I am unsure whether there is anything I can say now about this that will not be said 20 billion times in the near future anyway. So I rather not say anything except: <3 (But that's not exactly "saying" something, is it?)

http://www.thierrymugler.com/us/en/

I often issue a statement, if you will, that I do not care for stories about cats. In fact, I do not care for cats in general. Some take such statements as a challenge and dare to send me cat stories.

I grudgingly admit I loved that one, despite the inclusion of a cat.

RESETTING THEORY

Nietzsche’s Demonology
Beyond Good & Evil in the Mode of Information

by
Daniel White

A screaming comes across the sky. It has happened before, but there is nothing to compare it to now.
(Thomas Pynchon, Gravity’s Rainbow)

images by Sam Gordon

Friedrich Kittler talking about vectors in media technology, historical roots in the physical sciences and geography through ancient Greece, the Middle Ages, the 18th and 19th Century, World War I, World War II and Post War Western engineering sciences.
Kittler describes our return to Greek language in science as linked to that civilization’s unique origination of the natural sciences, and traces technology’s accelerated march forward.

See EUROPEAN GRADUATE SCHOOL

This morning I had to undergo a tiny tiny surgical operation. The kind of operation you don’t even need to be fully anesthetized for. A local thing, and I guess that’s the stake here. You are long gone and yet still looking exactly like you in the mirror. Mirrors at every corner, to make sure you would startle yourself enough to stay shattered.
And you are amputated as you are almost still walking, so suddenly you cannot not take any step further. It is a weird quality of exhaustion that the experience of impotence. It can create a sensation of potentiality of a different type. It is no longer a potentiality connected to the power to act, but one linked to the radical affirmation of passion and passivity.
So I was there, fully awake and yet partly extinguished, figuring out: Infirmity is an offer you can never refuse. Besides, the gesture of embracing weakness makes the passion of the exhausted body seem like a potential pathway to bliss. Above you a helicopter you scream at. Your sky has other eyes that hammer their headless wrath into your head. How long would you stay awake to your half-inhabited, half-abandonned body? Is the concept of redemption any real?

Contemporary life produces all forms of waste, it exhausts and amputates things, amasses litter and drains the meaning out of signs through their prolific hyper-use. We pretend you cannot feel the operation but you take each cut all the way in. We try to shake what is ours out of you, but it breaks on your skin.

Happy Easter!

On Monday, a most attractive evening of reading will take place at the Schindler House, West Hollywood, California. I really wish i was able to attent. It will feature Jeremy Sigler, reading from his new book CRACKPOT POET (Black Square/Brooklyn Rail) and Chris Kraus, reading from her new collection of essays WHERE ART BELONGS (Semiotext(e)).

MAP HERE!

The event is FREE! (+suggested donation of $7/$6 for students and seniors)

…

Jeremy Sigler is the author of five books: To and To (Left Hand Books, 1998), Mallet Eyes (Left Hand Books, 2000), Led Almost by My Tie (with Jessica Stockholder, Ruth Lingen Editions, 2007), Math (Ubuweb Editions, 2008), and Crackpot Poet (Black Square Editions/Brooklyn Rail, 2010). He is the Associate Editor of Parkett Publishers, teaches in the graduate art departments of Yale University, SUNY Purchase, and The Maryland Institute College of Art, and is the creator of the Theater of Therapeutic Choreography.

Chris Kraus is the author of I Love Dick (Semiotext(e)/Native Agents, 1997), Aliens & Anorexia (Semiotext(e)/Native Agents, 2000), Torpor (Semiotext(e)/Native Agents, 2006), Video Green: Los Angeles Art and the Triumph of Nothingness (Semiotext(e)/Active Agents, 2004) and the forthcoming novel Summer of Hate. A co-editor of Semiotext(e) with Hedi El Kholti and Sylvere Lotringer, Kraus has taught in graduate programs at UC Irvine, Art Center College of Design, San Francisco Art Institute and EGS. She writes regularly for Artforum.

Schindler house, West Hollywood, CA

This adage of the traditional bohemian artist has become the first commandment for freelancers everywhere in today’s economy. Addicted to deadlines, we’re supposed to imagine burnout lurking around the corner, as we’re working ourselves to the bone.

Today, December 9, as we just finished Novembre Issue 2 (out in January, so get ready) I’m savouring the pleasures of exhaustion and thinking: the corner is not a straight angle. It’s a round one. A neverending one, that you can endlessly follow, never reaching any horizon. Time is never up, countdown never hits zero and this is it. This is how it must be, it could have been different but it’s not, no drama.

Yet the constant state of exhaustion that we’re in can be used as a way to produce new spaces. Overspending and exhaustion are not only moments in the cyclical patterns of capitalism’s reproduction and regeneration anymore. They are spaces of latencies, of levitation. Why not consider the potentials of that peculiar production? Nothing can be burnt anymore, anyway. We’ve already reached the state of ashes, soft and volatile. No spell to break. We’re not too drunk to fuck, we’re simply drunk all the time and fucking all the time. Let’s forget about the horizon and actualise latencies, as they can too be faster, better and stronger.

Let’s keep working oursevles to the bone, let’s reveal ashes beyond fire, and life beyond blood.

Above, “SUNSET, I love the horizon”, 2008, by Andro Wekua. (published by Le Magasin)