[-empyre-] SkeletonWoman: Dreaming posted/ "DIRECTOR! WHO IS IN CHARGE?"
Lessa Bouchard
lessabouchard at hotmail.com
Fri Jul 10 08:17:48 EST 2009
Here is the post for SkeletonWoman: Dreaming
http://www.vimeo.com/5519090
"The understanding of love that informs the show draws upon
Roland
Barthes’ A Lover’s Discourse: Fragments.2 Per Barthes, we disidentify
with love as the sentiment that affirms the autonomy of the
individual within hegemonic Western notions of subject formation
and rearticulation. I am not my most unique and actualized self
once
I find a you to love. To the contrary, within the work included
here
love is that which exceeds the subject, that which refuses
meaning
and narrative in the interest of a different model of knowledge
and
understanding. This love ultimately demands a different mode
of being itself, constructing an alternative model of
subjectivity
through which to live politically."
2 Roland
Barthes. A Lover’s Discourse: Fragments. Richard Howard trans. New York:
Hill and Wang, 1978.
>From "LOVE/AIDS/RIOT/LOVE?
by Steven Lam and Virginia Solomon
I think
this is a splendid statement to include in the context of this conversation. What
is a “most unique and actualized self?” A fluid continually evolving consciousness-
does it ever forget? Are the cells of that being ever shed and forgotten? What
trace is left?
Who
dictates the different mode of being? It’s
all very slippery.
Both Carolee Schneemann
http://www.caroleeschneemann.com/index.htmland Linda Montano http://www.lindamontano.com/story/chapter3.html(I particularly enjoyed her exploration of Chicken Woman/Chicken Linda 1969-1972)
also have a history of this kind of exploration in their work and my imagery in the Skeleton Woman: Dreaming piece is a reflection of their earlier works.Schneemann's Meat Joy (1964) is the iteration of a dream space that is concerned with desire, in between spaces and literal flesh.
Carolee explores in her 1963 essay "Hormones Circling'
"Something happens. I cannot foretell! THE HEAT WELLED UP over all thought, tided into substance- no consciousness beyond the interchange of body heat and atmospheric heat. (Who dies without leaving sign of a last fleet thought... a mark of feeling until the instant could no longer recognize body's sound; the high leaping of brain passing over body's protest and complaint.)
So in my sleep an image offers itself from sensation and is accepted for narrative journey shorn of source (his leg heavy over my own: an image of...bureau drawers; the sheet twisted beneath my foot:. . .DIRECTOR! WHO IS IN CHARGE?...Subject to Recall The past informs itself freely: building is hearkening. I rest against a total mosaic of experience and below, beyond the six points of recognition. Glandular function stimulated by para-sympathetic at one time, by sympathetic at other times. When I write the sympathetic dominates: central tension high, streaming from periphery to center, "away from the world, back into the self": wrote Reich. Or, Epstein's study of epilepsy: that particular brain tissue which receives impression of terror may be altered by the reception of the experience: normal neural tissue may be altered by reception of painful experience and provide for later appearance of such an experience as "repetitive mental producr."
Hormanes circling endlessly- for love of God"! (Olaboga) Try and catch "em... that is keep up to 'em. Tyrannies begin in the flesh. As they say: "No wonder!", meaning "ALL WONDER"!
In 2008 at a screening of her Fuses (1967) at the University of Chicago she also made some lovely points about access meaning literally "getting your hands on it," in any way you could really.
Not much has changed. Still looking for a studio of one's own, a camera, a mac book, a program, a whatsit, a this, a that... I've also been thinking about Second Life accessibility and the queer space metaphor. The Urban gaming movement's suggestion that metaphor is NOT ENOUGH. That the virtual is not a replacement for our presence in an actual neighborhood- for real time space face to face interaction, and all that this implies to such conversations.
Heard a documentary film maker talking recently about the only queer bar in Jerusalem and a man risking his life climbing fences through militarized areas to get to this place so that he could live honestly as himself. Queer space and access- living in dangerous, erratic territory.
> From: empyre-request at lists.cofa.unsw.edu.au
> Subject: empyre Digest, Vol 56, Issue 11
> To: empyre at lists.cofa.unsw.edu.au
> Date: Fri, 10 Jul 2009 02:06:49 +1000
>
> Send empyre mailing list submissions to
> empyre at lists.cofa.unsw.edu.au
>
> To subscribe or unsubscribe via the World Wide Web, visit
> https://mail.cofa.unsw.edu.au/mailman/listinfo/empyre
> or, via email, send a message with subject or body 'help' to
> empyre-request at lists.cofa.unsw.edu.au
>
> You can reach the person managing the list at
> empyre-owner at lists.cofa.unsw.edu.au
>
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of empyre digest..."
>
>
> Today's Topics:
>
> 1. Re: Response to Virgina Re: Robert's Response on Queer
> M?sentente (Marc Leger)
> 2. Re: empyre Digest, Vol 56, Issue 10 (Lessa Bouchard)
> 3. scratch that last (Lessa Bouchard)
> 4. ml-vs-tl-rb-rs: relational aesthetics, catholic style, then
> agnostic ... (Robert Summers)
> 5. Re: ml-vs-tl-rb-rs: relational aesthetics, catholic style,
> then agnostic ... (Marc Leger)
> 6. Re: ml-vs-tl-rb-rs: relational aesthetics, catholic style,
> then agnostic ... (David Chirot)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Wed, 8 Jul 2009 20:12:59 -0400
> From: Marc Leger <leger.mj at gmail.com>
> Subject: Re: [-empyre-] Response to Virgina Re: Robert's Response on
> Queer M?sentente
> To: soft_skinned_space <empyre at lists.cofa.unsw.edu.au>, Christina
> McPhee <christina at christinamcphee.net>
> Message-ID:
> <cac3b210907081712i14862c1fua8d9f60a11266d7 at mail.gmail.com>
> Content-Type: text/plain; charset="iso-8859-1"
>
> christina, it's the institutional critique artist in me (or is it
> performance or over-identification), playing with your original invitation
> to investigate the way that queer praxis develops the space of the
> democratic "violence of participation" in contravention of, as you put it,
> the clich?s of relationality that mitigate against the uncontrollable and
> the parasitic - like the amazing File cover image with the milk moustache
>
> ok, i'm looking into Tainted Love and will get back to we for some idea of
> the critical function of the curators. in the meanwhile, i would be
> interested in hearing from Virginia what you understand from some of the
> statements that you made in "the stuff," among others,
>
> * what do you mean when you say the avant-garde's "being"? does this refer
> to the subjectivity of the proletariat?
