Art movements used to be Left Bank café tables where disaffected creatives quarreled about headlines in newspapers. “Theory objects” from the Internet are squamous, crabgrass-like entities, where people huddle around swollen, unstable databases.
—Bruce Sterling on the difficulty in describing the New Aesthetic art movement. An Essay on the New Aesthetic | Beyond The Beyond | Wired.com
The photo does not exist. We are 6.9 billion people with no heads who have just started to grow a nervous system.
—Our place in history. On Having No Head | Flickr - Photo Sharing!
Poem #52362
create
her underwear incomparably
breedingOne of the first programs I ever wrote was a PERL script that generates poetry using the words from Howl by Allen Ginsberg, The Lovesong of J. Alfred Prufrock by T. S. Eliot, and a handful of John Clellon Holmes poems. I dropped it in a cron job and gave it a tumblr, so it’ll generate and tumble a new poem once a day.
More Hoey brilliance.
The dilemmas the youth of the late ‘90s faced—do I vote for Gore or Nader? is it ethical to drink corporate coffee? should I take the high-paying dot-com job or remain unemployed and detached?—seem privileged compared to the periods that came before and after.
—n+1 considers the fate of 1990s alternative life in the context of Richard Linklater’s Slacker at twenty years old. n+1: Slacker at Twenty
This gives way to the stunning second side which starts out with a minimal piece of tonefloat – “Prelude” – that sounds like a zonked out-take from Skip Spence’s Oar with the alien percussion sound from the original Sun Sessions recording of “Blue Moon” – style the most lunar of early rock/roll performances – married to wraiths of feedback tones and dark constellations of variously bowed non-identifiable instrumentation building to the amazing “The Danube” a piece of brain-stormingly devolved garage rocker complete with twin fuzz guitar euphorics and that classic Shaggs-meet-Siloah Nuss-style rhythm.
—Typical Volcanic Tongue histrionics in describing the new No Neck Blues Band LP. VOLCANIC TONGUE UPDATE 1 APRIL 2012
Well, I started this tumblr one night while I was reading Anne Carson’s Nox and listening to the first side of Wayne Shorter’s Night Dreamer in 45 RPM (hence the name of this site). And I’ve spewed on about Carson or name-dropped her and her amazing books here, there, while heating up brown rice in the office microwave, while running and thinking about doing ecstasy, while fasting…
So it’s not hard for y’alls to imagine my small cardiac arrest at having seen these images below from her forthcoming translation of Sophocles, Antigonick? This book’s approach makes a lot of sense if you’ve read and loved what she wrote about in Decreation… more later on that. ND, you need to please send me a review copy, I’ll do your laundry…
newdirectionspublishing has the deets, and also, more pics from the New Directions Blog
Anticipating the release of Carson’s apparently beautiful Antigonick.
A multiple-worlds interpretation of the Huxtable narrative, however, raises a plethora of new questions about the final scene of the series finale of The Cosby Show. In the final moments of the Huxtable narrative, Cliff and Claire Huxtable break the proverbial fourth wall and step out of their singular ontological zone into the textual void or what Warren Ellis terms “the bleed” between universes or worlds. Might this bold action represent an attempt by Cliff (and to some measure Claire, but remember that Cliff is the one who in fact leads her out of their universe or world) at quantum suicide? Is Cliff—who seems, by that point in the narrative to have mastered his developing hetero-ontological awareness—aware that there is more than one version of “himself” in the multiverse and that he cannot, in theory, truly die? Does this action represent his surrender, his willingness to depart his universe or world; his defeat and realization of his own singular yet impossibly divided self; or a further stage on his quest to reconcile himself with his disparate selves spread throughout the multiverse?
—Contemplating the quantum suicide of Cliff Huxtable. McSweeney’s Internet Tendency: Selections From the Cosby Codex: Selection 14: Part Two of Toward a Conception of Blakian Prophetic Mythology in (and through) the Huxtable Narrative: The Many Worlds (and Multiple Histories) of Bill Cosby and the Quantum Suicide of Cliff Huxtable.
I’ve made a move in the Luddite direction recently by trying to remove UbuWeb from Google. I want the site to be more underground, more word-of-mouth. The only way you’ll be able to find it is if someone links to it or tells you about it, just like music used to be before MTV.
—Kenny G on moving away from the center and into the margins. The Believer - Interview with Kenneth Goldsmith
unlike a traditional protest, which identifies the enemy and fights for a particular solution, Occupy Wall Street just sits there talking with itself, debating its own worth, recognizing its internal inconsistencies and then continuing on as if this were some sort of new normal. It models a new collectivism, picking up on the sustainable protest village of the movement’s Egyptian counterparts, with food, first aid, and a library
—Douglas Rushkoff identifies the decentralized, network-like aspects of OWS. Think Occupy Wall St. is a phase? You don’t get it - CNN.com
We’re like vibrating stones, in a way. Have you ever seen that movie, Meetings With Remarkable Men? It’s a movie about Gurdjeff’s life, and in the very first scene there are some musicians meeting for a competition to vibrate the stones in the mountains, somewhere in Afghanistan or whatever. They’re all playing beautiful music then finally one guy starts singing some overtones and tunes up to the vibrations, the resonance of all these mountains. That’s what they did to us.
—Violist Eyvind Kang on his collaboration with Sun O))). The Wire: Adventures in Modern Music: Article