federico campagna, “squandering: the case for disrespectful opportunism"
i have no idea and maybe i should read this immediately?
Caroline Bergvall | The Conceptual Twist: Foreword | I’ll Drown My Book: Conceptual Writing by Women
Sarah Kane, Crave. (via batarde)
Kesha | We R Who We R
last night i was bumming out about everyone being too scared to post anything scary on the internet anymore when ke$ha’s ”we R who we R" came on at the bar and i felt super motivated to go a little harder and most other things in this song, too.
All my writing demons nailed. Don’t go into writing with the super-ego. “Do the apprenticeship.”
a few years ago, when i was starting my MA, a journalist friend smartly asked if it bothered me to go back to letting people tell me what to do when i was used to being the boss. i said no, not at all, and this video reminds me why. someone’s always going to be telling you what to do; it might as well be avital ronell. ”step one: sit yourself down” is exactly the advice i need right now along with “allow yourself to be dominated.” i don’t need to be told to be “monomaniacal” or not to try to do something new, but i like hearing it. i also like the word “renarcissize.” watching this video is so soothing.
the only piece of relationship advice i got from my mother was to make sure to marry someone who went to bed at the same time as me. i always go to bed at the same time as marc, religiously, but every once in awhile i can’t fall asleep, so i sneak back out and tumblr.
HS: But how can you tell what the audience is like if you are not very directly interacting with them? How can you tell what the range of intelligence is? I was wondering all the time during the performance what kind of audience you were pitching it at. DA: You don't know what it is but you feel it out--at the beginning of a piece I have a tendency to be fairly exploratory, it doesn't start taking shape right away. There is a kind of prelude, you run a few scales to see how they work for you but also whether people find them intelligible, which may not mean that you will abandon them. But you get a sense from body language whether people are with you or not with you and there are ways of playing it that are so completely intuitive I don't even know how I do it. That is I spend a fair amount of time circling the material before plunging in, to achieve a readiness of mind and also a kind of tuning relationship--it's like tuning an instrument as a prologue. In other words in standard orchestral situations they tune because they have got to reach a particular pitch, but I have freedom of tuning because no one tells me whether I need just tempered or equal tuning.
--from an interview with david antin
tuning: still the loveliest concept. it's so feminist. no wonder eleanor antin married him.
"there are some people (and these are the kinds i tend to like) who always remain committed to what is possible. like nietzsche, i never want to be contemporary or with a time. this time. but i’ve always wanted to be in time, in the sync of time, the joint, joining, union of time, with someone.”—masha tupitsyn, love dog. this is like 100% of one of my top five feelings.