How do Keeling's visual technologies of difference grapple with enframing and poesis? Could the initial cinematic appearance of the BPP which" short-circuited a sensory-motor schema habituated to recognize the black according to a colonialist, racist common sense" (Keeling 74) be considered a moment of a poesis, which later/retroactively loses its surprise and serves as a masculinized standing reserve? If so, what does this do in terms of tethering race, technology, temporality? Thus far we've encountered a few instances of race and technology as inextricably linked: racism and classifications via biopower (with categories both visible and otherwise), questions of screens/visuality/representation, and processes of commodification. Are there consistent temporal models at work across these observations that inform the practices of difference we've addressed?
In general, I could benefit from an exploration of the conceptualizations of time that Keeling invokes with Bergson/Deleuze/Fanon.
PS: I really kept expecting the Keeling to turn toward the Lacanian mirror stage, though was okay when it didn't, as there are plenty of cans of worms already opened
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