Marshmallow Kisses - Ciao! Baby (2011)
*
Elle Moss
*
LIEF IS BEAUTFUL
by Steve Roggenbuck
*
Maskull Lasserre
*
Jack Conte - "Off with His Head"
*
Ruadh DeLone
*
I’m walking outside today with a mild intention of dying in the snow. I’m wearing layers but not enough. Or: I’m wearing layers enough that no one will stop me before I step outside; not layers enough to keep me alive should I stay outdoors.
"DECEMBER IN THE PYRENEES"
by
Jacob Newberry
*
Pierre Dal Corso
*
Aside from outer influences, the internal forces driving my getting naked in front of the lens are:
1. I want to be fancied, however superficial that fancy may be.
2. I want to use my sexuality to my advantage.
3. I want to demystify the body. I want to change its politics.
4. I want to change how we communicate, change language itself.
5. I want to. Simply. I don’t care how controversial that is. I don’t find it a big deal. There are innumerable acts of unjust in the world and if my displaying “the privates” of my body is enough to rouse an interpersonal riot, then I am deeply disappointed with how easy this world is in terms of jarring it. How drab. How boring.
"On Undressing and Why I Am Naked on the Web"
by
Milcah Orbacedo
*
Polly Borland
*
Listen to Kate Durbin read her poem "The Hills"
*
Bebe Zeva
*
Merlin Carpenter
*
Sammy Engramer
*
We all live like haunted specters on a dead planet full of bones and ashes, each wandering in the erotic tribulation of a nervous thought that can never find its way back home; guided by the Lamentation of a melancholic despair we drift lethargically toward the interminable finitude that is.
"Journey of a Spectral Realist"
by
S.C. Hickman
*
Philippe Ramette
*
I want to pursue an intuition about the baroque as a mode of American poetry—a mode of early modernity particularly well adapted to a postmodern era which has seen an acceleration of the modern tendency to break down experience into fragments. It is peculiarly well-suited to a poetics of resistance—not in a nostalgic re-creation of some lost lifeworld, but through a radical materialism that paradoxically creates a new aperture for subjective, even spiritual, experience.
"Notes toward the Postmodern Baroque"
by
Joshua Corey
*
Bryan Lear
*
Marte Johnslien
*
THE PUSH TO PULL THE FLOW FROM LIFE'S DISTURBANCE
(TERROR FANTASIA)
by Cassandra Troyan
*
For philosophers, such basic questions are cerebral exercises; for children, madmen and poets they are undetermined and flesh-real: Are my parents actually evil monsters? Is it all a conspiracy? Is someone hiding under my bed? Are they all dead? Am I dead? Do we embody mythological forces and play out some grand drama we don't understand? Was it I who killed my friend? Is it I who am the monster?
"Remarkable richness of reality: Horror cinema and surrealism"
by
Mattias Forshage
*
Clayton Cotterell
*
Sarah Palmer
*
Modern nihilism operates on a specific dimension of temporality: the absolute way to accumulate is to promote a constant renewal, a repetition that preserves only those parts of the past that serve the transient needs of the market, while simultaneously conceiving that past as a causal sequence of events mechanically leading up to an oblivious present. Historicizing a lifeless past goes hand-in-hand with prolonging the present into the future. Contemporary art, the trans-conceptual and trans-historic artistic idiom of our time, thus manages the replication and variation of an immediate past, preserving only the ruins of modernism. Historicizing then becomes the mirror image of an atemporal historical condition.
"The Time That Remains, Part One: On Contemporary Nihilism"
by
Sotirios Bahtsetzis
*
Dillon Dewaters
*
Hannah Whitaker
*
-interacting with me a few times, Patrick’s friend said I seem “pre-feminist.” Guillermo said that in my stories I take on a very submissive, feminine role. Some people have said I am a misogynist..
"Diary 1"
by
Marie Calloway
*
Roe Ethridge
*
Ces Cru Performs 4 Nothin' Acapella at Strange Music HQ
*
Frances Stark
*
Caitlin Bates
*
Kate MccGwire
*
persistence requires illumination
stubbornness meets requirements
less than enough is the usual
fourteen acts of bravery village
sometimes I think without wondering
too many consistencies relinquish
absolute freedom finds a form
empty solutions are regenerated
secrets can be kept momentarily
"The Book Of Revelations": A searchable transcript
by
Hannah Weiner
*
Nicholas Lockyer
*
Wugazi - 13 Chambers (2011)
*
Michaela Eichwald
*
Umberto Eco in 1967 called the creative producer, to consider ‘openness’ as a “positive aspect of his production, recasting the work so as to expose the maximum possible opening” (2006: 178). According to Eco, the creator should positively articulate the ontological condition of openness that resides anyway in any cultural artefact instead of trying to suppress it. This openness refers to the multiplicity of interpretations that arise out of the differentiated meaning-making capacities of the audiences, as “every reception of a work of art is both an interpretation and performance of it, because in every reception the work takes on a fresh perspective for itself” (Eco, 2006 :180).
