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was goin on?

– Melancholia by Jacek Malczewski … from the darkness, the very subjectivity, in which I’m sunk. The battle rages. Meanwhile, it’s all the rage. Observed suspended and arcing towards the viewer, stopped briefly, to sit on a window-ledge, continuing, growing old, younger – dying in the middle – sweeping, a horde,

GUSANOS ii

memories of war, rape, near-fatal accidents, and collapsing buildings aren’t like other memories. They are kept separate in the mind. I remembered the images from PET scans of PTSD patients and the coloured highlights showing increased blood flow to the right brain and to the limbic and paralimbic

national point size & the balls to use it, or living with prolepsis, or how I was pistaken, before & after: pretentious notes on Tristan O’Shannessy’s Kindling, poster art, presently a work in progress

Kindling sounds childish, as if it were the diminutive form of a kind, a pet-name for a unique kind, not German at all. And nothing to do with fardels or faggots. In Kindling, an exhibition of graphic works, it is this sense of the graphic and graphic sense which

the case for innovation in dissidence or contemporary yurodstvo

– Joseph Stalin, 1878-1953, the pin-up of the purges They say that I stood too close to power. An optical illusion. – Dmitri Shostakovich, quoted by Solomon Volkov in Testimony, in Ian McDonald, The New Shostakovich, new edition revised by Raymond Clarke, Pimlico, London, 2006, p. 2 Don’t try

but the numbness is new?

Taken together, the titles in the notebook testify to a great and fundamental confidence in bourgeois culture. I do not ever remember asking myself whether I should go beyond Kafka, Frisch, Johnson, Bachmann, and Lenz, and read experimental literature, literature in which I did not recognise the story or like

abstract particularity of the ground and molten underground

the fixity of the natural material world is the ground of the fixity of the social world. For liberalism, fixed and knowable nature guarantees hierarchical order and grounds representation and truth. – Dorothea Olkowski, Gilles Deleuze and the Ruin of Representation, Uni. of California Press, Los Angeles, 1999, p. 5 Since

please explain, Simon Taylor, the misunderstanding that has led to the cancellation of study for a passion @ City Art Rooms without causing it, without having the peripheral effect of closure, and returned the two worlds, the one vital, the other visual,

I am perpetuating the misunderstanding. Continuing to misunderstand. Perhaps wilfully. A determined misunderstanding, then, in my position that the gallery, City Art Rooms, withdrew its support from my production of study for a passion [see previous post]. Young Han Sun, curator at CAR, in an e-mail circulated to parties