22 February 2009





nocturne communique/nocturnal e-mission
dark morning captain, do you remembering listening to slumber party and aislers set? it was like a soft and warm pink haze.

textual relations/e-ruptions
a triad. fizzy fruit in my mouth and two cigarettes broken and taped back together. when i met you i was in a moment of withdrawal and you were in a moment of suspensions. where we are now, the moment, is one of equal and opposite reaction. what is the opposite of withdrawal and the opposite of suspension? continuous submersion. a dead blue whale sinking in the sea. the corrosiveness of passing back and forth a handful of mercury. inevitable things will be left by the wayside. people even. sometimes the things will precede the people and sometimes the people will precede the things. the pain in pulling a tooth is not the physical one that comes with the string and the mouth, but the decision that something is rotting.

LOOK!

antony - aeon
the boom is over. long live the art!
ciccone youth - into the groovey
creative practice for narrative environments
galaxy has billions of earths
heart pill to banish bad memories
sainkho namtchylak
charlie rose - joan didion
patti smith - rock n roll nigger
jenny wilson - the wooden chair
xiu xiu - bitte spiel mein gong
x-ray spex - oh bondage! up yours!

LISTEN!

deradoorian
friday bridge
maia hirasawa
queen latifah - ladies first
ride - kaleidoscope
sholi
vivian girls - lake house

15 February 2009



nocturne communique/nocturnal e-mission
i am a deadpan sensualist, a listener lacking in phatic expression, the beauty of a partner in transgression.


textual relations/e-ruptions

first piece of pie. first pair of pants. first post-coital cigarette.

circulating an empty space. like a hive that has been hollowed. hatful of hollow. all the vibration happens in surface pockets.


we are not searching for an inside and an outside, but for coordinates that point to an excess that is not reabsorbed into a system of objective violence.


dead rat on the sidewalk. preserved in ice. or dry as parchment. either way disgustingly in opposition to the life and lithe footsteps that dance round it. lost in new york city.


a knife in the hand is worth two in the bush. i know the knife but not its function. i know the handle but not the key. i know the wavering reflection of "i" in kn"i"fe. when all is said and done, when all is just doing, just silence, a juicy silence. cuz it's not quiet but there are no words, no presumptions of understanding but just reaction. yr body is divided into infinite discrete points of light and entry and intrigue and i can push up against it or i can get into it or i can face the literality that extends beyond or rather presupposes semiotic abstraction. cuz you know more than surrender and you know what i'm after but you also know how to make procession count.


LOOK!

arctic unicorns in icy display
bat for lashes - moon + moon

08 February 2009


nocturne communique/nocturnal e-mission
during the depression she stole lilacs

textual relations/e-ruptions
in the summer i will cover my body in negatives and expose you on my skin. i am building a bridge to/for you and you do not know it, but maybe if you looked through a telescope you could see it.

What happens when the world is structured on a grid and you find yourself not on a line, a path, a road, an American dream, but rather in a space of empty, surrounded, confined, illegible? Courage is to be found in this space, not by perseverance to establish a conduit to something else, but by realization that to reside in this space itself is courage, is courageous. The dykes quitting the band and finding a piece of land and moving to the woods and stocking up on canned goods. A country of paths not taken, of alternative lives.

Proof that courage is a space is evident in the etymology of the word itself, as it derives from the Latin for heart. The space of the heart is courage. The color of courage is red. What is important in this is that contrary to modern and popular readings and understandings of courage, it is not to be found in acts of intense and intentional daring. Henry Fleming does not prove his courage fighting. Rather, Hester Prynne’s scarlet letter is the real red badge of courage, one that marks the interior space and movement of desire.

From whence does the place of courage come? Søren Kierkegaard proves illuminating in two respects. First, there exists a courage of faith that exceeds human courage, one that is accessed through total acceptance, collection, and reception of temporality, finitude. Courage comes accidentally and absurdly in every moment to see the sword hanging over the beloved’s head. Second, the leap is not one of faith, but one to faith, which is to say that the courage of faith is the disconnect between thinking courage and doing courage. Learning this about bullets: that one second there isn’t any hole, the next second there is. Nothing in between. You see it happening but you can’t watch it happening.

