Blow off all your fun socks. Just PUSH! Make fierce pH and totally gutshaft straight through gelatinous copper. MHzzzzzzzzzzzzzah! Lose your unknown cargo unto the swirling quotidian-circuits that peristaltically convulse the gastro-investigative wambuterus of þan-þan.
þan-þan. Unpasturised horse-class autogenerative REXLLA Plusigone [STATIC] fermented Can-Con dolloromoburþing a relentless low-end patina of vagrant WeRLtd-certified New Forrest Mall mondegreen. þan-þan. Pressure-farmed parasitical panarchic pool of future-dead mould-casts, auditory pareidolia divination, defibrillated [userexperience] and compurgation swarms topped with a steamin’ hot speziality SCOBYGrandeu®.
PUSHH! Beaver-gutslammin’ Oh [UX] Henry! vending phenomenon that faithfully reconstruct all traces of deuterocanonical clickbait ever left in mash by warpy prongs. PUSSSHHHHH! Bloody-edge WrinkleTech™ Can-Crock Pots that put a donk on all ylemmy stick-craft memes and smash the basal buttons of even the grubbiest gossamer silicate dermis. Gyeah!
REDUCE! Engorge the inevitable reversibility of this spore-bearing crescendo by playing the sous-chef vainly attempting to remove the cous from the cous-cous. REDUCE! Redemption by re-viewing review of redemption of Amazon CAD$50 Gift Voucher Redemption Review.
Culture lives; here! gYEAHHHHHHH!!
The Pan-Pan Myth-System (or Psychosis as Method)
What fresh heresy is
this? Is this a joke?? Will no one stop them? Where are the guards, cops, bailiffs,
etc, etc? Has the publisher no self-respect? No editors and censors or sense of
186a Deptford High Street, SE8 3PR London, England
Exhibition continues 30th March – 28th of April
@baojiaxiang, Scrabulous Anomaly in the Re-write Department, Confraternity of Neoflagellants, Department of Decay, Lewis Den Hertog, Plastique Fantastique, Bianca Hlywa, AGF HYDRA, Marija Bozinovska Jones with MBJ Wetware, Natalia Janula, Alexandra Koumantaki, Peter Lee, Christopher Macinnes, Piano Princess, Hannah Rose Stewart, Marta Stražičić, Tea Stražičić, Theo Triantafyllidis, Jennifer Walton.
Whale Fall is the carcass of a fetid dataset by 19 artists working across digital media, installation, performance, fashion, music, film and theory-fiction. At Gossamer Fog, it is remixed and presented as a site-specific film installation.
It is a project by Most Dismal Swamp, an experimental art platform and record label simulating and exploring a contemporary ecology that has come to be defined by the hallucinatory entanglement of multiple logics, systems, temporalities, and realities: a mixed-reality paradigm; a pervasive, horizonless swampscape.
Whale Fall focuses on the diverse bodies emerging from and inhabiting this ‘swampscape’, and how they might pose challenges to orthodox conceptions of personhood, intelligence, corporeality, and life. Do these categories perhaps even harbour assumptions that erase difference and confine the possibility-space of human social, ethical, technological, intellectual, political development? In other words, might an uneven and combined heresy (a revision of the human) possibly emerge from the somatic mutations and social transformations native to the swampscape?
A version of Whale Fall can be watched online at www.mostdismalswamp.com. And a digital release of the music by Jennifer Walton featured in Whale Fall, entitled Winged // Dislocated will also be available via Most Dismal Swamp and across all major streaming platforms.
This exhibition has been made with support from Arts Council England.
Most Dismal Swamp is a mixed-reality biome, an art platform, a multi-scalar mystic fiction, a forecasting laboratory, a long tail, a transitional ecosystem, a party, a cognitive scaffold, a bad dataset, a curatorial MMORPG, a memeplex aggregator, a planetary weirding studio, and a record label.
It is a model for parsing, navigating, and elaborating a Dank Enlightenment: globally variable synaesthesia across multiple and simultaneous dimensions.
