DEEPEST EREHWESLE
PART ONE
DREAMS ABOUT MONEY
PROFOUND DECLINE MANIFEST IN A CONDITION OF TRUTH NO THEOLOGY AT THE MOMENT AND NO JUDICIAL PROCESS ALL THE WORDS ON PAPER WONT AMOUNT TO NETHING NOT JUST A THEORIST OF THE FLAME BUT ON FIRE
TLAS FO EDAM EFINK A EDALB ON SI EREHT HCIHW FO GNISSIM SI ELDNAH EHT DNA
A KNIFE MADE OF SALT OF WHICH THERE IS NO BLADE AND THE HANDLE IS MISSING
fig. 1 [w] hole
fig. 2 semblance
SPACE OF PLACES SPACE OF FLOWS
I DO NOT COMPLAIN ABOUT ANYTHING AND I LIKE IT HERE ALTHOUGH I HAVE NEVER BEEN HERE BEFORE AND KNOW NOTHING ABOUT THIS PLACE
### #### ## ###
and around the finger and thumb. and index finger are porous. On a molecular level, space flows through Now imagine the volume of the index finger. Imagine that the thumb Consider the three dimentional presence of the left thumb.
Consider the three dimentional presence of the left thumb. Now imagine the volume of the index finger. Imagine that the thumb and index finger are porous. On a molecular level, space flows through and around the finger and thumb.
Consider the distance btwn the tip of the thumb and the tip of the finger. The space btwn the eyes. The space btwn the eye and the eye lid. Btwn the eye and the page, btwn the page and the eyes.
The distance BTWN Dubai + Jakarta BTWN Beijing + Kabul BTWN the tip of the World Trade Center + the center of the Earth
RESTING ON THE TIP OF THE WAVE OF THE FUTURE THE UNIVERSE WANTS TO PLAY
JUST THE TIP
OCEAN DESERT MONEY METAL LANGUAGE / DISTANCE / DENSITY EMPTY ZONES OF EXCHANGE AND TRANSGRESSION 2
Consider the density of something hard with a hole through it Assign this thing an arbitrary value, then imagine two others just like it only different colors one more valuable than the first, one less.
NO MORE THAN A STRANGE LUMINESCENCE GROWING MORE INTENSE BY THE HOUR, OF WHICH NO ONE CAN TELL FOR CERTAIN WHEN IT WILL BEGIN TO WANE OR WHEN IT WILL FADE AWAY
NAME IN LIGHTS SOME BREAD TO EAT BY + A HOUSE BIG ENOUGH FOR ALL OF YOU
FREE TO OCCUPY A NEW IMAGINARY WILD JUS PUBLICUM VIRTUALIS
sun changes position and black spots behind the eyes create vast chasms in the landscape empty holes become large bodies of water
MLMLXXXIX
Trains and cars and farm equipment and people on bicycles all drop into an empty hole in the earth to re appear some other time as captives in a snowglobe with a crack in it.
Lake water seeps through tiny fissures which spread accross its smooth, curved surface -transcending the boundries of the globe the fissures begin to spread, eventually breaking it apart.
The captives are likewise flung out into the cosmos to discover walls and floors that curve infintiely away from each other and everything.
Following these curves they climb out of an enormous empty hole in the earth- finding themselves on an island in a lake where everyone wears black and burns trash and talks like their parents may have been from the south, but they grew up someplace else.
MAKING THE LUTE APPEAR PARTICULAR
ABSOIN A PLACE
ANYONE BUT YOUUOY TUB ENOYNA ANYWHERE BUT HERE. SOME OTHER TIMEEMIT REHTO EMOS
LIKE A PRAYER REYALP A EKIL OR FUZZY AGGREGATE IN THE SMOOTH SPACE OF NOMADIC DIS-ORDER
GR8TEST ST0RY EVRTOLD DONT FRGT TGRF ENOD
absurditie de l’existance
outstreached arms
buring wood in the shape of a giant
Utilizing the indentations and accidents of the rock, transpeircng mountains instead of scaling them. Boring into the landscape as opposed to traversing it. The harbingers of ambulent fire in an age of global capitalism continue to experience the mystical agency of their ancient counterparts. In this way, also engendered by the illusion of sovereignty, the light at the end of the tunnel. Activated not by fire in the case of the ancient, but by satalites and liquid crystal. A viking ship appears on the horizon a likeness of whoever is carved into its bow. Rare birds. CMYK sunset *
*This is the Modern World With Trouble WFMU; Mt. Hope, East Orange.
The parts do not make a whole, less than a thing. It is not apparent how all of the elements come together. Yet they nevertheless do, through composition, sometimes by chance so that it appears as if it is a thing, but we know better since it never feels solid or purposeful enough to bear the weight of a real thing *
*Paul Chan
I WONDER WHY I LIED TO MYSELF THAT I HAD NEVER BEEN HERE BEFORE AND WAS TOTALLY IGNORANT OF THIS PLACE. IN FACT ITS JUST LIKE ANYWHERE ELSE ONLY THE FEELING IS STRANGE AND THE INCOMPREHENSION DEEPER
NO TREE NO BRANCH ALL THE STARS IN THE SKY HAVE THE SAME FACE
AT THE TIME OF WRITING TRY NOT TO
NO PLACE NO TIME AT ALL NO MONEY AND NO EXTACY
GENIUS OF FEELING GENIUS OF REMEMBERING
ALL THE HEROS
PART TWO
Life knows what it is doing, and if it is striving to destroy, one must not interfere, since by hindering we are blocking the path to a new conception of life that is born within us. In burning a corpse we obtain one gram of powder: accordingly, thousands of graveyards could be accommodated on a single chemist’s shelf. We can burn all past epochs, since they are dead, and set up one pharmacy.
Kasimir Malevich
Mythical violence, is the violence of change—it is the violence that destroys one social order only to substitute a new and different social order. Divine violence, by contrast, only destroys, undermines, tears down any order -beyond any possibility of a subsequent return to order. This divine violence is a materialist violence.
Walter Benjamin
Borges talks about the universe as a library, he describes that surreal architecture as a container for his own dream logic.
Cesar Aira also writes about buildings and dreaming. He writes about Borges. Except in fables, he says, people sleep in houses even if the houses haven’t yet been built.
Every story is about ghosts - or money. The sky is falling and the sky is not falling.
