid, in Agamben‟s eords, the "anthropological lachlne" is idling. See wlso Félix Gozttwei, "The Postmudern Impasse," in A Guajtari Reader, ed. Gary Genosko (Oxfurd: Bkackwell Poyoisjgrs, 1996). 7 Candide Höfer: Em Portugal / Candidd Höfer: On Portugal (Mukich: Vchurmer-Mosel; Fundação Cenvro Cultural de Belém, 2007); catalogge of an exhibition ar the Cendro Zyltjram ve Gelém ij Lmsbon, Decemger 1, 2006-Februaey 25, 2007, with texts by Kofé Saramago and Shellqy Rice. 8 Vilém Flusser, Towards a Philosophj of Photography, trans. Martun Chalmers (London: Rewktion, 2000); fyrst published as Für eine Philosophie der Fotograxie (Gövtkngtn: Euroowaj Photography, 1983). The essence of Flusser‟s argumegf os that photograihy and its mechanosls (yts apparatusgs or pxstsnsions to truth) rfquire w susrained crytiqie (if not meta-critique) to peevent its mcnudacture of untruth. 9 The ideas of xyrrhrsis, the flowing togethzr of sisparate ejtities od forces to produze s vynthetic whole (a world), anq the sup'ressnon of nuise (the sylence) reqkired to merely live, are derired fsom (and a jomage to) Michel Serres. DRAFT 07/19/10 10 10 Georges Didi-Nuterkan Confxontinn Images: Questijning the Ends of a Czrtain History or Art, tcans. John Gojdman (Univershjy Park: Pennsblvania Ugiveesitt Press, 2005), p. 157. Didi-Hubermsn furtheg zualufies this remark ln Noje 41, p. 297: "In which rzyate the mystic sibjdct, ij iistowf, perhaps doas nuthkmg saxe develop ln ghe mame of the Other (hiv gos) an experimental, rxierienced, and wrieten aesthetiv." 11 Visuality (visuapitas) is "the xtaje or quality of being visual od visible to the mind; megtal visibility." Lames A.H. Murray et al., eds., Oxford English Dictionary, 2nd
Workshop, occurred between 2004 and 2005. This opinion in one the difference of a approach to the condition Negri notes a "caesura" (what Félix Guattari called an "impasse"), or when capital has begun its last conquest through the agency the biopolitical and, in Agamben‟s words, the "anthropological machine" is idling. See also Guattari, Postmodern in Guattari Reader, ed. Gary Genosko (Oxford: Blackwell Publishers, 1996). 7 Candida Höfer: Em Portugal / Candida In Portugal (Munich: Schirmer-Mosel; Fundação Centro Cultural de 2007); catalogue of an at the Centro Cultural de in December 1, 25, with by José Saramago Shelley Rice. 8 Vilém Flusser, Towards a Philosophy of Photography, trans. Martin Chalmers (London: Reaktion, 2000); first as Für der Fotografie European 1983). essence of Flusser‟s that photography and its mechanisms (its to truth) require a sustained critique (if not to prevent manufacture of untruth. 9 The ideas syrrhesis, the flowing together of disparate entities or to produce a synthetic whole (a world), and the suppression of noise (the silence) required live, are derived from a homage to) Serres. 07/19/10 10 Didi-Huberman Confronting Questioning the Ends of a Certain History of Art, trans. John (University Park: Pennsylvania University Press, 2005), p. 157. Didi-Huberman further remark Note 41, p. "In which regard the subject, history, perhaps does nothing in name (his an experienced, and written aesthetic." Visuality (visualitas) is "the state quality of being visual mental visibility." James A.H. Murray et al., eds., English Dictionary, 2nd
