69
http://www.alansondheim.org/keepout.mp4 +
http://www.alansondheim.org/chor.mp4 go home (choreography for Foofwa)
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azure: 'death is a symptom not a disease.'
tonight i think: romanticism is a disease of death, not its symptom. my
thoughts crawl like maggots cleansing the brain of life. i release them,
they release themselves, don't go there. what descends is the violence and
fury of decay, the curtain that ceases on details, enlarges them until
memory collapses under the weight of futility. at the bottom of the social
lies the ash-heap, festering for a limited time at best. every statement
at heart desires life, protocol, exactitude, as if something were
accomplished, the world hammered back into shape. the secret of writing,
every statement mauls itself. i am a sensitive. i cannot forbear this as
human condition's nuance. but forbearance is swept away as well. this is
both the same old story and the only one. social networks collapse, it's
not one's life that fleshes before one's eyes, but the diminution, hacking
away, of the social. nothing is left but the flash which exits with a
thud. it's the failure of philosophy not to undermine itself this way, no
matter how weak, weak theory appears, no matter how many subjunctives,
it's gone before it arrives, nothing can revive it. already deconstruction
deconstructs nothing, becomes a distraught capsule of its own unraveling.
the existentialist project is its own formal reversal, phenomenology
talking the red patch or the computer screen's dull eye. every example is
a confounded, entangled, others. ours is a species listing to one side,
close to the breaking-point, intent on closure with insufficient time,
what crawls on my brain, what fleshes, crawls on yours as well, worlds
enough, unkempt detail, peripheral coagulations resisting the logical
light of day. the world goes away before it arrives, the world has gone
away before it arrived. it announces nothing and our anthropomorphic vault
has already crashed. death is a symptom of the omen of death, every set is
open, already foreclosed. what crawls in my mind will kill my sanity, the
presumption is that the rest of us have more than enough to spare. the
sane are masquerades, the insane cannot lift a stone verb. in between,
mobsters appear, what's left is the spoils. nothing moves as feynmann
diagrams shudder indefinitely, spoils seethe. unwatched, we're gone,
carelessly it moves.
---------- Forwarded message ----------
Date: Wed, 1 Dec 2010 22:24:55
From: Portside Moderator <moderator@PORTSIDE.ORG>
To: PORTSIDE@LISTS.PORTSIDE.ORG
Subject: The Culture Wars Return
The Culture Wars Return
1. Smithsonian Gives in to the Far Right
2. Christian Activists Force Smithsonian to Pull Aids Video
===
Smithsonian Gives in to the Far Right, Censors the
Artist Who "Spoiled Christmas"
People for the American Way
http://www.pfaw.org/press-releases/2010/12/smithsonian-
gives-to-the-far-right-censors-the-artist-who-spoiled-
christmas
Incoming House Speaker John Boehner and Majority Leader
Eric Cantor called yesterday for the closing of an
exhibit at the Smithsonian's National Portrait Gallery
that features work with sexual themes and a video about
the AIDS epidemic in Latin American culture that
includes 11 seconds of ants crawling on a Christ
figure. Museum director Martin Sullivan has announced
that the video has been removed from the exhibit
because "people were leaping to a conclusion that we
were intentionally trying to provoke Christians or
spoil the Christmas season."
Bill Donohue, president of the Catholic League, who has
a long history of far-right extremism, is the main
force behind the move to censor the privately-funded
exhibit.
Michael B. Keegan, President of People For the American
Way, issued the following statement:
"There is absolutely no reason for our government to be
in the business of censoring art, or cave to pressure
from extreme Religious Right organizations just because
it's Christmas. That Bill Donohue and the Catholic
League are fighting for censorship is unsurprising.
That the GOP leadership is echoing their call is
shameful. That the Smithsonian has given into their
transparent political bullying is deeply disturbing.
"The United States, like other free nations, has a long
history of supporting and embracing art by those of
many different values and viewpoints. The Smithsonian
museums host art that expresses strong religious
devotion and art that expresses atheism and doubt. The
museums house art from around the world, from every
religion, and allow Americans to make their own
decisions about what they like and what they don't.
These museums are an educational resource for the
American people, not a political mouthpiece for the
majority opinion.
"The new GOP leadership wants a government that stays
out of people's lives when it comes to health care and
unemployment benefits, but they show no scruples about
using government power to censor the free expression of
those they disagree with. The American people must
stand up to this blatant attempt to force politics into
art and religion into politics. "
===
Christian Activists Force Smithsonian to Pull Aids
Video From Show
Catholic League denounced Washington gallery because of
sequence showing Jesus on cross being eaten by ants
Ed Pilkington in New York
December 1, 2010
The Guardian
http://www.guardian.co.uk/artanddesign/2010/dec/01/smithsonian-pulls-christ-video
Christian activists have notched up an important
victory in their attempt to cleanse the art world of
what they see as offensive use of religious images by
forcing the National Portrait Gallery in Washington to
remove a video about Aids from an exhibition on
sexuality in portraiture.
The Catholic League, one of the most aggressive
interventionist groups within the religious right,
expressed its relief after the decision was announced
last night to pull A Fire in My Belly, a four-minute
video that forms part of the gallery's newly opened
show, Hide/Seek. The league had objected to a sequence
of 11 seconds within the video that depicts Jesus on
the cross being eaten by large black ants.
Bill Donohue, president of the Catholic League, had
denounced the work as "hate speech" and called on
members of the US Congress to pull federal funding from
the gallery, part of the Smithsonian Institute, in
protest at its "offensive" curatorial stance. In fact,
the exhibition, which has been hailed as the first
attempt by a major museum in America to tackle the
topic of same-sex love in art, was largely funded by
private donors and foundations.
[Continue reading this article at:
http://www.guardian.co.uk/artanddesign/2010/dec/01/smithsonian-pulls-christ-video
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paragraphs
------------------------------------=
or most, then having wildly fled: this is the heart of the social,
selving among selvings , inscriptions among inscriptions. (while
everything else tends towards the imaginary: wha t would it be like,
what occurrence, we're lost...
------------------------------------=
r what occurs as bodies switch, are there bodies here? flesh and blood
among the exfoliati ons? or at the least, gluons communicating among
selves wildly channeling. in this window of a minor key among others,
framed and held (within an imaginary - not a w orld, one must consider the
consequences of the absence of boundaries... we're lost, aren' t we?
------------------------------------=
ons? or at the least, gluons communicating among selves wildly channeling
in this window of a minor key among others, framed and held (within an
imaginary orld, one must consider the consequences of the absence of
boundaries... we're lo t we?
or most, then having wildly fled: this is the heart of the social,
selving among , inscriptions among inscriptions. (while everything else
tends towards the imagi t would it be like, what occurrence,
we're lost...
------------------------------------=
or most, then having wildly fled: this is the heart of the social,
selving among , inscriptions among inscriptions. (while everything else
tends towards the imagi t would it be like, what occurrence,
we're lost...here it remains broken, we're split, boolean combinations
cracked into into closed sets: the social is a world of virtual
particles, virtual events:: it's that, isn't it? already an
accomplishment: the INDEXICAL.
(it's left at that)
------------------------------------=
or most, then having wildly fled: this is the heart of the social,
selving among , inscriptions among inscriptions. (while everything else
tends towards the imagi t would it be like, what occurrence,
we're lost...here it remains broken, we're split, boolean combinations
cracked into into closed sets: the social is a world of virtual
particles, virtual events:: it's that, isn't it? already an
accomplishment: the INDEXICAL.
(it's left at that)
------------------------------------=