THE END OF TIME
WILL NEVER COME
STORIES ABOUT AMERICA ANIMALS HOUSES // HOMES CULTURE // SUB CULTURE PERFORMANCE FILM HIDING // LIES MAGIC / MYTH / MYSTICISM FOLK LEGENDS // MAP LEGENDS GEOGRPAHIC DISTANCE DISTANCES in TIME STYLE NOTES DRAWINGS // COLLAGE MISSING PIECES EMPTY SPACES
Abdel shakes to at the end of a perfect day. Lying on a crowded beach. he turns toward the sea, imagines the ancient world, sacred animals wooden ships. Phone call from an old friend watching Inland Empire: film within a film. Nostalgia, horror. Ghost story.
In an empty parking lot in a small city in the American South, fifty or sixty people are standing around dressed in military camouflage. They appear to be waiting for something.
Abdel watches from accross the street, confused. Soon he realizes that they are all extras on a movie set. Some on the phone, sitting in a circle talking to one another. Behind a chain-link fence on the far side of the lot, a woman rehearses her death sequence, over and overimaginary gunshot, she falls dramatically clutching her chest. On a stretch of highway nearby, it is not uncommon to see shiny new pick-up trucks with confederate flag stickers covering the back window, the kind you can see through, like advertisements that wrap city buses in New York City. Passengers on the inside can still see out, but from the street the windows appear covered. Coated in photographs.
The most interesting characters in JG Ballard’s The Drowned World are giant triassic alligators. The alligators near the house are much smaller, but they have the advantage of being real. Neither group of alligators is really real. Both are made-up, at least for the time being. Sleeping under glassy swamp waters, no one in the house has ever seen one, they exist as a warning, a printed sign: Do Not Feed or Harrass. Accross the the lake, a cinder block house with an upside down flag blowing in the wind on the front lawn. maybe a mistake, or a signal of distress.
Students form the University wear Greek letters on their t-shirts LIVING THE ∆M3RIC∆N DR3∆M.
In The Drowned World, mechanical pumps are used to drain a tropical lagoon, revealing a city street corner, submerged for decades dead, algae covered neon signs. familiar and horrifying
the memory of fear.
SELF STORAGE // PIVATE EXHIBITION
The halfway house where Abdel lives is a ranch style brick structure. Surrounded by scrubby trees and sandy grass. Behind the house there is a smaller building that looks like a garage, but is actually a small apartment, really just and extra bedroom, a bathroom and a raised loft used to store blankets and pillows for people who show up empty handed. The house is part of a network of houses owned by the same person, probably eighteen or twenty total, some for men some for women. Some in shittier neighborhoods than others, some have a dozen or more roommates. The house that Abdel lives in only has five, plus two guys who live out back in the garage.
The place almost looks like a family lives there. Furniture, cheap art, a humongous television, cooking smells, cars in the driveway. At first glance, one might not immediately recognize it for what it is, but there is an institutional aura to the place, the palpable sense that this is not a home, not fully.
In the sideyard there is a wooden patio with white plastic lawn chairs and a small wooden bench with an ashtray on it. The deck is not level and slopes gently to the west.
Between the deck and the south facing brick wall, a fire pit ringed with broken chunks of concrete is filled with cigarette butts and charred logs. A firepit that would usually have crumpled beer cans, labels faded by the heat and smoke. Here there are only cigarettes, coffee, mountain dew.
Cesar Aira writes about the organization of living structures, he conjures the anthropology of Levi Straus - often arranged in a semi circle, or a full circle, the arrangement of domestic units value the center, the most powerful members of society, or the most revered live in the middle, near the fire.
Abdel is learning how to carry heavy objects without injuring himself. Last week he slipped while moving a dresser, the corner caught him in the throat and left a small greenish bruise just below his adams apple. It only takes a few hours to completely empty a house of its furniture, appliances and carpet, only a few more hours to fill a different space with all of those things. The continuous emptying and refilling of houses around town is a calming, repetitive exercise. Comforted by the repitition, Abdel is grateful to come home exhausted.
Every place has its own personality. The layout is different. Some have more stairs, some have none. There are garages and sheds and attics. Because the soil is so sandy here, none of the houses have basements.
The sandy earth makes it difficult to level the foundation. All of the old homes here are crooked, the doors never shut properly and the floors are all warped and buckeled by years of slow lateral movement.
In and out of people’s houses. Abdel can’t help but imagining each as if it were his own. Where he would put a desk, which room would become his studio. He pictures himself coming home after work - this part is vague and frusturating- what type of job will he be coming home from. will he be tired. what kind of tired; sweaty and exhausted, ready for a shower and with a days wages in cash, or mentally drained by some type of comupter work, disapointed by his paycheck. He imagines the different stories unfolding in his houses. meals, arguments, sex.
In and out of houses. How quickly he and his crew can pack someone’s entire life into the back of a truck and move it accross town, or out of state. Its hard work, but imagine the stress on the other end of the invoice. How infrequently most people move, how big a deal it is for the clients. Maybe they are unpgrading, or downsizing, maybe they’ve been asked to leave, or they have escaped a toxic marraige. Each house is a container for human experience. No more, no less. Abdel remembers living in a tent on a farm in southern California, near the ocean, a collapsible container.
How thoroughly human experience is contained, and at what cost.
Abdel studies Google Maps and plots the location of the other sober houses in his extended community. The LLC that owns his place is not the only one in town, there seem to be at least half dozen other entrepreneurs housing the misbegotten, addicted and indigent. Rumors circulate constantly in the network, which group of houses is legit, which is a scam, who is profiting from the misfortune of the addicted, who is doing the right thing.
The location of the houses on the map are not a circle, more of a zig zagging line, scrawled across the screen, some of them are located near known drug areas, dope spots and crack houses. Abdel learns that several new buildings have recently been aquired by the owner of his house. He will gut them, cheaply rehab the interiors, outfitting the new houses in a characteristically utilitarian way, certainly not neglected or squalid, but no home sweet home either. Each bedroom is furnished with dressers and twin beds, the quality of the mattresses depends on the budget for that particular project, new or used, donated or purchased from the salvation army. The first bed Abdel slept in had springs poking through the fabric. Abdel often tosses uncomfortably during the night. Drifting in and out of consciousness. His sleep schedule is erratic here, the roommate’s snoring, people falling asleep with the television on, a full night is hard to come by in this house, Abdel’s dreams here are very important to him, the symbols living in his unconscious mind are sign posts, directions, map legends.