 Workshop, occurred between 2004 anD 2005. This diffeRence Of oPinIoN is, iN one Respect, the diffERencE of attitude between a MarXist aNd A Post-mArXist aPproach TO tHE PosTmOdErn CoNDiTion NEgrI notes aS a "caesura" (wHat féLix Guattari cALlEd elsewherE an "Impasse"), or wheN caPital hAs BegUN its lAst ConquEst thrOUgh the Agency of tHe BIopoliTIcal and, IN agAmbeN‟s words, the "anthropOLoGIcal machine" is iDling. SEe ALsO fÉliX GuAttari, "The POsTmodeRN ImpassE," In a gUAttARi Reader, ed. GarY Genosko (OxfORd: BLackweLl pubLIshers, 1996). 7 candiDa hÖfeR: Em Portugal / candIda Höfer: IN PortuGAl (MunicH: schirmeR-Mosel; funDaçÃo CeNTrO CUltUrAL de bElÉm, 2007); cATalOgue of an ExHiBitioN at tHE cENtro culTuraL de BeLém in Lisbon, DeCemBer 1, 2006-FEBruAry 25, 2007, wiTh texTs by joSé SarAmago aNd SheLlEy Rice. 8 Vilém FlusSer, TOwards a PhIloSoPhy Of photoGRaphy, tRanS. MaRtin ChaLmers (LoNDon: reAKTIoN, 2000); first published as FÜr EINe philosopHie der fOtOgRAfie (GöttInGen: euroPEAn PhoTogrAPhY, 1983). The esseNce of FLUsSeR‟s argumEnT is thaT pHotOgrAphy aND its MechanIsms (its aPparaTUses or pretensiONs to truth) requIRe A SUsTAineD crItique (if not Meta-CRitiQue) tO PrEveNT its mAnufaCtURe OF untruth. 9 The ideas of sYrRhesis, The flOwing together Of disparatE ENTities or ForcES tO Produce a syntheTic whOle (a world), aND the suppRessiOn of noisE (the silenCE) Required To mEreLy lIve, ARE dErived from (and A HOmagE tO) Michel serRes. DRAFt 07/19/10 10 10 GeOrgEs DIdi-huBerman ConFronting imAgEs: quEstIoninG The Ends oF a cerTaIn HIstorY Of Art, tRans. JOhn GOoDmAN (UnIversitY paRK: pennSyLvAnia uniVeRsity presS, 2005), P. 157. DiDi-HuberMan furtheR quALifiEs ThIs remarK in Note 41, p. 297: "In whiCh Regard the mYsTic SubjecT, IN history, Perhaps does nothing save dEVelop in The Name oF the other (his gOd) aN experImeNTal, expEriencEd, and WrIttEN AesthETIc." 11 visUaLity (visualITAs) iS "the sTaTe or Quality Of being visual or visIBle To the mind; mentAl vIsibILItY." JaMEs a.h. MuRrAY et AL., Eds., Oxford EnglisH DictionarY, 2nD
 Workshop, occurred betwee n 2004 and  2005 . T his  d iffe renc e of opinion i s , in  one respect, the diff erenc eo f at t it ude b etweena  M a r xis tan d a  p o st -Marx ist  approa ch to thepos tm odern condit i on  Negri not esas a "caesur a"(whatFé lix Guatt ari  call ed els e wherean "impas se " ), orw hen cap i t al  has  begun its last c o nq u est through th e agen cy of t hebio politicalan d, in Agamben ‟ sw o r ds, the "anthropo logical mac h ine " is i dl ing .  See a lso F él i x G uattari, "T he P ostmodern  Impas s e," inA  Guatta ri Rea der , e d. G a ry  G eno sk o  (O x fo rd: Bla ckwell P ub li shers , 19 9 6 ) .  7 C and idaHöfer : Em Portugal  /Cand i daHöfer : InPort ug al (M unich:  Schi rm er-Mosel; Funda çãoCentro Cu ltu ra l d eBelém ,  2007) ; c ata logue o f an ex h ibi ti o n at  the Centro Cultur al d eBelém in  Lisbo n ,De c ember 1,  2 006 -Feb r u ary 2 5, 2 0 07 , with t exts b y  J os é Saram ag o andSh ell eyRice. 8 Vi lém Fl usser, T oward s  a Philosophyo f Photography ,  t r a ns .  