> * what is wrong with a negative assertion? (i.e. is this a reference to
> Deleuze's Negations?)
> * how is Nancy's being-in-common-in-difference, as you see it, different
> from liberal pluralism? in other words, is there room here for a common
> political project, which is what i've tried to do with Nancy, linking him
> with Ranci?re and Badiou (against, by the way, Grant Kester's critique of
> the "non-discursive" strategies of the avant-garde - which would probably
> exclude GI)
> * how can "the aesthetic" have a "cultural politics" in and of itself? more
> importantly, what assumptions are you making about aesthetics if you eschew
> both Kantian and Hegelian (and by implication, Marxist) philosophy?
> * what do you mean when you refer to "the limits of a certain kind of
> understanding under our moment of capital" (from Dada to Surrealism to
> today) that formalizes queer sociality and queer relationality? doesn't the
> idea of queer relational/queer aesthetics do that more insidiously than a
> politicizing position with regard to the social function and production of
> art - from whatever prevalent theoretical position you may articulate this -
> i.e. Deleuze, Ranci?re, Nancy, etc... [my sense and concern is that in
> wishing to criticize *certain* political articulations, one risks conceding
> the space to that which one seeks to challenge - academic liberalism
> supplying the conservative right with criticism of the left - Bourdieu's
> late political writings and campaigning make a good counterpoint]
> * related to the latter, how do you (following the discussions among Butler,
> Zerilli/Zirelli, Laclau, Zizek, Ranci?re, Balibar, Badiou) connect this to
> the concept of universality and emancipation - or do you, as much postmodern
> and post-structural theory in the 90s typically asserted, associate all
> universalizing theory with masculinism, hypostatization, totalization, etc?
>
> i would be interested in hearing more from you on whatever seems most
> important for your work in Tainted Love and related research
>
> collegially,
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> ------------------------------
>
> Message: 2
> Date: Wed, 8 Jul 2009 19:26:15 -0700
> From: Lessa Bouchard <lessabouchard at hotmail.com>
> Subject: Re: [-empyre-] empyre Digest, Vol 56, Issue 10
> To: Empyre <empyre at lists.cofa.unsw.edu.au>
> Message-ID: <SNT112-W114DBEB53628C4E39EC17A3260 at phx.gbl>
> Content-Type: text/plain; charset="windows-1252"
>
>
> Hi! Posted SkeletonWoman:Dreaming on Vimeo today after a couple days of Herculean struggle with the slippery hydra-heads of OS platforms and sharptoothed compression settings. Now I can actually write some conversational stuff.
>
> http://vimeo.com/5515223
> password: Skeleton Woman
>
> Let me know if you can't get to it!
>
> > From: empyre-request at lists.cofa.unsw.edu.au
> > Subject: empyre Digest, Vol 56, Issue 10
> > To: empyre at lists.cofa.unsw.edu.au
> > Date: Thu, 9 Jul 2009 12:00:45 +1000
> >
> > Send empyre mailing list submissions to
> > empyre at lists.cofa.unsw.edu.au
> >
> > To subscribe or unsubscribe via the World Wide Web, visit
> > https://mail.cofa.unsw.edu.au/mailman/listinfo/empyre
> > or, via email, send a message with subject or body 'help' to
> > empyre-request at lists.cofa.unsw.edu.au
> >
> > You can reach the person managing the list at
> > empyre-owner at lists.cofa.unsw.edu.au
> >
> > When replying, please edit your Subject line so it is more specific
> > than "Re: Contents of empyre digest..."
> >
> >
> > Today's Topics:
> >
> > 1. Re: Response to Virgina Re: Robert's Response on Queer
> > M?sentente (Marc Leger)
> > 2. Re: Response to Virgina Re: Robert's Response on Queer
> > M?sentente (Christina McPhee)
> >
> >
> > ----------------------------------------------------------------------
> >
> > Message: 1
> > Date: Wed, 8 Jul 2009 11:30:57 -0400
> > From: Marc Leger <leger.mj at gmail.com>
> > Subject: Re: [-empyre-] Response to Virgina Re: Robert's Response on
> > Queer M?sentente
> > To: soft_skinned_space <empyre at lists.cofa.unsw.edu.au>, Christina
> > McPhee <christina at christinamcphee.net>, Robert Summers
> > <robtsum at gmail.com>, lotu5 at resist.ca, virginia.solomon at gmail.com
> > Message-ID:
> > <cac3b210907080830v33ea08d2jb149e9421345d4fb at mail.gmail.com>
> > Content-Type: text/plain; charset="iso-8859-1"
> >
> > hi, just to jump back in, not from the middle, but from a commanding height,
> > like Murnau's Mephistopheles (sort of like the absent Baudelaire figure that
> > sustains the imaginations of the technocratic managers of neoliberal
> > cultural institutions - i.e. cultural attack on the system of bourgeois
> > productivity/as bourgeois productivity)
> > i would like to say a few things that may be helpful, but without
> > reiterating some of the strong points of queer theory
> >
> > for me queer is relevant inasmuch as it takes us away from insisting on sex
> > acts and sexual expression/experience/taste, especially as this becomes part
> > of an identity politics (revealing norms through performativity), the
> > symptom that is in me more than me but that makes me talk about it all the
> > time so that no actual queering is possible. this is to keep in mind
> > Lacan's "il n'y a pas de relation," which is supplanted by the plethora of
> > perverisons, the matrixial, virtual "plague of fantasies" that are not only
> > not prohibited by capitalism but encouraged as the obscene underside of the
> > official "fill in the boxes male/female, married/single" - as Foucault
> > already explained viz. the incitement to discourse. in this sense, we could
> > say that queer is occupied, o-coup?, and pre-occupied, barred by the
> > relations of intention, which are retroactive effects of meaning.
