On first reading, one could deduce that Last Day Every Day is essentially (and as its subtitle seems to indicate) a tour through figural thinking, taking in a succession of its key thinkers. And indeed, the book does trace a path that can be regarded as an attempt at historicisation – but a history that does not pretend to be exhaustive, closed or chronological. The history that Last Day Every Day sketches is only one of many possible histories. A very personal and, in a certain sense, unique history. A history that takes as its basis a series of text-fragments arranged, as Martin avows, "more or less in the same order that these texts came to me, the order in which they found me" (1-2). The book explores these texts, revealing the felicitous relations between them, drawing a map of interconnections (some evident, others more intricate, but all imaginative and astute). At times, it lets itself be carried away on poetic digressions (such as the reflection of the act of name-giving); these fit surprisingly well with the central body of the work, and lever open the particular sensibility of its author.
Last Day Every Day can serve as a fine introduction to figural thinking for those unfamiliar with the terrain. But while Martin dwells on a series of key concepts and notions, he never seeks to define his object in a flat, systematic way, nor tries to dissect it on the basis of a system of basic principles. This might be disconcerting to those readers (myself included) who come to this book without any previous contact with figural theory. But when we manage to go beyond the surface and 'get jiggy' with the game proposed by the author – which is nothing other than grasping the figural on the basis of putting it into practice, i.e., actually creating a figure – then the book shows itself to be a truly exciting and illuminating approximation: completely coherent with its object, and in perfect fusion with it.
Also, in reading Last Day Every Day, we can immediately grasp that many of the paths and preoccupations of figural thinking are developed not in the realm of theory pure et dure but, rather, in its contact with artistic practice, with criticism and analysis. For example, a brilliant (but also short and concise) text such as Nicole Brenez's 'To Nuance Renoir' – devoted to a concrete analysis of the figural relations between Partie de campagne (Jean Renoir, 1936) and Sombre (Philippe Grandrieux, 1998) – can tell us much, if not more, about figural thinking than some purely theoretical text, doubtless illuminating the ideas in a clearer and more direct fashion. Moreover, these days it is not uncommon to find writings on one or several films that, without displaying any sign of a theoretical preoccupation, raise – consciously or otherwise – ideas, intuitions or axes of investigation that are hardly alien to the figural. This is a happy, liberating confirmation (certainly liberating for me, but also, I believe, for those in the midst of the field, as these explosions coming from beyond theory are the best measure of its necessity, and evidence that it has come into being in response to an actual impulse).
Something of all this is implicit in the very itinerary proposed by Last Day Every Day. Among the names that figure in the book's subtitle, two of them – Brenez and Erich Auerbach – are incontrovertibly connected to figural thought. The former – because of his book Mimesis and, above all, his essay 'Figura' – opens a breach via a series of ideas or images (Judgement Day, the Hereafter, fulfilment, redemption …) that, in Martin's exposition, are converted into figures; figures continually revisited, reworked and rethought within the book. For her part, Brenez provides the author with a more solid, theoretical basis – allowing him to outline the various approaches to the idea of figure and figuration, or offering an exquisitely poetic passage on the distinct types of shadow – since, as he suggests, it is she who "forged the word figure (and all its derivations: figurative, figurable, etc) for contemporary European film studies" (6).
In Last Day Every Day, Martin lists three ways of situating the figural: "as something that flowered and died within a specific historical time and place"; as something that persists, "always latent, possible, virtual"; and, after Bill Routt, as something "absolutely fundamental, integral, inherent to the very act of criticism" (26-27). His book is born from the interaction between these latter two possibilities, and from his (very Auerbachian) conviction that we need both. Martin believes in this regeneration of the figural, which surges in different places and times, adopting various forms – but if there is something that Last Day Every Day confirms, in every way it can, it is that the figural trajectory can only be completed when its forms are submitted to interpretation, when they at last encounter their "recipient" (30). For Martin, as for Routt, "criticism is what fulfils the work of art, raises it up, redeems it – and also completes it, finishes it off, closing it down in the finality of the figural circuit" (27).
But how does Last Day Every Day realise this labour of criticism and interpretation? While Martin nimbly jumps from some writings to others, and the narration moves forward, catapulted on tiny springs (whether an image, a shared concern, or a reference common to two of the thinkers), his text dives down, takes root, picks up a denser deposit: this double movement gives the book its particular energy. The author constantly returns to a specific series of concepts related to the Last Day or Judgement Day – this is the figure that is scrutinised and obsessively pursued throughout the entire book and, each time it is revisited, we discover in it some detail or new aspect that modifies it. In this sense, the ideal movie to accompany a reading of Last Day Every Day (and I can guarantee the truth of this, since – casually or presciently – I saw it for the first time on the very same night I finished the book) is Abel Ferrara's 4:44 Last Day on Earth (2011), a film fervently preoccupied with the implications and representation of this figure, constructed on the very same paradox that gives the book its title.
