whoa http://www.timecube.com/

At about the time Cendrars began to bring African motive and jazzlike compositional patterns into his writing, the Zurich Dadaist were organizing their notorious 'soirees' at the Cabaret Voltaire. The program for 14 July 1916 announced "noises, negro music (trabatgea bonooooooo oo ooooo)." Hugo Ball and Tristan Tzara beat on drums and intoned invented 'negro' chants, simulating a return to wild, purely rhythmical, presyntactic forms of expression presumed to be typical of black cultures. These racist diplays - stereotypical savagery recast as scandal and poetic regeneration - were short-lived. But the influence of black culture on Tzara's 'poemes negres' (most of them unpublished during his lifetime) was more enduring. He was a more critical collector than Cendrars, drawing on the best-documented sources of his time, especially the respected Swiss anthropological journal Anthropos. Transcribing African and Australian aboriginal myths and chants, Tzara used scholarly word-for-word translations rather than smoothed-over, "literary" versions. His literalism resulted in obscure, syntactically disjointed "poems" that, like the language experiments of the Italian and Russian futurists, estranged and reassembled basic linguistic components. Whereas for Cendrars black cultures were a source of poetic inspiration, for Tzara the promised renewal presupposed a destruction of civilized literature and proper forms of discourse.
http://www.socialfiction.org/?archive=current/archive_peyote.html

okay

Thus, resistance, and deconstruction itself, reinstates a larger totality wherein order 'always already' reigned, by the very role it is playing in remaining to play its role as a designated resistance. This is quite evident if we look at deconstruction itself in that rather than opening up new radical possibilities, it tends to subsume all texts under an 'archi-writing,' that, though it defies the dominant logocentric metaphysics of presence, it essentially is analogous to the concept of the law. Or, in other words, rather than creating a situation wherein meaning is impossible or where meaning is completely manipulatable, as it is usually thought, deconstruction inscribes them all (using 'problematization marks') under the law of the plural— a complete totality of meaning that does not allow for any critique except those forms of resistance that have been designated by the conceptual order it creates.

bad german

this is for Taubeneck.
Wenn man einfach eine vertikale Demolierung in der horizontalen Matrix ausdrückt, bleiben sie in den Relationen von Individuation oder von Festigkeit in Bezug auf diese Oberfläche. Wirklich zur Debatte von Horizontalität, sollten wir nicht nehmen; Aspekt von dem, das er kann kooptieren: wir man müssen gewordenes Negativität sein, müssen vom horizontalebene des positiven horizontalen Niveaus ausschließen müssen, es feststellen. Um ein Ausdruck Giorgio Agamben auszuborgen, ließ uns Muss das dieses „werden selbst Eigenschaften „positive Identität in ihrem Mangel an den spezifischen identifizierbaren Qualitäten zum zu verfehlen und das positive Königreich von Horizontalität folglich zu widerstehen, um in der Lage zu sein. What' s mehr, „, was Eigenheiten“ in reines collectivities1 zusammen binden kann, dessen einzige Eigenschaft, gegen die Uneinheitlichkeit der Deleuzian Vielfältigkeit, ist, dass sie dieser Kollektivität gehören.

this is me.

http://www.sendspace.com/file/j4a8re
“Video Projection on Spacialization (for Dan Graham)”