Artists in the City: SPACE in 1968 and Beyond
Edited by Anna Harding
Designed by Modern Activity
Published by SPACE (Art Services Grants Limited)
Distributed by Cornerhouse Publications, HOME, 2 Tony Wilson Place, Manchester M15 4FN. Price £19.95
In celebration of SPACE’s 50th anniversary, a display in the project space presents previously unseen material from SPACE’s archive covering the years 1968-75 as well as photographs of early events and studio sites, capturing the founding years of SPACE and AIR, the Art Information Register which was the sister organization to SPACE. This material forms the basis of the book Artists in the City: SPACE in 1968 and beyond to be published in March.
The book launch event is set for Saturday 17 March, followed by a panel discussion with selected contributors at Whitechapel Art Gallery on Thursday 22 March.
Neil Mulholland – The Unlearning Organisation: Cultural Devolution and Scotland’s Visual Arts 1967-2017
Building on primary research in CCA/GSA’s Third Eye Centre archive and interviews with key stakeholders, this chapter elaborates the ways in which visual artists based in Scotland developed their own civic infrastructure in tandem with the devolution of state arts patronage from London to Edinburgh from 1967 onwards. It demonstrates how the Keynesian arms-length principal inherited by the Scottish Arts Council (SAC) generated a productive tension with nascent Artist Run Initiatives (ARIs) in Scotland. With limited state support, artists successfully developed and ran their own platforms while the Scottish Arts Council founded and led more generously funded (competing) national and civic arts organisations.
Realising Tom Nairn and Bob Tait’s vision of a Scottish International, Scotland’s nascent ARIs bypassed official Scottish and British arts bodies, finding a blueprint and network for their activities in ARIs such as SPACE (London) and PS1 (New York City).
As a means of mapping means of production and systems of distribution over the past half century, the chapter presents snapshots of organisational change at pivotal moments in the devolution of the arts in Scotland: 1971, 1979, 1992 and 1999.
These case studies provide a basis for critical analysis of the devolution of the visual arts since the reconvening of the Scottish Parliament. Following political devolution in 1999, Scotland’s Governments have revoked JM Keynes’ arm’s length Patron State model in favour of the New Labour experiment with Structuration and creative economics that is Creative Scotland. Throwing SAC on the arms-length-bodies bonfire that has raged across R-UK, a centrist ‘creative economy’ model has been accelerated by the SNP.
In some respects, post-devolution Scotland is less devolved than it was in 1994 and, also, less democratically accountable. The chapter proposes that the Scottish Government may best unlearn the existing Union State apparatus by adapting the distinctive model of collaborative advantage that artists have developed to successfully govern their activities over the past 50 years.
“I am out of the office with intermittent access to email. I’d love to help you, but…
Sooooooh…. where are we at? It’s been a while. Let’s call it like I see it. I didn’t leave mergers and acquisitions, they left me. I’d wrongsided the demographic (‘cocktail of misanthropic emotive states’). My capture was fading. I was losing bandwith. I didn’t leverage that ‘unyielding integrity’, you got me? Look, this is who I was meant to be. Eye that shalt not be swayed by fear. Accumulate. Just a wolfblood. Never missin’ out. So this is all I need to be, just let me transform. Drinkin’ Ritalin’ LOL!
More than anything I yearned for a little time, just to assess and mitigate immediate impacts, to develop a high-level overview that’d really frame the conversation. Sure, we all need process, some fast 540-degree thinking, but what you people all seem to really want is something that simply lets you return to the wild. Not ‘not new but neo’, but narcissism nouveau. Loop back. Sit by fire in the ancient way. Honour rich heritage. Humble and open. Laverbread with cockles. Re-strategized emotional research. And so, I entered on the deep and savage way.
Linkedin indicated that I was receptive to an offer. I pounced on the first with all the wholeheartedness I could stomach. ‘Lead Attentiveness Evangelist’ for some anonymous oracle who spends most of its days on the fruit machines at the Accelerando Four Seasons (never burn bridges. Today’s junior prick, tomorrow’s senior partner). From the get-go I wasn’t just living the values, I was the values. Sprinkling a little of my magic. In this space, I call to thee. This is my will, So Mote It Be.
