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a study in necrosis, or a shattering of the vessels [SheviretHaKelim]

For as long as I can remember I’ve associated representation with death. Between the picture and the word, and at their divergence in the image and the symbol, it’s always seemed to me that the word, the symbol, is a special case. As if the blackening of the

days 18,19, 20 @ sf

day 18: Anja solo, Jeff reading. We invest the precepts. We cannot approach dance at all like we do acting. In fact, the dance changes everything. Or everything we have hitherto found changes on its way through this other discipline, rigorously, anexactly. day 19, a quorum, for the first time

a monument to sensation, I am the cheese

we may say that “percepts” are related to the passive selves involved in the synthesis of living presents at all scales of reality, in the organic and inorganic world. Even though these presents are constituted by “contemplations” or “contractions of past and future instants,” they do not refer to a

and then K. played bass like Mingus

– Charles Mingus, April 22, 1922 – January 5, 1979

towards day 18 @ sf, part 2

The RJF project is a laboratory for making soap. A special kind of soap. The pieces that comprise the working script talk about soap and processes. For example, in the ‘renderings’ (pages opposite) dealing with the historical figure of Francis Bacon, they give instructions that reflect lines of enquiry and

dept. of corrections verses, i.e.

this is Matthew Barney. Notice how Matthew has two Ts. Notice how Barney is spelt as in Rubble. As in purple dinosaur costume. I love you. Give the man a bone. Yabba dabba. A mistake dogs my entries on RJF @ sf: Barnie spells his name thus, Barnie. Going forward.

days 16 & 17 @ sf

day 16 came and went without the numbers we needed to have the rehearsal. day 16 was deferred to day 16. In the event, day 16 was very odd. Paul sat at the piano, Erika on a barstool: If there were a style we’re making a pastiche of, what