> >
> > in the Lacanian understanding the subject's desire is the desire of the
> > Other. the Other's desire does not lead to my "solidification" as Virginia
> > mentioned, but to my castration (in jouissance, which could in fact include
> > Barthes' version of readerly bliss), as Lacan phrased it, "showing me my
> > soft watch." if this castration is the solidification that you mean, then
> > at least we're able to explain social formation - like the totemism of
> > neocloneservative bald heads. so let's be clear, this is not what Bersani
> > has in mind when he talks about the self-shattering that comes with having
> > oneself sodomized (or penetrated in any other sexually ecstatic way - i.e.
> > like being fired from a job or becoming the object of a public secret
> > mediated by the net), if by this one assumes that this implies undermining
> > bourgeois subjectivity
> >
> > we need to at least be able to define the bourgeoisie as yes, a product of
> > ideology, which implies cultural meanings and incompleteness/alterability,
> > but also as part of the development of the capitalist mode of production,
> > the class that owns and controls the means of production. here, when we
> > think of (micro) politics that are not oriented toward electoral politics,
> > policy and the state, i think we should not lose sight of the state mode of
> > production, which has been the case with people influenced, for example, by
> > Ranci?re's distinction of politics (the political) and the police/policy (if
> > I get these terms correctly). not only are there mega-corporations beyond
> > the sign of state and electoral politics, but there are also plenty of ways
> > that these companies encourage, demand experiences of self-shattering
> > (moving in the direction of the work of Deleuze and Guattari,
> > autonomists/post-operaists and also those who mistakenly take from this the
> > idea that capitalism is friendlier than communism).
> >
> > footnote: Maurice Blanchot's writing on community has some interesting
> > things to say about both unworking (? la Nancy) in relation to love - which
> > is not far from the psychoanalytic definition of love as "giving something
> > you don't have to somebody who doesn't want it" - the whatever subjectivity
> > of lovers that dissolves social bonds.
> >
> > another note: the void would perhaps be a good start for understanding
> > virology, which Lacan develops with the concept of the Real - Derrida also
> > being greatly influenced by Freud's fort/da (the trauma that cannot be
> > mastered, only repeated; the dangerous rem(a)inder)
> >
> > Micha's post makes a good point but also misses one crucial point; it is not
> > the death of autonomy, but autonomy as a condition of living death (Hegel
> > for today's creative labour). what aesthetic strategies could stop the
> > vancouver olympics? my answer is that what we have here is a job for the
> > perverted avant-garde - the relative autonomy of living death (i.e.
> > traversing the fantasy) is the way to go and i am with you. my own approach
> > is anti-capitalist organization, beyond affinity - a constituted form of
> > power, mediated by fetishism and what i call "sinthomeopatic identification"
> > (identification with the symptom). affinity will do for now but in my
> > marxist/communist (critical of anarchism) opinion it is not enough.
> >
> > what is worth fantasizing about? good question, especially after the
> > disappearance of the M.S. Fantasia (Madalena). also a good follow-up to
> > Turbulence journal's "why is it that it's easier to imagine the end of the
> > world than to change things?" fantasy actually addresses the problem of
> > that very formulation
> > (which, by the way, Turbulence left out of their issue, not liking Zizek and
> > not, I would say, understanding critical dialectical realism enough - and
> > assuming that these questions are behind us, which is, as i argued, the very
> > form of today's concrete universal - which is where i disagree with Mouffe's
> > agonism (c.f. the Lacanian split law) and Holloway & co's multiplicity,
> > becoming animal and what have you)
> >
> > reimagining sex is one way that we ignore the (non)relations of fantasy that
> > structure the field of cultural production, which by the way i do not, as V
> > suggested, associate with a set style (did you mean set theory?). style is
> > rather more like a response, an unintentional, symptomatic reaction to a
> > situation
> >
> > sorry if this does not go in the direction of gay (art) world making. don't
> > worry, i'll get mine.
> > but am i getting fleshy ?
> > -------------- next part --------------
> > An HTML attachment was scrubbed...
> > URL: https://mail.cofa.unsw.edu.au/pipermail/empyre/attachments/20090708/27b7f21c/attachment-0001.html
> >
> > ------------------------------
> >
> > Message: 2
> > Date: Wed, 8 Jul 2009 10:06:43 -0700
> > From: Christina McPhee <christina at christinamcphee.net>
> > Subject: Re: [-empyre-] Response to Virgina Re: Robert's Response on
> > Queer M?sentente
> > To: soft_skinned_space <empyre at lists.cofa.unsw.edu.au>
> > Message-ID: <E1532FC5-CB96-4073-B818-ED42C9F4D677 at christinamcphee.net>
> > Content-Type: text/plain; charset=US-ASCII; format=flowed; delsp=yes
> >
> > WHOA!!!! I had no idea one of our guests has been, all this time,
> > actually above the -empyrean-.
> >
> > Is this a descent from Olympus (probably Vancouver--hey its a Left
> > Coast kind of trip)? Feeling like Zeus, scamming around, looking
> > for Leda? Or, as Baudelaire would dream, of Hermes at the crossroads?
> >
> > Warning: Hermes is the god of artists, wayfarers, thieves, left-handed
> > people and psychotics.
> >
> >
> > Like the author of Correspondances, I dream of metamorphs. Dear
> > mortals: THIS week to write about actual works of art.
