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Essentially Shimmering : = Contemporary Poetics at the Edges of Materialism.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Essentially Shimmering :/
其他題名:	Contemporary Poetics at the Edges of Materialism.
作者:	Simon, Emily.
面頁冊數:	1 online resource (348 pages)
附註:	Source: Dissertations Abstracts International, Volume: 84-04, Section: A.
Contained By:	Dissertations Abstracts International84-04A.
標題:	Language. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29704264click for full text (PQDT)
ISBN:	9798352944028

Essentially Shimmering : = Contemporary Poetics at the Edges of Materialism.
Simon, Emily.

Essentially Shimmering :Contemporary Poetics at the Edges of Materialism. - 1 online resource (348 pages)

Source: Dissertations Abstracts International, Volume: 84-04, Section: A.

Thesis (Ph.D.)--Brown University, 2022.

Includes bibliographical references

prelude | what is essentially shimmeringEarly in her azure-saturated, poetic treatise Bluets, contemporary writer Maggie Nelson enumerates various ambient factors that are enmeshed with our perception of a seemingly self-contained and self-evident quality like color:Try, if you can, not to talk as if colors emanated from a single physical phenomenon. Keep in mind the effects of all the various surfaces, volumes, light-sources, films, expanses, degrees of solidity, solubility, temperature, elasticity, on color. Think of an object's capacity to emit, reflect, absorb, transmit, or scatter light; think of "the operation of light on a feather." Ask yourself, what is the color of a puddle? Is your blue sofa still blue when you stumble past it on your way to the kitchen for water in the middle of the night; is it still blue if you don't get up, and no one enters the room to see it? (20).Nelson entreats readers to eschew our customary, facile sense of "color" as an isolable, singular, and determinate property of an object-what anthropologist Michael Taussig calls "the spot-of-color-on-the-page idea of color"-in favor of the illimitable "operation of light on a feather" or the indiscernible, inconstant hue of a "puddle" (249). Framed by these protean phenomena, "color" is evidently not something, but rather a luminous and ongoing effect, a processual coloring. And so, we recognize the impossibility of answering her question about the color of a puddle not only because we can pretty fairly say that a puddle (and which puddle?) does not have a single color-it may be bright blue or dark grey, shining silver or muddy brown-but because these different hues also indicate the way in which the quality of color more intimately constellates, and expresses, a welter of interlocking and shifting physical and perceptual factors. "What is the color of a puddle" also means: Is the puddle cloudy or translucent? Gleaming or matte? Shallow or deep? Surface tension, the weather, temperature, shade all converge and conspire in the articulation of this momentary tone.Such a luminously imbricated vision of color makes it hard to say for certain what, exactly, the color in question is. Later in this same section of Bluets, Nelson frames the historical development of chromatic schema (color wheels, palettes, etc) as a retroactive effort to resolve this constitutive undecidability: to make sense, she writes, out "of what is essentially shimmering" (20). In this particular instance, "what is essentially shimmering" refers the way that colors cannot be stabilized into a singular, ineluctable hue (like blue), but are rather perpetually gradated by variations in all of the different factors that Nelson lists (light, solidity, texture, perspective). At the same time, the case of color gestures to a more general indistinction between the physical and the phenomenal that animates the poetry and thought around which my dissertation revolves. This indistinction is what is encompassed by the gorgeously paradoxical notion of the "essentially shimmering," or the sense in which the materiality of a thing (and especially of a surface) is inextricably bound up with and modulated by fluctuations in time and perception. Nelson's formulation of this dynamic claims as an intrinsic, perdurable attribute (the "essential") a phenomenon that is contingent, superficial, and mercurial ("shimmering"). That is, to be essentially shimmering is to exist at the uneasy or impossible intersection of a received distinction between a thing's material reality or facticity and what would seem to be its mere appearance, those transient sensations interposed by the film of subjectivity or passing angles of light.1 It insinuates a materialism that at the same time verges on the immaterial.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798352944028Subjects--Topical Terms:

643551
Language.
Index Terms--Genre/Form:

542853
Electronic books.

Essentially Shimmering : = Contemporary Poetics at the Edges of Materialism.
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520 $a prelude | what is essentially shimmeringEarly in her azure-saturated, poetic treatise Bluets, contemporary writer Maggie Nelson enumerates various ambient factors that are enmeshed with our perception of a seemingly self-contained and self-evident quality like color:Try, if you can, not to talk as if colors emanated from a single physical phenomenon. Keep in mind the effects of all the various surfaces, volumes, light-sources, films, expanses, degrees of solidity, solubility, temperature, elasticity, on color. Think of an object's capacity to emit, reflect, absorb, transmit, or scatter light; think of "the operation of light on a feather." Ask yourself, what is the color of a puddle? Is your blue sofa still blue when you stumble past it on your way to the kitchen for water in the middle of the night; is it still blue if you don't get up, and no one enters the room to see it? (20).Nelson entreats readers to eschew our customary, facile sense of "color" as an isolable, singular, and determinate property of an object-what anthropologist Michael Taussig calls "the spot-of-color-on-the-page idea of color"-in favor of the illimitable "operation of light on a feather" or the indiscernible, inconstant hue of a "puddle" (249). Framed by these protean phenomena, "color" is evidently not something, but rather a luminous and ongoing effect, a processual coloring. And so, we recognize the impossibility of answering her question about the color of a puddle not only because we can pretty fairly say that a puddle (and which puddle?) does not have a single color-it may be bright blue or dark grey, shining silver or muddy brown-but because these different hues also indicate the way in which the quality of color more intimately constellates, and expresses, a welter of interlocking and shifting physical and perceptual factors. "What is the color of a puddle" also means: Is the puddle cloudy or translucent? Gleaming or matte? Shallow or deep? Surface tension, the weather, temperature, shade all converge and conspire in the articulation of this momentary tone.Such a luminously imbricated vision of color makes it hard to say for certain what, exactly, the color in question is. Later in this same section of Bluets, Nelson frames the historical development of chromatic schema (color wheels, palettes, etc) as a retroactive effort to resolve this constitutive undecidability: to make sense, she writes, out "of what is essentially shimmering" (20). In this particular instance, "what is essentially shimmering" refers the way that colors cannot be stabilized into a singular, ineluctable hue (like blue), but are rather perpetually gradated by variations in all of the different factors that Nelson lists (light, solidity, texture, perspective). At the same time, the case of color gestures to a more general indistinction between the physical and the phenomenal that animates the poetry and thought around which my dissertation revolves. This indistinction is what is encompassed by the gorgeously paradoxical notion of the "essentially shimmering," or the sense in which the materiality of a thing (and especially of a surface) is inextricably bound up with and modulated by fluctuations in time and perception. Nelson's formulation of this dynamic claims as an intrinsic, perdurable attribute (the "essential") a phenomenon that is contingent, superficial, and mercurial ("shimmering"). That is, to be essentially shimmering is to exist at the uneasy or impossible intersection of a received distinction between a thing's material reality or facticity and what would seem to be its mere appearance, those transient sensations interposed by the film of subjectivity or passing angles of light.1 It insinuates a materialism that at the same time verges on the immaterial.
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