Outside

Right now I want the desert inside of me to be what I’m standing in the middle of, like the feeling I had when I woke up this morning after dreaming about getting off a bus one, two stops before it exploded in flames. I love living in an urban environment but I’m hard-wired to wide open spaces. At work I fugued out to the forest I spent endless hours biking through in the hot summer sun last year in DeKalb. I think my last midwestern summer was a good one.

I dream more awake now because I sleep only rarely. My insomnia fluctuates and my body no longer knows rest, really. It’s like I’m less exhausted when I sleep no to a few hours. Things are happening somewhere.

Summer is happening I think here in the bay. I find myself more enthused when I’m feeling the sun. I’ve been wearing shorts even though I immediately have to change back into pants once I clock in at work. It’s ok. The bay never gets that cold, but cold enough and overcast enough that the remnants of S.A.D. still peak around corners.

I’m trying to figure out who I am I think. I have a desperate urge for a bicycle, though I don’t think I could find the same satisfaction living in a city with a bicycle as I once did biking empty highways to small towns miles away from my own. Summer sun beating bleating barking down on my neck, covered in sweat, headphones that never left my ears, both cameras in my bag that I spent so much time figuring out how to attach to the bike that wasn’t even my own. I always found a renewed sense of energy when I would wake up hung over and would fight the ennui by hopping on the bike and heading to my forest, the forest that was not a forest but a forested park that I called my own even after the girl was murdered inside of it, the forest where I sat in the wind on a grassy edge of the stream and shouted all of Bataille’s THE SOLAR ANUS in the girl’s memory. I wanted to mete the insistence of death with how much pleasure that forest, my forest, had brought me.

I would bike through dirt and grass until I had to get off the bike and walk it, going under train tracks and sitting alone and feeling really terrific. It’s tough, because it makes me wonder if in those moments of stillness when I felt holes filled, it makes me wonder if I’m not for the city. If I just need to find the perfect empty space. I have constant fantasies of living in, as I always say, “an abandoned coastal hotel flooded with sand up to the eighth floor.” It’s like art because futile when the world around you is exciting.

On May 1st I move into a bedroom that might actually be mine, not a sublet but not a lease, a flexible position to be in, and I am lucky and understand that I’m doing at least something right to be able to find myself inside of homes repeatedly, over and over, even when it seems like everything is falling apart. I will feel out the room and if it feels right I will fill it with plants and rocks and marble obelisks, maybe bits of Greek statuary. I haven’t seen the room, all I can hope for is that there is a window, maybe even a big window, because I need the solar light.

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DREAM OF THE DRESS

taken from Tumblr

I found out yesterday that Mark Aguhar killed herself.   I met Mark briefly while I was fucked up out of my mind at High Fantasy in San Francisco, but beyond that encounter we never talked, though I loved Mark’s  blog.

I had a dream last night in which Mark was doing a performance.  From the back of a room they walked to the front, wearing a gown with the longest train–infinitely long, continuing forever it seemed.  And so large–somehow the train, which was vertical instead of just dead being pulled on the ground, as if it were being pulled off a very long roll positioned vertically.  The fabric, which was white, engulfed the room.  But near the end of the train, which finally reached the front of the room where Mark and another were standing, there was a door; not an actual door, but the illusion of a door.

Mark walked through the door and the train collapsed to the floor.  There was such an air of gravitas.  Following this Mark began talking and soon three men were collected to sing Al Green.

I think this dream has brought me a total reconsideration of something; my consideration of performativity, which I’ve been thinking about a lot lately, has a new level here.  This addition of clothes, of fashion, I now understand, can become an element of affect themselves.  I think this important.

Thank you Mark for coming to my dream to tell me this, even though we were not in contact in the world of the possible.

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“Towards the end of the fifties, Nitsch experienced the death of language, its reduction to mere forms deprived of direct reality. His first actions in the sixties were formulated from a desire to make the spectator live directly, to make him experience immediate visual and acoustic perceptions, as well as tactility, taste and odour.”