> >
> > Let's start with Virginia's "Tainted Love."
> >
> > And... while we are on the subject: Expose yourselves (sorry!) to some
> > of the works of art that have been already introduced in this space.
> > Skeleton Woman, Bromance, Tesserae. Meat Love. Tainted Love. Blood
> > and Glass.
> >
> > I look forward especially to more on the exhibition 'Tainted Love,",
> > specific works in it.
> >
> > Emily Roysdon, artist, editor, agent provocateur, arrives soon.
> >
> >
> >
> > -your moderator
> >
> >
> > On Jul 8, 2009, at 8:30 AM, Marc Leger wrote:
> >
> > > hi, just to jump back in, not from the middle, but from a commanding
> > > height, like Murnau's Mephistopheles (sort of like the absent
> > > Baudelaire figure that sustains the imaginations of the technocratic
> > > managers of neoliberal cultural institutions - i.e. cultural attack
> > > on the system of bourgeois productivity/as bourgeois productivity)
> > .....
> > >
> > > i would like to say a few things that may be helpful, but without
> > > reiterating some of the strong points of queer theory
> >
> > ........
> > >
> > >
> > > sorry if this does not go in the direction of gay (art) world
> > > making. don't worry, i'll get mine.
> > > but am i getting fleshy ?
> > >
> > >
> >
> >
> > ------------------------------
> >
> > _______________________________________________
> > empyre mailing list
> > empyre at lists.cofa.unsw.edu.au
> > http://www.subtle.net/empyre
> >
> > End of empyre Digest, Vol 56, Issue 10
> > **************************************
>
> _________________________________________________________________
> Hotmail? has ever-growing storage! Don?t worry about storage limits.
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> ------------------------------
>
> Message: 3
> Date: Wed, 8 Jul 2009 20:11:15 -0700
> From: Lessa Bouchard <lessabouchard at hotmail.com>
> Subject: [-empyre-] scratch that last
> To: Empyre <empyre at lists.cofa.unsw.edu.au>
> Message-ID: <SNT112-W264B0460DD3AA9D27B8EDA3260 at phx.gbl>
> Content-Type: text/plain; charset="windows-1252"
>
>
> not working yet. sigh.
>
> > From: empyre-request at lists.cofa.unsw.edu.au
> > Subject: empyre Digest, Vol 56, Issue 10
> > To: empyre at lists.cofa.unsw.edu.au
> > Date: Thu, 9 Jul 2009 12:00:45 +1000
> >
> > Send empyre mailing list submissions to
> > empyre at lists.cofa.unsw.edu.au
> >
> > To subscribe or unsubscribe via the World Wide Web, visit
> > https://mail.cofa.unsw.edu.au/mailman/listinfo/empyre
> > or, via email, send a message with subject or body 'help' to
> > empyre-request at lists.cofa.unsw.edu.au
> >
> > You can reach the person managing the list at
> > empyre-owner at lists.cofa.unsw.edu.au
> >
> > When replying, please edit your Subject line so it is more specific
> > than "Re: Contents of empyre digest..."
> >
> >
> > Today's Topics:
> >
> > 1. Re: Response to Virgina Re: Robert's Response on Queer
> > M?sentente (Marc Leger)
> > 2. Re: Response to Virgina Re: Robert's Response on Queer
> > M?sentente (Christina McPhee)
> >
> >
> > ----------------------------------------------------------------------
> >
> > Message: 1
> > Date: Wed, 8 Jul 2009 11:30:57 -0400
> > From: Marc Leger <leger.mj at gmail.com>
> > Subject: Re: [-empyre-] Response to Virgina Re: Robert's Response on
> > Queer M?sentente
> > To: soft_skinned_space <empyre at lists.cofa.unsw.edu.au>, Christina
> > McPhee <christina at christinamcphee.net>, Robert Summers
> > <robtsum at gmail.com>, lotu5 at resist.ca, virginia.solomon at gmail.com
> > Message-ID:
> > <cac3b210907080830v33ea08d2jb149e9421345d4fb at mail.gmail.com>
> > Content-Type: text/plain; charset="iso-8859-1"
> >
> > hi, just to jump back in, not from the middle, but from a commanding height,
> > like Murnau's Mephistopheles (sort of like the absent Baudelaire figure that
> > sustains the imaginations of the technocratic managers of neoliberal
> > cultural institutions - i.e. cultural attack on the system of bourgeois
> > productivity/as bourgeois productivity)
> > i would like to say a few things that may be helpful, but without
> > reiterating some of the strong points of queer theory
> >
> > for me queer is relevant inasmuch as it takes us away from insisting on sex
> > acts and sexual expression/experience/taste, especially as this becomes part
> > of an identity politics (revealing norms through performativity), the
> > symptom that is in me more than me but that makes me talk about it all the
> > time so that no actual queering is possible. this is to keep in mind
> > Lacan's "il n'y a pas de relation," which is supplanted by the plethora of
> > perverisons, the matrixial, virtual "plague of fantasies" that are not only
> > not prohibited by capitalism but encouraged as the obscene underside of the
> > official "fill in the boxes male/female, married/single" - as Foucault
> > already explained viz. the incitement to discourse. in this sense, we could
> > say that queer is occupied, o-coup?, and pre-occupied, barred by the
> > relations of intention, which are retroactive effects of meaning.
> >
> > in the Lacanian understanding the subject's desire is the desire of the
> > Other. the Other's desire does not lead to my "solidification" as Virginia
> > mentioned, but to my castration (in jouissance, which could in fact include
> > Barthes' version of readerly bliss), as Lacan phrased it, "showing me my
> > soft watch." if this castration is the solidification that you mean, then
> > at least we're able to explain social formation - like the totemism of
> > neocloneservative bald heads. so let's be clear, this is not what Bersani
> > has in mind when he talks about the self-shattering that comes with having
> > oneself sodomized (or penetrated in any other sexually ecstatic way - i.e.