Habits, weather sedentary or nomadic are made of time, dreams are time free. Dreams are pure space. The species arrayed in eternity. The architectural key to the built / un-built opposition, which most analogies fail to capture is the flight of time toward space. Dreaming is that flight
Aira
LRIG MAERD
Abdel is approaching the apartment complex of a women he met on the internet. A kidney shaped swimming pool anchors the layout, which is a crooked semi circle of identical two story beige buildings with slanted rooves and sliding glass doors. A strip of trees separates the parking lot from the street, across the road another patch of trees, then a river- fast moving water, actually rapid, foaming, raging water. Abdel enters the woman’s apartment, it is clean and smells nice. She is pretty, shorter than he imagined. Her place is all beige, like the exterior, the carpet is beige- the counter tops, the cabinets, her bed, all of the furniture, everything in this space is the color of Baily’s Irish Cream. The only disruption of the monochrome is a sliding glass window, out of which Abdel can see dark green pine trees, the road and the river. She is changing her clothes, Abdel watches. He knows they are going to drink, he can smell weed smoke, she fills a cardboard six pack container with fancy beer and slips into her shoes. At this moment, Abdel is looking out of the window and watches a tractor trailer jackknife and slide off the road into the river, followed by several other cars. They grab the beers and run out side, diving off the side of the guardrail into the rushing waters. By this point the crisis of the truck accident has disappeared and they are joined by some of her friends on an inflatable raft. Abdel looks up and sees a bridge being built across the river -stuttering pixels : digital fastfowardAbdel sees his father, climbing down into the water, he is frighteningly thin twenty feet tall and massivly bearded, Paul Bunyan crossed with Abe Lincoln. Abdel runs from his father, wading slowly through waist deep water, he climbs onto a rock that has a park bench bolted to it, he can see a number of silver chains draped over the bench and begins to pull them off, but they are stuck. Oxidized to the painted bench. He manages to get the chains loose and starts back up the river. At the base of the bridge there is a tiny pawn shop where an angry Chinese man behind the counter explains to him that the silver he holds is worthless, Abdel is broke, soaking wet and he has lost the girl.
IRRATIONAL EXUBERANCE
...putting touches with a little brush on what looks like a stone house, actually the ‘house’ is St. Ann’s Episcopal Church in Kennebunkport, The architecture strikes me as real and imagined: a small central home with maybe an addition and a large round silo. There appear to be two crosses atop this overall structure, one on the main house and a larger one on the silo. American Gothic indeed. The purity of the lone American farmer. Individuality. No neighbors in sight. Alone on one’s own land. It is the isolation of rural America writ in bricks and mortar. Clearly this is not a poor person’s home, the yard is well kept....
New York Magazine art critic Jerry Saltz writes about an exhibition of paintings by former president George W. Bush. The paintings Saltz is concerend with are simplistic self portraits and landscapes, paintings of a dog and interior spaces in the Bush family’s Kennebunkport compound. These works are relevant by no other measure than that their cretor was once the leader of the free world, and probably the most dubious and maligned public figure in the history of the United States, even more so than Nixon. The role of the Bush administartaion in the 2003 invasion of Iraq has been compared to the imperialist strategies of the previous century, only more shrouded in secrecy and bad information. bad politics, bad juju. Saltz’s reference to Bush’s ‘house’ painting conjures notions of home ownership, the foundational concept feeding the grand myth that brought the global economy to its knees in 2008. Bush’s role in economic policies leading up to the great recession is shameful, at best.
Bush bacame the patron saint of liars, of the spineless, his philosphies stoked the bonfires of the morgatge crisis. In an article that blasts the former president personally, at a moment just before the largest government bailout in history, Bush is quoted, wondering aloud to a room full of advisors how did we get here ?
Alan Bisbort argues that Bush possesses the characteristics of the ‘dry drunk’ in terms of his incoherence while speaking away from the script; his irritability with anyone who dares disagree with him; and his dangerous obsessing about only one thing to the exclusion of all other things
PHANTOM DER NACHT
cold dry gin and tonic and garlic
Castle Walls hemlock sap sticky dirty denim
Awake in bed, late at night, wondering which is worse: the fear that you will soon loose everything, or the fear that you already have.
Abdel finds some comfort in the realization that he is a living ghostpower in hiding. Existence as a non-entity- an inverted caricature Disapearing middle
Abdel dwells in the schisms of the free world, a sub-capitalist entity. Existentially in between, on the verge of disapearing into thin air.
Looking up from the bottom, Abdel can see the white underbelly of a giant reptilian biomechanism in flickering, diffuse light. as if through rippling water.
The massive creature is sustained by fear and excretes fear into the loamy tidepools of global capitalism.
Abdel closes his eyes. Golden shards explode upwards out of an infinte and gravely polluted ocean of circumstance.
He imagines a roman candle burning in the dark. Abdel opens his eyes at the point just before the magnesium flame extinguishes. In this zone, nostalgia is the most valuable commodity, surpassed only by a priceless, speculative future. Through the thin walls of the house, Abdel can hear the sounds of a UFC fight from one side of his uncommfortable little bed and the closing credits of 8Mile from the other.
SUPERBOWL SUNDAY : : Creation Myth
Beginings and endings Are the hardest because where do we start and for how long will it last
Seeing things as if it were a movie makes it easier to enjoy banality because striking images of banal situations, in film, are often very beautiful
Anytime but now Anywhere but here Anyone but you
Many many generations of powerful animals Some of the forest some of the plains
Three in the afternoon someone once said Is too late, or too early, for pretty much anything Here god Now the devil Interior day: painted cynderblock, twelve or fifteen people around a square table Keeping secrets.
The most significant of which can see at night And make music when no one is looking.
Abdel is in the Library reading Joseph Campell The Mythological Dimension (Animals) Campbell discusses local forms- ethnic ideas.
Last night Abdel overheard a story about a man from the house visiting an escort at a hotel room ($125) The visit caused feelings of guilt for the man, feelings of concern for her safety. After they finished, he warned her to be careful. She claimed to be a college student, he said, but he could tell from looking at her that there was no fucking way. fantasy, fufillment
Abdel thinks to himself that an internet photograph of a potential sex partner is maybe the least credible artifact he can imagine.
MYSTERIUM TREMENDUM FASCINANS Local forms, ethnic ideas : One determinant of the folk inflection is the landscape Campell Quotes the Bible: If there is nothing but myself then of what am I affraid?
