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My essay, “Intimacy: Inseparable from Separation,” is featured in the latest issue of the open-access journal Open Set. Open Set is a relatively new and really smart journal on “arts, humanities, culture,” edited by Kris Cohen and Christa Robbins. This latest issue is a cluster of essays, interviews and reviews organized around the relation between various forms of labour and artistic practice. It features work on or by Andrea Fraser, Mierle Laderman Ukeles, and Elena Ferrante, along with responses from a number of people to a questionnaire from the editors on the question of “labour.”

unmade-bed-poster

My “Intimacy” essay was originally written as a talk at “Unmade Bed: In the Midst of Intimacy,” a symposium organized by Jacques Khalip and held at Brown University in early-November 2016. I want to thank Jacques for organizing a series of talks that spoke to each other in such remarkably nuanced and deeply moving ways, each configured around the image or scene of an empty bed.

What I have set out to do in my essay is to return to the fundamental themes of my last book, The Decision Between Us, in order to underline and amplify its central theoretical claims concerning the inseparable relations between intimacy and separation,  shared exposure and worklessness, the abject and the abstract. But I also now foresee the text as potentially part of the Introduction to the book that I am currently completing: The Intimacy of the Outside.

I am so pleased to be a part of this special journal issue, and hope that you will have a look sometime soon.

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Below is the abstract for the keynote talk that I will give in two weeks at the “Feeling Queer/Queer Feeling” international conference to be held at the University of Toronto, May 24-26, 2017.

For complete details go here: http://versus.recherche.usherbrooke.ca/wordpress/wp-content/uploads/2017/05/Queer-Feeling-2017.pdf

Feeling Queer poster

“Mourning, Melancholia, Moonlight” 

John Paul Ricco

This talk is part of my ongoing conceptualization of “queer neutrality.” In my recent book, The Decision Between Us, I read the late Roland Barthes as someone engaged—in his “mourning diary,” his lectures on the neutral, and in his last book Camera Lucida—in “neutral mourning,” as distinct from Freud’s mourning and melancholia. In this paper, I am interested in theorizing an accompanying notion of “neutral affect.” By attending to the empirical contingency of the extemporaneous and erotic moment as the scene of queer feeling, I am interested in what interrupts neoliberal scripts of self-becoming and what is referred to as an “event.” More specifically, today, in the midst of hipster capitalism’s appropriation of cool from post-World War II black culture (see Shannon Winnubst’s new book, Way Too Cool), there is the need to re-conceptualize in order to reclaim what I am theorizing as black neutral affect. My primary focus here is Barry Jenkins’ film Moonlight, and its remarkable representation of the aesthetic, ecological and potentially cosmological dimensions of this affective ethics of the neutral.

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