-from HERMANN NITSCH: A MODERN RITUAL by Katia Tsiakma [Studio International, 192 (July-August 1976, pp.13-15)]

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Notes On DANIELLE COLLOBERT’S AUX ENVIRONS D’UN FILM: POETIC WRITING ON THE BRINK OF CINEMA by Christophe Wall-Romana

(from Contemporary French and Francophone Studies, Vol. 9, No. 3 September 2005, pp. 265-273)

“…the psychosexual entanglement of experience with alterity”

“personal and esthetic choices: her mathematically exact point final is, after all, ultimate proof of the poet’s attention to punctuation, one of the most original aspects of her oeuvre.”

“focus on the sensorial experience of language and writing,”

“Precise visual, auditory, tactile, topographical and gestural notations generate her thinking-writing”

“All this suggests that Collobert had begun a concerted effort of recomposing her poetry around the late 1960s and early 1970s as it were on multiple tracks: text-track, image-track, and soundtrack.”

“Each of Collobert’s works seems to have its own regime of close-ups. Dire I contains extreme graphi close-ups: “Open mouth your palate, deep hollow of red earth with regular folds star-like near the edge” (150). Dire II amalgamates close-ups within a more theoretical space: “going forward among the ruins–recognizing nothing–with such horror–…–without form–without light–…which would mean that there was something not far–…–in short a possibility yet to overcome fuzziness” (223). This resembles a tracking shot in a horror or sci-fi movie pushing against the “flou [fuzziness]” of the unknown: this last term also means “out-of-focus” and recurs throughout Dire (170, 174, 223, 241, 252). Dire as a whole explores the tactile reciprocity between the eye and the intercorporeal visible world, what Merleau-Ponty calls “the flesh,” often taking the form of a tracking-shot (“to push back the limits of the visible,” Dire I 176), or a combination tracking and pan: “with this light being able to track things down–moments–sweeping through space [balayer l'espace]–going to the bottome–to the end” (Dire II 239).”

“mid-ground vs. background”

“Editing techniques include slow motion: ‘Diminishing the intensity of movement… restricted displacement of angles…’ (176); flash-backs “–in the unfolding of time–. . .–recalls–in a flash [en flash]–zones suddenly lit” (Dire II 2360; and elliptical montage, as used by Godard who clipped the beginnings and ends of shots in A Bout de souffle, to create a sense of breathlessness: “–and suddenly mobility–an unforeseen acceleration–from one word to another–without coherence–surely without an aim” (238).”

track down:

Stout, John C. “Writing (at) the Limits of Genre: Danielle Collobert’s Poetics of Transgression.” Symposium 53:4 (Winter 2000): 299-209.

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Notes from ART IN THE DARK by Thomas McEvilley

“This involves a presupposition that art is not a set of objects but an attitude toward objects, or a cognitive stance (as Oscar Wilde suggested, not a thing, but a way.) If one were to adopt such a stance to all of life, foregrounding the value of attention rather than issues of personal gain and loss, one would presumably have rendered life a seamlessly appreciative experience.”

“The idea that the artist is the work became a basic theme of the period in question. [...] As early as 1959 James Lee Byars had exhibited himself, seated alone in the center of an otherwise empty room. Such gestures are fraught with strange interplays of artistic and religious forms, as the pedestal has always been a variant of the altar.”

“It should be emphasized that category by forced designation is the basis of many magical procedures. In the Roman Catholic mass, for example, certain well-known objects–bread and wine–are ritually designated as certain other objects–flesh and blood-which, in the manifest sense of everyday experience, they clearly are not; and the initiate who accepts the semantic rotation shifts his or her affection and sensibility accordingly.”

“Rejection of the Dionysian does not serve the purpose of clear and total seeing.”

“The OM Theatre performances open into dizzyingly distant antiquities of human experience. In form they are essentially revivals of the Dionysian ritual called the sparagmos, or dismemberment, in which the initiates, in an altered state produced by alcohol, drugs, and wild dancing, tore apart and ate raw a goat that represented the god Dionysus, the god of all thrusting and wet and hot things in nature. It was, in other words, a communion rite in which the partaker abandoned his or her individual identity to enter the ego-darkened paths of the unconscious and emerged, having eaten and incorporated the god, redesignated as divine. In such rites ordinary humanity ritually appropriates the aura of godhood, through the ecstatic ability to feel the Law of Identity and its contrary at the same time.”

