OtherInter.net, a small consulting group co-run by my friend Toby Shorin, has started up a series of workshops with folks from the community. Drew Austin of Kneeling Bus is teaching a course called the Digital Transformation of Physical Space, which I’ll be enrolled in over the the next four weeks. I’ll be keeping track of the discussions we have, for myself and others in the group. Some of the ideas in these posts were advanced by classmates, and I’ll try to give credit when I can.Continue reading “Junkspace”
As I wrap up editing the follow-up volume to 2017’s La Vento, I wanted to preserve some of the quotes and lines and ideas that won’t make it into final cut.
Simon Reynolds, Shock & Awe
The impossible perfection of a Moment or an Image—it could be a lover, or the tableau of the in-crowd scene—that is the ever-receding quarry of the glamour chase.Continue reading “Tossouts from The Color Purple”
Dez & Marnie are sitting on their marital bed. She has headphones in, sitting cross-legged staring intently into her Macbook; he’s got puka shells around his neck and strums an acoustic guitar, bobbing his head at her, raising his brow, trying to get a look. It’s harmless but needy, like a puppy who deep down you don’t really love giving you eyes from across the room. Marnie takes her headphones off. “What are you staring at me about?” “What do you mean?” “You’re staring at me.” “I’m staring at you?” “You’re playing aggressive guitar at me.” “There’s nothing aggressive about that. It’s a ballad. I think it’s weird you haven’t said anything since noon.” This is the way a well-designed en media res goes; it’s what makes it so exciting. You see a situation, you get an interpretation, take it at face, infer a world (Marnie: cold and distant; modern technology: not helping.) Then there’s an update, a rebuttal—reality either rearing up and answering, contradicting the hubris of human inference, or else another subjectivity speaking for itself. Here we get the latter.Continue reading “Panic in Central Park: Predictive Hermeneutics in Girls S5E6”
Peli Grietzer’s Amerikkkkka is the kind of text that punches preternaturally out of its weight class, manages miracles. It back-charts five years of intellectual growth, cultural mappings, one-off gags and twelve-page academic endeavors that together begin to depict a certain type of lifeworld.
I had the chance to gChat with Peli for a few hours as he rode the train from Brussels to Berlin.
Basic bio points, correct me/elaborate freely: Amerikkkkka—originally published Amerikkkka—was written over five years between 2009 and 2014, just after you’d moved from Israel to the United States and coinciding with the start of your comparative lit program at Harvard.Continue reading “Each Venture Is A New Beginning”
1. The 1975
“One and the same civilization produces simultaneously two such different things as a poem by T.S. Eliot and a Tin Pan Alley song, or a painting by Braque and a Saturday Evening Post cover… [W]hat perspective of culture is large enough to enable us to situate them in an enlightening relation to each other?”
—Clement Greenberg, “Avant Garde & Kitsch”
When I was nine or ten I heard “We Didn’t Start The Fire” in my grade-school music class and was assigned to write a poem in similar cadence. The bulk is lost but I remember clearly couplets like “George Bush/ brain mush” (it was 2004). Sentimental, then, to hear The 1975’s “Love It If We Made It”: “Consultation/ Degradation/ Fossil fuelling/ Masturbation/ Immigration/ Liberal kitsch/ Kneeling on a pitch.” This is Dombal’s “Anthem for Our Time,” a “mirror up to our collective faces.” Zoladz over at The Ringer calls it “one for the time capsule” right after mentioning the quoted lyrics took two years for Healy to write. Both Dombal and Zoladz seem the type who’d think the climate change scenes in Schrader’s First Reformed were its finest moments (and who couldn’t accept its ending in redemptive if wholly a-contemporary grace), where relating to the present and the political are inherently valuable as ends, aside from quality, nuance, or integratedness of commentary.Continue reading “The 1975’s Brief Inquiry”
Spilled Reality, “One more on The 1975?”:
The 1975 bloomed late in pop critics’ multi-decade questioning of masculine-rockist values like authenticity and edginess. In the new pop(ul)ist paradigm, entertainment value and its near heuristic, melodic propulsion, are strong arguments for aesthetic quality in themselves. Authenticity is redefined, less a matter of sheer aesthetic originality (anxiety of influence) or economic identity (working class fetish) but of emotional confession or appearance thereof. The boolean fact of politicization, and the polarity of sympathy, matter more than the sophistication of approach. Continue reading “Flowers in a Pop(ul)ist Paradigm”
Taken from Ghosts of My Life by Mark Fisher, esp. “No Longer the Pleasures: Joy Division,” and “K-Punk, or the Glampunk Art Pop Discontinuum.”
On Teenage Ontology:
Romanticism is the dressing-up of Teenage Ontology as an aesthetic cosmology. Teenage Ontology is governed by the conviction that what really matters is interiority: how you feel inside, and what your experiences and opinions are. In this sense, sloppy drunkard Ladette Tracy Emin is one of the most Romantic artists ever. Like Lads—the real inheritors of the hippie legacy—Emin’s bleary, blurry, beery, leery, lairy anti-sensualist sensibility is an advert for the vacuity of her own preferences.
In his introduction to The Ubuweb Anthology of Conceptual Writing, Craig Dworkin positions conceptual writing in opposition to romantic expression, to writing that conveys “the emotional truth of the self.” But he replaces it with a vision of writing that’s true to its linguistic self, writing that can’t be conceived of as taking any other form. Continue reading “Against Expression”
When the shitty stream is gone, it will be remembered and missed. Continue reading “Someplace, Somewhere, Someone”