Proposal
A simple arrangement (right now I'm envisioning it in the AMS SUB gallery space, but it could technically be placed in any relatively open location, with some minor modifications; Given funding, this project would be more successful with more space to manipulate, like in the Belkin for instance):
1.A video projector and DVD player
Facing the wall (painted white), looping my film [called “Untitled (Robbins Barstow)”] from a short distance. In a non-protected space, if it was outside the gallery setting or otherwise unsupervised, the projector and DVD player would have to be placed in a video lock box of some kind, such that projecting could continue continuously.
2.An artificial wall
Erected in the center of the gallery space behind the projector (this could simply be a single layer of chipboard but a full 8 inch false wall would be best); alternatively, this wall can be substituted for any screen or curtain that will demarcate the space behind it where the video will be playing.
Another possibility would be to re-site the installation into a more appropriate space with a more narrow entranceway and without windows (this would be the reason for displaying the piece outside the gallery). As long as the third element could effectively be installed, this element can be ignored and is secondary.
3.A false ceiling
of simply construction; the easiest method would be to drop roofing cage and use ceiling tiles or suspend it via wires. The ceiling would have a slight but noticeable pitch towards the opposite wall from the constructed wall, such that it had the reverse proportions of a typical black box/movie theatre: with a large back wall and small front wall. The ceiling should be hung low enough such that viewers will be uncomfortable the closer they move to see the projected video. Viewers should be able to sit with the ceiling just above their heads in the front row, but stand when they enter.
4.Chairs will be set up in two or three rows; if viewers sitting in the front row will effectively block the projected image with their bodies.
5.Two microphones will pick up diagenic sound from the audience, picking up the sound of their movement and chatter (the video will be silent). This sound will be replayed on two speakers after a 25 minute delay to correspond to the videos length (approx. 30 minutes). Eventually, the noise inside the space will form a continuous texture of loops and new sounds, such that the viewers, if they stay long enough will hear their own voice but otherwise will only hear those that watched the video before them.

Space and Otherness: an artist's statement
Treatment of the other is a vital component of modern liberal democracy. This advocacy for celebrations of difference and inclusion at all costs has extents, of course, to contemporary neoliberal postmodernism, and has been amplified in some discourses (even those that one might expect to challenge such notions of the dominant state, post-structuralist philosophy and feminism). However, modern and postmodern treatments of the other vary significantly.
Modernist treatment of the other typically revolved around a concept of democracy which heavily emphasizes consensus and therefore inclusion of some kind or another. However, modern democracy itself is the example of bureaucratic biopolitical agent par excellence. So despite the well known notions of equal liberty, the people of a nation, etc., the modernist democratic state solely regards the other [the disempowered, the marginalized, etc.] purely as a subset of the total population, as mere bodies at the periphery of visibility, and as such at the periphery of its concern.
Perhaps at this juncture it would be useful to integrate two conceptual figures that have helped me think of the treatment of the other in modern democratic states: the fool and Kafka's hunger artist.
The first, the fool, which has its origins in medieval monarchies, but for my purposes here will be defined as the figure directly appended to a sovereign, the other-included.
The second, the hunger artist, derives from Kafka's eponymous story, and stands in direct opposition to the fool as that other-which-cannot-be-included, for it stands outside of the structure of inclusion itself. In other words, since the hunger artist survives solely as an externality to the world of culture in the story, he cannot be recognized as such, as an artist, for that would destroy the illusion that the other-included was itself already the periphery and that no externality as such existed. As Kafka's story demonstrates, this externality however often resurfaced in the modern state, contrary to the dominant ideology of biopolitical democracy.
So to return to the previous discussion, we can see that the majority of the marginalized other was expressed as the figure of the hunger artist, but was regarded primarily by the modern states as the figure of the other-included, the fool. This configuration is the dominant method by which the other., in the form of pure externality, is 'erased'.
