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Showing posts from January, 2017

oudeís - talks of unnamed worlds, without life yet possessed by some unliving, sentient force, whose spheres have drifted to the most distant regions of outer space; or, more properly, into the nothingness that reigns illimitably outside of space, where it has been speculated that no laws of nature can exist. Gigantic, otherworldly graves abound in rhyming descriptions of lifeless geographies

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oudeís, the spiral consilience, gnOme, 2016.
read it at Google Books


This chapbook starts by directly addressing humankind’s connection to the vastness of outer space, and sets forth the premise that death (as a permanent state of being) is of the same substance, or soul, as whatever exists outside of the Universe. It then veers off on a tangent into stranger territory, and talks of unnamed worlds, without life yet possessed by some unliving, sentient force, whose spheres have drifted to the most distant regions of outer space; or, more properly, into the nothingness that reigns illimitably outside of space, where it has been speculated that no laws of nature can exist. Gigantic, otherworldly graves abound in rhyming descriptions of lifeless geographies. Monuments, catacombs and buildings, all deserted and of unknown origin, are lyrically narrated into existence deep beneath the surface of the Earth, as well as on and under the surfaces of distant asteroids. Alien cenotaphs resembling s…

Cergat - a truly fascinating, singular work that carves our descent into unknown ‘Earthmare’ terrain. A dark combination of daring and brilliance guides us here, through vast territories of consciousness and vision (those of the barbarian, the exile, the sea people). A book like no other.”

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Cergat, Earthmare: The Lost Book of Wars. gnOme, 2017.


cergat.wordpress.com/




In mid-October 1997, two clay tablets marked in wedge-shaped signs, were discovered inside a cave in the Accursed Mountains in Albania. The local shepherds who found them, took the artifacts to their pastor, an amateur linguist and folklore aficionado, who at first glance identified the cuneiform writing as Sumerian. He visited the discovery site and found several other fragments prompting him to further continue his search. In the winter months from November 1997 to February 1998, four more tablets were put together out of thirty-seven fragments collected in the interior of the cave. Six fragments (frgs. 2, 5, 18, 13, 27, 9) did not match any of the partially restored tablets, suggesting that more pieces may lay hidden deeper into the cave. These were not discovered until the end of September 1998, when a landslide revealed a separate cave pocket, enclosing a wooden ark adding three more tablets to the collec…

across & beyond - a transmediale Reader on Post-digital Practices, Concepts, and Institutions

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across & beyond. ed. by Ryan Bishop, Kristoffer Gansing, Jussi Parikka, Elvia Wilk, Sternberg Press, 2017. 


 a transmediale Reader on Post-digital Practices, Concepts, and Institutions

Contributions by Morehshin Allahyari and Daniel Rourke, Jamie Allen and David Gauthier, Clemens Apprich and Ned Rossiter, Tatiana Bazzichelli, Benjamin Bratton, Florian Cramer, Dieter Daniels, Geoffroy de Lagasnerie, Daphne Dragona, Keller Easterling, Olga Goriunova, Louis Henderson, Geraldine Juarez, Olia Lialina, Alessandro Ludovico, Rosa Menkman, Julian Oliver and Danja Vasiliev, Erica Scourti, Cornelia Sollfrank, Telekommunisten (Baruch Gottlieb and Dmytri Kleiner), Tiziana Terranova, YoHa (Graham Harwood and Matsuko Yokokoji)
This collection of art and theory analyzes today’s post-digital conditions for critical media practices—across and beyond the analog and the digital, the human and the nonhuman. The contributions also look across and beyond the field of media art, staking out new paths for un…

Daïchi Saito proposes a personal reflection on language and the image, a meditation that does not strive to theorize practice, but to recount it.

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Daïchi Saito, Moving the Sleeping Images of Things Towards the Light,




Daïchi Saito offers a personal reflection on language and image. Saito doesn't write at an expert to theorize practice, but instead offers a meditation as an observer of what happens.


