I mention this as it seems to complicate some of Owens’ points regarding the lesson of the urban blackberry: “the conditions for their proliferation are willfully manufactured,” yet in possessing “no formal market value” they represent the detritus of hope, a “negation of enclosure” (Skinner), a “third landscape,” “productive and destructive” fallout. Which is true-true — maleness is secondary; chromosomes know what’s up, even if politics don’t. “We are all female!” — love this, though I do believe that, a la Butler, feminist / gender discourse is going to be permanently stuck if genital difference is still the major lens; I’m not sure ethically sound humanity can be achieved until transgenderism is the unmarked, not marked, state; and heterosexism needs to evaporate, for sure; there is no more hegemonic institution (I’d argue it even bests capitalism!): it’s totally co-opted nature / made itself nature, when it’s as natural as a killer outfit. What is this “unifying dissolution?” “What is this alien ghost, the way of moving and perceiving which must enter and possess [by translation] English”, “groaning and moaning / private,” with “two fountains for two eyes / flight flat under the feet” — privacy, and in the light of this lizard, its ecstatic paranoia: “oh”, a shard is peeling from you, what’s unfolding on the road is it, ( ) is not the same as ( ), but ( ) alone is not everything, and sometimes when we ( ) ( ly), we ( ) an outcome just ( ) to ( ) ( ) ( ed) — we ( ) from the ( ) (and that this wasn’t good news). After dumping the materials, cement was poured over the site. Since then, imaginations have run wild with the whys and whats of the story. Odds are, the Atari Dump is just a pile of crunched, dead electronics. I water only the kale and have planted nothing else. Yes, B, there is a picture. But the Theory Cadre, unwilling to give away anything of itself even in such a deliberately revelatory document, has encoded it as text. K, who for some years has lived on the fourth floor rear corridor of the hotel’s retirement wing, attributes an unremitting depressive disorder to (a) birth at the outset of the “atomic age”, (b) secondary school food in 1957, (c) the decaying John Calder publications which even now take up sixty percent of the bookshelves in Room 444. “Close to the Tract,” she said, “you find sites like these on every tenth planet. You can map the trauma front direct on to the astrophysics.” I felt like a shark, then. Partly sexual but bigger, somewhat. A negative navel. It was hungry. Thinking about these things invited me into sharkness. My eyes grew black. I was made of jet. Of the environment, hungry in it. Why is Playboy erecting a neon bunny in Marfa, Texas? As Jeffrey Pethybridge put it, “Richard Scarry cats *and* Full Communism = a primer on utopia.” This is the primary reason for NeuroSky’s main sensor placement on a position known as FP1.
India Coal, the world’s largest coal company, is putting solar panels on its facilities, from mines to power stations. “Once” is a 13-foot cube that contains the crushed remnants of an entire amusement park.
[Note: Sources: Jared Schickling, “A Reader Response to Potential Black Berries”, Murat Nemet-Nejat, Asaf Hâlet Çelebi, Jared Schickling, and Seyhan Erözçelik, as quoted in Schickling’s “Some Participation Reading EDA: An Anthology of Contemporary Turkish Poetry, edited and mostly translated by Murat Nemet-Nejat”, in The Paranoid Reader; JBR; Adam Strauss, FB comment, 13 Jun 013; William Keckler, Joe Brainard’s Pyjamas (The Sequel), 13 Jun 013; Bruce Andrews, “Earth 5”, in Postmodern American Poetry: A Norton Anthology Second Edition (ed. Paul Hoover); Beth Towle, “Excavation Reclamation: Camillo’s Memory Theatre, Wolf Hall, and the Atari Dump”, at Actuary Lit, 13 Jun 013; Bett, “people who don’t live here …”, at bett’s blog, 13 Jun 013; < M John Harrison, “the Theory ;Cadre”, “empty space: encoded in tears”, at the m john harrison blog; Sueyeun Juliette Lee, “On Speculative Poetry: a future ((tense)) // yet // else”, at The Volta 27; Lauren Klotzman, “Why Is Playboy Erecting a Neon Bunny in Marfa, Texas?”, at Hyperallergic, 13 Jun 013 (“It seemed at first to be some art world pranksterism, but surely enough, this past week brought more news and photographs of the evolving installation outside Marfa, which includes a 13′ x 20′ iconographic neon bunny (atop a 40-foot pole) and a somewhat dystopian-looking installation consisting of a Juddian concrete rectangular cube crowned by a muscle car.”); JBR, but see next; Jeffrey Pethybridge, FB comment, 13 Jun 013; “Brainwave Technology”, at > NeuroSky (The sensor is part of a “Brain computer interface (BCI) [which] is a system that translates the electrophysiological activity or metabolic rate of an organic organisms’ nervous system into signals that can be interpreted by a mechanical device. The idea of BCI has captured the public imagination for a century; Baby Boomers grew up with the Six Million Dollar Man, a television series featuring a man outfitted with neural prosthesis after an injury. As early as 1908, Le Nyctalope, arguably the first super hero, was also the first BCI described in literature (sporting an artificial heart.) BCI is no longer relegated to fiction, in fact research into the subject has flourished throughout the last decade in which humans, nonhuman primates, and rodents have directly communicated with electrical devices through neural activity (Ganguly and Carmen, 2009; Stieglitz 2009).” — NeuroSky; In her work Eunoia, Lisa “Park used the EEG headset to monitor the delta, theta, alpha, and beta waves of her brain as well as eye movements and transformed the resulting data with specialized software into sound waves. Five speakers are placed under shallow dishes of water which then vibrate in various patterns in accordance with her brain activity. While the system is not an exact science, Park rehearsed for nearly a month by thinking about specific people whom she had strong emotional reactions to. The artist then correlated each of the five speakers with certain emotions: sadness, anger, hatred, desire, and happiness. According to the Creator’s Project her hope had been to achieve a sort of zen-like state resulting in complete silence, however it proved to be ultimately unattainable, a result that is actually somewhat poetic.” — Christopher Jobson, “Beautiful Thoughts: Artist Lisa Park Manipulates Water with Her Mind”, at Colossal, 13 Jun 013; JBR, “found objects”; Anny Ballardini, FB post, 14 Jun 013; Anastasia Hagar, FB post, 14 Jun 013 (“Created by the Sydney/New York City creative collective The Glue Society, the sculpture is currently on display at Sculpture by the Sea, Aarhus in Denmark through June 30, 2013.”)]