"Novelty and the politicization of the creative field: Creative labour and the ‘open work’"
by
Panos Kompatsiaris
*
David Gremard Romero
*
Azealia Banks - "212" Video
*
Floria González
*
It seems like it’s gotten harder to talk to people or even be around them sometimes in this dual folding of how the set of waking hours begins and ends.
"The Condition: The Eye That Never Blinks"
by
Blake Butler
*
Francesco Merletti
*
Ho-Ryan Lee
*
"Portrait of a Ghost Drummer is a multidisciplinary project that explores graphic qualities in process of playing on a drum kit. Besides being a musician, drummer when playing is unconsciously engaged in an elaborate choreography. The drum sticks are the extensions of drummer's hands like a brush is an extension of the painter's hand. Motion-captured movements become a visual map over a time revealing fragile rhythm structures and invisible notations behind energetic instrumental solo. 'Portrait of a Ghost Drummer' expands the understanding of drummers activity from purely auditory experience to spontaneous visual performance."
*
Michael Burton
*
Laurie Lipton
*
The faces were insects
The newspapers were anti-freeze
The clouds were holes
The traffic was mould
The wife was flies
The street was dawn
The gore was smiling
THIS HORSE-DRAWN RIBCAGE
by
Gary J. Shipley
*
Chris Wiley
*
Lucas Blalock
*
Tania Oldyork & Roman Noven
*
Bandes Originales Des Films De Jean-Luc Godard
*
Mihai Criste
*
I love your mouth, I tell her, and he is correct, my wife thinks, he really does love my mouth, but then she is not sure which is worse: that her husband kisses her mouth in the awful way he has grown to kiss it (he had been better than this, you bet, god as her witness it was surely better than what it's become), or that her husband has come to speak in this cheap and selfish way about the object of his pleasure.
"We Figured on a Lifetime"
by
Christopher Merkner
*
Win Wallace
*
Marie-Claire Redon
*
Austra - "Lose It"
directed by M Blash
*
Luke Painter
*
Flarf eschews content, Goldsmith—style. Both reject traditional ideas of authorships by imitating the impersonality of machines. Trecartin keeps everything.
"Making Word: Ryan Trecartin as Poet"
by
Brian Droitcour
*
Alexis Anne Mackenzie
*
Corinne Reid
*
All The Women
directed by Pablo Maqueda
A one minute film every day during 2012
*
Elle Moss
*
LIEF IS BEAUTFUL
by Steve Roggenbuck
*
Maskull Lasserre
*
Jack Conte - "Off with His Head"
*
Ruadh DeLone
*
I’m walking outside today with a mild intention of dying in the snow. I’m wearing layers but not enough. Or: I’m wearing layers enough that no one will stop me before I step outside; not layers enough to keep me alive should I stay outdoors.
"DECEMBER IN THE PYRENEES"
by
Jacob Newberry
*
Pierre Dal Corso
*
Aside from outer influences, the internal forces driving my getting naked in front of the lens are:
1. I want to be fancied, however superficial that fancy may be.
2. I want to use my sexuality to my advantage.
3. I want to demystify the body. I want to change its politics.
4. I want to change how we communicate, change language itself.
5. I want to. Simply. I don’t care how controversial that is. I don’t find it a big deal. There are innumerable acts of unjust in the world and if my displaying “the privates” of my body is enough to rouse an interpersonal riot, then I am deeply disappointed with how easy this world is in terms of jarring it. How drab. How boring.
"On Undressing and Why I Am Naked on the Web"
by
Milcah Orbacedo
*
Polly Borland
*
Listen to Kate Durbin read her poem "The Hills"
*
Bebe Zeva
*
Merlin Carpenter
*
Sammy Engramer
*
We all live like haunted specters on a dead planet full of bones and ashes, each wandering in the erotic tribulation of a nervous thought that can never find its way back home; guided by the Lamentation of a melancholic despair we drift lethargically toward the interminable finitude that is.
"Journey of a Spectral Realist"
by
S.C. Hickman
*
Philippe Ramette
*
I want to pursue an intuition about the baroque as a mode of American poetry—a mode of early modernity particularly well adapted to a postmodern era which has seen an acceleration of the modern tendency to break down experience into fragments. It is peculiarly well-suited to a poetics of resistance—not in a nostalgic re-creation of some lost lifeworld, but through a radical materialism that paradoxically creates a new aperture for subjective, even spiritual, experience.
"Notes toward the Postmodern Baroque"
by
Joshua Corey
*
Bryan Lear
*
Marte Johnslien
*
THE PUSH TO PULL THE FLOW FROM LIFE'S DISTURBANCE
(TERROR FANTASIA)
by Cassandra Troyan
*
For philosophers, such basic questions are cerebral exercises; for children, madmen and poets they are undetermined and flesh-real: Are my parents actually evil monsters? Is it all a conspiracy? Is someone hiding under my bed? Are they all dead? Am I dead? Do we embody mythological forces and play out some grand drama we don't understand? Was it I who killed my friend? Is it I who am the monster?