It was all cascaded through FaceTime: “Breathe in (1,000,000 Rupiah), Breathe out (1,000,000 Rupiah), Breathe in (1,000,000 Rupiah), Breathe out (1,000,000 Rupiah), Breathe in (1,000,000 Rupiah), Breathe out (1,000,000 Rupiah), Breathe in (1,000,000 Rupiah), Breathe out (1,000,000 Rupiah)… Slowly open your eyes.” Look, you, I handle blot ritual by any means necessary. I do not let personal feelings restrain. Strong will of mind. Confidence to succeed. One candle of color, will make them accede.
Reputational damage aside, never had any insecurities to lose, completely lucid. Looking backwards into myself. There’s no reflection in this mirror. And so, you know, nothing to worry about. Got all of my ducks in a row. “My life didn’t please me, so I created my life”, Coco Chanel!
And pretty soon enough I was suffocating from all the fucking holism. Gimme some prudence, some self-reliance, some granularity: not everything is connected! But, turns out doing a little re-branding work on the self does wonders for improving one’s marketability, maximising labor potentials. It appeals directly to the kind of ‘emotional intelligence’ that buys a sincere product just to feel ‘different’. Earth, grass, trees and seeds reveal the brand to suit their needs. As Age ordains and Birth concedes, all they shall lose are my proceeds.
Sooooooh, one of my interns spends a little me-time at a fuss-free sacred woman intensive working hard on how the market views my ‘feelings of affectivity’. Time out from endless pot-pourri. OMGGGGGGGGGG. Voyage, voyage. Esperanto soundtrack. Days of our Lives photography. Learn to tune yourself out. Recede. She ‘notices’. Seigfried’s milkweek, cetipede, flaxseed, ganymede, poppy seed… She is colonically irrigated by a mesopagan idea shower. There’s an erupting superabundance of value, an exuberant flowering of unwaged energy given happily, enjoyed and joyfully exploited. Intercede, proofread mortgage deed, tweed-greed, overfeed white bead, lightspeed title deed.
ATTENTION. After just one week, my affectivity ratings are going through the roof. I dispatch another succubus from the typing pool for some daily affirmations that win me even more hearts and minds. I can see at once the immense potential, my interns’ authentic passions transubstantiated as capital through the power of repeating words as often as they feel is right. The vernal equinox is happy to offload and govern more than 78% of my workforce’s emotional labor, keeping one ahead of one’s peers by promising everything else a fuller, better life.
I settled my self into this, actioned it. Transubstantiated all my assets as a willow sapling in the throbbing epicentre of the Bay Area. It has its own occult blog that updates on the half hour. And also in addition this leaves my fingers free to get on with architecting a franchise of Druid-friendly meeting venues and retreats. Psychoactivity Center for Responsibilization: remodelling today’s whirling dervishes into tomorrow’s leading prosumers. The brand ID is exquisite: a snow white cross resting quietly on a snow white background. Gaian heir apparent of Euroluxe Martini ads (anytime, anyplace, everywhere). I have fun doing this. Getting it through the pipeline. But, at close of play, I’m not doing it for fun. Good luck!”
Centre for Medieval Studies, Lillian Massey Building, 125 Queen’s Park, University of Toronto, Toronto, Canada
DAY 3: SUNDAY, OCTOBER 11
Un/Session 6. Mash Notes
Co-Organizers: Helen Burgess (North Carolina State University) + Craig J. Saper (University of Maryland, Baltimore County)
Flâneur: David Gersten
*This un/session will run all day Sunday, Oct. 11 in the Great Hall, Centre for Medieval Studies, The University of Toronto, Canada.
