In conjunction with our special feature on what, where, who, and when is Enlightenment in the Summer 2018 issue of Artforum, scholar Jennifer Uleman contributes thoughts on the phenomenology and reality of reason.

IN 2004, I was part of a public debate, designed to take up a controversy, engage the off-campus community, and maybe generate new dues-paying members of our departmental Friends of Philosophy. The debate was on same-sex marriage. Like most of the audience, I was in favor, qualms about heteronormativity notwithstanding; the university’s Catholic chaplain was against. We were in Miami.

LATE IN THE SUMMER OF 1999 I was in love with a crust punk. We met one night when he and his friend panhandled me after I couldn’t get into a nightclub. Well maybe it was more of a bar. I don’t know because I couldn’t get in. I didn’t have a fake ID. Anyway, the friend was pale and skinny, scabs up his greenish arms. He just made the guy, who said his name was Johnny, look better. Johnny was hale and tan in his boots and ripped t-shirt. He got kicked out of seventh grade, he said, for reading Isaac Asimov, and out of his girlfriend’s Boston College dorm because he wanted her to open her eyes

THE MATERNAL BODY INCLUDES THE CHILD. The maternal body includes the dilated aura inside and outside the body that admits, and nourishes, another: thus it is also the enveloping aura into which consensual lovers are welcomed. And the magic space that is ripped open when thieves enter looking for easy wealth and plunder. The cultures now ruling the planet treat it similarly.

Textbook medical astrology will tell you Cancer rules the breasts/chest, the stomach, and the alimentary canal. Which, it seems to me, would include not only what extends from the buccal opening but also our first channel for

In conjunction with our special feature on what, where, who, and when is Enlightenment in the Summer 2018 issue of Artforum, scholar A.B. Huber contributes thoughts on darkness below.

A 2001 ATLAS OF NIGHT SKY BRIGHTNESS suggests that light emissions from sites of habitation, industry, and transit shroud the earth in a radiant haze. Satellite views of earth testify to a profound and widespread loss of nighttime darkness, and the atlas “provides a nearly global picture of how mankind [sic] is proceeding to envelop itself in a luminous fog.” Beneath this fog it can seem human eyes never close, not

In conjunction with our special feature on what, where, who, and when is Enlightenment in the Summer 2018 issue of Artforum, writer Michelle Tea contributes her response below.

I ATE THE ENLIGHTENMENT IN A COOKIE. It did nothing. I was twenty-four years old and had spent Christmas morning at the home of an acquaintance, not even much of a friend, not really. A DJ with a shaved head and pierced septum, obsessed with Chinese ghost movies. A jolly person whose home contained oddities – a taxidermy bat; a photo of her own ass, splotched from a heavy spanking, pinned to the refrigerator. In her kitchen,

MY BREASTS & THE BASE OF MY ABDOMEN & THE FLESH AROUND MY KIDNEYS are filling with particles of sorrow. This is what gets disbursed into me monthly. It is my most reliable wage. The languishing weakness that presses down on my inguinal hinge. The gently eviscerating heat and dread licking up at my root from my inner thighs. Humiliating it gently, without words or situations, drawing upon it as an insect might draw from a flower, bidding me procreate.

Welcome to my minimum monthly allotment of suffering.

Welcome to the technology by which I feel the world, which comes through me by nothing but the

THE FUNNY THING about ships is that you have to weigh them down to keep them afloat. Historically, stones, soil, sand, wood, and bricks placed inside a ship’s hull have provided this weight. At the end of a voyage, the ballast is dumped, to be repurposed as building materials or to settle as soil. It becomes a pedological archive: A portion of the ground beneath Manhattan’s FDR Drive is built from the rubble of British buildings demolished during World War II; the area came to be known as Bristol Basin. Meanwhile, Liverpudlian stones that were a by-product of the trans-atlantic cotton and tobacco

EARLIER THIS MONTH, the artist Zhao Yao experienced what it’s like to be a pop star, preparing for a one-show-only event at the Workers’ Stadium in Beijing. Built on the tenth anniversary of the new China in 1959, the stadium has been a cultural and sports center for the past six decades, accommodating various activities, but mostly football games and pop music concerts in recent years. It’s also surrounded by the most popular nightclubs in Beijing.

To the stadium, Zhao brought his 108,000-square-foot painting, The Power of Nature. Think of it as a massive rug made of cloth and fabric, on which

SIX HUNDRED AND FORTY-FIVE YEARS AND SEVEN DAYS AGO, in the city of Norwich, a recluse named Julian beheld the whole of creation in the palm of her hand, in an orb the size of a hazelnut. It was here that W.G. Sebald taught for forty years, at the University of East Anglia, and where, in the opening pages of The Rings of Saturn, we find him prostrate in a hospital room—and then standing at the window there—having collapsed a year and a day after a summer’s walk across the county of Suffolk.

I am writing you from my office at UEA, where, rereading The Rings of Saturn, I seemed to smell the rising

THE TERM ARTIST’S ARTIST means an artist who is a good food source for other artists. It also suggests an unconscious and/or brave level of subjectivity that is implicit within the meaning of, but rarely lives up to, the word artist. Artist’s artists signal their value to other artists not just through their stubborn individuality, but also through their ways of producing art that seem so particular that, whether one likes their work or not, there is life before it and life after it. To refer to Michelangelo as an artist’s artist could be seen as absurd, as he is everyone’s artist, but it’s not

MAKE NO MISTAKE: Cassils’s work comes from rage. PISSED, the centerpiece of their exhibition “Monu-mental”at Ronald Feldman Gallery in New York this past autumn, testifies to that anger. Exhibited as a massive glass cube containing two hundred gallons of the artist’s urine surrounded by the containers used to collect and carry it, PISSED addressed a transgender political struggle via a formal language at once confrontational and uncompromisingly austere.The work was sparked by the Trump administration’s spiteful, reactionary decision to rescindan Obama-era executive order that endorsed the rights

IN HIS LEGENDARY German pavilion for the 1929 Barcelona International Exposition, Ludwig Mies van der Rohe kept his spaces bare, pairing prototypes of the celebrated Barcelona chair and matching stool he designed with Lilly Reich with one other object: Der Morgen, Georg Kolbe’s 1925 sculpture of the goddess of dawn, which was reverently stationed on a small pedestal in one of the two reflecting pools flanking the building. This juxtaposition of high-modernist design and the classical female nude would become a recurring motif within Mies’s interiors, with coquettish statuettes from colleagues