30 Jul 2006
29 Jul 2006
27 Jul 2006
26 Jul 2006
22 Jul 2006
20 Jul 2006
from THE DAYLIGHT SECTIONS (36)
Morning twins with lullaby against purported gravity
Repeat after me: leisure's prepossessing when you're least accountable
Unless the steep hills turn to after-all cantatas that risk out-of-bed experience
Judicious quays give way when left unasked or propped for nothing
Is it method yet?
I curve my least indicative young frenzy toward your baking
After feverish indifference, I tend to have seemed mild
Come home to me
Our thinking differs from my thinking: has this quite occurred
And if a tree disguises as comforting becomes itself a wooded way
What ounces will be left to fill in after flow has gone
The quiver is a remnant of foretelling
Attractive nuisances bereft of achorage give home a kind of beltline
If you can read this you're too close
A lozenge would be nice yes
Also a kickstand for another purpose anyway
Repeat after me: leisure's prepossessing when you're least accountable
Unless the steep hills turn to after-all cantatas that risk out-of-bed experience
Judicious quays give way when left unasked or propped for nothing
Is it method yet?
I curve my least indicative young frenzy toward your baking
After feverish indifference, I tend to have seemed mild
Come home to me
Our thinking differs from my thinking: has this quite occurred
And if a tree disguises as comforting becomes itself a wooded way
What ounces will be left to fill in after flow has gone
The quiver is a remnant of foretelling
Attractive nuisances bereft of achorage give home a kind of beltline
If you can read this you're too close
A lozenge would be nice yes
Also a kickstand for another purpose anyway
19 Jul 2006
brief notes on contemporary arts
Today, the work of an artist is to lift a personal interpretation from culture. We no longer have the position of artist (creative) and non-artist (the public).
Today we are, generally speaking, technologically, educationally and culturally advanced. Culture is created, not necessarily by artists, but by advertising, educated, literate individuals expressing themselves over the Internet, through communications, fashion, sophisticated jobs or leisure pursuits. This list is not exhaustive!
The artist, to survive, can no longer claim to be an educated or intellectual elite, certaintly not in the same way that he/she could. All an artist can do is reflect this rich, creative culture (of the public) back to the public, in an individual way.
It is this personal expression that is important; the meaningfulness or meaninglessness of culture is not as important as the artists ability to soak up culture and express it in an individual manner.
This does not mean that artistic works should not be qualitative, but the days of creating "a crap art for a valueless culture" *, should now be over.
Art must lose it's self obsession, a hang up from the Romantic era - the artist as a great genius. Art is now about individual, personal expression, a reflection of a culture that is already present. Art will then allow artists to express humanness - the intrinsic position of being human, the inevitableness of individuality and creativity.
By this method, art(s) will engage with culture and the public, not alienating the public through over-complication or through private battles between art and academic criticism or the gullibility of the public. The practice of exhibiting bricks in the corner of a gallery, or marketing tins of shit at the public, do not engage the public, reveal "in-fighting" between artists and critics and the divide between artists and the public.
This suggests that art is in a state of uncertainty (Postmodernism), with no clear value, worth, purpose or aesthetic.
This can change, to deliver an art that can engage the public and be a satisfying practice for artists.
With this, we realise that the artist differs from the public, not by being a creative who stands miles above the masses, but by being a normal person, with a more developed imagination and who has the required skills to communicate his imagination to the public. He/She does this by reflecting an already existent culture, back to the public in an individual way.
* by this I mean art-forms that are purposely unartistic, with the purpose of reflecting a culture that is valueless. For example: Duchamp's urinal. This had a relevance when Duchamp exhibited it, however art is still critical of the public and critical understanding of art. 100 years after Duchamp, et al. I would have hoped that art could find different subject matter. "Crap art" can actually be taken literally - the use of excrement and piss in art works has been fairly common over the last 2 or 3 decades.
Today we are, generally speaking, technologically, educationally and culturally advanced. Culture is created, not necessarily by artists, but by advertising, educated, literate individuals expressing themselves over the Internet, through communications, fashion, sophisticated jobs or leisure pursuits. This list is not exhaustive!
The artist, to survive, can no longer claim to be an educated or intellectual elite, certaintly not in the same way that he/she could. All an artist can do is reflect this rich, creative culture (of the public) back to the public, in an individual way.
It is this personal expression that is important; the meaningfulness or meaninglessness of culture is not as important as the artists ability to soak up culture and express it in an individual manner.
This does not mean that artistic works should not be qualitative, but the days of creating "a crap art for a valueless culture" *, should now be over.
Art must lose it's self obsession, a hang up from the Romantic era - the artist as a great genius. Art is now about individual, personal expression, a reflection of a culture that is already present. Art will then allow artists to express humanness - the intrinsic position of being human, the inevitableness of individuality and creativity.
By this method, art(s) will engage with culture and the public, not alienating the public through over-complication or through private battles between art and academic criticism or the gullibility of the public. The practice of exhibiting bricks in the corner of a gallery, or marketing tins of shit at the public, do not engage the public, reveal "in-fighting" between artists and critics and the divide between artists and the public.
This suggests that art is in a state of uncertainty (Postmodernism), with no clear value, worth, purpose or aesthetic.
This can change, to deliver an art that can engage the public and be a satisfying practice for artists.
With this, we realise that the artist differs from the public, not by being a creative who stands miles above the masses, but by being a normal person, with a more developed imagination and who has the required skills to communicate his imagination to the public. He/She does this by reflecting an already existent culture, back to the public in an individual way.
* by this I mean art-forms that are purposely unartistic, with the purpose of reflecting a culture that is valueless. For example: Duchamp's urinal. This had a relevance when Duchamp exhibited it, however art is still critical of the public and critical understanding of art. 100 years after Duchamp, et al. I would have hoped that art could find different subject matter. "Crap art" can actually be taken literally - the use of excrement and piss in art works has been fairly common over the last 2 or 3 decades.
17 Jul 2006
se(a)mreip
tallyman
harry-dens
sickled in a blowtube
a correspondent is dozed out of her seam
maenads maenads maenads
speak a rerolled verite to the webber, killed
an ikebana loo, the string which
danders
this will be the auctioned reply:
*)&(*)(*^
that, with a little sonnet, gash, arrhythmia, extra beats and liver pores, kidneys slipped into a glob-shift
don't forget the felt tip, better than the body liquid
an obstetrician pines for termagant
meadowland with neon organics, arborite fauna
15 Jul 2006
arrette regardez jaune
Une plonge ven ici den inviro del nacht
Coz unequivocal Mistry sez
the bestiality of asymmetry oven chips
step circ arc revolve volvulute twa
encoute eal etc zing
Corpus en moute, tech revile pompon douche
Sapphic danse et morte et vita chic
mes luge aspec corner petal
Trace abyssinian pivot susie cue her
lips to twat stripe pin seven
Coz unequivocal Mistry sez
the bestiality of asymmetry oven chips
step circ arc revolve volvulute twa
encoute eal etc zing
Corpus en moute, tech revile pompon douche
Sapphic danse et morte et vita chic
mes luge aspec corner petal
Trace abyssinian pivot susie cue her
lips to twat stripe pin seven
8 Jul 2006
6 Jul 2006
WAVE [HarryKStammer/Crescent/Sheila Murphy]
along laketop shift the path of boats and pebbles conjecture revertssC/SSORS\
to play of objects undercast by siloes
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