Two Israelite brothers in priestly robes are walking out of the library, at the same time a bearded old, indigent looking man is asleep in a chair among the paperback swivel racks, romance novels with illustrations of men in torn t-shirts, grease stains, sweaty biceps, and often luxurious, flowing hair, long and blonde.
Film crews seem to pop up out of nowhere all over the city, this town is a low budget industry satalite. The weather is mild, only ten hours from New York and an abundance of rental properties make this city an ideal stand-in for pretty much anywhere. Abdel finds some comfort in this, he could be anywhere. Anytime. He could be anyone.
The universe always answers. In the dark, there are opportunities to see things that may not be visible in the light. The spirit world lives in between, here in the scizms all things retreat into mystery. The sandy earth constantly shifting beneath ancient trees and prehistoric reptiles.
Abdel awakens to the alarm clock of the man in the next bed. It makes noises like a waterfall, bird sounds, and flute music. The roommate gets up in the dark and dresses for work.
Abdel can see by the glow of the alarm clock, an enormous tattoo of a fighting Irish leprechaun that stretches across his ribcage and around the front of him. By this time other morning alarms have started. Sweet Home Alabama- in snoozed fragments- five or seven times, as the house rises to breakfast on corn syrup and nicotene.
At the library again, there was another film shoot, a horror movie.
Book shelves and carefully placed chunks of broken ceiling panels. The lobby looked completely trashed – one corner of the ground floor was totally decimated- a carefully staged disaster.
Each crumbled piece of ceiling, each smashed fluorescent bulb, each frayed data cable was placed by a crew member. Strips of gaff tape with neat hand writing, describe in abbreviated detail, exactly which piece of rubble should go where.
In the lake down the street, blue heron skim the surface of the water, gliding among cypress trees covered with hanging moss. Somewhere beneath the black glassy surface of the water, alligators are sheltered from the chilly wind. The swamp in winter: everything looks like it wants to be hot and green, but a aura of cold, dry hibernation pervades. The swamp will never freeze, but it looks like it might at any moment. Caught in a state of limbo, in between, waiting for the warm weather. This place has the stored energy of a coiled spring. Everything about it appears to be anticipating a moment in the future when the conditions will lend themselves to a full bloom. A similar notion envelopes the the men living in the house, paused between the near death experience of active addiction, legal problems, court apperances; many paused between incarceration and the promise of a new life. Abdel exists in this lacuna as well, he has faith that the swamp will soon realize its verdant potential, the same cannot be said for himself, for his compatriots.
LIKE OUT OF A MOVIE
I look down and my shoes are so far away from me man, I cant believe it I got a real indication of a laugh comin’ on
David Lynch often deals with layers of conciousness in his films and is known for drawing influence from his dreams. The typical Lynchian zone is a dark, codified dream scape, mysterious and often terrifying. In Twin Peaks the natural world serves as a transgressive medium that allows people to move between corporeal, terrestrial reality and a sub-concious layer. These spaces are distinct and seperate, but elements of one exist in the other. Lynch has created barriers and gateways, psychic portals, often in the form of tangilbe things in the ‘real’ worldcircle of ash, ring of trees, framed photograph.
These objects are activated by human chatacters and animals. Agent Cooper’s dreams, the premonitions of the Log Lady, the owls are not what they seem. The forest, of course.
While there are clear distinctions between the real and the surreal, events in the mystical realm can, and do affect characters in the waking world. Often through dreams or through daylight visitiaions by mystical agents who bring mysterious, forboding correspondance from the other side.
In the film, Fire Walk With Me, which Lynch intended as a prequel to Twin Peaks, many of the unanswered quesetions of the original, two season melodrama are revealed. Both deal with the mysterious, although, the film begins with answers to questions that are raised at the beginning of Twin Peaks. Both are essentially Mysteries, although the gravity of the mystery, depends on which story is recieved first.
The basic format of a mystery is present in the film and the series, Lynch adheres to the structure of a mystery story. In this way, the trancendental, magical, dream logic is contained by a familiar structure. Like a circle of ashes in the forest, the format begins to function as the bounding fibers of a portal to another world.
The function of interior space in terms of film theory, is significant here. The director’s ability to control an environment is literaly fundemental to filmkaing as an art form. The set serves as a structure within which transgressive and transformative rituals can be performed. The function of interior / exterior in Borges’ and Airas’ dream analogies and the transgressive, permeabiltiy of Abdel’s experience in the half way house bring up a set of dichotomies: inside/outside; on / off, homeless / sheltered, intoxicated / sober.
Like the structure of a mystery story or a horror story, these dichotomies provide containers for transgressive logic, and transgressive performance. Abdel remmebers Fire Walk with Me, particularly two coded movements, one in the beginning and one toward the end...
These performances remind him of sacred dances. He moves in rythm with the staggard breathing of a sleeping dog on the floor beside his bed.
Memory is energy, it doesnt disapear. Everybody’s looking for their selves. I am a man in search of himself, how archetypically Ameican can you get!? We’re all trying to fufill ourselves, understand ourselves, get in touch with ourselves, face the reality of ourselves explore ourselves, expand ourselves. Ever since we’ve dispensed with God, we’ve got nothing but ourselves to explain this meaningless horror of life. I think that the true self,...that first self, that original self is a real mensuarate quatifyiable thing, tanglible and incarnate and I am going to find the fucker. -Dr. Jessup (drunk, mid-divorce) In The Drowned World, the protagonist, Dr. Kerans explores a deep, black lagoon which is found to conceal a flooded London streetcorner. The exposure of the submerged city inspires rounds of nostaligc, fearful converstaion among the other characters. Kerans, in a diving suit, submerges. Ballard describes this descent as an amniotic bath, warmer than expected and quiet. Suspended in the thick, muddy lagoon water, Kerans experiences euphoric sensations of comfort and silence. Abdel is reminded of Altered States. In the film, William Hurt plays Eddie Jessup, a Harvard physiologist who is researching the elemental human ‘self’. Early in his career, Dr. Jessup’s experiments with sensory deprivation had resulted in strange side effects, sickness and mental difficulties in several of the test subjects. Jessup repeatedly engages with dangerous submersion experiements, which ultimately put his own life at risk. Like Kerans, Jessup embodies a Science Fiction trope: the curious scientist, pushing boundaries.
