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2023 •
In this paper, we focus on educational spaces created on social media, particularly through Instagram pages, where Indigenous Latinx youth actively engage in discourses of Indigeneity, borderlands, and colonialism. Additionally, we situate Instagram as a site of pedagogical depth that Indigenous Latinx youth deploy as co-curricular building projects.
2023 •
Ecological Entanglements Affect, Embodiment and Ethics of Care
Winding Spools and Speaking Stones: How to Play Beckett’s Tape Recorder and Listen to Handke’s Stone Woman?2023 •
Handke calls his monologue, Till Day You Do Part, “an echo” of Beckett’s Krapp’s Last Tape, where he places two stone sculptures on a platform– Krapp’s figure, with a cardboard nose and tape round his face, emanates deadness, while the lover miraculously assumes life and begins her solo (not solitary) act. Standing opposite to the pausing, stuttering Krapp, the girl from Beckett’s punt continues unstoppably, with a force propelled by earthly elements. On the other hand, Beckett’s Krapp himself imitates the machine recorder and the alcohol he periodically takes, like oil, rejuvenates him. The empty stage with its organized and compressed minimalism resembles the concentrated inside of a recorder, and Krapp, the unraveling spool. The machine and Krapp keep interchanging memory and speech– when the tape speaks, Krapp listens, reflects and gesticulates; when Krapp records, the machine rotates/listens in silence. Krapp parodies an old recorder under the threat of being eventually crushed by a superior one; therefore, the immediate impulse is to transfer the data to the new one. The negative epiphany encountering Krapp is that the onslaught of involuntary memories leaves one paralyzed beyond expression. Krapp is imprisoned between his physicality trying to assert its embodied presence and his mechanized voice overwhelming him with its pastness, and technological presentness. If the subvocal stories that emerge from the silent voice of the vocal folds we tell ourselves erect our subjectivity, then Krapp’s transference of those fictions onto a living machine permanently pushes him in a zone of guilt and habits marked by an obsession with time. If Krapp is haunted by time, Handke’s woman articulates from a space beyond time, through and as stone. Handke’s lover accuses Monsieur Krapp of being preoccupied with material things– his ledger, pocket-watch, tape recorder, and the multiple Krapps which diffuse and refuse the ‘original’ Krapp. The lover is the awakened figure of Krapp’s stony past, frozen in time, while the evidence of her secondary existence is recorded after the event. Krapp anthropomorphizes the machine, and transforms humans into faltering memories and vocal remainders. The posthuman technological other of Krapp exhausts and dissipates the authorial mind itself– the only thing which remains on the darkened stage is the still light of the tape gone silent. On the other hand, the lover as stone is an image of ageless continuance, of the being’s desire to remain non-dead, of the mythological, symbiotic relation between putrefaction and transmutation. The paper seeks to interrogate the different subjectivities that emanate from the technophilic (posthuman), lessening existence of Krapp, and the embodied, relational subjecthood of Handke’s animated woman of stone.
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