> > like being fired from a job or becoming the object of a public secret
> > mediated by the net), if by this one assumes that this implies undermining
> > bourgeois subjectivity
> >
> > we need to at least be able to define the bourgeoisie as yes, a product of
> > ideology, which implies cultural meanings and incompleteness/alterability,
> > but also as part of the development of the capitalist mode of production,
> > the class that owns and controls the means of production. here, when we
> > think of (micro) politics that are not oriented toward electoral politics,
> > policy and the state, i think we should not lose sight of the state mode of
> > production, which has been the case with people influenced, for example, by
> > Ranci?re's distinction of politics (the political) and the police/policy (if
> > I get these terms correctly). not only are there mega-corporations beyond
> > the sign of state and electoral politics, but there are also plenty of ways
> > that these companies encourage, demand experiences of self-shattering
> > (moving in the direction of the work of Deleuze and Guattari,
> > autonomists/post-operaists and also those who mistakenly take from this the
> > idea that capitalism is friendlier than communism).
> >
> > footnote: Maurice Blanchot's writing on community has some interesting
> > things to say about both unworking (? la Nancy) in relation to love - which
> > is not far from the psychoanalytic definition of love as "giving something
> > you don't have to somebody who doesn't want it" - the whatever subjectivity
> > of lovers that dissolves social bonds.
> >
> > another note: the void would perhaps be a good start for understanding
> > virology, which Lacan develops with the concept of the Real - Derrida also
> > being greatly influenced by Freud's fort/da (the trauma that cannot be
> > mastered, only repeated; the dangerous rem(a)inder)
> >
> > Micha's post makes a good point but also misses one crucial point; it is not
> > the death of autonomy, but autonomy as a condition of living death (Hegel
> > for today's creative labour). what aesthetic strategies could stop the
> > vancouver olympics? my answer is that what we have here is a job for the
> > perverted avant-garde - the relative autonomy of living death (i.e.
> > traversing the fantasy) is the way to go and i am with you. my own approach
> > is anti-capitalist organization, beyond affinity - a constituted form of
> > power, mediated by fetishism and what i call "sinthomeopatic identification"
> > (identification with the symptom). affinity will do for now but in my
> > marxist/communist (critical of anarchism) opinion it is not enough.
> >
> > what is worth fantasizing about? good question, especially after the
> > disappearance of the M.S. Fantasia (Madalena). also a good follow-up to
> > Turbulence journal's "why is it that it's easier to imagine the end of the
> > world than to change things?" fantasy actually addresses the problem of
> > that very formulation
> > (which, by the way, Turbulence left out of their issue, not liking Zizek and
> > not, I would say, understanding critical dialectical realism enough - and
> > assuming that these questions are behind us, which is, as i argued, the very
> > form of today's concrete universal - which is where i disagree with Mouffe's
> > agonism (c.f. the Lacanian split law) and Holloway & co's multiplicity,
> > becoming animal and what have you)
> >
> > reimagining sex is one way that we ignore the (non)relations of fantasy that
> > structure the field of cultural production, which by the way i do not, as V
> > suggested, associate with a set style (did you mean set theory?). style is
> > rather more like a response, an unintentional, symptomatic reaction to a
> > situation
> >
> > sorry if this does not go in the direction of gay (art) world making. don't
> > worry, i'll get mine.
> > but am i getting fleshy ?
> > -------------- next part --------------
> > An HTML attachment was scrubbed...
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> >
> > ------------------------------
> >
> > Message: 2
> > Date: Wed, 8 Jul 2009 10:06:43 -0700
> > From: Christina McPhee <christina at christinamcphee.net>
> > Subject: Re: [-empyre-] Response to Virgina Re: Robert's Response on
> > Queer M?sentente
> > To: soft_skinned_space <empyre at lists.cofa.unsw.edu.au>
> > Message-ID: <E1532FC5-CB96-4073-B818-ED42C9F4D677 at christinamcphee.net>
> > Content-Type: text/plain; charset=US-ASCII; format=flowed; delsp=yes
> >
> > WHOA!!!! I had no idea one of our guests has been, all this time,
> > actually above the -empyrean-.
> >
> > Is this a descent from Olympus (probably Vancouver--hey its a Left
> > Coast kind of trip)? Feeling like Zeus, scamming around, looking
> > for Leda? Or, as Baudelaire would dream, of Hermes at the crossroads?
> >
> > Warning: Hermes is the god of artists, wayfarers, thieves, left-handed
> > people and psychotics.
> >
> >
> > Like the author of Correspondances, I dream of metamorphs. Dear
> > mortals: THIS week to write about actual works of art.
> >
> > Let's start with Virginia's "Tainted Love."
> >
> > And... while we are on the subject: Expose yourselves (sorry!) to some
> > of the works of art that have been already introduced in this space.
> > Skeleton Woman, Bromance, Tesserae. Meat Love. Tainted Love. Blood
> > and Glass.
> >
> > I look forward especially to more on the exhibition 'Tainted Love,",
> > specific works in it.
> >
> > Emily Roysdon, artist, editor, agent provocateur, arrives soon.
> >
> >
> >
> > -your moderator
> >
> >
> > On Jul 8, 2009, at 8:30 AM, Marc Leger wrote:
> >
> > > hi, just to jump back in, not from the middle, but from a commanding
> > > height, like Murnau's Mephistopheles (sort of like the absent
> > > Baudelaire figure that sustains the imaginations of the technocratic
> > > managers of neoliberal cultural institutions - i.e. cultural attack
> > > on the system of bourgeois productivity/as bourgeois productivity)
> > .....
> > >
> > > i would like to say a few things that may be helpful, but without
> > > reiterating some of the strong points of queer theory
> >
> > ........
> > >
> > >
> > > sorry if this does not go in the direction of gay (art) world
> > > making. don't worry, i'll get mine.
> > > but am i getting fleshy ?
