One night, a small meteorite struck the early-20th-century Iglulik Inuit Uvavnuk. This experience made her clairvoyant and marked the start of her life as a shaman. After being struck, she returned home singing this: The great sea / frees me, moves me, / as a strong river carries a weed. / Earth and her strong winds / move me, take me away, / and my soul is swept up in joy. Man, those were the days. Loss grows more absorbent as the swelling drains for good. Soft extinction beds down in a drone fit to repeat. But ripped an echo. Floor as lids and wind for eyes. The corners flare and boil. Inconsequence runs out and flows away like level rain. That Thursday an image was in my head. I went by a bridge of trees, my hosts showed me. What they kept there I found, a giant of ferris wheels where it was kept totally dark, black, iron, immobile frame! They encouraged me, gestured, smiled, as if if I laughed the wheel like some wheel of fortune would light up then for us and turn. But it was too sober a business. THE ISLAND / OF THE / MONSTROUS / ANTS / THE TERRACED / ISLE OF / BIRDS / A MONSTER / THE DEMON / HORSE-RACE / THE PALACE / OF / SOLITUDE / THE ISLAND / OF THE / WONDERFUL / APPLE TREE / THE ISLAND / OF / BLOODTHIRSTY / QUADRUPEDS / AN EXTRAORDINARY / MONSTER / THE ISLE / OF RED-HOT / ANIMALS THE / PALACE OF / THE LITTLE / CAT / AN ISLAND / THAT DYED / BLACK AND / WHITE / THE ISLAND / OF THE / BURNING / RIVER / Hissibus quilly-quilly toge / dellibolical tarák / passiquossi grattipippi talq / doppi mozat. ‘Greys’ means old people? Howls for Sade, a feature-length film created in June 1952, contains no images whatsoever. The soundtrack is accompanied by a completely blank white screen during the spoken dialogues. These dialogues, which altogether total no more than twenty minutes, are broken up into short fragments amid passages of total silence totaling one hour (the final portion of the film consisting of an uninterrupted 24-minute period of silence). During the silences the screen, and thus the theater, remains totally dark. I mean, getting to teach At the Mountains of Madness for a living: pretty cool. Receiving email from student registered for the course who “will not concede to the reading and discussion of a book that grounds its very plot and themes in the demonic realm”: priceless … could be the basis of nice short story: student goes mad reading HPL in freshman comp … by the end of the course, his shrieks will be confined to the repetition of a single, mad word of all too obvious source: Tekeli-li! Tekeli-li! At which point he would earn an A+. Do I even deserve this? To come back, after all this time away, and write a post about Miley Cyrus? Don’t I have to earn it a little, perhaps with a précis of the Syrian situation? Well, look, I'm doing it anyway. Deal with it. Besides, I will write about Syria shortly. And anyway, this isn’t really about Miley Cyrus, but Satisfied in the Kodak gantry / The rail is interfered with / Thanks to the lurid airways / Go ahead to the plant rally / The sick man polishes his shoes & “Ready hands sanction their new ebb, the especial / oratory shunt attachment. Overstock digit perverse / deployment adds a pungent new flavour, stepping / forward to claim the spoilage; that ragged applause / is for the assembled” twerkers. I contact either myself or you, I recall being involved at this time when I moved our hand across my body and I felt like I had one of those small water pistols. Politics is always manifested through a distortion of this logic. So well it thee beseemes that thou wouldst love and be broken lyke a light beame. And that mid section is by no means a sludgy symbol of hell in the manner of black metal or its Laruellian apologetics, though it is (at least) equally loud and intense as anything you might hear in the brightly lit white room with high ceilings contrasting against the dark wood floors with forms of large purple and pink sculptures coming up from it and can start to make out the instantly recognizable Warhols and a bike with strange tubes. I feel like