| 1. |
- Berríos-Negrón, Luis, Associate Professor, 1971-, et al.
(författare)
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Method of Indirection : talking to Walter Benjamin through the Arcades Project
- 2018
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Ingår i: Legacy. - Amsterdam : Frame Publishers. - 9789492311306 ; , s. 234-239
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Bokkapitel (populärvet., debatt m.m.)abstract
- I’ve wanted to talk to Walter Benjamin ever since encountering his Arcades Project. But – as much as that desire may be attune with Benjamin’s own commitment to bringing the past forth to the present – I can’t. I therefore turn to Arcades translator, and Benjamin scholar, Howard Eiland... and, it was inevitable that I had to return to the Arcades, not just because Benjamin meticulously objectified the glass and iron arcades as method and catalyst of research, but because, to me, ‘greenhouse’ does precede, and succeed, the arcades themselves as display and index of what was, and is to become of ‘natural history.’ For 'Legacy' I share excerpts of an interview (soon to be published entirely) that started at the Harvard Co-op in 2016; a conversation that continues to this day, by way of intermittent emails and other correspondence.
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| 2. |
- Berríos-Negrón, Luis, Associate Professor, 1971-, et al.
(författare)
-
Methods of Indirection : A trialogue between Patrizia Bach, Howard Eiland, and Luis Berríos-Negrón about Walter Benjamin and translating The Arcades Project
- 2020
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Ingår i: Journal for Artistic Research. - : Society for Artistic Research. ; :22
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Tidskriftsartikel (refereegranskat)abstract
- Walter Benjamin deemed his Arcades Project [Das Passagen-Werk (Mit Bindestrich und Werk mit Capital W)] “the theatre of all my struggles and all my ideas.” As a vast accumulation of materials, it had become for him a literary laboratory for testing social, critical, and spatial ideas. The co-authors here present an exposition where they look to reactivate that ‘theatre’ to search, test, and draw from each other alternative recursions for their respective practices. Their respective discourses are intersected through a voluntary 'trialogue' that plays between three different roles aiming to diverge from the traditional form of a Q&A. The exchanges gravitate around ‘greenhouse’ as the historiographic display structure to the Arcades, as well as to Global Warming. But, the format also triggers ‘indirections’ urging unforeseen aspects that may further research and revisions of the Arcades. For the authors, such indirections actualise and translate, yet again, other dormant aspects of each others perceptions about Benjamin. Ultimately, joined by the attitude to share and reactivate that ‘theatre-laboratory’ with you—the reader and exposition visitor—the actors look for cues that encourage further procedures of experimentation and reflexion.
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| 3. |
- Berríos-Negrón, Luis, Associate Professor, 1971-, et al.
(författare)
-
Methods of Indirection : a trialogue between Patrizia Bach, Howard Eiland, and Luis Berríos-Negrón about Walter Benjamin and translating The Arcades Project
- 2020
-
Ingår i: Journal for Artistic Research. - Amsterdam : Society for Artistic Research. - 2235-0225. ; :22
-
Tidskriftsartikel (refereegranskat)abstract
- Walter Benjamin deemed his Arcades Project [Das Passagen-Werk (Mit Bindestrich und Werk mit Capital W)] “the theatre of all my struggles and all my ideas.” As a vast accumulation of materials, it had become for him a literary laboratory for testing social, critical, and spatial ideas. The co-authors here present an exposition where they look to reactivate that ‘theatre’ to search, test, and draw from each other alternative recursions for their respective practices. Their respective discourses are intersected through a voluntary 'trialogue' that plays between three different roles aiming to diverge from the traditional form of a Q&A. The exchanges gravitate around ‘greenhouse’ as the historiographic display structure to the Arcades, as well as to Global Warming. But, the format also triggers ‘indirections’ urging unforeseen aspects that may further research and revisions of the Arcades. For the authors, such indirections actualise and translate, yet again, other dormant aspects of each others perceptions about Benjamin. Ultimately, joined by the attitude to share and reactivate that ‘theatre-laboratory’ with you—the reader and exposition visitor—the actors look for cues that encourage further procedures of experimentation and reflexion.
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