Moving the Sleeping Images of Things Towards the Light is the first book of Daïchi Saito, director and co-founder of Double negative Montreal collective. Preface by André Habib, professor of film studies at the University of Montreal and a specialist in experimental cinema.

“A confused mass of thoughts, tumbling over one another in the dark; when the fancy was yet in its first work, moving the sleeping images of things towards the light, there to be distinguished and then either chosen or rejected by the judgment.” – John Dryden
I guess that I’m familiar with Daïchi Saïto’s experimental films. I would have seen All That Rises and Trees of Syntax, Leaves of Axis at Café Ex and then Never a Foot Too Far, Even at the Blackwood Gallery.…

Maria Fusco - Combining fact and fiction, traversing scales of distance and intimacy, shifting registers to oscillate between creative and critical modes of engagement, Fusco offers an embodied, performative and imaginative relation to the Pombal Palácio in Lisbon

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Maria Fusco, Legend of the Necessary Dreamer, VanguardEditions, 2017.
excerpt
excerpt 2
mariafusco.net/


'A modest epic written in real-time, Maria Fusco’s Legend of the Necessary Dreamer records some weeks in June 2013 when her narrator went every day to Lisbon’s Palácio Pombal in order to write about it. But 'it', of course, isn’t only the building, but the wraparound sensual act of perceiving. As she writes, I am trying to turn myself into a recording device…. Fusco’s book brilliantly examines what it means not just to look, but to think, feel and remember. Legend expands the bounds of discursion. It’s a new classic of female philosophical fiction.' —Chris Kraus

Legend of the Necessary Dreamer is an excellent work of spatial imagination. Fusco writes one-to-one scale between body and building. Producing space through her critical habitation of the extreme close-up, decelerating engagement, recycling history into atmospherics. A new taxonomy of site-based address.' —

duncan b. barlow - Gilles, dreamer of dark and beautiful dreams, spinner of strange syntax, copper biter, spark shooter, cat chaser, tunnel explorer

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duncan b. barlow, Of Flesh and Fur, The Cupboard, 2017.
www.duncanbbarlow.com/


Wheneven the inner parts of a heart squall with want, calling out a compulsion to procreate, to propagate, to continue the family line with a child, a child—then a child must be had, by any means necessary. But in duncan b. barlow’s Of Flesh and Fur, what was once so wanted twists towards its own toothy hunger, smacking counter slabs and shrieking out the wrong words for a father's love. Squirrels scatter. The coyotes are closing in. There is only so muchmeat.


Of Flesh and Fur is an ancient fable that comes from the not too distant future. Its fevered coyotes worry the bones of fathers who don't have sons, of those who are abandoned and abandon in turn. There's only hunger in these pages, fantasies of manliness that make thin feed. Barlow's spare prose spares us nothing. Read or be eaten. — Joanna Rucco


Part post-modern creation myth, part eerie feral parable, duncan b. barlow’s Of Flesh and F…

Albertine Sarrazin - a cult rebel classic. Fear of capture, memories of her prison cell, claustrophobia in her hideaways: every detail is fiercely felt.

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Albertine Sarrazin, Astragal, Trans. by Patsy Southgate, New Directions, 2013.Patti Smith on the long-lost novel she’s carried with her for almost 40 years.


As if the reader were riding shotgun, this intensely vivid novel captures a life on the lam. “L’astragale” is the French word for the ankle bone Albertine Sarrazin’s heroine Anne breaks as she leaps from her jail cell to freedom. As she drags herself down the road, away from the prison walls, she is rescued by Julien, himself a small-time criminal, who keeps her hidden. They fall in love. Fear of capture, memories of her prison cell, claustrophobia in her hideaways: every detail is fiercely felt.
Astragal burst onto the French literary scene in 1965; its fiery and vivacious style was entirely new, and Sarrazin became a celebrity overnight. But as fate would have it, Sarrazin herself kept running into trouble with the law, even as she became a star. She died from a botched surgery at the height of her fame. Sarrazin’s lif…