“Euripides, an ancient forerunner of the Viennese artists, featured this subject in several works. Like Nitsch, he did so partly because this was the subject matter hardest for his culture, as for ours, to assimilate in the light of day. In the Bacchae especially he presents the dismemberment as a terrifying instrument of simultaneous self-abandonment and self-discovery. The Apollonian tragic hero, Pentheus, like our whole rationalist culture, thought his boundaries were secure, his terrain clearly mapped, his identity established. rejecting the Dionysian rite, which represents the violent tearing apart of all categories, he became its victim. Disguising himself as a maenad, or female worshiper or Dionysus, he attempted to observe the ritual, but was himself mistaken for the sacrificial victim, torn apart, and eaten raw. In short, his ego-boundaries were violently breached, the sense of his identity exploded into fragments that were then ground down into the primal substrate of Dionysian darkness which both underlies and overrides civilization’s attempts to elevate the conscious subject above nature.”

“Not only the individual elements of these works, but their patterns of combination–specifically the combination of female imitation, self-injury, and the seeking of dishonor through the performance of taboo acts–find striking homologies in shamanic activities.”

“Simeon Stylites, an early Christian ascetic in the Syrian desert, lived for the last 37 years of his life on a small platform on top of a pole.”

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FILM AT DOKUMENTA 5


SPACECUT by Werner Nekes (1971)

KALDALON by Dore O (1970)

WORK IN PROGRESS by B. & W. Hein (1969)

REMEDIAL READING COMPREHENSION by George Landow (1970)

T.O.U.C.H.I.N.G. by Paul Sharits (1968)

DER TOD DER MARIA MALIBRAN by Werner Schroeter (1971/72)

MACBETH by Rosa von Praunheim (1970)

SCORPIO RISING by Kenneth Anger (1962-64)

FLAMING CREATURES by Jack Smith (1963)

DALLAS TEXAS – AFTER THE GOLDRUSH by Klaus Wyborny (1971)

AKTIONSRAUM 1 ODER 57 BLINDENHUNDE

<—> by Michael Snow (1968/69)

SCENES FROM UNDER CHILDHOO by Stan Brakhage (1966)

WINDSTILL by Franz Winzentsen (????)

DER DISCHTER UND DAS EINHOR by ???? (1965)

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An Update

A) I haven’t written in this blog in any substantial capacity in months. I don’t think I actually, really, have that many readers, but it’s mostly disappointing to me because the initial purpose of this blog was to be more active in my engagement with my work– both in terms of what I am devouring (reading, studying, looking at, watching, listening to) & in terms of what I’m creating. The intention was to develop a sort of reflective engagement simply to find myself thinking harder. I do think I have been trying to push myself as of late when it comes to both my Goodreads reviews & my screening log (which is not “live” online, just in a number of documents on googledocs), but ultimately I need to find myself thinking more about ideas than just reflecting. So, fingers crossed, let’s try this again.

B) I was getting something like 4 to 5 spam comments on this blog daily that I was deleting & since I was doing this so often Gmail started throwing my comment notifications into my spam folder. I had stopped actually reading them anyway, so if you’ve tried to comment and your comment never shows up here, that’s why. I need to figure out some better way to handle that if I want the comments section to serve any purpose. If you need to contact me for any reason my email address is listed on the “ABOUT” page of the “SILENCE” section on my website.

C) Since my last update, the following things have happened regarding my “work” getting out into the world:

1. A queer noise compilation was released that I have a track on– the name I record drone music under is IN MANY ROOMS MURDERS ARE DECIDED, which is an homage to Ettore Sottsass.

2. A poem entitled POEM NOT ABOUT FUCKING has been published at New Wave Vomit.

3. A small series of tableau, MY LIFE IS PERFECT, has been published at Metazen.

4. A story, ANTECHAMBER FOR OBSERVING AND MEASURING HYDROLOGY has been published at the new journal Red Lightbulbs.

D) Also since the beginning of February, I’ve had 3 readings. In February I read at the Ear Eater reading series, and you can find an audio recording of the reading for download. I also made an mp3 of just my part, which you can find here. In March I read at Invasion :: Response at the Underbar in Chicago with a million other awesome people. Also, the last week of March, I threw a reading at my own apartment featuring myself along with the following people: Cassandra Troyan, Meghan Lamb, Steve Roggenbuck, Stephen Tully Dierks, Sean Rafferty, & Shaun Gannon. Russ Woods shot a video of my reading:

And then this month, just last week actually, I read at Artifice Magazine’s Dirty South Dance Party. Next month I’ll be reading at Quickies in Chicago.

