Morning after the storm, the skies clarify their blue distance and the air briskly suggests that fall approaches. A tall woman speaks Chinese (maybe Cantonese? I can’t tell.) to a toddling girl, who excitedly directs their ramble to the big blue box on the intersection. I notice the child grasps an envelope; the shape is too boxy to be official mail, so it must be a card or a personal letter. They make their way with grace and cutesome teetering. When they get to the intersection the girl points to the box and makes some sound. The woman, probably her mother, nods and lifts her up. Metal thwack and the envelope’s gone. Sunlight across both their faces. The girl’s feet again plopping along the ground, they move onward.
Clippings
Les arts ne prêtent jamais aux entreprises de la domination ou de l’émancipation que ce qu’ils peuvent leur prêter, soit, tout simplement, ce qu’ils ont de commun avec elles : des positions et des mouvements des corps, des fonctions de la parole, des répartitions du visible et de l’invisible. Et l’autonomie dont ils peuvent jouir ou la subversion qu’ils peuvent s’attribuer reposent sur la même base
— Jacques Rancière, Le partage du sensible, p. 25
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