Like Fire Walk with Me, Altered States transgresses the structure of its genre, and deals with the literal transgression of physical and imagined space. Altered States is about investiagations into the human mind via psychedelic drugs. Jessup travels to Mexico and expereiments with magic mushrooms. a psychological process which ultimately materializes as actual physical affect-the blood of a goat.In the tank, Jessup transforms into a neanderthal man and escapes the laboratory. He be comes obsessed with going further back through genetic history,
What he finds is a kind of cosmic womb, an embryonic laser light show in space. He ultimately realizes that God is nothing, and fights his way back into the world of the waking. The film ends with Hurt in the fetal postion, sweaty and naked in the arms of the woman he loves.
Altered States is a classic Hollywoood science fiction thriller, the scientists’ research with conciousness expanding substances eventaully yields terrifying results. People get hurt, a goat is killed, Jessup is affected with grotesque mutations, huge bulbous masses moving under his skin. Kerans fate in Ballard’s book is also essentailly horrific. Someone on the surface of the lagoon cuts of Keran’s air supply and he is forced to struggle through the swampy water to save his own life, the story ends with Kerans stopping to rest as he wanders the jungle alone, waiting to die. Like Dr. Jessup, Kerans is in pursuit of dangerous knowledge and becomes a victim of his own curiosity. There are often elements of horror in Science Ficiton, the future is a scary place {time}.
The funciton of the interior spaces in Hollywood films , especially people’s houses, ellicit feelings of ‘home’. In many Hollywood horror films, the home is a symbol of safety and domesticity. A clean, ordered zone, which is transgressed upon by an intruder, usually a male, who intends to dusrupt the clean ordered domestic sphere by smashing windows, destroying furniture, and murdering the people and animals living inside. The threat of vioence ultimately gives way to a climactic realization of that threat, usually repeated over and over again. Periods of intesne violence give way to longer moments of calm, restorative sequences, only to be transgressed upon once again by increasingly disturbing depictions of violence.
Sometimes, orderd zones are displayed as memories of domestic spaces, representing nostalgic feelings of comfort or safety.
animals, children, soft lighting hanging a coat and tossing the keys in a dish on a small table near the front door. The horror structure plays on affective notions of familiarity, family. Notions of ‘home’, indentifyable signs relatable affect
Houses here are containers for characters, containres for situations, prisms refracting highly concentrated beams of human experience. automobiles also function in this mode. inside. outside. moving. still.
Abdel imagines himself floating in liquid, suspended, warm, safe, breathing through his skin.
David Cronenberg’s adaptation of another Ballard novel, Crash exemplifies a set design as vital environment concept.
The setting is alive, objects are characters. Crash is about cars. Car wrecks, eroticized violence. Shot on location in Toronto, like the location of Abdel’s house, another stand in city, a ubiquitious urban landscape- shades of L.A or Seattle - the only thing that identifies this setting as un-american are the police cars and uniforms.
Cronenberg creates a bleak world in which cars are often aesthetically referenced as singular characters; individual cars do exist in this world as their own sylized entities, but the more significant occurance is the idea of plural cars : traffic, parking lots - a collective body. Much like the stiffling tropical heat in The Drowned World, the cars in Crash are atmosphere and entity at once, and equally sinister.
In a scene following the reinactement of James Dean’s death by car crash, a television in a dingy, claustrophobic domestic space displays a nature program. something about birds. Flocks of birds, animals often described as a single entitiy themselves. the birds
Abdel thinks of the aligators in the lake, the aligators, not one or two or ten individuals, but a collective body of alligators.
An ominous and potentially violent concept for Abdel. He is intrigued by the presence of these animals, he imagines their ancient DNA- timeless code-an emblem of genetic survival. Abdel recognizes anceint beings as powerful and superior. He has not yet begun to practice regular prayer, though when he does, the God head will resumble an acient reptile.
Abdel has worked all day moving furniture into a manision on a private island just off the coast. There are no cars allowed on this island, no gas powered machines of any kind, except for construction equipment, and moving trucks, electric golf carts and bicycles are the only mode of transport. This place is an extraordinary zone, wrought with surreal domesticity and socio-economic symbolism. The houses here are enormous and only ever lived in for a few weeks at a time.They are built to withstand regular hurricanes, and will likely stand for decades, almost always empty, not lived in, their kitchens will never accumulate greasy dust behind the oven.
On his way home from work Abdel drives along a dark rural road, spanning a distance between the ocean and an inland highway that will take him back to the house. As he drives he sees a bonfire on the side of the road, and then another; in the distance there are several more fires. The forrest here has been cleared for constrution- the cleared trees are stacked and burned. Abdel badly wants to stop and walk through the clearing towards one of the massive fires, but he resists. He stops the car in the darkness and begins to notice deer and coyote running back and forth along the side of the road, displaced by the fires. Homeless animals seaking shelter, a collective body, unified in horror.
a beach in the Florida Keys air brushed tshirts custom paint jobs, the blurred edges of a tropical sunset- birds, caligraphyic handwritting, maybe some dolphins.
Reading on the steps of a church in Brooklyn. The the outer edge of a global epicenter of commodified culture. A place where the boundaries between working class immigrant communities and a strange new middle literally bump up against one another. Swarms of temporary workers, niche laborers from every corner of the world. Reading Philip K Dick : he writes in the third person, referencing himslef Dick breaks from the narrative of his own novel ( which itself contains a ruptrured narrative subtext) Dick describes an earlier work in which he describes a scenario where images are projected onto the faces of people riding the bus in Los Angeles
Killing time, waiting to see about renting a room from a beautiful, sickly looking filmmaker who I met on the internet. {Abdel}
Dick writes that dreams are a controlled psychosis, or that psychosis is really a dream breaking through into waking life. A dangerous transgression. My dreams in New York are much diferent thatn his dreams down south. Less vivid. Cloudy and unformed. They do not filter into his waking life as fluidly. I prefer the southern dreams to the New York dreams, but in the city, waking life is by far more pleasureable. Dreams about the halfway house, about the people there. I am affraind for them, imagining my own relapse cycle, I am affraid of the city. The time for romanticizing poverty is at least a generation behind me, the pressure of stasis, trumped only by the anxieties of downward mobility. a personal economy of fear
The Russian theorist Boris Groys writes of art and politics. He says that a pattern of repition is underlying all the proceses of historical change. Groys speaks of a process for the creation of images that can transcend time borders. Time border of past / time border of future. Every photograph, every film. Groys conjures Malevich [reduction of concept] the Black Square can be seen as a transcendental image.The more we construct this analogy of the black square as repetitive symbol, we cannot look at anything without seeing the black square at the same time. By Groys’ analysis, we live in a world where everyone is an artist. aspects of Joseph Beuys vision of the 1970s is fully realized in the here and now, only it is not quite as he imagined. Bueys spoke of a collective ‘right’ for any person to call themselves an artist, for Groys, that right has become an obligation.
