In the House of the Hangman 1042

This leads us finally to the end of this first excursus / experiment, and the revelation of the Fifth and final Law of Nietzschean Personal and Financial Growth: You are a mutual fund, not a subject. So forget about enjoying your symptoms; try diversifying your portfolio. And who is this one who can offer a toolbox for such becomings? Nietzsche – that dude is money! “Look at that room filled with fleshy babies, incubating. We ate them.” In the next paragraph: “Look at that room filled with fleshy babies. A tall glass of tawny port. We ate them.” Next paragraph: “Look at that room filled with fleshy babies, incubating. Points of transfer. A tall glass of tawny port. The shadows between the houses leave the earth cool and damp. A slick gaggle of ambassadors. We ate them.” Thus “We ate,” not babies, not port, not ambassadors, but only “them.” Then he [Deleuze] repeats himself to (unsuccessfully) avoid confusion and misquotation: “The three characteristics of a minor literature are the deterritorialization of language, the connection of the individual to a political immediacy, and the collective assemblage of language.” This is why a raindrop indents the concrete with atomic intensity. This is why the dark green, glossy leaves of the ivy are so green: multiple kinds of green: I spend half my time staring at a mobile butcher’s block. This is syntax. The left hand. Covered in a light blue ash. To see a world in a grain of sand is, admittedly, a grand thing; to see it in a grain of Epsom salt is perhaps more to the purpose when seeking to understand the capillary relations between imperial trading companies, print culture, and the revamping of the notion of property that occurred in the 18^th century as a mental prelude to the industrial revolution in the sphere of production. OK. Quoth the BeachSloth now. Steve Roggenbuck lives online. This weekend he was offline, living the IRL. Sometimes I visit IRL just to get food and nourishment. While I’m in IRL I’m thinking ‘Dang, the internet is sweet’ and ‘Yo, I need to write that down. That’s a good tweet / blog topic / another online alias’. I feel happy seeing the Illuminati Power Hour live broadcasting from America’s Heartland, Brooklyn. Brooklyn has a lot true Americans, riding bikes, eating kale, wholesome American activities. ‘Obey your thirst’ Steve says as he drinks a huge bottle of orange juice. That’s what happens. Everybody loves the OJ, to free the OJ from the fridge. OK. The Hooter Symphonies were initiated by Arsenii Avraamov, who in 1920 had asked the Commissariat of Enlightenment to confiscate and demolish all pianos as a necessary first step in destroying bourgeois music and the twelve-tone scale. After experiments with factory whistle symphonies in St Petersburg and Nizhnyi Novgorod, Avraamov oversaw a spectacular noise symphony to celebrate the anniversary of the Revolution in the Baku harbour on 7 November 1922. The event used sirens and whistles from navy ships and steamers, as well as dockside shunting engines, a ‘choir’ of bus and car horns, and a machine-gun battery. The aim was to evoke the struggle and victory of 1917, and involved versions of ‘The Internationale’ and ‘The Marseillaise’ with a 200-piece band and choir, and a large portable organ of steam-controlled whistles on the deck of a torpedo boat. Fülöp-Miller notes that the results were unhappy, to say the least: The distortions were so great that the public could not even recognise the well-known and familiar ‘Internationale’. That unrecognisability seems intrinsic to the searing impression that remains of these efforts today, both visually and conceptually: a barely visible man forlornly standing on a factory roof, a tiny speck in the face of an invisible but overwhelming urban-industrial cacophony swirling round him.

[Note: Sources: Jeffery T Nealon, Post-Postmodernism or, The Cultural Logic of Just-In-Time Capitalism; Ron Silliman, Ketjak, and Bob Perelman, as quoted in Perelman’s “On Ketjak”, at Modern American Poetry; Ian Keenan and Gilles Deleuze, as quoted in one of Keenan’s comments appended to Johannes Goransson, “Leong on Gherasim Luca”, at Montevidayo, 1 Aug 012 (I don’t know why Keenan attributes the quote, which is from Kafka: Toward a Minor Literature, to Deleuze, instead of Deleuze and Guattari); Bhanu Kapil, “Cobra Notes for Ban”, at Was Gertrude Stein a Punjabi?, 4 Aug 02; Roger Gathman, “To see the world in a grain of epsom salt...”, at Limited, Inc., 4 Aug 012; JBR, but see next; BeachSloth, “Illuminati Power Hour 10”, as seen at James Ganas, 2 Aug 012; Claire Bishop, Artificial Hells: Participatory Art and the Politics of Spectatorship, as seen as a pdf online]

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