As becomes immediately apparent from the two figures, fool and hunger artist, both of which are defined by their bodies, the other is quickly reduced to a state of bare life, and as such can be reduced to the figure of homo sacer. The fool historically speaking, literally has taken this role: the other appended to the sovereign whose life is constantly endangered since he lives at the whim of the court. The hunger artist of course is the true figure of bare life, because his life itself, his body wasting away, is the sole definition of his character. Homo Sacer is the dominant figure of the neoliberal postmodern state. The biopolitical democratic system continues uninterrupted but a new recognition of sovereignty embedding in the consensus-driven democratic process has been fore-grounded. Those subsets of the population, represented by the figure of the fool, now become central to the ideological position of the state, that depends on the maintenance of an identitarian classificatory system. So the other-included, on the basis of their being placed into this classificatory schema, are given recognition and power: they metaphorically take the position of homo sacer, playing the king (or Obama playing president), while the bureaucratic biopolitical mechanism, which in fact guarantees the exclusion of the subsets of the population to its periphery, is maintained. As we have discussed in class, as the technologization and media-saturation of the discourses increases as they become embedded in neoliberal network structures (and as such, become more and more disembodied and despatialized), the emphasis for inclusion, paradoxically, becomes embodiment itself. This is directly the inheritance of the underlying biopolitical mechanism of the neoliberal state.
In regards to my piece, perhaps it would be beneficial to discuss another an essay that was important in the nascent periods of my conceptualization of the installation. The essay, entitled “'Loser wins': Outsider art and the Salvaging of Disinterestedness” by Julia S. Ardery, examines the emergence of the new field of outsider art in the mid and late 70s in the US, in regard to what she calls “the ethos of disinterestedness.”1 Invoking Bordieu's concept of disinterestedness as the “inversion of ordinary economies” of specialization, Ardery describes how technologized artists (those that had gone to art school, had commercial interests etc.) could only gain credibility by masking that technology itself, as the old modernist modes were being questioned and devalued. Thus they posed themselves as the retainers of the modernist principles, reasserting authenticity and originality, in a word, disinterestedness, by searching out and promoting 'outsider artists' (art outside art), thereby reaping their credibility gained through honest production without training or desire for money through association. These figures, originally deemed essentially invisible by the modern democratic state, as pure externality, mere bodies, were, in the typical reversal of neoliberal postmodernism, reinstated as the central force for the maintenance of modernism itself, proof of the endlessly creative substratum of American art, proof that although perhaps rough and uncouth, art literally came up out of the soil (i.e. through the miserable body of the tormented artist) and was not a self referential, conceptual activity.
Thus for the video that forms the centrepiece of my installation, “Untitled (Robbins Barstow),” I metaphorized this structure of appropriation to directly foreground it: I utilized two 'found' film works by the amatear filmmaker Robbins Barstow, showed in conjunction, cut to an alternate timing which beyond my choice to frame them together (and to show them at all, for that matter) was my primary tool of manipulation. Both films foreground this inverted economy of bodies and technology, which I hope will resonate with the audience in their uncomfortable position in the cramped and strangely constructed theatre. However, my wish is not to continue the action of emphasizing embodiment via a mediated technologized means, but as the physical nature of the theatre structure demonstrates, a truly physical structure of control, highlighting the importance of the figure of homo sacer, and bare life.
In the darkness and discomfort of the theatre space, I don't invoke the modernist dream of an audience united by a shared cultural background, but in fact the opposite: the spontaneous realization of a community that extends across cultural difference of the inconsistent multiple that the audience enacts, immersed in a diagenic sound environment that they have the power to manipulate. In fore-grounding the link between the techno-network and the embodied other, I hope to allow new alternatives to arrise by a renewed spatialization that destabilizes homo sacer as other by creating a close environment for an audience to identify and dis-identify with the represented other.