> > >
> > >
> >
> >
> > ------------------------------
> >
> > _______________________________________________
> > empyre mailing list
> > empyre at lists.cofa.unsw.edu.au
> > http://www.subtle.net/empyre
> >
> > End of empyre Digest, Vol 56, Issue 10
> > **************************************
>
> _________________________________________________________________
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> ------------------------------
>
> Message: 4
> Date: Wed, 8 Jul 2009 23:40:24 -0700
> From: Robert Summers <robtsum at gmail.com>
> Subject: [-empyre-] ml-vs-tl-rb-rs: relational aesthetics, catholic
> style, then agnostic ...
> To: empyre at lists.cofa.unsw.edu.au
> Message-ID:
> <4005638d0907082340p5fd38d0aq4299ba267a06c4bb at mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> every question is an inquisition (or interrogation) -rb (attributed)
>
> ---
>
> ink stains: (s)tain(t)ed
>
> tainted ...
>
> ... love
>
> (desire): ( )
>
> "wayward landscape" -- md
>
> ---
>
> the baroness!
>
> ( !)
>
> ---
>
> every caress a blow
> every love a hate
> every tainting a cleansing
>
> ---
>
> the internal edges of the passe-partout framing the artwork (however
> construed) are often beveled (jd) ...
>
> ... "sip my ocean" ... (i never said i didn't)
>
> the act of interpretation -- and the body and desire of s/he who
> interprets are bound up in the process of framing, the frame ...
>
> beveled
>
> leak-ing
>
> tainted ... stained
>
> ---
>
> blood, feces, semen, vaginal secretions ... all ... none
>
> "bed" -rr
>
> wasit!
>
> ([not] reading desire in the exclamation point) !
>
> ---
>
> so, then is art (history, criticism, viewing, etc.) always already
> relational ("")
>
> over-determined
>
> some god will speak
>
> i though they were all dead ... especially him
>
> ---
>
> is philosophy relational or ...
>
> ---
>
> relational aesthetics is not just about art (traditionally understood)
>
> ---
>
> so, is art queer then?
>
> (reading the desire [the love] in the question mark) ?
>
> ---
>
> i hear echos: is anybody there!
>
> (reading desire in the "anybody")
>
> ---
>
> and in the end must we prove how smart we really aren't?
>
>
> ---
>
> there you go again ... not answering the question!
>
> i love you
>
> Robert Summers, PhD/ABD
> Lecturer
> Art History and Visual Culture
> Otis College of Art and Design
> e: rsummers at otis.edu
> w: http://ospace.otis.edu/robtsum/Welcome
>
>
> ------------------------------
>
> Message: 5
> Date: Thu, 9 Jul 2009 09:09:53 -0400
> From: Marc Leger <leger.mj at gmail.com>
> Subject: Re: [-empyre-] ml-vs-tl-rb-rs: relational aesthetics,
> catholic style, then agnostic ...
> To: soft_skinned_space <empyre at lists.cofa.unsw.edu.au>
> Message-ID:
> <cac3b210907090609q6ded0f80p26aa3db88d10da90 at mail.gmail.com>
> Content-Type: text/plain; charset="iso-8859-1"
>
> a futurist-deconstructionist poem from robert!and there i was thinking that
> i am first of all the subject of a lack
>
>
>
>
> 2009/7/9 Robert Summers <robtsum at gmail.com>
>
> > every question is an inquisition (or interrogation) -rb (attributed)
> >
> > ---
> >
> > ink stains: (s)tain(t)ed
> >
> > tainted ...
> >
> > ... love
> >
> > (desire): ( )
> >
> > "wayward landscape" -- md
> >
> > ---
> >
> > the baroness!
> >
> > ( !)
> >
> > ---
> >
> > every caress a blow
> > every love a hate
> > every tainting a cleansing
> >
> > ---
> >
> > the internal edges of the passe-partout framing the artwork (however
> > construed) are often beveled (jd) ...
> >
> > ... "sip my ocean" ... (i never said i didn't)
> >
> > the act of interpretation -- and the body and desire of s/he who
> > interprets are bound up in the process of framing, the frame ...
> >
> > beveled
> >
> > leak-ing
> >
> > tainted ... stained
> >
> > ---
> >
> > blood, feces, semen, vaginal secretions ... all ... none
> >
> > "bed" -rr
> >
> > wasit!
> >
> > ([not] reading desire in the exclamation point) !
> >
> > ---
> >
> > so, then is art (history, criticism, viewing, etc.) always already
> > relational ("")
> >
> > over-determined
> >
> > some god will speak
> >
> > i though they were all dead ... especially him
> >
> > ---
> >
> > is philosophy relational or ...
> >
> > ---
> >
> > relational aesthetics is not just about art (traditionally understood)
> >
> > ---
> >
> > so, is art queer then?
> >
> > (reading the desire [the love] in the question mark) ?
> >
> > ---
> >
> > i hear echos: is anybody there!
> >
> > (reading desire in the "anybody")
> >
> > ---
> >
> > and in the end must we prove how smart we really aren't?
> >
> >
> > ---
> >
> > there you go again ... not answering the question!
> >
> > i love you
> >
> > Robert Summers, PhD/ABD
> > Lecturer
> > Art History and Visual Culture
> > Otis College of Art and Design
> > e: rsummers at otis.edu
> > w: http://ospace.otis.edu/robtsum/Welcome
> > _______________________________________________
> > empyre forum
> > empyre at lists.cofa.unsw.edu.au
> > http://www.subtle.net/empyre
> >
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>
> ------------------------------
>
> Message: 6
> Date: Thu, 9 Jul 2009 08:25:31 -0700
> From: David Chirot <david.chirot at gmail.com>
> Subject: Re: [-empyre-] ml-vs-tl-rb-rs: relational aesthetics,
> catholic style, then agnostic ...
