We are drinking honey and lemon drinks to relax. I have been reading about mobbing, the subject of a work -- by a former student -- Swiss -- her name is K. Schaeppi. I remember her writing about mobbing in a post-industrial -- ? -- workplace; by post-industrial, I think I mean -- pharmaceutical. I think I mean -- something [a workplace] set in a laboratory but with luxurious communal dens where the staff could drink coffee on their breaks like in Drop Dead Diva. But with a view of the Alps. Products or the marketing of products was -- the -- topic … K. Schaeppi … was writing about, ancillary to mobbing. That was the first time I heard that -- word -- mobbing -- in Vermont -- in a verdant, ecstatic hollow. Kathrin -- stopped writing that book and went on to write a memoir -- of Sonja Sekula. Who was brilliant. Who died. There are a series of excruciating testimonials -- a friend -- a bodyworker -- just called -- to describe a treatment she gave to a young woman -- who did not have a stomach -- and above whom -- during the session -- helper spirits came. “Do you know what your nickname is, mom? Gilgamesh.” Wait. The value form doesn’t need abolishing, it needs exploding in history. In Acts 17, we read: “When they heard about the resurrection of the dead, some of them sneered, but others said ‘we want to hear you again on this subject.’ At that, Paul left the council. Some of the people became followers of Paul and believed. Among them was Dionysius, a member of the Areopagus.” We should not be surprised that this same passage, which ends with Dionysius’ conversion, begins with a sermon on ‘THE UNKNOWN GOD.’ As yet unnamed and unknown, the sixth century Areopagite – whose pseudonymous corpus has inspired the open burial and consecration of authorial identity in a luminous blackened scriptorium of secret press [HWORDE] within secret press [gnOme] where, writing neither as ‘oneself nor someone else,’ bergmetal theorist Denys X. Abaris presents his [or her] Oro-Emblems of the Musical Beyond [2014] – is responsible for what has been identified [explicitly by Niall Scott] as Black Metal Theory’s apophatic outlook [Metal Hammer, June 2012]. This outlook is intimately connected to a symbology and a teratology embodied by the monstrous male protagonist in Metal culture [see for example, Scott’s “‘God Hates Us All: Kant, Radical Evil and the Diabolical Monstrous Human in Heavy Metal,’ Monsters and the Monstrous: Myths and Metaphors of Enduring Evil” (2007)], and is nowhere more evident than in INDEX by Stacy Doris. I mean, “Hey cobweb,” 237; “nut walk,” 110; air mile, 15; Babylonian doilies, 13; blood. See stiff blood of paradise, the; chaos. See solitude is chaos; charm-decked, 146; cobalt tarp, 139; Colour is structured like a market, 142; dearticulated and mirrored boundaries, 13-14, 100, 102, 104, 110-12, 203, 216, 238, 255; emotional. See Habit is emotional; end of sunlight, the real, 249; fogs trapped in glass, 58; fountains that want us to act like knowledge, 58; frames for our mortality, 203; Habit is emotional, 202; house of Goethe in a dream, the, 139 How should we adorn mortality now? See frames for our mortality; I became money, 1; inner ecology of gesture, 182; lint, 17; market. See Colour is structured like a market; mauveness, 15, 217; memory fattening, 27; Metaphor inflates an economy, 142; money. See I became money; now a dustbowl ringed in blackberries, 38; Ornament is the decoration of mortality. See frames for our mortality; pronoun caked in doubt, 256; public gorgeousness, 54-57, 78, 98, 103, 129, 144-45, 227, 233, 237, 243; purring, 77; roofliness, 15, 96, 110, 177, 179, 181, 183, 277; scumble, 142; Sincerity’s eroticism, 67; sleaze, 228, 238; Suburb, the. See primal shack-envy; texture of mortality. See frames for our mortality; Through gluttony we come to resemble history, 145; Under the pavement, pavement, 15, 27, 254; unusually trussed beams, 110; wall. See what a wall is without being a wall; We ate the cheese, 237; I survey / the experimental fencing. “Typos in the accidental, a species of form and will, when the form is ever so clearly: cadence as rot,” “during the period great piles of or life had erritory hardly.” One luckless expatriate was picked up and thrown into a trash can. The Jewish-Japanese Sex & Cook Book and How to Raise Wolves. The guy who created the iPhone’s Earth image explains why he needed to fake it. Kangaroos have three vaginas. Grills, ‘Grillz’ and dental hygiene implications. When adding is subtracting. Hire a Drone With Bitcoin. PotCoin. Sweden is the largest exporter of pop music. Why Dark Pigeons Rule the Streets. Can You Sue A Robot For Defamation? His animals get their energy from the wind so they don’t have to eat. Working independently from the late 1980s into 2007 Ademit collected evidence – through photography and meticulous note-keeping – that would establish the existence of cold rays, unseen forces that he believed severely impaired and impacted upon his life and surroundings. Ademeit made daily photographs of newspapers typically augmented with gauges, thermometers, compasses, clocks, and other measuring devices. He also made notes that recorded distances and other quotidian phenomena, as well as recording things beyond visual perception: smells, sounds, atmospherics, moods, etc. Ademeit used his Polaroid to document his surroundings. Starting initially with his immediate environment -- his apartment building, its basement and yard, and nearby houses -- he then moved further afield, scouring his neighborhood for traces of radiation damage. Construction sites, automobiles, bicycles, and garbage piles were all subject to his photographic studies, each precisely labeled with date, time, and location. “He lives in systems, and those systems live in him. His life is entwined in a network of terror spun by libelous neighbors, janitors, public authorities like health insurance, unemployment and benefit offices, radio and TV license inspectors, and a landlord with whom he was involved in years of legal proceedings. A system of terror that enveloped him like a negative aura, operating in the dark and keeping him under observation.” He protected himself with magnets and herbs. In addition, he lathe-turned 3,000 small spheres out of a wide variety of woods, to be worn about his person – in orifices such as the ears – in an attempt to deflect the rays. I like doing sound portraits – I get close to someone’s face, I take down the sound of the hair, the sounds of the skin, eyes and lips, and then I create a specific chord that relates to the face. Instant architect. Concert accessories.
[Note: Sources: Bhanu Kapil, “Fight the Tower, academic mobbing, Kathrin Schaeppi, the Alps, Thelonious, Jesus, Angel Dominguez, Goddard, Naropa and Gilgamesh: A Brief Survey by a Professor of Creative Writing who is in Bed with a late winter flu”, at Was Jack Kerouac a Punjabi?, 28 Mar 014; Jacob Bard-Rosenberg, FB post, 29 Mar 014; Edia Connole, “‘Leave Me In Hell’ [excerpt from ‘What is Black Metal Theory?’]”, at philosophynowncad, 29 Mar 014; Stacy Doris, “Index”, in Lisa Robertson, Occasional Work and Seven Walks from the Office for Soft Architecture, at Publication Studio; JBR; Michael Farrell, “reading [ ...] with the light on”, in the thorn with the boy in its side, at Oystercatcher Press; Stephen Collis & Jordan Scott, DECOMP, quoted in Susan M Schultz, “Nature Unwriting: Stephen Collis & Jordan Scott, DECOMP”, at Tinfish Editor’s Blog, 29 Mar 014; bits from Imp Kerr, “Triple-Decker Weekly, 99”, at The New Inquiry, 29 Mar 014; “White Room Horst Ademeit”, at White Columns (5 Mar – 17 Apr 010)]
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