Ode to Devingt by Allen Ginsberg

Marc Devingt, your absence forms a void.
The best minds of our generation destroyed by madness, starving hysterical naked in the streets.

Dreaming, in the absence of electricity.

Breath transmuted into words.

My son! My son! the endless ages have remembered me! My son! My son!
Time howled in anguish in my ear!
My son! My son! my father wept and held me in his dead arms. 

Magnetize this howl with heartless compassion, destroy
this mountain of Plutonium with ordinary mind
and body speech,
thus empower this Mind-guard spirit gone out, gone
out, gone beyond, gone beyond me, Wake space,
so Ah! 
I am talking to myself again.

http://www.youtube.com/watch?v=_qWIlgemp9k
http://www.youtube.com/watch?v=yy5THitqPBw
http://www.youtube.com/watch?v=sGoqzHD2ppA

On Why a Rabbit, Human and Rat Transferrin Might Have A Major Saddle Nose

The major saddle nose deformity leaves a patient with an obvious aesthetic deficit as well as an equally disturbing functional handicap. Reconstructing the collapsed dorsum and tip and simultaneously restoring nasal function present a formidable challenge which has elicited a wide variety of solutions ranging from the use of a toothbrush handle to split calvarial grafting.

As Murakami et al pointed out, the "variability exists to a large extent, because the saddle nose deformity is not a single entity but rather a spectrum of abnormalities." A pet store in Connecticut received a shipment of products last week. Products, meaning rabbits. Sentient nonhumans for sale. The rabbits were produced, of course, by a rabbit mill that supplies "pet" stores with live creatures whom humans will purchase without having any idea of the conditions they were produced under.

Or what happened to their mother, as an initial step in the investigation of the structure, evolution and developmental regulation of the glycogen phosphorylase gene family, we have isolated partial cDNAs to rat, rabbit and human muscle phosphorylase mRNAs. Sequence comparisons of these cDNAs in regions that encode portions of the enzyme located near and encompassing the C terminus show that there is a high degree of interspecies conservation of structure in this region.

Attempts to categorize saddle nose deformities are useful; however, they often lack the simple impact and clarity of the pre-operative photograph. Moreover, the categorizations have not led to a uniform approach to this complicated problem. Nevertheless, Tardy's classification of minimal, moderate, and major saddle nose deformities provides a helpful framework for discussion of reconstructive options. Minimal deformities demonstrate a supratip depression of 1 to 2 mm and are easily corrected with cartilage or fascial overlays. Moderate saddle nose deformities are characterized by a significant loss of dorsal height as well as columellar retraction and broadening of the bony pyramid.

This time of year, the demand for rabbits peaks because Easter is around the corner, and what better way to celebrate the resurrection of Jesus Christ on the third day after he was crucified than to buy a rabbit. Whom you will put in a cage for the rest of her life, without a fraction of the stimulation she should have. And who won't be able to do what comes naturally to her.

Conservation of amino acid and nucleotide sequence is high, approximately 96% and 90% homology, respectively, among all three species. In addition, most of the amino acid changes that have occurred conserve the chemical nature of the amino acid side-chains affected. The changes canA major deformity demonstrates "all of the stigmata of the moderately saddled nose, only to a more marked degree." In Tardy's opinion, an open approach may be warranted in these cases. We offer one solution to the major saddle nose deformity using a composite allo-implant of porous high-density polyethylene and purified acellular human dermal graft. While we readily admit that autogenous tissue is the preferred grafting material, we have encountered patients in whom this is not an option.k the carboxyl-terminal proline (residue 841) present in the rabbit enzyme and terminate at isoleucine (residue 840). The genetic basis for this difference in carboxyl termini is unknown. However, unlike the other amino acid changes, it cannot be accounted for by a single base-pair substitution.

But back to the bunny in question. He has two noses. The AP calls him "the nosey bunny" and notes that inbreeding or the parent's exposure to pesticides or poisons might be the culprit. A comparison of the 3' untranslated regions in these cDNAs shows that there has been little constraint on the evolutionary divergence of most of this region (70% homology among the three species). I bet crowds of people will flock to see the bunny. And maybe sales will increase. How auspicious for the owner of the pet store, who deals in sentient nonhumans!

There are, however, two repeated segments of DNA flanking the stop codons that are identical among all three species. Similar sequences are found within regions of DNA that contain a variety of transcriptional enhancers, suggesting the possibility that the repeats may be functional.

Deformities in animals who are mass-produced are not new. Nor are they surprising. And it's not cute and sweet that the greed of humans and our obsession with profiting from every inanimate object and every living being on Planet Earth trumps compassion . . . and even common sense.

Major saddle nose deformities typically require more augmentation than stacked septal or auricular cartilage can provide. Additionally, in patients seeking revision rhinoplasty, sufficient donor septal or auricular cartilage is often lacking. Resorption of irradiated cadaveric rib grafts has led us away from this material. Split calvarial bone grafts are our next recommendation for these patients; however, many patients refuse this option. In these patients we have turned to a composite allo-implant of PHDPE and acellular human dermal graft for reconstruction of the collapsed dorsum and tip.

Go to the House Rabbit Society for more on why purchasing a bunny as an Easter gift, or any other kind of gift, and in fact purchasing a bunny in general, is a terrible idea. And go to Make Mine Chocolate! (and vegan chocolate, I hope) for more on "breaking the cycle of acquisition and relinquishment by educating the public about the responsibilities involved in keeping a companion rabbit before a rabbit is brought home."