Friday, January 06, 2012
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Fuck Robert Kagan And Would He Please Now Just Go Quietly Burn In Hell?
politico | The Washington Post on Friday announced it will no longer endorse presidential candidates, breaking decades of tradition in a...
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theatlantic | The Ku Klux Klan, Ronald Reagan, and, for most of its history, the NRA all worked to control guns. The Founding Fathers...
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Video - John Marco Allegro in an interview with Van Kooten & De Bie. TSMATC | Describing the growth of the mushroom ( boletos), P...
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dailybeast | Of all the problems in America today, none is both as obvious and as overlooked as the colossal human catastrophe that is our...
8 comments:
lol.
So you do liminal too. What's your definition?
Below the threshold of ordinary awareness. Welcome to the spot.
Cool. Mine has to do with the boundary between two (racial) domains. Specifically black and white.
Is that racial boundary objectively real, or, does it exist exclusively in the imagination?
Is "race" objectively real?
I think of it as I think of race itself: a social construct. Imaginary by no means. Objective? Yes, to the extent that it is universally experienced.
(excerpt from my "Beyond the Pale"
"Liminality"*
Liminality is the other overriding issue in the history of black American art. As with the meta-issue of double consciousness, it is an umbrella term for several interrelated issues. Liminality refers to a particular kind of relationship between entities, whether persons, social groups, institutions or abstractions. This relationship is characterized by separation. Usually liminal relationships are relationships between unequal constituents, usually individual or group versus institutions. The focus of the liminal relationship is the dividing line; between races, naturally, but also between cultures and communities; between consciousness and obliviousness. In the case of black American art there are two important aspects: thresholds and borderlines. On the one hand discussion may hinge on the boundary between one individual, group or institution and another. On the other discussion of black American art may pivot around thresholds of awareness. And the threshold of “mainstream” awareness in particular.
In the final analysis the meta-issues of liminality and double consciousness are themselves two aspects of a single phenomenon, two perspectives on a single problem: the relationship between the black artist and the institution of art history. Whether the dialectic manifests itself as one of liminality or one of identity depends upon which constituent of the relationship is under examination. When focusing on the black artist, issues of identity emerge. When the focus is on the institution of art history, issues of liminality emerge.
*[Apologies to Victor Turner; but this is my own definition of the word. Call it "liminality definition #2"]
Bro. Nomad,
A couple examples if you don't mind to help concretely illustrate to a novice (myself) what you mean.
Calling Gee Chee Vision, Master Vision - I think this one may be for you, sir!
We been a mulatto nation for a very long time before the Civil War; not in skin tone but mainly in culture. It has been denied so deeply in the American psychic. A blues man once stated that. And why the Supremacy called our nation all kind of derogatory terms, especially the Germans.
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