> To: soft_skinned_space <empyre at lists.cofa.unsw.edu.au>
> Message-ID:
> <d6e9fd1e0907090825l427afdcfwdba721b60e7286b4 at mail.gmail.com>
> Content-Type: text/plain; charset="iso-8859-1"
>
> every question is an inquisition (or interrogation) -rb (attributed)
>
> yes--"interrogation of the text"--
>
> in an interrogation during/for torture for example: what matters is not the
> content, assumed to be "questionable," "of questionable use and
> verity,"--but the fact that there is a spoken, shrieked, groaned, spat out
> through broken bleeding teeth, reply--
> reply, a speaking that is forced--
> a Russian artist wrote that "language is a fascism because it forces one to
> speak"
>
> i do not know if you accept attachments, but if so, this collage has a quote
> relevant to the discussion from jean genet, coupled with one from St Paul,
> the famous "For now we see, As Through a glass, darkly--"
>
> inVermont, where i grew up, the older vermonters held to the tradition of
> answering a question with another question--
>
> that way the interroagtion is turned back on the interrogater as an
> interrogating of him/her--
>
> to refuse the role of being "subject to questioning"--
> "le droit de refus" the right to refuse/of refusal--
>
> "the Literature of the NO"--refusal to write by a writer--
> (Rimbaud, Melville's Bartleby the Scriver, many others real and fictional in
> works by hofmannstahl, Edgardo Villa-Matas, variations in Borges and Bolano
> and in works by chirot)
> in part becuase to do so means that one is "subject to interrogation" of the
> text, the author--
>
>
> read in french, genet works a lot with the role of masculine and feminine in
> the naming of things persons actions ideas--
> clusters of feminine nouns for example --will gather around a masculine
> figure, a live man--
>
> while the macusline and feminie may also change--or there wil take place a
> fmininizing of a masculine noun or verb and vice versa--
>
> the use of colors and their genders as names also plays role--
> does one wish to abolish or keep in ones lexicon, one's consiouness, the
> colors of the French flag which are the colors of that State and country
> which has condemned on its language?
> to abolish from any part of one's being & lexicon the colors red, white,
> blue?--
>
> in genet's plays the relationships of Maids, The Blacks, etc are "subjects"
> of interrogations of power relationships--
> to overthrow a color or a social status is also in effect to change a coded
> gendered relationship--
>
> Genet, passionate suporter of the Black Panthers and Palestinian people,
> remakred that he chose to support causes as long as they were not the
> dominant-
> not the State--the Flag--the Governement--the prison, etc-- (in french all
> masculine nouns)
>
> genet's "queer eye and ear and hand" so to speak, are continually
> transforming and retransfroming the world via the names, the actions, the
> colors, the races, the power relationshsips which can be shuffled back and
> forth as gendered "le" or "la"--masucline/feminine--of the French language--
>
> "the queering of the text" becomes "literalized'" in this activity, in this
> often cry of love--"prisoner of love"--(title of his last book, on two years
> spent living with the Palestinians in early 1970's)--
>
> in an interview with Wm Burroughs about he, genet and terry Southern
> covering the Democratic Convention in Chicao 1968, with the violent
> confrontations which the police initaiated and wreaked on protestors and
> reports--Burroughs noted that rather than being angry at the cops as
> Burroughs was, genet was fascinated bywhat their boots represented, this
> hard shiny masculine leather, odorsof leather-and what distrubing Burroughs
> even further was that genet found the crotch areas as they stercthed
> andmovedinside the unifroms something erotic--
>
> everytime one things one has reached "an understanding" of and with the
> genet text and vision--it shifts, moves, becomes again an elusive thief,
> stealing the objectsof understanding and friendshipo, or "fellowship,
> identitifcation" one as a reader he knows might find in his writing--
>
> as he doesin ppolitics, being a suporter of the oppressed until they succeed
> in their revolts-
> so he does in the writing--when the moment of a "succesful enoucnter' has
> occurred, or is thought be the reader to have occured, he fllesm and if
> possible before theentirety of this understanding can occur, so that he
> isnot theone subjected to ano other's domination--
>
> even thoughas with the Chicgo cops, something crude and violent in cops as
> muc as i crimanls turns him on
>
> antoer aspects of genet's writing is that he writes in a very classical,
> pure frnech, like that of racine for example--he uses this Hig Clasical
> style to "queer it" via his subject matters and his shifting back and forth
> of masculine and feminie words--so that within the very forml, "pure"
> classical form, he is continually undoing it, yet wiihout breaking the
> style--
> not the from, whic he shaters frm withi and makes complete destabilized--
> but the style--
> as style isoneof the formenost concerns of genet i examining the world--andi
> n style, what is stylish for example is made askew turned topsy turvy,
> "punked" and "queered"
>
> (see dick hebdige's excellent book Subculture: The Meaning of Style which
> has lot re genet--and Barthes, TS Eliot and Punk)
>
> the Catholic faith of France is also turned into literally and literaraly a
> "gay affair"' in the magnificent The Miracle of the Rose--
>
> in the writings of Rimbaud and verlaine during and after their
> relationshsip, there is also this shifting of the roles of each of the poets
> via the languge used by the toher to delinate thri love, their rage, their
> hate, their desire, their ridicule--al formsof emotion become destabilized
> as the masculine and feminie not only as nouns change but also the way each
> poet sees the oether--as man, woman, child--"the Virgin wife and the
> Infernal husband" as one art of Rimbaud's A season in hell is called--
>
> the use of classical French style which is shot through from inside with
> everything that is the opposite of it in termsof contents, genering of
> words, of vison--is aslo found earlier in Baudelaire's work, where it is
> also an underming of a stable strucutre by at once "using it" and "abusing
> it"
> i hope this is useful--
>
> in ap unning wway one might say thes works are "relational" in that they are
> about "having relations" with an other (excepting Baudlelaire-) man and also
> "having relations" with the uses/abuses of language as a form of love and
> desire of the very word itself, its gendered name--
> and from that play with the words genders, destabilizing stable structures
> which are very "in place, centralized" in France--the State, the Prison, the
> School, the Factory, the Land--
> from with these solid structures there begins to be generated a swarm, a
> swarming of "sex changed, transgendered words and ideas"--creating a Theater
> (and in the Theater after al a run of a play is called "a season")--
>
> in Deleuze's great book on Masochism, he reformalutes masochism as
> "somewhere a Father is being beaten"
>
> that is, the masochist is beating that Father within themselves,, that super
> ego that panopiiticon observing every sin, every vile act thought or words--
> and "containing them, condmening them" to prisons,institutions, graveyards"
> mascochism then as evinced in Rimbaud and geneet, who are very much beating
> the fathers--becomes a form of Liberation in whcih again, the revrsal of
> gendered roles andnames "upsets" "the way things are"--
>
> by a swrming form of attack--on everything in
> site/cite/site--language--colors--genders--everything is in flux--and at the
> same theirony of the container remaining in the form of a classical
> style--for genet
> while Rimbaud is the opposite--he destroys and re-invenets "it needs to be
> reinvented!"-
>
> neither writer wanted ever to become so to speak aan "institution in
> thesmlves"--hence the contiinual fleeing from writing in genet's later
> decdes and rimbaud's flight into action and silence-
> the desrie not to be imprisoned, or turned into a statue--a sybol of the
> State--not to, in Franz Fanon's terms, "interiorize" the one who crushes
> onself--andbegins to wear the mask one things the Master wants to
> see--(Fanon: "Black Skin, White Masks")
>
> in the sense of questioning as being continually used as a destabilizer and
> rearranger, reinventor, a questioning which begins fro the very first words
> one learns--of the words themsleves-one arrives also at a questioiniong of
> questioning
>
> who questions?
