Using “a mesh of point contacts connecting to chalcopyrite and iron pyrite to make crude amplifiers out of rocks.” Which is and isn’t a paraphrase of Amy King’s “In the end, the only endgame is panic, / so let’s not charge that on full blast just yet. / … / Can I buy my place on the moon already? / I’ll go there with you, to the place of infinite space / if you respect Amerika, which still hurts / my teeth with all the gnawing and iCloud.” Oh, Jacob, are those poor art students really your enemy? That’s so sad. The blackbird has stopped singing now. And something the clouds something settles ... I’m talking about the SECRET electronic equipment. Ss. Ss. Does anyone recognize themselves sufficiently up a hand on repeat in ostriches to get the to get a little less execution that you would have had before the plussa bit on all extremes there and then imagine that you should have it so every morning for a month! and sometimes well into the day! It comes when you least expect it and. You know those people who look like harmless members of society, but they’re actually hiding a razor in the space between their lower lip and their teeth so that if they encounter serious danger, they can spit-and-slit in two seconds flat? Bill McKibben I’m sure you know him / he was telling a story / of how in a place in Tibet / people started planting trees / and this had changed / the speed of the wind / so people instead of being attacked / by a brutal wind / would be / TOUCHED / by a soft wind / [instead] / “a compendium of creaks and inaudibilities” / we are a lot happier / than circumstances / would suggest / and what a food source. You can sense that in the very beginning of the play, in stage directions that are crowded with both props and language: from “panties” to “Harajuko cum Cracker Jack look,” from “liquid eyeliner” to “kiddie Oedipus.” This makes me think not just of the current “austerity” obsession of American culture with its decidedly hetero-normative family values (if a family has to take care of its finances, shouldn’t the government etc etc), but also John Durham Peter’s “Speaking into the Air”, in which he argues that “communication failure” inheres in “communication”, e.g., THE SMEAR: It was the Year of the Scab and there was no room for people who act like lawnfires when they should be modeling the latest symptoms. PURSED AND PUCKERED: [Hisses at XXX], e.g., I’m vextipated / in my boo shank, e.g., I have an image from Ernst Bloch’s The Spirit of Utopia in my head (a really interesting book on many of these questions, whose title is currently being ripped off for some idiotic show at the Whitechapel Gallery) of the “dance around the golden calf, or better, just the calf-skin with nothing underneath.” For this reason, I’ve come to appreciate the self-conscious barbarism of Mies’ monument. There is something fitting about the unrelenting gnarliness of the brickwork in embodying Mies’ trademark perfect volumes, proportions, and harmonious distribution. Mies went to great lengths to put this symbolism across: in its cantilevered slabs and brazen use of unrefined materials, made up of jagged bricks held together by unsanded grout organized around a steel-and-concrete frame, bricks stacked some twenty feet high, assembled from the bullet-riddled remains of buildings damaged or destroyed during the Spartakusaufstand. “You Can Deserve It!” I’m glad they let this swimming pool run to rot. There are tadpoles all through it ... very small ones. And those insects that rise and descend clutching silver bubbles of air.
[Note: Sources: Geoff Manaugh, and Ryan Jordan, as quoted in Manaugh’s “Alternative Inputs”, at h BLDG/BLOG, 11 Jul 013; JBR, but see next; Amy King, “Where Parents End Governments Begin”, at Poetry, Summer 013; JBR, but see Jacob Bard-Rosenberg, as quoted in “Out to Lunch, Jacob Bard-Rosenberg: Letter to Goldsmiths Art Students”, at Association of Musical Marxists, 10 Jul 013; Stina Kajaso, “Veronika Maffioso” (tr. Google), at SONOFDAD, 11 Jul 013 (much of which has since been deleted and amended); KTB, in “Reviews”, at Vice, 11 Jul 013; Cecilia Vicuña, and Rosa Alcalá, as quoted in David Berridge, “Spit Temple: The Selected Performances of Cecilia Vicuña, edited and translated by Rosa Alcalá (Brooklyn: Ugly Duckling Presse, 2012)”, at Intercapillary Space, 11 Feb 013; JBR; Anne Boyer, “This soliloquy of a grindcore …”, at Money City Sick as Fuck, 11 Jul 013; Johannes Göransson, and Lara Glenum, Pop Corpse, as quoted in Göransson’s “Humiliation and ‘Spoiled Identity’: McSweeney, Koestenbaum and Glenum”, at Montevidayo, 11 Jul 013; JBR; Jacob Bard-Rosenberg, “A Letter to Goldsmiths art students on capitalism, art and pseudo-critique”, in “Out to Lunch, Jacob Bard-Rosenberg: Letter to Goldsmiths Art Students”, at Association of Musical Marxists, 10 Jul 013; Ross Wolfe, “Mies’ Memorial to Rosa Luxemburg and Karl Liebknecht (1926)”, at The Charnel-House, 10 Jul 011 (“To his credit, Mies took seriously Luxemburg’s famous dilemma of ‘socialism or barbarism’ (adapted from some lines by Engels written toward the end of his life). Luxemburg’s pronouncement of this opposition was not meant to be regarded as some sort of perennial choice haunting humanity throughout its existence, but rather was historically specific to her own moment, as Second International Marxism entered into profound crisis. Since socialism did not come to pass, as the world revolution stopped short, it is necessary that everything that transpired afterward be regarded as barbarism.”); Nancy Friedman, “You Can Deserve It!”, at Fritinancy, 11 Jul 013; William Keckler, “Untitled”, at Joe Brainard’s Pyjamas (The Sequel), 11 Jul 013]