Kitty Truong

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I tried to explain this to my mother, the loneliness of class movement. It’s a lot of grief. You enter these rooms, and even with my colleagues, they’re all lovely, but it’s hard to explain what we were talking about earlier. I never say that stuff, because I feel like it’s going to stop the room. I feel really alone in these spaces, and then when I come home, no one cares.
‘The Interview’: Ocean Vuong was Ready to Kill. A Moment of Grace Changed His Life. - The New York Times
How do you characterize that work? A kind of sincerity, of figuring this out. I think that’s it. A Buddhist sutra says to engage the phenomena of the world with earnestness. I’ve always valued that.
‘The Interview’: Ocean Vuong was Ready to Kill. A Moment of Grace Changed His Life. - The New York Times
It really was entering white institutions of higher learning that disrupted that vision of living to serve the community and the cause of racial uplift. Where is liberal individualism most taught, but in academic institutions? They exist to produce the privileged classes. To make them come into being it’s very important to have people repudiate any ethic of communalism in favor of privatized thinking.
BOMB Magazine | bell hooks by Lawrence Chua
it’s hard to know how to bring an ethical dimension into political work and artistic practice in a culture that is so obscenely hedonistic
BOMB Magazine | bell hooks by Lawrence Chua
I’m working hard not to have to live that way, even as I want to hold to the principle of sacrifice and be ready when the moment comes to do what needs to be done to end domination.
BOMB Magazine | bell hooks by Lawrence Chua
To some extent, one’s views do have an opportunity of being represented if you dare to put forth some of the labor. I feel like I labor for things. A lot of times it is a sacrifice.
BOMB Magazine | bell hooks by Lawrence Chua
If your perspective isn’t “I’m negating blackness, in the interest of writing more experimentally,” but, “I’m affirming blackness and I still want to write experimentally,” that’s when you have trouble selling your product. The question I’m asked most often about my writing is: Who is the perceived audience? There’s this sense that if you really want to have that crossover audience, you’ve got to simplify, you’ve got to translate, you’ve got to make everything clear. But we know that there are a lot of interesting books by white writers that don’t simplify, that don’t make everything clear, an…
BOMB Magazine | bell hooks by Lawrence Chua
We’re being told by the publishing world that our major buying audience is a white audience. The presumption is of an unenlightened white audience, and when everything you write should be pitched to that audience, it becomes a really troubling question of what voice you use, and what space you can occupy.
BOMB Magazine | bell hooks by Lawrence Chua
What is border crossing, if in every setting, you simply scan the place and figure out the appropriate rules and abide by them. That ends up sounding much more like social fascism than any rigorous transgression.
BOMB Magazine | bell hooks by Lawrence Chua
There’s this constant struggle to actually have a lived practice that really mirrors this theoretical bullshit about hybridity and polyphonic voices.
BOMB Magazine | bell hooks by Lawrence Chua
I’d like to do work that is more mixed media and pastiche.
BOMB Magazine | bell hooks by Lawrence Chua
But even if it failed to do as much as I wanted it to, it does not devalue the courage of trying to bring the voice of lived experience and confessional witnessing into our intellectual processing in a way that does not reduplicate that whole pattern of estrangement from self and ideas.
BOMB Magazine | bell hooks by Lawrence Chua
I was really sad when so many people came up to me to say, “We love you,” because they’d missed the point. When you are a woman and you use a confessional narrative, people tend to think there is not some more complex structure of thinking or philosophy behind that narrative.
BOMB Magazine | bell hooks by Lawrence Chua
To think of certain ways of writing as activism is crucial. What does it matter if we write eloquently about decolonization if it’s just white privileged kids reading our eloquent theory about it?
BOMB Magazine | bell hooks by Lawrence Chua
Masses of black people suffer from internalized racism, our intellectual work will never impact on their lives if we do not move it out of the academy. That’s why I think mass media is so important. Popular magazines and television have to be seen as central vehicles for the dissemination of intellectual thought.
BOMB Magazine | bell hooks by Lawrence Chua
Crossing borders means that at times I share things that I don’t want to share. But if you really see yourself as a worker for freedom, then the challenge is also on you to sacrifice whatever notions of privacy that many of us would want to hold onto, especially if we are clinging to bourgeois models of self and identity.
BOMB Magazine | bell hooks by Lawrence Chua
If you read my early work, there’s very little attention to the details of my life, very little personal stuff. One of the things that I found, as I tried to cross boundaries, was that I had to give people something that allowed them to identify with what I was saying, and not just offer some abstract idea that might not have any relevance to their lives. That is all about the function of story.
BOMB Magazine | bell hooks by Lawrence Chua
He said, “I don’t rap. I just talk. I want to be able to relax and conversate with my people.” Are we, cultural workers situated in the academy, developing a jargon about cultural production that does not allow us to “conversate and cross” these very borders that we’re talking about how cool it would be to cross? If we don’t find a way to “conversate,” all we’re ever talking about is that those of us who have certain forms of class privilege can enter the low-down and dirty spaces and take what we want to get out of those spaces, and take our asses right back home.