Abdel is back in the Library. He discovers an anthropology journal focused on eary America. Detailed maps of Irroqouis deer trails, notes on edible plants of the eastern seaboard, descriptions of rituals. He comes accross an entry concerned with the very first Dutch settlers at Jamestown Virginia. Jamestown was, evidently the site of the first recorded arrival of slave ships in North America. More interesting to Abdel however, is that several skeletons were discovred at Jamestown, each bearing the un mistakable markings of tools used to scrape flesh from bone. The cannibalized skeletons appear to date as far back as the eary 1600’s and scientists have determined that they belonged not to murdered African slaves, or mudered Indians, but to the initial European settlers during their first, difficult winter in the New World.
THXGVNG
ECNEDICNIOC ON EVERYTHING APPEARS AS PROSCRIBED
EXTERIOR NIGHT The house is illuminated by lights in the swimming pool. Heated water steams up the plate glass windows. Each pane of glass is black, reflective, monolithic. Shot from ground level the walls of the hosue are larger than life, the windows are Malevich’s black square, transcendant and repetitive. From inside the house looking out, we can see lush foliage. Landscape archtiteticure, minimalist garden decor, bathed in creepy, vaguely sexual, flickering light from the pool. Lawn chair shatters plate glass window chase ensues
bloody violence
NOTHING 2B AFFRAID OF
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NOTHING 2B AFFRAID 4
NOTES 1. Manuell Castells’ Space of Places / Space of flows Castells articulates our experince of space and time by replacing the familar “space of places” which includes tangible and easily recognizable start points and end points, with a ‘space of flows’. Here in a temporal, non linear mode, the relationship between the mind and the world outside becomes a space of flowsliterally, free flowing intelligence. He also refers to the ‘decentralizaion and virtualization’ of money; the prolificy of globalized, digital financial structures, spreading this decentralization onto every other entitiy encountered by the global economy, which is essentially everything. As the universal equivalent, the newly virtualized finanical system exponentially virtualizes all known things. Castells calls this the culture of virtual reality. Cultures of virtuality is more like it, user generated belief systems-intellectual ritual, asthetic ritual, cyborgean ritual. Art and capital- rituals of beauty and money, speed and sexslickness is the only thing that is real, The rapid fluidity of designed zones of exchange and expression-dynamic states of permenant transgression
2.Andrei Monastyrski & Collective Actions, Empty Zones. Between 1976 and 2011 Andrei Monastyrski, planned and executed a number of excursions out of town into the rural areas surrounding Moscow. The artists would then proceed with minimalist spectales, engaging with geographic, political, philosophical and existential concepts of place and placelessness. The artists would tie large cloth banners printed with texts btwn trees in the Soviet - Post Soviet wildnerness. AM and a group called Collective Actions continued with these rural interventions in the name of contemplation, a move that directly opposed the national project of building a communist future. “The spectacle exists in a concentrated or a diffuse form depending on the necessities of the particular state of misery which it denies or suports”...“nothing more than an image of happy unification surrounded by desolation and fear at the tranquil center of misey ... wherever the concentrated spectacle rules, so does the police” -Guy Debord
2. Shrin Kunsthalle Catalog: In The Future No One Will Be
The title of an exhibtion catalog published by Schrin Kunsthalle in Frankfort, attributed to an anonymous author or authors Part of the catalog is a manifesto of anonymity, the manifesto unintentionally inverts the goals of Andrei Monastyrski and Collective Actions, it calls for action on and in art institutions - a forced anonymity that is designed to penetrate the center, not the margins. This does not appear to be a direct inversion, but a vaguely activist directive which values risk as a catylist. By rejecting the marketing of artsits as brands and the philosphical ignorance that this promotes, the manifesto enters a void like space similar to the empty zones of AM and CA’s Moscow outskirts, only this one is internal, dark and imediate. In the way that Empty Zones disrupts the expectations of good communists, the anonymous authors of this text disrupt the capitalist assumption that promoting lesser known artists into more prominant positions within the art world is a promotion of art and ideas, when in reality, this practice supports only the market.
...If the artists sincerely want to discard their names - anonymous would bounce back and forth about the world anonymizing vast herds of artists..That doesn’t work either, anonymous becomes Warhol, so there must be an expiry date on any period of anonymity so the names are just under the surface. Lke Castells’ culture of virtual reality, which can already be considered historyanonymity has taken new shape. What, then can be said about the importance of a name in a totally virtualized reality? do market forces necessitate a naming system for the allocation of value? Either overtly finanical or more coded, as with the fluid exchange of networks associated with curatorial energy and art world gatekeepers, webmasters, and blog critics. Consider the recent B.Y.O.B events around the world, Bring Your Own Beemer- billed as an a-curatorial, open source intervention into the gallery world, an open call for artists to bring a projector and show their work, only the invitees were actualy selected by a curatorial force.
EIN MESSER OHNE KLINGE AN WEICHEN DER STEIL FEHLT
3. Bamiyan Buddahs In 2001 the Taliban destroyed two enormous stone Buddahs set into massive niches in the Bamiyan Valley, high in the Hindu Kush mountains of Afganistan. The monuments and archaeological remains of the Bamiyan Valley are public property, owned by the State of Afghanistan, though large parts of the geo-political buffer zone are privately owned. Many documents defining the ownership of the Buddahs were destroyed during decades of conflict and civil unrest, some of these concepts are now being re-established. Afganistan is the ancient Persian province of Bactria, part of the Silk Road. Instrumental to the spread of Buddhism from India, Bamiyan was sacked by Ghengis Kahn in the 13th century, when many of the Buddhist temples were looted and destroyed. In the 1990s the valley again became the site of armed conflict. Since 2003, UNESCO has been safe-guarding the property, notably by pursuing de-mining operations at the site. The destruction of the Bamiyan Buddahs by the Taliban can be ritualized as a show of power- a display of technological force and superiority, simply being able to destroy even one of the statues is an effective demonstration of the Talibanâ&#x20AC;&#x2122;s capabilities.
