Friday 24 August 2018
Monday 20 August 2018
Wednesday 15 August 2018
X. To finish the Young Girl
The shell is just one aspect of the organism’s morphology; it is the
aspect most available to study, the dried material secretion of the
gamer. We took up conchology.
Let's breathe together, read together...
A is for front line.
A is for an apartheid of the imagination
A is for violence
A is for agony, agonism
antagonism
agency
autonomy
anomie and
anaesthesia
B is for
bittering
battering
battle
basting
bastard
C is for concatenation, constituent, components, construction
class
culture
comedy
Class War, Colonisation of everyday life, or Capitalism as
Crisis.
Consumption or
the Common.
Commodities and
Counselling.
A is for art, or art into life, not art for the few but art for
the many, practised by the many.
A is for
art=life.
Our front-lines of art affecting life.
Perhaps understood as lifestyle choices.
No beginnings. No points of origin.
Just modulations.
Life that is
styled.
emptying out the people
A is for affiliations
with the fiction of people
with upgrading
with service industry production
the mining of the social
A is for Abstraction, concretely felt
A is for
absorption &
appropriation (read, dispossession)
A is for alternative facts
mythic language of the waiting rooms of living hell
Folkloric horror, tenement fiction.
Narrative models
Postmodernism, I am told, begins with the end of meta-narratives
conjoined to the destruction of social housing
A bitter irony for critical theories of difference
As the common hearth is further dismantled, as boundaries
re-assigned
To regenerate
To cut a ditch in the sky
An augur in the templum
An inauguration of tears
As above so below:
filling up, filling in
giving up, giving in
given out
tendered
Pyramids and blue haze;
Raptures of the present.
Bettered? Bittered? Battered. Rollicking, roiling, flavoured.
Indelible taints.
Currying favours.
Couriers of bad faith.
Mining cultural capital carries flavours.
To regenerate.
To reduplicate
Socially assigned disposability.
Assigned non-viability
Consigned to invisibility.
Dumps.
Dumps.
Dumps.
Wallowed pathology of the social as daemonic excuse for capital
acquisition.
Fairy logic of assigned governance.
Fathers save us.
Filial betrayal
Kinship and fam.
Family and famine. Famished.
Yet
Untouched, untouchable
Liquid mobile capital brand management
Capitals as entrepreneurial brand without social reproduction
considerations
Pure abstraction
A riot of possibility
Whose right to the city?
Upgrading as continual soft conflict
From austerity to perverted promises of communal luxury
How might our bonds be figured?
Bondage and the pathology of the flow.
Free flow.
Toilet mentality.
A politics of profits through care.
Disinvestment. Reinvestment.
Cycles.
Frontiered. Leveraged.
The End.
Tuesday 14 August 2018
First past the post
LMFS
is the name of the collaboration between Louisa Minkin and Francis Summers. We
have been making banners sometimes since 2012.
Recurring
themes include: agitation, solidified memory, forgetting, allusions,
technologies, image-text relations, poetic dispersal and concretion, social
art-work as patchwork archaeology of failed forms, the lumpen-vectoral…
Some
methods: Historical research, sudden leaps, churned seas of associations. The
thud of the rock from our ancestors hitting the back of our heads, smelling the
chilled sweat of the sublime as it slumbers in a cardboard box at the amazon
depot [thanks Tyler Coburn]
We
think about chalk on the fence, the impermanence of the public sphere…
We
<3 the poor image.
We
think about networks, borders, behaviours.
We
ask along with Vilem Flusser; What does it mean to see an image, to respond to
it as a thickening feedback procedure?
Subscribe to:
Posts (Atom)