I recall memory. I recall the weekend. I look back and forth. I look backward and forward, but I don’t recognize myself. I don’t inhabit or embody my memories. I ask myself, “Who is that?” and, “How does this happen?” My reflexivity is a leap to faith, a jump cut. First you are jumping, then you are flying. I am either being, or thinking about being, but not both, for they are two very different people. It is unfortunate that they are not a coincident, that one is never able to experience experience, to move closer, to bridge this chasm, fault line, Everest crevice. What would it mean and how would it feel and would I scribble about it, both in the sense of around and as a theme?

LOOK!
chiba manabu
diller scofidio + renfro - high line
500 days of summer
kolkoz
luigi + luca - are stuck
no homo, pause
number of alien worlds quantified
tham + videgard hansson arkitekter
seinfeld - muffin tops
vanity teen

LISTEN!
bishop allen
bat for lashes - glass
kath bloom
tayisha busay
diane cluck
port o'brien
todosantos
tune-yards

01 February 2009




nocturne communique/nocturnal e-mission
the pillow that sweats yr perfume

textual relations/e-ruptions
i liked you. it was comfortable. so i turned it into a narrative to be enacted. but it's so attached to you + i'm so attached to it + you get the picture. i suppose there is a certain beauty in the stupidity of repetition. stupidity as in a poor ability to profit from experience. and repetition as in obsolescence. or maybe i mean a certain stupidity in the beauty of repetition. like when a body jus goes, becomes not a BwO, but organs without a body. a motherless child. the eye of a terrific tornado. jus knots of nerves that sparkle and shock and ash on whatever happens to be proximate.

i tell you to strip in front of the ice blue glow of a t.v. in a dark room. and you do and yr body is pale milk and it luminesces. and when you are naked i turn off the screen and you phosphoresce like a firefly.

we are farmers in green tartan jumpers. you kiss my rubber boots and beg for my scraps on all fours neath the table, food you've stolen for me in exchange for permission to glean yr affection.

it's true, i don't desire you, i fetishize you, it doesn't move. you have deluded me and now i am drunk.

in dreams (january)
i am standing in front of a meadow at the top of yr driveway where you can't see me, waiting for you to return.

my consciousness is so expanded i am able to experience the sensation of kissing myself.

i am on an above ground subway which is jus one track that loops one gigantic building. i am trying on wigs for valentines day. i try on a crimped red wig with short braids. sometimes i wish my hair were cut that way.

i am on my way to beaches on the jersey shore and the journey is taken by tiny boat through a labyrinth of well kept park islands, artificially blue water, and fast food restaurants.

i am climbing up a mountain of snow plow that keeps melting underneath me.

the dream is that the three of us are all fighting / sharing a cheeseburger (jus the bun and cheese).

i am making out with you as a turkish boy i met at the pool who has bad adolescent breath and keeps trying to take my picture with his phone.

you introduce me to yr vegetarian friends who feed me vegetarian food which is mac 'n' cheese 'n' grapes. we are eating it in a helicopter with my grandmother, madgical, who is picking out the shapes of things below.

i walk to madgical's house. she emerges with two wine glasses and a bottle of wine and says we can get drunk. we sit in lawn chairs next to the garage. it is early afternoon.

either i am blind or i am being chased by blind people. evading death in a warehouse.

the soles of my shoes are falling off my boots. something has caught fire and it moves to beneath the oil heater and i am led outside to film it with a video camera.

ghosts in the house that we recognize. i take a car to go for a run. i join a high school running team and i'm running with them at the same time that i'm running away from them. until you turn around and expresses interest and then i realize we're off the beaten track on the top floor of a building and i push you up against a wall and push it up against you and you turn yr head around and we're making out like furiously. and two old lesbians come in and they are jealous of our audacity and warn us that the rest of the team is coming, so we stop and everyone settles down to eat and watch something and then i'm deciding i have to leave and we decide to make it before i do in front of everyone and they're all so fascinated at the pumping and cumming and i leave with a wet and sticky shirt.

LOOK!
antony - the culture show

LISTEN