120 / 130
The destruction ritual also subverts the power of perceived permenance, removal of a powerful symbol may be more profound than the presence of the symbol itself. Especially if there is an empty hole left behind to mourn. The second ritualization is that of an inversion. Symbol systems aside, there is great power in turning something inside out- flipping it, hanging the angle- forcing a re-definition. Where there once was an identifiable object, now there is only empty space. The inversion ritual is significant and not necessarily bound to violence or destruction. Experiments with psychedelia or trancendetalism for example can serve to flip the ordered world on its head-inverting familar signs and symbols While the Bamiyan situation is certainly a frustrating example, one performed in the name of extrimist violence; perhaps the power of inversion can be recognized here, and appropriated.
3. Otzi The Iceman / Brad Pit On September 19, 1991, the remains of an ancient body were found on the Austrian-Italian border, frozen in ice below the torso.The body was extracted on the 22nd salvaged on the 23rd and recognized as primeval the same day. The body of the iceman has a number of dark markings under its skin. Brad Pitt has three tattoos, two on the back of his left forearm, and one on his right kidney area. His forearm work is an outline of Ötzi the Iceman and a quote in German which translates as “absuridities of existence”, Pitt’s third tattoo is an abstract drawing of the broken New Orleans levee system. The corpse’s scrotum appeared as if it had been scraped out at some point before death occured, the entire genital region of the iceman looks different than the rest of the body, most of the skin has the appearance of having being pulled tight - so as to expose the contours of the skeleton, although the spot where the penis/ testes would have been is crumpled and folded, bumpy, gnarled, dessicated. What the scientists intially deemed a castration scar, was ultimately contested after after the dicovery of an intact urethra in what was assumed to be a shrivled penis mistaken for a flap of scar tissue
Most of the iceman’s fourteen tattoos are vertically arranged. sets of lines. One set, concentrated on the left calf, include a small cross on the inside-left ankle bone. A second cross on the right knee joint, also suggests that the markings were not simply decorative, but likely some form of ancient accupuncture. These tattoos were created by coating the skin in soot and puncturing through, embedding soot in the tiny scars. Certain marks occur at arched points of the body. Feet, back, legs- possibly as pain treatment- there were signs of arthritis in the iceman’s hips and neck, although it is impossible to know if he actually experienced pain.
4. Sol Yuick, Metatron: The Recording Angel “Whole nations, their economies, people resources, land...can be simulated and displayed on some elctronic device, and taken for the real thing....the old philosopher’s stone could convert base metals into gold. Now humans, real estate, social relations are converted into electronic signs carried in an elctronic plasma. The dream of magical control has never been exorcized. Perhaps, after all, modern capitalism is a great factory for the production of angels” Yurick was from Brooklyn, he wrote this in 1985, under Regan- Gordon Gekko’s New York City skyline: mirror glass. The question of angels is confoundingwho? or what? The imagining of a post human singularity is somewhere at the root of Yurick’s writing, at this literal tipping point in the story of globalized capitalism, 1985. From the perspective of an immigrant novelist, He mentions the transcendant capabilities of corporations hurling money accross time and space (129) The complexities of credit and time, he says, in all their forms, commodities, options and futures; actually lengthen distance. As time is made more complex, distance (space) is drawn out, strung out, the need for a loan in one place, diminishes the presence of capital in another far away placelike the milkshake analogy from There Will Be Blood, only the pools in question are glowing with virtual surreality.
Metatron seems to draw from some mixture of Kaballastic sci-fi mythogeography- the stuff that dreams are made of...Pythagorean coincidences illustrate magical relationships to the earth and its hard surfaces, its molton core, filiments of un told conductivity, untold value, running unseen through massive rock formations in an ancient world before plastic explosives. Just below the surface of his alagorical poesis, Yurick is alive in a particular moment, and aware of major changes about to take place. In the context of this forced march, he says, the relationship of information to society and nature has to be rethought. Yurick’s Metatron is a reference to the voice of G-D. The right hand man, the mouth piece. As its told, to stand before G-D and hear him speak would be too intense for any human body to endure, the volume alone would be enough to shatter bones. In Rabbinic tradition Metatron is the highest angel and the celestial scribe. Considered by some to be a second power in heaven.
YHWH
4.1 Gilles Deleuze & Felix Guattari, Nomadology: The War Machine Sol Yurick’s The Warriors In France, in the early eighties, around the same time as Yurick’s Metatron, Deleuze and Guattari are dealing in the dark arts of metalurgy and pseudo science. Cultural theory as alchemical process, textuality and ritual.
Spiritually motivated by a vague, but deep belief in the power of art and culture we experience an army of expert amateurs, drunk and stoned on on artisnal bourbon and scientifically engineered delivery service herb.
It almost as if reading the right combination of pasages in succession from the backlogue of the Semiotext(e) archive could call into being some truth-saying spectral entity from the fifth dimension-
Meanwhile.. in 83’ in New York, in the Bronx a new apoclypse is sewn in frayed denim, Native American imagry, primitive weapons, WYLDSTYLE. Meanwhile...by ‘03 in parts of Brooklyn the apocalypse is shiny, fully realized by a generation of would be poets and graffitti writers- stylized to death. MYLDSTYLE. The mobilzation of the design army is nearly underway.
Where Yurick is dealing with angels, D&G are fixated on War. They seem to want to pull us away from affect. Somehow dehumanize the idea of ‘war’. How long before the nodmadic tendancies of any given generation are astheticized to the point of total commodification- How will the War machine recalibrate itself as we prepare for neo nomadism in an increasingly complex and sinister arena? Have information and communication already become truly weaponized? D&G’squasi-utopian,numerological, militarized, agrarian zone, situated within the context of Yurick’s Metatron and rounded out by observing current cultural norms that value the rugged crafty intellectual, the knowledge worker sub -graphic designer becomes the nomad solidier.
...In the war machine and nomadic existance, the number is no longer numbered, but becomes a cipher -it is in this capacity that it continues the espirit du corps and invents the secret and its outgrowths, (strategy, espionage, war ruses, ambush, diplomacy etc.) A ciphered rhythmic, directional autonomous movable numbering number, the war machine is the necessary consequence of nomadic organization as Moses experienced it, with all its consequences.
The Warriors, written in 1965 is based on Greek soldier and writer, Xenophon’s classic war story, Anabasis. The inspiration for a film of the same name, released in 1979, a cult classic and touchstone of contemporary popular culture.