a bike with strange tubes. The Great Acceleration: exponential spikes in many indicators; test run for a plan to run an Anthropocene exhibit in the next couple years, it’s going to be a big deal; Anthropocene as a meme; video clip of Liar Bird that imitates other birds; imitating the Kookubura; imitating car alarm; imitating the sound of a chain saw; 12 million youtube hits; sound of the chainsaw from the bird’s beak is a fracture in its mating song; cracked voice of habitat fracture; intimations of mortality in the mimic of the chainsaw; a Manichean showdown; second chainsaw video: Israeli military cutting down olive trees to make way for the wall, Palestinians praying and protesting helplessly; this is a crowded militarized environmental scene, desperate residents fighting for the survival of their trees; makes no sense to talk about humanity as a species power here; the more heavily militarized group gets to destroy the trees; this is a very locally specific scene of human disparity, resource capture by the powerful, depletion for the dispossessed; we are now living through the Great Divergence; 30 year upsurge in disparity / inequality; at a statistical level, even on the right, people believe in the disparity; some think it should increase; across the planet, communities being abandoned, environments subjected to destruction / depletion; many recent books about this GD (flash through twenty front covers); why hasn’t the arrival of the digital universe brought us together? You’ve got the death of distance (digital) and the Great Divergence; even in the Anthropocene, we need to remain alive to the GD; counterbalance the centripetal force of the Anthropocene with complicating centrifugal narrative; the question is how people can take responsibility for, and respond to their changing world; the response is social cultural political ecological; Anthropocene drives this home; or could it revive Enlightenment hubris? could the name legitimize a self-involved anthropomorphism?; can the call for humanity as the planet’s mega-agent to take control over the climate lead to more problems and more narcissism?; gung-ho responses around techno fixes, geo-engineering; i.e. we could see the A. as a new geological epoch full of human opportunity; we run the earth, it’s our choice what happens here; Stewart Brand: we are as gods, we have to get good at it; In this example, Rob Nixon sees the wax melting from Icarus’s wings; soon a huge proportion of the population will be living in megacities with huge sacrifice zones; Mumbai, Rio, Johannesburg, Jakarta, etc.
[Note: Sources: “Uvavnuk”, at Poetry Foundation; Uvavnuk, “The great sea …” (tr. Jane Hirschfield), at Poetry Foundation; JBR; Keston Sutherland, The Odes to TL61P, 3 (1.1); Bill Griffiths, “Text for translation into Russian: Summary”, “Text for translation into Russian: Journeys”, in Collected Earlier Poems (1966-80) (eds. Alan Halsey and Ken Edwards); Bill Griffiths, “The Lion Man”, in The Lion Man & Others; Douglas Morrey, FB comment, 27 Aug 013; Guy Debord, “Technical Notes on Guy Debord’s First Three Films” (tr. Ken Knabb), at Bureau of Public Secrets; JBR; Nicola Masciandaro, FB post, 27 Aug 013, and Masciandaro and Aaron Pedinotti, comments appended; Richard Seymour, “A post about Miley Cyrus”, at Lenin’s Tomb, 27 Aug 013; JH Prynne, quoted in Martin Stannard, “Kind of Inadequate and a Little Guilty”, at Stride Magazine, ?? 05 (a review of Prynne’s Poems (2nd ed)); JBR; Dodie Bellamy, Cunt-Ups; Jacques Rancière, “Jacques Rancière Interview: ‘Democracy is not, to begin with, a form of State’”, at Cunning Hired Knaves, 21 Jan 012; Dodie Bellamy, “Cunt Spenser”, in Cunt Norton, at Les Figues; Timothy Morton, “My Bloody Valentine in Denver”, at Ecology without Nature, 27 Aug 013; Gabby Bess, “I’m Not The Girlfriend Of An Artist. I Am The Artist”, in “Authors on Artists: Gabby Bess on Women & Art”, at Bright Stupid Confetti, 27 Aug 013; Derek Woods, “Notes from Rob Nixon’s talk ‘This Brief Multitue=de: The Anthropecene and Our Age of Disparity”, at CENHS, 29 May 013]