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World here denotes public culture. It is understood exclusively as a forensic history of anti-blackness, wherein black social life is no more than a signifier of the deadly perfection that awaits it, and that will become the ground zero of its being.

The world is the sovereign possession of black social death, but it is also the space where that death can be forensically altered ; what once was killed has symbolically become a still, forensic outline of being. White conceptual art gives form to this outline, but only by immobilizing it as a mythological quality or value. Art becomes violation — it arrests the black corpse in the history of its violation.

This is why the essence of black life must first be thought forensically before it may be determined as a beautiful presence. In short, the verb functions here more like a syntactical break between the beautiful idea of black devastation and the devastatingly real impact of its happening. The artistic re-enactment of that history is merely a new kind of avant-garde cruelty and perhaps even fantasy of a murderous violence that is its own event.

I say avant-garde because nothing can overcome the resistance to metaphor quite like the metaphor of a meaning beyond analogy and resemblance. Similarly, this forensic knowledge is also assumed to be beyond metaphor or analogy, for it is never more than the singular expression — immemorial and inalienable — of its deathly portent. This is why in these artworks blackness always dies twice: first as metaphor, in the posthumous version of a life lived as social death, which coincides or merges with the event of its murder; and second as beyond metaphor, as a death always deprived of the meaning of its own death, for blackness is merely the name of a surplus to be obliterated.

Every black death has this dual property of zero and surplus — since it can be established as servile, it can also be destroyed as valueless.

8×02 Knight of the Seven Kingdoms

This is how black death acquires its beautiful perfection: as ante legum , its being is always already dead and so cannot be killed; and as property, it can be punished according to the forensic rules and pronouncements of the forum, a law that can be re-enacted each time white desire needs to defend or affirm itself as the rightful law of the living.

There are, without a doubt, many reasons why white art relegates blackness into mere matter for its own prestige and enjoyment, and in ways entirely distinct from the human. The command to blackness to be still, do not move, is at once a claim for deciding the rightfulness of that delegation, and the fatal moment that actually enacts it, in which re-enactment is conceived as absolute negation, either by denying life, or by being seen as a disposable, material remnant. For herein lies the drama of this conceptual art — the factor that drives it: the preservation of black death as outline is also its preservation through erasure.

That really peeves me!!! Part of the brief is to avoid showing the characters in conventional form, but to use symbols and suggestions instead. So they rarely depict actual likenesses. You can buy it as a jigsaw puzzle! Her hand holds the very large Dagger including its ruby , which divides the poster into four vertical quadrants. In the upper left, we see Arya in black profile. Above her is a huge blue eye with a snarling, ravening wolf in the pupil—what the Night King sees in his last moment?

In the upper right we see Mel, her hexagonal ruby and a torch lightbringer? In the lower left Dany stands holding a sword and maybe crying.


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A growling wolf snout is the lower face—his true identity. Beautiful, full of hints and meanings, challenging to decipher, and hauntingly satisfying. Above her is a huge blue eye…. You may well be right. What I saw as wolf jaw may be bear Jaw! So maybe Ten Bears is right—Arya is not in there except as the hand that wields the Dagger that saves mankind.

So maybe Ten Bears is right—Arya is not in there except as the hand thatwields the Dagger that saves mankind. I really wish Jorah was represented by more than Dany crying over Heartsbane. Oh well! Oh my oh my, I have so many posts to catch up on. For me personally, it seemed like he tried to fit too much in one poster whereas I would have loved if he created a poster for each death.

I tended to like other posters I came across in fan art accounts more than the Robert Ball ones this season. Having said that, I do appreciate the level of detail he puts in these posters. Your email address will not be published. Notify me of follow-up comments by email. Notify me of new posts by email.

You can find all the Beautiful Death posters here. Next post Game of Thrones storyboard artist Will Simpson introduces us to beautiful and gruesome new artbook, available now! Show spoilers!

The beautiful death spiral of The Civil Wars | Think Christian

Hide spoilers. Funny, I just looked up the poster a couple of hours ago. Pigeon , Agreed. Wolfish , Hey — me too. I was asking about this in another thread. Wolfish , A choice selection. Enharmony , Ohhhhh, how did I miss that one in my own list??? Yes, that is definitely a standout! Ten Bears , That IS a great one.

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I love the sinuous lines in it, and the broken arrow in her hand. Wolfish : Pigeon , Agreed. The best poster from the entire series is for And best from this season is Great series, hope he does it for the spinoff. Grandmaester Flash , Thank you for both these detailed explanations!!! Pigeon , Dothraki dogs!

Death, Rebirth, and New Beginnings

Still shook. Lord of Coffee , Not always. Grandmaester Flash , That really peeves me!!! Thank you so much for sharing these links!