In Last Day Every Day, it is not only certain concepts, images and ideas that are handled as figures; the quoted fragments, likewise, receive figural treatment. The quotations are not mere supports, nor simple tools used to authorise or confirm a hypothesis – rather, they are material that is worked and moulded, shaken and flipped, laid out in a series. Martin takes heed of the energy and rhythm of each oration and then, with his redoubtable acuity and passion – attributes that lead him to refer to one of Brenez's definitions as a "Proustian whopper of a sentence" (8), or to arrest one of Kracauer's maxims in order to exclaim "what a phrase, what an image, what an idea!" (19) – he rewrites every fragment and gives it back to us, illuminated from within. Therefore, one of the best things to be said about Last Day Every Day is that it inspires in the reader a genuine desire to immerse oneself in the work of those authors that mark its itinerary.
When, months ago, I had the good fortune to read Last Day Every Day, I was not yet able to fully grasp, in a single pass, the intense figural work achieved by Martin; but I persevered because – as Leonard Cohen sings – "love calls you by your name", and there are some calls that just cannot be ignored. Later, I convinced myself that I needed to translate it into Spanish (to which the author kindly agreed), and it was then that this short book began to reveal to me the many secrets that are concentrated in its pages. It did not happen immediately, but now I can clearly discern the figure created in and by this book. It is a figure formed by all the others, and evoked in the infinity of variations on the theme of seriality – variations ranging from the general (the Ricoeur quotation that we find at the beginning) to the concrete (the Agamben phrase borrowed for the title). A figure already announced in the opening paragraph – when Martin makes reference to a conference where Gayatri Spivak proceeded to open a series on books laid out on a table, utilising passages from them that she would read aloud and comment on – but that we only see in its totality once it has been completed by the author, and when the reader has taken part in it (and here is the demonstration, yet again, of how central Auerbach's idea of figuration as a "system of prophecy"  – where a first process announces the second, and the second fulfils the first – is to Last Day Every Day).
The ultimate gesture of Last Day Every Day consists of going one step further, and converting this figure into a dispositif: something like the literary equivalent of what we call the Domino Effect. The book substitutes quotations for tiles, each one standing for a distinct figure (almost always related to the central idea of the Last Day). The quotations are arranged in a series, forming a line; just a small shove is enough to cause all of them, as they make contact with the one in front, to fall down (i.e., to open up and reveal themselves). In the process, the figures in this garden will show us new perspectives and, once they have all dropped, we shall see a completely novel, global picture. The Domino Effect triggers a large-scale movement with the tiniest of gestures; but, underneath the seeming simplicity of this mechanism, there lies an arduous, minute labour of preparation, where every piece must be carefully constructed and placed, taking in charge an infinity of parameters. In Last Day Every Day, each fragment is treated as if it were the last – yet it reverberates with the effect from what has preceded it, and proceeds to wield an impact upon what follows it.
In the email that concludes the book, Nicole Brenez writes that "the more [that films] are singular and unique, the more they will offer to the knowledge of figurality", because "in their singularity, [they] are enriching the method" (32). Last Day Every Day, this modest little book "written in a few minutes after several years" (31), lays claim to this affirmation, and transforms it into a shining, exacting mission.
Translated from the Spanish by Hugo Flüge, Goethe-Universität.
Nicole Brenez, "To Nuance Renoir", Transit, 19 July 2012, http://cinentransit.com/sombre-partie-de-campagne/.
The Spanish-language edition, Último dia cada dia y otro escrito sobre cine y filosofía, was published by punctum books in conjunction with FICUNAM (Mexico City) in February 2013; it includes an extra essay, "Avatars of the Encounter", which appears in English in Transit, 8 March 2012, http://cinentransit.com/rendez-vous-el-cine-encuentra-a-la-filosofia/. Martin discusses both versions of the book in his video interview for Screening the Past: http://www.screeningthepast.com/webteque/.


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Lil Pump's delinquent past makes him the wrong pick for Spring Fling
By Rachel Walsh Apr 5, 2018 2:31 AM
From the appearance of the cherry blossoms and the end of classes, to the announcement of the performers at Spring Fling, there are several reasons for students to look forward to this season. But that excitement shouldn't cloud your judgement on the celebrity who will be coming to campus in just a few days.
This weekend, Lil Pump will be co-headlining at GW's annual Spring Fling alongside rapper Lil Yachty in University Yard. Most students will likely know rapper Lil Pump for his platinum single "Gucci Gang" and his signature pink and gold dreads, but before he comes to campus Saturday, there's more you should know about the young rapper's delinquent past.
Like many rappers, Lil Pump's lyrics promote messages of misogyny and drug use, but it's his actions that are even more concerning. Although the type of language and hyper-masculinity he uses in his lyrics are common in rap music, Lil Pump is only 17 years old and sets an example for young people around the country and students on campus. Even if the rapper's lyrics do not concern you, his actions call for attention. Less than two months ago, Lil Pump was arrested and charged in California for firing his mother's gun without cause and allegedly lying to police by saying he was protecting himself from an intruder. As a result, Pump was issued a monitoring ankle bracelet.
His image is far from what we strive for in our community and does not reflect positively on GW.