E) I have 4 (!) releases for Solar▲Luxuriance lined up right now: Chris Moran’s POISON VAPORS, a chapbook from Shane Anderson, a chapbook from Leif Haven, and a tape release from WASTELANDERS, which is Dean Costello (of HARPOON fame). POISON VAPORS will be an edition of 15, with five copies being full-color & Japanese stab-binding, while the other 10 copies will be color covers w/ black & white insides & staple bound. The color copies & the covers are all printed & trimmed, I just need to print the insides ofthe b&w copies & then bind everything. Also: will make a video trailer. I think I’ll probably be making video ‘teasers’ for all the releases from now on.

F) I think I had a lot more things to mention but then I got distracted by THE INTERNET so now I don’t remember. Anyway, I’ve been reading Robin Mackay’s introduction to Nick Land’s Fanged Noumena, and I’m excited to read more Nick Land. I read his book on Bataille a year or so ago and while most of it went over my head, the impression the book left on me was strong & very impressive. I will, I am telling myself this now, try to actually write up some sort of reflection here, in this blog, after each article/essay. Philosophy & Critical Theory is stuff that I try to read without much reaction, so that’s something I need to force myself to do, as I think it’ll make me “better” at reading it. Yes, so that is the plan for now.

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Tan Richard Burton’s Suit

for ariana reines & elizabeth taylor

elizabeth taylor is dead
and i know her but not well
enough to say that i loved her
[ ] [ ] [ ]

(
three screens in the room
three televisions
three different movies with
three different elizabeth taylor & richard burtons
)

richard burton, tan
your suit, richard burton
on my body the suit
i am too blonde
this suit is too light for my coloring
i will resolve this
land lying along the coast
body lying along the coast
in the sun, my skin
pale to dark
this is how i can become tan

i don't know what irony is
when i talk about wanting
richard burton's suit
richard burton's tan
richard burton's life
richard burton's animal sexuality
richard burton's love with liz taylor

i had no idea until
ariana reines told me so
in a blog entry
and i stopped and thought
oh my god
oh my god
she’s right
i can feel it
i love this couple
i want to be this couple
i want to be
i am

00000000000000000000000000000000000000000000000000000000000000000
00000000000000000000000000000000000000 both at the same time 0000
00000000000000000000000000000000000000000000000000000000000000000
00000000000000000000000000000000000000000000000000000000000000000

on the first screen

i can smell richard burton’s dry and tan skin
i can feel its roughness
i will carry this feeling
into my own skin
and as my hands rub the paunch of elizabeth taylor
i cry tears
and i laugh
i am alive

on the second screen

we are filming cleopatra and
“we have almost ruined everything
with our love”
ariana reines says of richard burton & elizabeth taylor
“their love nearly destroyed that gigantic movie cleopatra
and when i
am in richard burton’s suit
and when i
am in richard burton’s tan skin
and when i
am in richard burton’s role in
cleopatra
i will know
that this was true
and is true

because the present tense
will fold into the past tense
until all time is delineated
into a now

my love
our love
love

on the third screen

a whiteness
halo’d
soft edges
the channel is not coming in clear
our lives
in our movies
scroll by on network television
“drink up dear drink up”
but who are we talking to

who are we
talking to
when
we say love

and who are we when there is nothing to be found

00000000000000000000000000000000000000000000000000000000000000000
00000000000000000000000000000000000000 both at the same time 0000
00000000000000000000000000000000000000000000000000000000000000000
00000000000000000000000000000000000000000000000000000000000000000