"Remarkable richness of reality: Horror cinema and surrealism"
by
Mattias Forshage
*
Clayton Cotterell
*
Sarah Palmer
*
Modern nihilism operates on a specific dimension of temporality: the absolute way to accumulate is to promote a constant renewal, a repetition that preserves only those parts of the past that serve the transient needs of the market, while simultaneously conceiving that past as a causal sequence of events mechanically leading up to an oblivious present. Historicizing a lifeless past goes hand-in-hand with prolonging the present into the future. Contemporary art, the trans-conceptual and trans-historic artistic idiom of our time, thus manages the replication and variation of an immediate past, preserving only the ruins of modernism. Historicizing then becomes the mirror image of an atemporal historical condition.
"The Time That Remains, Part One: On Contemporary Nihilism"
by
Sotirios Bahtsetzis
*
Dillon Dewaters
*
Hannah Whitaker
*
-interacting with me a few times, Patrick’s friend said I seem “pre-feminist.” Guillermo said that in my stories I take on a very submissive, feminine role. Some people have said I am a misogynist..
"Diary 1"
by
Marie Calloway
*
Roe Ethridge
*
Ces Cru Performs 4 Nothin' Acapella at Strange Music HQ
*
Frances Stark
*
Caitlin Bates
*
Kate MccGwire
*
persistence requires illumination
stubbornness meets requirements
less than enough is the usual
fourteen acts of bravery village
sometimes I think without wondering
too many consistencies relinquish
absolute freedom finds a form
empty solutions are regenerated
secrets can be kept momentarily
"The Book Of Revelations": A searchable transcript
by
Hannah Weiner
*
Nicholas Lockyer
*
Wugazi - 13 Chambers (2011)
*
Michaela Eichwald
*
Umberto Eco in 1967 called the creative producer, to consider ‘openness’ as a “positive aspect of his production, recasting the work so as to expose the maximum possible opening” (2006: 178). According to Eco, the creator should positively articulate the ontological condition of openness that resides anyway in any cultural artefact instead of trying to suppress it. This openness refers to the multiplicity of interpretations that arise out of the differentiated meaning-making capacities of the audiences, as “every reception of a work of art is both an interpretation and performance of it, because in every reception the work takes on a fresh perspective for itself” (Eco, 2006 :180).
"Novelty and the politicization of the creative field: Creative labour and the ‘open work’"
by
Panos Kompatsiaris
*
David Gremard Romero
*
Azealia Banks - "212" Video
*
Floria González
*
It seems like it’s gotten harder to talk to people or even be around them sometimes in this dual folding of how the set of waking hours begins and ends.
"The Condition: The Eye That Never Blinks"
by
Blake Butler
*
Francesco Merletti
*
Ho-Ryan Lee
*
"Portrait of a Ghost Drummer is a multidisciplinary project that explores graphic qualities in process of playing on a drum kit. Besides being a musician, drummer when playing is unconsciously engaged in an elaborate choreography. The drum sticks are the extensions of drummer's hands like a brush is an extension of the painter's hand. Motion-captured movements become a visual map over a time revealing fragile rhythm structures and invisible notations behind energetic instrumental solo. 'Portrait of a Ghost Drummer' expands the understanding of drummers activity from purely auditory experience to spontaneous visual performance."
*
Michael Burton
*
Laurie Lipton
*
The faces were insects
The newspapers were anti-freeze
The clouds were holes
The traffic was mould
The wife was flies
The street was dawn
The gore was smiling
THIS HORSE-DRAWN RIBCAGE
by
Gary J. Shipley
*
Chris Wiley
*
Lucas Blalock
*
Tania Oldyork & Roman Noven
*
Bandes Originales Des Films De Jean-Luc Godard
*
Mihai Criste
*
I love your mouth, I tell her, and he is correct, my wife thinks, he really does love my mouth, but then she is not sure which is worse: that her husband kisses her mouth in the awful way he has grown to kiss it (he had been better than this, you bet, god as her witness it was surely better than what it's become), or that her husband has come to speak in this cheap and selfish way about the object of his pleasure.
"We Figured on a Lifetime"
by
Christopher Merkner
*
Win Wallace
*
Marie-Claire Redon
*
Austra - "Lose It"
directed by M Blash
*
Luke Painter
*
Flarf eschews content, Goldsmith—style. Both reject traditional ideas of authorships by imitating the impersonality of machines. Trecartin keeps everything.
"Making Word: Ryan Trecartin as Poet"
by
Brian Droitcour
*
Alexis Anne Mackenzie
*
Corinne Reid
*
All The Women
directed by Pablo Maqueda
A one minute film every day during 2012