We have long participated in signed or anonymous declarations of love and desire. Adderall 30mg even in our neoliberal institutions, peculiarly bloodless forms remain: the corporate pitch meeting, the grant proposal warped by our understanding of what the other (funding agencies) “wants.” Screw that. As Roland Barthes declares, “What love lays bare in me is energy.” This will be an online/offline un-session conducted all day Sunday, Oct. 11 in the Great Hall, Centre for Medieval Studies, featuring participants entering into the lover’s discourse, with documents both electrical and tactile. Updates and online components of this session will be found HERE.
Helen J Burgess (North Carolina State University), “MashBOT” (A twitterbot. With printer.)
What would a bot do if it could write a mash note? Let’s ask it. This project will craft some handmade lovebots on Twitter, and pair them with a small thermal printer.
Craig Saper (University of Maryland, Baltimore County), “TENT–a–tive Vision(s) for an Electric [Kool-Aid Acid] Press” (A manifesto.)
There is already a consensus in academia of the main values founding our Electric Press project in collaboration with punctum books. The scholarly (or creative) value is not determined by mode: printed on paper no longer the privileged mode of delivery. Major scholarly organizations and associations have constructed guidelines for peer-review and legitimacy of electronic and multimodal publications. Multimodal projects can also make available new tools, perspectives, and types of knowledge. Multimodal book-equivalents are still part of the history of the book and printing. Once we agree on these foundational values, then the next question is what specifically do we intend to publish. This paper will spend the majority of its time establishing the aspects of Electric Press’ focus. In general, that tentative focus of Electric Press has two general criteria. The works published will: engage in experimental research methods; explore the shift from print-literacy to electronic/Electracy rather than remediating the advantages of the printed-on-paper book in a pdf or other form that mimics and expands the book. The ethos of the Electric Press can be summarized by the revised slogan from The Electric Kool-Aid Acid Test (“Drop Out & Turn On”): “Drop In & Boot Up” . . . and to do so, you’ll need a TENT-a-tive vision.
Haylie Swenson (George Washington University), “Philia” (A radio podcast.)
I propose, as a labor of love, presenting my “paper” in podcast form. My dissertation considers the intimacies that arise at the intersection of human and animal death across pre-modern and contemporary literature. My podcast will tell the story behind the story, as it were; it will describe the emotional and tactile encounters I have had with animal vulnerability that underlie this project (an invasive insect I saved from being squished on the Metro; a fox that surprised me in a moment of contemplating my father’s illness; a baby mouse that died in my hand). Using the intimate medium of radio, I will tell these stories as a way of considering the fine line that divides the personal and the scholarly. A love letter to both radio storytelling and scholarship, my podcast will explore one possible, underutilized outlet for telling the stories — the sorrows and passions, the serendipitous encounters — that fuel our academic work.
Leslie King (Radford University), “Erased – Memories of a Forgotten Daughter” (A handmade book and digital counterpart.)
The memories come and go. Sometimes they manifest in a distorted form. To deal with her mother’s memory loss and how their relationship is changing because of this, Leslie King combines the creation of a handmade book and a digital publication that deconstructs it. The three-dimensional book represents tangible memory. The book is formatted as an origami blizzard book, which holds in its pockets King’s miniature drypoint etchings, words, and event proof in the form of photographs, receipts, and other odds and ends. In the book’s two-dimensional digital representation, the subject becomes distorted through its flattened nature and eventual pixilation loss, like memory, as time goes by.
Norman Hogg and Neil Mulholland, Confraternity of Neoflagellants (Concordia University + University of Edinburgh), “Thekarites (2014)” (A slideshow.)
Thekarites is a theory-fictional account of the life and death of the artist Paul Thek and his ‘Technological Reliquaries’. In this re-telling, Thek continues to confound the contemporary art scene after his death. Though his processual rituals Thek enacts a dismantling, relic-ing and radical redistribution of the self that floods the sensual hyper-economy with tiny Thekarites — clusters of affective agency or desire. Thek’s radical little ‘me-machines’ then lead a revolution from within the ‘internet of things’ pathing the way for the West’s ecstatic embrace of an animist future.