when my body walks through the airport
in tan richard burton’s suit
i will ignore the pause
i will ignore any sort of hesitancy
i will forget who i am
because i am not who i am
i am richard burton
i am tan
i am wearing a terrific suit
i am walking next to my lover
elizabeth taylor is wearing a beautiful outfit
my entire life is so beautiful i want to cry
i will cry every night, i have cried every night, because my life is perfect, because even when we scream and as our bodies get fatter and our skin gets rougher and darker and as our money dwindles there is nothing we are losing, because we are forever, we are infinite, we are holding the truth in terms of how life will be. our lives are late night dinner parties on the coast of california. our lives are champagne fountains and paparazzi. our lives are the dreams of other people, and our dreams are of nobody’s lives but our own. our lives are the dreams of other people and our dreams are of nobody’s lives but our own. our lives are the dreams of all other people and our dreams are only of each other.
dear elizabeth taylor, i love you
dear richard burton, i love you
dear m kitchell, we love you too.
we have always loved you.
together our bodies spin, float, dissolve, this is all immaterial.
we are together.
we are one another.
forget about being ourselves.
remember to be everyone.
we have forgotten how to be ourselves and only understand how to be one another.

Posted in Work | Leave a comment

“true story”

[X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X]

monotone headstone
dreams & schemes
I’M DONE WITH DARKNESS, AND READY FOR INFINITY
monotone headstone
dreams & schemes
I’M DONE WITH DARKNESS, AND READY FOR INFINITY
monotone headstone
dreams & schemes
I’M DONE WITH DARKNESS, AND READY FOR INFINITY
monotone headstone
dreams & schemes
I’M DONE WITH DARKNESS, AND READY FOR INFINITY
monotone headstone
dreams & schemes
I’M DONE WITH DARKNESS, AND READY FOR INFINITY

[X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X]

in the late capitalist landscape of the desert of the real the b-movie preacher sits in his tent at the front of the stage and we all think immediately of jim jones but perhaps before he went totally crazy and caused death for all those who still loved him or at least all those who were afraid. next to our jim jones avatar there is a glass tank full of rattlesnakes and it is in this tank where we will test our faith. by “we” i don’t mean “us” but rather “the people who are still living in the banalization of life via text.”

in the late capitalist landscape of the desrt of the real the preacher shouts at us and tells us that anything beyond the banalization of culture is sin: we should listen to christian rock and be okay with chord progressions that fit within the schema of a lifestyle that never holds excitement, only suppression and monotony.

monotone headstone
dreams & schemes
I’M DONE WITH DARKNESS, AND READY FOR INFINITY

dear god,
today i went to see a movie at the movie theater but all of the movies were terrible. i thought i could at least see a movie with tits but then i remember that tits are not sexually exciting to me and anyway all of the tits were covered in the blue-tint of a hegemonic aesthetic that i’ve never found anything but dumb. if i pray to you or at least pretend that you are real will you bless my existence with something entertaining that i care about?

love,
well nevermind

monotone headstone
dreams & schemes
I’M DONE WITH DARKNESS, AND READY FOR INFINITY

i’m not sure where this desert is but the preacher continues to shout at culture and i would get upset
if i could muster up any sort of empathy
for the other people who are alive
but instead i’ll aim a fucking nuke at that tent
and we’re in the desert so it’s okay

i’ll just put on some sunglasses
drive into the distance
aim my nuke
fire it
and watch their world end

guess what

my life just
got a lot more exciting

die bitch die 666

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Art Party 2: The One With the Books


A) Pierre Huyghes Aquarium Project for DIS Magazine sets out to establish fish tanks as environmental narratives, using color, tone, and life-as-character. It’s just a sort of ‘sketch,’ basically, but it’s pretty astounding. I like the idea of narrative interior design (in fact, I personally set out to make my bedroom a “gothic aquarium” at the beginning of last summer).

B) At A Journey Round My Skull, we are treated to an introduction of Belgian supernatural-horror author Thomas Owen, accompanied by illustrations by Justinus Kerner. The illustrations are nightmarish Rorschach inkblots, and Owens is an author who apparently has only a single collection published in English that has been name-dropped by the ultimate-in-feeling-bad horror author, Thomas Ligotti.

C) Over at Airform Archives, we are introduced to Bernard Shaw’s “shaw alphabet,” an alphabet proposed “to be written without indicating single sounds by groups of letters or diacritical marks”.


D) Maria Fischer has created a beautiful looking book that attempts to include “hyperlinks” via pure materiality. It doesn’t look like it’d end up very utilitarian, but it sure is beautiful.

E) A new book on architectural magazines of the 60s & 70s looks like basically the best thing in the world, and I’m pretty fucking pissed that I can’t get it from inter-library loan yet because I can’t afford it right now. Definitely one to pick up in the future.

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