Walter Benjamin, “Surrealism” in Reflections
[Andre Breton] was the first to perceive the revolutionary energies that appear in the “outmoded,” in the first iron constructions, the first factory buildings, the earliest photos, the objects that have begun to be extinct, grand pianos, the dresses of five years ago, fashionable restaurants when the vogue has begun to ebb from them.
They bring the immense forces of “atmosphere” concealed in these things to the point of explosion. What form do you suppose a life would take that was determined at the decisive moment precisely by the street song last on everyone’s lips?
Suan Buck-Morss, The Dialectics of Seeing
More generally, throughout [Benjamin's Arcades Project], the image of the “ruin,” as emblem not only of the transitoriness and fragility of capitalist culture, but also its destructiveness, is pronounced.
Six Flags New Orleans, October 2010. Via.
Kathleen Steward, A Space on the Side of the Road
A rambling rose vine entwined around a crumbling chimney remembers an old family farm, the dramatic fire in which the place was lost, and the utopic potential clinging to the traces of history. Objects that have decayed into fragments and traces draw together a transient past with the very desire to remember. Concrete and embodied absence, they are continued to a context of strict immanence, limited to the representation of ghostly apparitions. Yet they haunt. They become not a symbol of loss but the embodiment of the process of remembering itself; the ruined place itself remembers and grows lonely.
Louis Armstrong Park, November 2010. Via.
Michael Taussig, My Cocaine Museum
Essential to this montage was the merging of myth with nature that had so appealed to Benjamin in his study of the figure of the storyteller. Here, history as ruin or petrified landscape took center stage, as if the succession of human events we call history had retreated into stiller-than-stiller things entirely evacuated of life – like those monumental things, those great bodies of gravel… millions of cubic yards heaped in the jungle, moved by the hands of slaves and now covered by forest.
Ann Laura Stoler, “Imperial Debris” in Cultural Anthropology, 23(2)
In its common usage, “ruins” are often enchanted, desolate spaces, large-scale monumental structures abandoned and grown over. Ruins provide a quintessential image of what has vanished from the past and has long decayed. What comes most easily to mind is Cambodia’s Angkor Wat, the Acropolis, the Roman Coliseum, icons of romantic loss that inspired the melancholic prose of generations of European poets who devotedly made pilgrimages to them. In thinking about the “ruins of empire” we explicitly work against that melancholic gaze to reposition the present in the wider structures of vulnerability and refusal that imperial formations sustain… to what people are “left with”: to what remains, to the aftershocks of empire, to the material and social afterlife of structures, sensibilities, and things. Such effects reside in the corroded hollows of landscapes, in the gutted infrastructures of segregated cityscapes and in the microecologies of matter and mind. The focus then is not on inert remains but on their vital refiguration. The question is pointed: How do imperial formations persist in their material debris, in ruined landscapes and through the social ruination of people’s lives?