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ordinary ontological sfx: theatricality

“A bunch of poofs strutting around in tights pretending they’re kings and queens,” is Robert David MacDonald’s summation of the view of a contemporary audience. Is this all that’s going on on stage to lead us to consider theatre not an artform? a camp theatricality? which, according

initial notes without the slightest gloss towards a virtual ontology of theatricality, with paintings by Vladimir Dubosarsky & Alexander Vinogradov

– Glory to the Heroes of Conceptualism, Vladimir Dubosarsky & Alexander Vinogradov A new theatre or a new (non-Aristotelian) interpretation of the theatre; a theatre of multiplicities opposed in every respect to the theatre of representation, which leaves intact neither the identity of the thing represented, nor author, nor spectator, nor

counter intelligence

If I was more tech-savvy I’d have a counter somewhere here to show the cost of that diplomatic mission called The War on Terror. The US has, according to Con Coughlin (Telegraph Group), so far paid $700 000 000 000 to occupy Iraq. A figure which rhymes with that

Mercury Rev

– image courtesy Mercury Rev Mercury Rev, the great camp “best band in the world,” operatic, and erstwhile band of nature-mystics who sometimes resemble superannuated partypill poppers, releases Snowflake Midnight and makes the album’s companion, Strange Attractor, available for free download on signing up to their mailing-list. Which is interesting

WHAT RECESSION?

noting also that Deleuze’s ethics and his politics follow from his ontology – as they should do – and not the other way around

if Deleuze is able to depart from the philosophy of representation characterized by the primacy of the concept, then this is because he discovers intelligibility in the aesthetic itself, in the very fabric of the given, in the form of the differentials of perception. – Levi R. Bryant, Difference and Givenness:

House, Te Atatu