Eduardo Cadava – författare

How reading and writing are collective acts of political pedagogy, and why the struggle for change must begin at the level of the sentence.“Reading is class struggle,” writes Bertolt Brecht. Politically Red contextualizes contemporary demands for social and racial justice by exploring the shifting relations between politics and literacy. Through a series of creative readings of Karl Marx, Rosa Luxemburg, Walter Benjamin, W. E. B. Du Bois, Fredric Jameson, and others, it casts light on history as an accumulation of violence and, in doing so, suggests that it can become a crucial resource for confronting the present insurgence of inequality, racism, and fascism. Reading between the lines, as it were, and even behind them, Cadava and Nadal-Melsió engage in an inventive mode of activist writing to argue that reading and writing are never solitary tasks, but always collaborative and collective, and able to revitalize our shared political imagination. Drawing on what they call a “red common-wealth”—an archive of vast resources for doing political work and, in particular, anti-racist work—they demonstrate that sentences, as dynamic repositories of social relations, are historical and political events.

Honorable Mention, Exhibition Catalogues — 2014 AAM Museum Publications Design CompetitionWhile photographs have been exchanged, appropriated, and mobilized in different contexts since the 19th century, their movement is now occurring at an unprecedented speed. The Itinerant Languages of Photography examines photography’s capacity to circulate across time and space as well as across other media, such as art, literature, and cinema. Taking its point of departure from Latin American and Spanish photographic archives, the volume offers an alternative history of photography by focusing on the transnational dimension of technological traffic and image production at a time when photography is at the center of current debates on the role of representation, authorship, and reception in a global contemporary culture.Featuring a wide-range of photographs—images that converse across temporal, political, and cultural boundaries by artists such as Lola and Manuel Alvarez Bravo, Henri Cartier-Bresson, Marcelo Brodsky, Joan Colom, Marc Ferrez, and Joan Fontcuberta—the book argues that the photographic image comes into being only as a consequence of reproduction, displacement, and itinerancy.Distributed for the Princeton University Art MuseumExhibition Schedule:Princeton University Art Museum(09/07/13–01/19/14)

Here Eduardo Cadava demonstrates that Walter Benjamin articulates his conception of history through the language of photography. Focusing on Benjamin's discussions of the flashes and images of history, he argues that the questions raised by this link between photography and history touch on issues that belong to the entire trajectory of his writings: the historical and political consequences of technology, the relation between reproduction and mimesis, images and history, remembering and forgetting, allegory and mourning, and visual and linguistic representation. The book establishes the photographic constellation of motifs and themes around which Benjamin organizes his texts and thereby becomes a lens through which we can begin to view his analysis of the convergence between the new technological media and a revolutionary concept of historical action and understanding. Written in the form of theses--what Cadava calls "snapshots in prose"--the book memorializes Benjamin's own thetic method of writing. It enacts a mode of conceiving history that is neither linear nor successive, but rather discontinuous--constructed from what Benjamin calls "dialectical images."In this way, it not only suggests the essential rapport between the fragmentary form of Benjamin's writing and his effort to write a history of modernity but it also skillfully clarifies the relation between Benjamin and his contemporaries, the relation between fascism and aesthetic ideology. It gives us the most complete picture to date of Benjamin's reflections on history.

Here Eduardo Cadava demonstrates that Walter Benjamin articulates his conception of history through the language of photography. Focusing on Benjamin's discussions of the flashes and images of history, he argues that the questions raised by this link between photography and history touch on issues that belong to the entire trajectory of his writings: the historical and political consequences of technology, the relation between reproduction and mimesis, images and history, remembering and forgetting, allegory and mourning, and visual and linguistic representation. The book establishes the photographic constellation of motifs and themes around which Benjamin organizes his texts and thereby becomes a lens through which we can begin to view his analysis of the convergence between the new technological media and a revolutionary concept of historical action and understanding. Written in the form of theses--what Cadava calls "e;snapshots in prose"e;--the book memorializes Benjamin's own thetic method of writing. It enacts a mode of conceiving history that is neither linear nor successive, but rather discontinuous--constructed from what Benjamin calls "e;dialectical images."e; In this way, it not only suggests the essential rapport between the fragmentary form of Benjamin's writing and his effort to write a history of modernity but it also skillfully clarifies the relation between Benjamin and his contemporaries, the relation between fascism and aesthetic ideology. It gives us the most complete picture to date of Benjamin's reflections on history.

This book brings together a wide range of materials from history, religion, philosophy, horticulture, and meteorology to argue that Emerson articulates his conception of history through the language of the weather.Focusing on Emerson's persistent use of climatic and meteorological metaphors, the book demonstrates that Emerson's reflections on the weather are inseparable from his preoccupation with the central historical and political issues of his day. The author suggests that Emerson's writings may be read as both symptomatic and critical of the governing rhetorics through which Americans of his day thought about the most important contemporary issues, and that what has often been seen as Emerson's retreat from the arena of history into the domain of spirit is in fact an effort to re-treat or rethink the nature of history in terms of questions of representation.What distinguishes this book from the work of other critics who are reassessing Emerson's relation to history is its attempt to think through the way in which the figures of Emerson's rhetoric—figures (like frost, snow, the auroras, and nature in general) which often seem to have nothing to do with either history or politics—are themselves traversed by the conflictual histories of slavery, race, destiny, revolution, and the meaning of America. It differs, that is, in proposing a textual model for reading Emerson that measures his engagement with changing historical and political relations in terms of the way he works to revise the language he inherits. There can be no reading of Emerson, the author suggests, that does not trace the movement of his figures and tropes as they become something else, as they open onto questions of history.