> and why?
> and--i have the right to refuse
> and let losse the swarm of attacks and refuslas and silence which begin fro
> the first instants, the first words--
> agsint this monolithic "questioiner, questioning" of the "one presumed to
> Know"--
>
> (beat that father!)
>
> to overthrow or disarm or dissasmble to destabilise and disabuse the
> question and questioner thesmlves--
> so as not be "framed " byway of an answering--as that answering in its mere
> ly being utter aloud, is the caputuilation to the toture whcihf forcesone to
> speak
>
> with genet and rimabud--theyare not going to speak in reply
> but swarm back on the attacks at every juncture of every word of the
> question--via silence--and via ASKING BACK BETTER QUESTIONS IN BETTER
> LANGAUGE--
>
> the triumph of style-as a refual to speak in the same language as the
> torturer--to over turn his langauge and turn him into anything--a little
> gril, a flower, a house .
>
> to turn aggression inside out andinto love. .
>
>
>
>
>
>
> On Thu, Jul 9, 2009 at 6:09 AM, Marc Leger <leger.mj at gmail.com> wrote:
>
> > a futurist-deconstructionist poem from robert!and there i was thinking
> > that i am first of all the subject of a lack
> >
> >
> >
> >
> > 2009/7/9 Robert Summers <robtsum at gmail.com>
> >
> > every question is an inquisition (or interrogation) -rb (attributed)
> >>
> >> ---
> >>
> >> ink stains: (s)tain(t)ed
> >>
> >> tainted ...
> >>
> >> ... love
> >>
> >> (desire): ( )
> >>
> >> "wayward landscape" -- md
> >>
> >> ---
> >>
> >> the baroness!
> >>
> >> ( !)
> >>
> >> ---
> >>
> >> every caress a blow
> >> every love a hate
> >> every tainting a cleansing
> >>
> >> ---
> >>
> >> the internal edges of the passe-partout framing the artwork (however
> >> construed) are often beveled (jd) ...
> >>
> >> ... "sip my ocean" ... (i never said i didn't)
> >>
> >> the act of interpretation -- and the body and desire of s/he who
> >> interprets are bound up in the process of framing, the frame ...
> >>
> >> beveled
> >>
> >> leak-ing
> >>
> >> tainted ... stained
> >>
> >> ---
> >>
> >> blood, feces, semen, vaginal secretions ... all ... none
> >>
> >> "bed" -rr
> >>
> >> wasit!
> >>
> >> ([not] reading desire in the exclamation point) !
> >>
> >> ---
> >>
> >> so, then is art (history, criticism, viewing, etc.) always already
> >> relational ("")
> >>
> >> over-determined
> >>
> >> some god will speak
> >>
> >> i though they were all dead ... especially him
> >>
> >> ---
> >>
> >> is philosophy relational or ...
> >>
> >> ---
> >>
> >> relational aesthetics is not just about art (traditionally understood)
> >>
> >> ---
> >>
> >> so, is art queer then?
> >>
> >> (reading the desire [the love] in the question mark) ?
> >>
> >> ---
> >>
> >> i hear echos: is anybody there!
> >>
> >> (reading desire in the "anybody")
> >>
> >> ---
> >>
> >> and in the end must we prove how smart we really aren't?
> >>
> >>
> >> ---
> >>
> >> there you go again ... not answering the question!
> >>
> >> i love you
> >>
> >> Robert Summers, PhD/ABD
> >> Lecturer
> >> Art History and Visual Culture
> >> Otis College of Art and Design
> >> e: rsummers at otis.edu
> >> w: http://ospace.otis.edu/robtsum/Welcome
> >> _______________________________________________
> >> empyre forum
> >> empyre at lists.cofa.unsw.edu.au
> >> http://www.subtle.net/empyre
> >>
> >
> >
> > _______________________________________________
> > empyre forum
> > empyre at lists.cofa.unsw.edu.au
> > http://www.subtle.net/empyre
> >
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> ------------------------------
>
> _______________________________________________
> empyre mailing list
> empyre at lists.cofa.unsw.edu.au
> http://www.subtle.net/empyre
>
> End of empyre Digest, Vol 56, Issue 11
> **************************************
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