BOMB Magazine | bell hooks by Lawrence Chua
autism became the model for being able to live “an anonymous fringe existence” that “stubbornly” counters subjugation by the “symbolic domestication of thinking through language”
Lines of Wandering Statement by Angela Melitopoulos
art does not perform according to neurotypical standards but beyond the borders of political procedures of exclusion that through standardisation distinguish between “neurotypical” and “neuro untypical” bodies. [1]
Lines of Wandering Statement by Angela Melitopoulos
“homophilic”, to borrow a term used in sociology to describe a human inclination to associate with the like-minded. The conditions of pseudoanonymity seem to create a slight bias in favor of connections between dissimilar people.
My Hacker, My Source, My Snitch. Of all my Anonymous subjects, I was… | by Gabriella Coleman | Backchannel | Medium
Their backgrounds and interests are disparate — except, perhaps, for a shared love of the geeky.
My Hacker, My Source, My Snitch. Of all my Anonymous subjects, I was… | by Gabriella Coleman | Backchannel | Medium
Utterances, affect, language, codes, norms, all have the effect of constructing subjects in one way and automatically excluding and repressing others. They produce rather than eliminate.
Introduction to Affect Theory: Brian Massumi & Eve Sedgwick
performative utterances
Introduction to Affect Theory: Brian Massumi & Eve Sedgwick
We don’t need social construction, we need social production
Introduction to Affect Theory: Brian Massumi & Eve Sedgwick
Massumi argues that because abstraction and matter are the same, and that matter is always in movement, we should start from process rather than signification or coding.
Introduction to Affect Theory: Brian Massumi & Eve Sedgwick
It is real but abstract. It is body and mind.
Introduction to Affect Theory: Brian Massumi & Eve Sedgwick
How, Massumi asks, ‘does a body perform its way out of a definitional framework that is not only responsible for its very “construction”, but seems to prescript very possible signifying and countersignifying move as a selection from a repertoire of possible permutations on a limited set of predetermined terms?’. The way out of this is to conceive of the real material world and abstract ideas or minds as the same thing. What Deleuze calls ‘real but abstract’.
Introduction to Affect Theory: Brian Massumi & Eve Sedgwick
How do we bring change and potential back into the picture?
Introduction to Affect Theory: Brian Massumi & Eve Sedgwick
interpellated subjects
Introduction to Affect Theory: Brian Massumi & Eve Sedgwick
The way we affect and are affected has to be culturally mediated so that we can make sense of the world.
Introduction to Affect Theory: Brian Massumi & Eve Sedgwick
the foundational texts on Affect Theory, Parables for the Virtual,
Introduction to Affect Theory: Brian Massumi & Eve Sedgwick
Affect Theory can be seen as bringing biology, the material world, and the body back into the picture, and of uniting scientific and social theory.
Introduction to Affect Theory: Brian Massumi & Eve Sedgwick
a move away from the linguistic turn of the mid-20th century
Introduction to Affect Theory: Brian Massumi & Eve Sedgwick
mid-90s from philosophers Brian Massumi and Eve Sedgwick
Introduction to Affect Theory: Brian Massumi & Eve Sedgwick
Spinoza’s Ethics, published in 1677
Introduction to Affect Theory: Brian Massumi & Eve Sedgwick
Spinoza’s Ethics, published in 1677
Introduction to Affect Theory: Brian Massumi & Eve Sedgwick
Arthur Aron’s study taught me that it’s possible — simple, even — to generate trust and intimacy, the feelings love needs to thrive.
To Fall in Love With Anyone, Do This - The New York Times
But I see now that the story isn’t about us; it’s about what it means to bother to know someone, which is really a story about what it means to be known.
To Fall in Love With Anyone, Do This - The New York Times
But I also felt a sense of loss. Already I was beginning to see our evening through the surreal and unreliable lens of retrospect.
To Fall in Love With Anyone, Do This - The New York Times
The sentiment associated with the eye fell away and I was struck by its astounding biological reality: the spherical nature of the eyeball, the visible musculature of the iris and the smooth wet glass of the cornea. It was strange and exquisite.
To Fall in Love With Anyone, Do This - The New York Times
I felt brave, and in a state of wonder. Part of that wonder was at my own vulnerability and part was the weird kind of wonder you get from saying a word over and over until it loses its meaning and becomes what it actually is: an assemblage of sounds.
To Fall in Love With Anyone, Do This - The New York Times
the questions encourage what they call “self-expansion.”
To Fall in Love With Anyone, Do This - The New York Times
immense vertical filing cabinet in his brain of layers and layers and layers of files of information that he can draw back on now for more than 70 years worth of data
Curius / Onboarding