Last quote (I promise?)

Just 'cause Eileen Myles is a BOSS:

The vernacular is the place where everything meets. It’s a gathering of people. Think of Sons and Lovers when Paul Morel goes to the pay window at the coal-mining office and talks in his local vernacular even though he’s an educated guy. I lived in Provincetown with a girlfriend, and we owned a house and workers would come over. And then I’d step into my Massachusetts accent to get the guys to not fuck us over. I think that’s avant-garde—the meeting of need and language. Take the Happenings in the 1960s, which were the beginning of postmodernism—what they were mainly interested in was the interface. How do we put film and bodies and poetry together? Now we’re in a world where everything’s sampled. Is there any place where the recording doesn’t meet the live event? What used to be new art is now life. We’re reeling around in this giant performance. When I wrote theater, I would think of each play as a Christmas tree, and the moments, the scenes in the play, were like ornaments. You can’t see it, but the tree’s there, and we’re putting on the ornaments, we’re putting the tinsel on, layers and layers, and moving with a confidence that there’s a place. And you compose fearlessly because there is a tree, there is a place. I feel like the vernacular is that.

From:
http://lithub.com/eileen-myles-in-conversation-with-ben-lerner/

What's in a name?

A postcard from my research in process.

Detail, library books (local history). Image retrieved from http://www.rootsweb.ancestry.com/~nzlscant/bibliography.htm (accessed 20 September 2015)

panning in for the (books as extras) close up...

This song is about AtCS

From Eve Sedgwick's 2002 essay: "Paranoid Reading and Reparative Reading: Or, You're so Paranoid, You Probably Think This Essay is About You"

"[C]amp is most often understood as uniquely appropriate to the project of parody, denaturalization, demystification, and mocking exposure of the elements and assumptions of a dominant culture. And the degree to which camping is understood as motivated by love seems often to be understood mainly as the degree of its self-hating complicity with an oppressive status quo. By this account, the x-ray gaze of the paranoid impulse [to paraphrase bluntly, the colapse of criticality with a kind of self-victimising fatalism] in camp sees through to an unfleshed skeleton of the culture; the paranoid aesthetic on view here is one of minimalist elegance and conceptual economy.

The desire of a reparative impulse [ORIGIN late Middle English : from Old French, from late Latin reparatio(n-), from reparare ‘make ready again’], on the other hand, is additive and accretive. Its fear, a realistic one, is that the culture surrounding it is inadequate or inimical to its nurture; it wants to assemble and confer plenitude on an object that will then have resources to offer an inchoate self. To view camp as, among other things, the communal, historically dense exploration of a variety of reparative practices is to do better justice to many of the defining elements of classic camp performance: the startling, juicy displays of excess erudition, for example; the passionate often halarious antiquarianism, the prodigal production of alternative historiographies; the 'over'-attachment to fragmentary, marginal, waste or leftover products; the rich highly interruptive affective variety; the irrepresible fascination with ventriloquistic experimentation; the disorienting juxtiposition of present with past, and popular with high culture. As in the writing of D. A. Miller, a glue of surplus beauty, surplus stylistic investment, unexplained upwellings of threat, contempt, and longing cements together and animates the amalgam of powerful part objects [...]"

I have added the full text to an AtCS's google drive folder:
https://drive.google.com/drive/folders/0ByfRFkOLaKOTZGF0Q29pdmszZGM

what might it be for?

e-flux journal #12  january 2010, Martha Rosler

Take the Money and Run? Can Political and Socio-critical Art "Survive"?

Art fills in 'quake voids [reposted from AtCS blog]

https://www.tvnz.co.nz/one-news/new-zealand/outdoor-art-exhibition-to-transform-christchurch-city-centre-q11759.html (accessed 21 September 2015)

http://www.listener.co.nz/culture/art/influencers-2013-christchurch-art-after-the-quake/ (accessed on 21 September 2015)

Dynasty Handbag "Bags"

This film made me think of you RO, and also a little bit about engaging with urban matter re. Woahmanchesterstreet >>>>

Bags (complete performance) from Dynasty Handbag on Vimeo.

The everyday wisdom of DTWOF

THIS IS VERY INTENSE

For example:

Queer privilege, born out of the minoritarian theoretical discourses that galvanized the humanities between, oh, 1975 or so and the early 90s, rooted in an immensely popular (mis)reading of Foucault, is grounded in the idea of a link between the normativity of an act and its ethical valence. The argument, sometimes explicit, sometimes implicit, is that because historically the regulatory maintenance of normative social formations has involved the repression and oppression of sexual minorities and non-hetero-reproductive sexual practices, the expression and performance of minoritarian sexual identities and non-reproductive sexual acts has, in itself and a priori, a resistive or subversive value. Queer privilege is the tacit assumption that, confronted with a moral or ethical question, the minoritarian, perverse, and non-normative, in short, the queer, will align on the side of the right and the good against the normative, heterosexual, or mainstream alternative. Queer privilege is the tacit assumption that, regardless of the context or the specific individuals involved, normative is bad and queer is good.

Worth reading the whole thing I think:

http://www.maskmagazine.com/the-hacker-issue/life/on-queer-privilege

Story Board Samples - Kenneth Anger

See more here:
http://toddjurgess.tumblr.com/post/111334242904/storyboards-from-kenneth-angers-unfinished-puce

See Puce Moment (the shorter, realised film) here:
https://vimeo.com/6707336

Images from Mel on the Street

The Start of a Crush Brain Crush

A location is an embedded and embodied memory: it is a set of counter-memories, which are activated by the resisting thinker against the grain of the dominant representations of subjectivity. A location is a materialist temporal and spatial site of co-production of the subject, and thus anything but an instance of relativism. The politics of location, or situated knowledges, rests on process ontology to posit the primacy of relations over substances.

-- Rosi Braidotti

 http://renejmarquez.com/315/readings/braidotti.pdf