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IntroductionThe Paranormative

IntroductionThe Paranormative Downloaded from http://read.dukeupress.edu/qui-parle/article-pdf/31/1/1/1607190/1introduction.pdf by DEEPDYVE INC user on 12 August 2022 Introduction The Paranormative editorial board Over two years later, a “return to normal” remains the pandemic’s most enduring political promise, a token of hope to hedge against continued death and precarity. Held within this recursive promise, however, is a prima facie condition that deserves interrogation. What, exactly, is the “normal” to which we will return? Will capital- ism and its attendant crises no longer demand our attention absent a continual state of emergency? The coherence and stability of the “normal” eludes us. Georges Canguilhem sees the normal as itself a chimeric category that, from the perspective of medicine and sci- ence, is not so distant from the “pathological” it is meant to foil. In the contemporary moment, what we might term paranormativ- ity has further infringed on our so-called norms, unfolding in internet circles, blue-chip art institutions, and scenes of communal mourning. We need look only to the ascendance of #Witchtok, the surge of astrol- ogy apps, and the recent proliferation of art programming such as Hilma af Klint: Paintings for the Future (2018), Agnes Pelton: Desert Transcendentalist (2019), and Another World: The Transcendental Painting Group (2021), among http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Qui Parle Duke University Press

IntroductionThe Paranormative

Qui Parle , Volume 31 (1) – Jun 1, 2022

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Copyright
Copyright © 2022 Editorial Board, Qui Parle
ISSN
1041-8385
eISSN
1938-8020
DOI
10.1215/10418385-9669448
Publisher site
See Article on Publisher Site

Abstract

Downloaded from http://read.dukeupress.edu/qui-parle/article-pdf/31/1/1/1607190/1introduction.pdf by DEEPDYVE INC user on 12 August 2022 Introduction The Paranormative editorial board Over two years later, a “return to normal” remains the pandemic’s most enduring political promise, a token of hope to hedge against continued death and precarity. Held within this recursive promise, however, is a prima facie condition that deserves interrogation. What, exactly, is the “normal” to which we will return? Will capital- ism and its attendant crises no longer demand our attention absent a continual state of emergency? The coherence and stability of the “normal” eludes us. Georges Canguilhem sees the normal as itself a chimeric category that, from the perspective of medicine and sci- ence, is not so distant from the “pathological” it is meant to foil. In the contemporary moment, what we might term paranormativ- ity has further infringed on our so-called norms, unfolding in internet circles, blue-chip art institutions, and scenes of communal mourning. We need look only to the ascendance of #Witchtok, the surge of astrol- ogy apps, and the recent proliferation of art programming such as Hilma af Klint: Paintings for the Future (2018), Agnes Pelton: Desert Transcendentalist (2019), and Another World: The Transcendental Painting Group (2021), among

Journal

Qui ParleDuke University Press

Published: Jun 1, 2022

References