He kisses the D.S.’s hand thrusting his fingers into his mouth (the D.S. must feel his toothless gums) complaining he has lost his teeth ‘inna thervith.’ ‘Schlup ... schlup schlup.’ The boy signed resignedly; ‘Yes, I guess you can get used to anything. I’ve got a meet with him again tomorrow.’ ‘That one should stand in an aquarium,’ says the arresting officer. Lukács himself became something of an insipid legend. And it was Hegel who diaried, “ … there’s more genuine ‘formal innovation’ and ‘explosive art’ in the first minute of Bjork’s Volta than in the whole of Zappa’s back catalogue.” I took my allowance and bought the world I would live in for the next five years, opaque plastic beige cassette tapes as light tombstones balanced on my bed. Metallica’s legacy may be constrained to their first four albums, but I’ll never apologize for pop-’s stigma and prefix before metal, or anything else, a sweaty shirtless me in my room going fucking ballistic to a fury that so called maturity crushed, those lanky arms flailing so many times at an invisible cymbal I must have, statistically, at least made one basket. Every year climate change contributes to the deaths of over 300,000 people, seriously affects a further 325 million people, and causes economic losses of US$125 billion. Four billion people are vulnerable to the effects and 500-600 million people – around 10% of the planet’s human population is at extreme risk. Developing countries stand to bear over nine-tenths of the climate change burden meaning 98% of the seriously affected people and 99% of all deaths from weather-related disasters, along with over 90% of the total economic losses. Plenary #2: Erin Manning, “Another Regard”: Dawn Prince’s experience with bonobo Kanzi: “I fell into the gorilla language I knew, a language of body, mind, spirit…” Then, something uncanny: word-movement series, he was asking me a question; he was pointed to word gorilla and signing “question” – he was asking me if I was gorilla. The language of the nonhuman already tunes for Dawn with her movement. The welling event. Kanzi & Dawn cuing, aligning, creating a rhythm in counterpoint. Dancing in alignment with a future in the making; moving into the technicity of movement, no standing back. To move with the movement and craft it in the more-than movement moving. Preaccelerate into the relational field. Time folds; one movement moving in difference, counterpoint. Autistic perception (a tendency on a continuum within all perception), a style that actively feels the edgings and contourings of fields of relations into instances of shaped experience. “Chunking” (Ann Corwin). Autistic access the direct experience of the relational field’s morphing into subjects and objects. Whitehead’s key contribution: to have created a whole vocabulary for this. Autistics tell us: we (normapaths?) are simply too quick to chunk. “Maybe I do not have to try very hard to be the wind or a rain cloud.” Pina Bausch’s “Dance, dance, or all is lost.” We encounter a shipwreck, and a Master, himself almost submerged, who clasps in his hand the dice that, confronted by the furious waves, he hesitates to throw. The hero expects this throw, if it takes place, to be extraordinarily important: a Number said to be ‘unique’ and which ‘cannot be any other’. My father’s name being Pirrip, and my Christian name Philip, my infant tongue could make of both names nothing longer or more explicit than Peter. So I called myself Peter, and came to be called Peter. I give Pirrip as my father's family name on the authority of his tombstone and my sister – Mrs. Joe Gargery, who married the blacksmith. Twang. I suck my tongue for your chervil-and-lavender flavor. For every reader there will be a different mental picture of Lucienne Crozier. Delacroix doesn't mention her in his journals or in Le Corréspondance. The journal of 1847 was lost during that year, but were it to be found, the absence of her name wouldn't be unusual. By his fifties he rarely described his lovers … The Delacroix debates map her rejection of romanticism and her inclination to embrace the kind of realism practised by some of his critics of a younger generation. The information Lucienne gathered even from the sloppy realism of Remy Gommereux made the ideological step to socialism an easy one.
[Note: Sources: William S Burroughs, Naked Lunch; Franklin Rosemont, In Memory of Georg Lukacs, as quoted in “Georg Lukács: Contribution to the Critique of an Insipid Legend”, at Association of Musical Marxists, 26 Apr 012; David Cunningham, as quoted in “David Cunningham: Radical Philosophy Reviews Adorno for Revolutionaries”, at Association of Musical Marxists, 27 Apr 012; Jimmy Chen, “Democratized Moments of Egoism in ‘Nothing Else Matters’”, at HTMLGIANT, 3 May 012; Vivienne Westwood, “How did we create 38 million climate refugees?”, at Get a life, 3 May 012; Adrian J Ivakhiv, “NT2: Erin Manning”, at immanence, 3 May 012; Urbanomic blurb for Quentin Meillassoux, The Number and the Siren (on Mallarmé's “Un Coup de Dés ...”); Kathy Acker, Great Expectations; Harry Matthews, The Sinking of the Odradek Stadium; Susan Daitch, L.C.]