Re: [-empyre-] politics of critical fusion?

It's nice to have you back online, Alice

I've been meaning to ask you about your commitment to creating art "events" that have an inherently political undercurrent, as does Chernobyl, whether from a "green" standpoint or from the perspective of international relations. Is this just something that pertains only to the Chernobyl project or is it reflective of your work as a whole? I'm asking in relation to our framing of "critical spatial practice" as what "entails the claiming of social responsibility at the intersections of art, geography, architecture, and activism.



Hi Maurice,

From reading the posts, I had in mind a similar idea, but was uncertain about the relation between "critical fusion" and "fiction". Thanks for the explanation. I think it should apply then to all powerful works of art?

It seems to me that in creating specific ways to access some reality, even if in very temporary and contingent forms, the inquirer inextricably formats what is seen and created. Considering that in a painting, in a film, in an installation and so on, the way in which we formulate questions to something called reality shapes in an intrinsic way the results that might be created - there always should be, I think, a critical fusion taking place in good (strong, powerful) artwork, in different degrees of information, fiction and "reality"?

Timothy Murray
Professor of Comparative Literature and English
Director of Graduate Studies in Film and Video Studies
Curator, The Rose Goldsen Archive of New Media Art, Cornell Library
285 Goldwin Smith Hall
Cornell University
Ithaca, New York 14853

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