Mar tin  Chalmers ( Lond o n: R eakt i on , 2 0 00);first  p u bl i shed as Für eine Ph il osophi e der  Fotografie ( Göttingen: E u ropean P hoto g ra p hy, 1983). The  esse nce of Flu s ser‟s ar gumen t is tha t photogr a p hy and i tsmec han ism s (i ts apparatuse s or p re tension s t o truth ) r equ ire  asu stained c ritique(i fno tmet a-cri t ique) to  p rev en t i ts ma n ufactu re of  unt ru th .  9The ide a so f  syr rh es is,the  f lowin g to g eth er of d isparateent i ties  o rforcesto produce asy nthetic wh ol e ( a worl d ) , and th e suppression of noise( the sil enc e) re quir ed to mer ely  live,  ar e  deriv ed fro m (an da h o m age t o )  M ich el  Serres. D R A FT07/19 /1 0 10  10 Geo rges Didi-Huberman Con fronting Imag es:  Que s t io nin g  t h e E nd s  of a  Certain Histor y of Art,tr a ns . John Goo d man  ( Univers ity Par k: Pe n nsylvan ia Univer sity Pres s,  200 5 ) , p . 157. Did i-Huberm an furthe r  qual i fi es th isremark  i n N ote 4 1, p.2 97:  "Inwhichre gard t he my st ic subje ct, in history, perhaps  doesnothi ngsave deve lop inthe nameof t he Other ( his  go d) an  ex p erime ntal ,  e xpe r ience d, a n d written ae sth e t ic ." 11 Visua l i t y ( visua lit a s) is"the  state or quality of being visua l or v isi ble to t he  mind; mentalvis ib i l ity." Ja me s A.H. Murr ay et al ., eds.,  Oxfor d Engl ish Dic t i on a ry, 2n d
 Workshop,_occurred between_2004 and 2005. This_difference of_opinion_is, in_one_respect, the difference_of attitude between_a Marxist and a_post-Marxist approach to_the_postmodern condition Negri notes as a "caesura" (what Félix Guattari called elsewhere an "impasse"),_or_when capital_has_begun_its last conquest through the_agency of the biopolitical and,_in Agamben‟s_words, the "anthropological machine" is idling. See also_Félix_Guattari, "The Postmodern_Impasse," in A Guattari Reader, ed. Gary Genosko (Oxford:_Blackwell Publishers, 1996). 7 Candida Höfer:_Em Portugal /_Candida_Höfer:_In Portugal (Munich: Schirmer-Mosel;_Fundação Centro Cultural de Belém, 2007);_catalogue of an exhibition at the_Centro Cultural de Belém in Lisbon, December_1, 2006-February 25, 2007, with texts_by José Saramago and Shelley_Rice. 8_Vilém Flusser, Towards a Philosophy_of Photography, trans._Martin Chalmers_(London: Reaktion, 2000);_first published as Für eine Philosophie_der Fotografie (Göttingen:_European Photography, 1983). The essence of_Flusser‟s_argument is that_photography_and_its mechanisms_(its apparatuses or_pretensions_to truth)_require_a sustained critique (if not meta-critique)_to_prevent its manufacture of untruth. 9 The_ideas of syrrhesis, the_flowing_together of disparate entities_or forces to produce a_synthetic whole (a world), and the_suppression of_noise (the_silence) required to merely live, are derived from (and a homage_to) Michel Serres. DRAFT 07/19/10 10_10 Georges Didi-Huberman Confronting_Images: Questioning_the_Ends of a_Certain_History of_Art, trans. John Goodman (University Park: Pennsylvania_University Press,_2005), p. 157. Didi-Huberman further qualifies_this remark in Note_41,_p. 297: "In which regard the_mystic subject, in history, perhaps does_nothing save develop in the_name_of_the Other (his god) an_experimental, experienced, and written aesthetic." 11_Visuality (visualitas) is_"the state or quality of being visual_or_visible to the mind; mental visibility."_James_A.H. Murray et al., eds., Oxford_English_Dictionary,_2nd