Zeitgeist Spam: In the House of the Hangman 854

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23.02.2012

In the House of the Hangman 854

Actually, I think my life is structured around the ramifications of orgasm, the sublimated bubblings and percolations of orgasm through cultural areas, pushed onto a frame of acetate through jam sponge in cerise collagen. And yes, it’s probably all too obvious to people that my philosophy, such as it is, got tacked on to “things that make me come” — either literally or figuratively — as an afterthought, a post-rationalisation that I nevertheless insist on. I know that money and success could easily have made me idiotic, just as poverty and failure did. Lesions come running thru hard sky. Many happy returns of the repressed. You’re all that I want and all that I need, and all that I have and want to need & need to have, and needs having to want that which by wanting slips out of need and into nothing, the softer part. It took me a while to realise this, but when I did it made me happy, because it resolved an apparent conflict between two of the things I hold most dear: creativity and collectivism. Ariel Pink recently suggested we collaborate, which means a lot to me, even if we never actually follow through on it. That is, in Religion within the Boundaries of Mere Reason, Kant moves from a conception of evil as privation, i.e., the absence of good, made popular by Augustine, to a notion of willed evil, i.e., evil positively chosen. According to Kant, “This evil is radical, since it corrupts the ground of all maxims.” Maxims being “the subjective principle of volition,” or the subjective imperative, as distinguished from the practical law, the objective principle of volition, or the categorical imperative. Our affirmative will to evil is thus the point at which the categorical imperative is fundamentally revealed as a maxim, not a given. For if the categorical imperative were a given, there would be no ability to choose to behave according to its principles, and therefore, as Joan Copjec has noted, Kant’s concept of radical evil also posits that “our only consciousness of the law is our consciousness of our transgression of it. Our guilt is all we know of the law.” That is, take Steven Zultanski’s Pad, a litany of every single thing in and constituting his apartment, and whether or not his dick can lift it. See the meaning fall off like so much gravy self referencing infested with the clot drizzling out the stigma [stigmata?] of my earnest urge, this form is barbed wire to be left and caught in a wing of $300 with which to go shopping. “And if cops are people too, then why are they cops?” Dreamt about Marabou Orient something or other ... A big golden chocolate cake with the taste of burnt curry and mixed Vicks cough drops. A tale of whoa! Whoop whoop! Do you remember Bo A Snake? You look like someone run you through a mangle. Mangle. Do not eat poop! And as a mass murderer with a large knife. Lets enjoy some animal testing while you suck on my eye ball and Oh meadow all hm hm hm hm by many kinds of hm hm hm hm hm hm hm. As Adorno says in Aesthetic Theory, we reenact what could not be felt the first time around. We sank together like paste rubies and artificial pearls — Highways empty. And there’s a ring around the tips. It’s OK and fresh when it comes to some pebbles. Tiptoe, quickly: to this rising iron dust. The rainbow sloth, like literature, suffuses and shatters your body. “The mask is what you use; it isn’t a fake, it’s a mask. Your senses love you; they evolved to be your mask – or you made them, didn’t you?” – unexpected lines of flight, it’s always capable of more (more, more) futures than we can anticipate, “a hunk of electromagnetic fur torn from the side of something still living and thrown.”

[Note: Source: Momus, as quoted in Marie Calloway, “The Rumpus Interview with Momus”, at The Rumpus, 24 Jan 012; Anna Ticehurst, “Sunbathing Under Surveillance Camera One”, in Better Than Language: An anthology of new modernist poetries (ed. Chris Goode); Francesca Lisette, “Casebook: A History of Autonomy and Anger: a poem for performance (II. Counter-Statement)”, in Goode; Joe Luna, “a softer you”, in Goode; JBR; Vanessa Place, “A Poetics of Radical Evil”, at Lana Turner 3.2; Jonny Liron, not quite as quoted in Joe Luna, “Jonny Liron wants to be fucked, or GOING OVER THE TOP OF THE FLESH: an introduction to the pornography of poetry”, at All Over the Grid, 6 Jul 010; JBR; Ray Kelly, as quoted in “Portrait of the Artist as a Rookie Cop”, at The New Inquiry, 21 Feb 012; Stina Kajaso, “work related grievance” (tr. Google), at SONOFDAD, 21 Feb 012; Thom Donovan, “Someplace other than what he read (@ J2)”, at Wild Horses of Fire, 21 Feb 012; Jack Kimball, “Squeals and sequel …”, at Pantaloons, 21 Feb 012; Timothy Thornton, “Alarum, ‘Da Caccia’”, in Goode; Lucas de Lima, Alice Notley, Culture of One, Bhanu Kapil, Schizophrene, as quoted in de Lima’s “Ecologies of Sensation: The Book(s) of Bhanu Kapil and Clarice Lispector”, at Montevidayo, 21 Feb 012]

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23.02.2012

In the House of the Hangman 854

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