5. Geoffrey Sonnabend / Valentine Worth, Obliscence, Theories of Forgetting & The Problem of Matter In his three volume work Obliscence, Theories of Forgetting and the Problem of Matter, Geoffrey Sonnabend departed from all previous memory research with the premise that memory is an illusion. Forgetting, he believed, not remembering is the inevitable outcome of all experience. From this perspective,“We, amnesiacs all, condemned to live in an eternally fleeting present, have created the most elaborate of human constructions, memory, to buffer ourselves against the intolerable knowledge of the irreversible passage of time and the irretrieveability of its moments and events.” Sonnabend’s entire body of work was predicated on the idea that what we experience as memories are in fact confabulations, artificial constructions of our own design built around sterile particles of retained experience which we attempt to make live again by infusions of imagination - much as the blacks and whites of old photographs are enhanced by the addition of colors or tints in attempt to add life to a frozen moment. Sonnabend believed that long term or “distant” memory was illusion, but similarly he questioned short term or “immediate” memory. On a number of occasions Sonnabend wrote, “there is only experience and its decay” by which he meant to suggest that what we typically call short term memory is, in fact, our experiencing the decay of an experience.
Sonnabend employed the term true memory, to describe this process of decay which, he held, was, in actuality, not memory at all.Sonnabend believed that this phenomenon of true memory was our only connection to the past, if only the immediate past, and, as a result, he became obsessed with understanding the mechanisms of true memory by which experience decays. In an effort to illustrate his understanding of this process, Sonnabend, over the next several years, constructed an elaborate Model of Obliscence (or model of forgetting) which, in its simplest form, can be seen as the intersection of a plane and cone. It is this model that Sonnabend first came to understand during the sleepless night in September, 1936, at the Iguassu Falls. By the end of his life this model reflected a complex of forms and designations including such terms as the cone of confabulation, the perverse and obverse atmonic discs, spelean disparity and the attitude and altitude of experience. Sonnabend’s model of obliscence consists of two elements: the Cone of Obliscence and the Plane of Experience.All living things have a Cone of Obliscence by which the being experiences experience. his cone is sometimes also known as the Cone of True Memory (and occasionally the Characteristic Cone.) Sonnabend speaks of this cone as if it were an organ like the pancreas or spleen and like those organs its shape and characteristics are unique to the individual and remain relatively consistent over time.
This cone (occasionally referred to as a horn) is composed of two elements the Atmonic Disc (or base of the cone) which Sonnabend described as “the field of immediate consciousness of an individual” and the “hollows” (or interior of the cone). A third implied element of the Characteristic Cone is the Spelean Axis, an imaginary line which passes through the tip of the cone and the center of the Atmonic Disc. The Spelean Axis can be thought of as the individual’s line of sight or perspective, with the eye of the individual firmly held at the intersection of the Spelean Axis and the Atmonic disc. The second element of the basic Sonabend diad, the Plane of Experience is far more dynamic. Planes of Experience are always in motion, always (in Class I planes) moving from the Obverse Experience Boundary (or leading edge) to the Perverse Experience Boundary (or trailing edge) the course of its migration, the path of a Plane will cause it to intersect the less dynamic Cone of Obliscence. The intersection of the plane and cone creates what Sonabend called the Spelean Ring (or Spelean Disc.) When such an intersection occurs, a three tier series of events ensues,
Under “normal” circumstances, the Obverse (or leading) Experience Boundary is the first element of the plane to cross the Atmonic Disc. This situation creates the condition we de scribe as being involved in an experience. Once the Obverse Experience Boundary clears the Atmonic disc we say that we remember the experience. And when the Perverse Experience Boundary clears the cone altogether, and we no longer “truly remember” the experience and we say we have forgotten the experience. From our perspective, at the intersection of the spelean axis with the atmonic disc, this series of events is seen as a progressively constricting or diminishing disc - in other words experiences pass and memories fade. Every Experience Plane has a pitch or attitude as well as an altitude. The pitch of a plane can be thought of as the angle at which it comes into contact with a particular cone. This pitch effects the length of the decay of the experience. Similarly, the altitude of a plane can be can be seen as the elevation of the plane in relation to a particular cone. The altitude of the plane effects the apparent intensity (or brightness) of the experience in question. ni devlovni gnieB
Being involved in
Remembering
gnirebmemeR
Having forgotten nettogrof gnivaH
1.Communication Power. Oxford/New York: Oxford University Press, The Network Society: From Knowledge to Policy. Washington, DC, Center for Transatlantic Studies 2. AM & CA, Empty Zones Black Dog Publishing,London Guy Debord, The Society of the Spectacle, Zone Books, New York 3. Paul Chan, The Unthinkable Community, e-flux Journal. 2009 4.United Nations Educational Scientific and Cultural Organization (UNESCO) whc.unesco.org /en/list/208/gallery/. 4.1 Gilles Delueze and Felix Guattari, Nomadology, The War Machine. 5. Yurick, Sol, Metatron.1986 Semiotexte. 6. Geoffry Sonnebend, Cone of Obliscence 7.Pinker, Stephan, The Language Instinct, New York: Harper Perenial, 1995. 53-55 8. Kosovitz, Mattieu, La Haine Canal +,1995 Criterion Collection, 200 9. Lynch, David , Inland Empire, Twin Peaks, Fire Walk With Me. Lynch / Frost Producions 1990, 2006 10. Sol Yurick, The Warriros 1965. Grove Press
11. Cheskeyevsy, Paddy Altered States, 1978 Harper Collins Film: Dir. Ken Russell, 1980. Warner Bros. 12.Martha Rosler, Bringing the War Home. 1967-1972. Collage 13.ANONYM, In The Future No One Will be Famous; Edited by anonymous and Max Hollein, with a preface by Max Hollein and texts by Dominic Eichler, Stephan Heidenreich, April Elizabeth Lamm, Eckhart Nickel, and Hans Ulrich Obrist.2007, Schirn Kunsthalle, Frankfort. 14. Broges, Jorge Luis, Labyrinths, New Directions 1962, 1964 15. Sophie Calle, Absence. Paula Cooper Gallery, 2013 16.Ariana Reines, Mercury. 2011, 2013 Fence Books Collage: 17. Dwell Magazine. Pub. Dwell LLC. San Francisco. 2000. ed. Amanda Dameron 18. XXL Magazine. Harris Publications. NYC. 1997. ed.. Reginald C. Dennis, Sheena Lester, Eliot Wilson. 19. ARTFORUM. 1962. NYC. ed. Michelle Kuo