Pump also has a history of violence, like when he beat up a girl in middle school – only four years ago. Through his lyrics, he uses offensive language to brag about the incident and refers to the middle school girl he beat up as a "bitch" and a "hoe," claiming that his teacher was proud of him for it. And it's evident that Lil Pump hasn't matured beyond this violence. Just last year, he got in a fight with fans on his tour that resulted in Pump kicking one member of the crowd in the head. Pump is also notorious for promoting the illegal misuse of prescription drugs like Xanax and Percocet on social media. Additionally, Pump advertises the large amount of weed he smokes – which is prohibited on GW's campus.
Although it is exciting to have this well-known young SoundCloud rapper take the stage in University Yard, Lil Pump has a history of illegal and violent acts. His image is far from what we strive for in our community and does not reflect positively on GW.
In the announcement made last week, Program Board stated that Lil Pump is "representative of what the GW community will appreciate." Personally, I don't appreciate having a 17-year-old boy who shoots guns without reason and kicks his fans in the head as the glorified co-headliner of Spring Fling. To me, that isn't representative of the GW community.
This isn't the first time the chosen Spring Fling act was a controversial one. Issues around the selection of rapper Action Bronson in 2016 resulted in Program Board creating a new vetting process for headliners. The new vetting system was enacted last year after pushback against 2016's Spring Fling original headliner, Action Bronson, led to the removal of the rapper from the event. Bronson's history of transphobic and misogynistic comments, especially in his song "Consensual Rape," sparked heated discussions among many students, calling for his removal because he did not represent GW's values of inclusion and diversity.
To prevent this from happening again, Program Board started a more intense vetting process to find artists who wouldn't offend students or make them uncomfortable. When asked about the process this week, Reed Elman Waxham, the executive vice chair of Program Board, said in an email that the "vetting process has four layers." There is an intial vetting of typically 50 to 100 names and from there, Program Board goes into a "deep-dive" into five to 10 artists that they are considering. Next, he said the executive board members conduct the vetting process again for the handful of performers and finally, the Center for Student Engagement approves the performers.
The new process requires scrutiny on artists' lyrics, interviews and social media. When asked about the decision to select Lil Pump, Waxham said Program Board is aware of the rapper's history, but the organization came to a consensus that "his actions would not jeopardize Spring Fling as a safe space for all students."
I won't be attending Spring Fling because I don't want to be in the audience, fully knowing that Lil Pump has a history of violence.
Part of Program Board's goal in their vetting process is to make sure they don't find anything "concerning" about the artists they hire. But this year's selection of Lil Pump is an awful choice as far as precautions around students' comfort and safety go because of his irresponsible, violent and misogynistic image. Similar to Action Bronson, Lil Pump is an inappropriate choice for a headliner, and any vetting process that says otherwise needs to be adjusted in order to properly account for the public image of the artist and the consequences of having them on campus.
I won't be attending Spring Fling because I don't want to be in the audience, fully knowing that Lil Pump has a history of violence. In order to improve the selection process for the next concert, Program Board must come up with more concrete guidelines on considering artists with a history of substance abuse, domestic assault and criminal charges. The safety of students must be integral to Program Board's decision in future concert lineups.
Rachel Walsh is a freshman and a Hatchet opinions writer.
Want to respond to this piece? Submit a letter to the editor.
It's a good time for women in music – but you can't tell from Spring Fling choices
All in all, it's a great time for women in music. But this progress won't be apparent to an audience at Spring Fling this year. READ MORE
This article appeared in the April 5, 2018 issue of the Hatchet.

redpajama_set_name: RedPajamaCommonCrawl


The human body is an amazing dance of complex synergistic events between billions of cells, where millions of intricate reactions all happen at the same time to ensure the well being of the whole. At each moment, nutrients are being shuttled into every single cell, while toxins and byproducts of metabolism are being carried out and eliminated. When this multifarious process slows down or gets interrupted, whether by lack of important nutrients, overload of toxins, cellular dehydration, or stress, the development of disease begins.
The answer of conventional medicine is often to treat the symptoms of disease with drugs. However, adding powerful chemical compounds to an already complex system changes the rules, as the body must adjust its functions according to the effects of each drug added. Decrease in symptoms often follows. Unfortunately, this temporary relief occurs at the expense of long term healing if the underlying cause of illness has not been addressed. On top of that, many drugs deplete essential nutrients and create more toxic burden on the liver, thus deepening the original problem.
The naturopathic approach to disease is to treat the human body as a whole – for example: joint pain or asthma may be related to a sluggish digestive system or food sensitivities, heart disease is often connected with decreased liver metabolism or mineral imbalance, and allergies can be rooted in a deficiency of the adrenal glands. A naturopathic doctor will thoroughly review your medical history and also use blood work as an important diagnostic tool, since low or high normal levels often indicate subtle dysfunctions which do not allow the body to perform at 100%. Your naturopath will create an individual plan to target the underlying causes of your "dis-ease," including the support of proper elimination and metabolic functions, as well as supplying much needed nutrients via supplements, herbs, and/or IV therapies.
If you are one of the many people who struggle to find the right medicine, experience side effects from the drugs you are prescribed, or feel an overall lack of energy, stamina, and sexual function, consider working with a naturopathic physician to help find and treat whatever is keeping you from optimal health!