DWOSKIN

>>>>>> http://www.youtube.com/watch?v=Hi4PQETsD0k

“He had the look of one who had drunk the cup of life and found a dead beetle at the bottom.” 
― P.G. Wodehouse

DISAPPOINTED

BION

"It appears that our rudimentary equipment for "thinking" thoughts is adequate when the problems are associated with the inanimate, but not when the object for investigation is the phenomenon of life itself"

Jan Verwoert

Experience indicates that it takes interpersonal alchemy to cultivate environments in which artistic practices, reflective thinking and human relations flourish. Working such environmental magic is quite an undertaking, both materially and spiritually. But its not a question of metaphysics - perhaps just a matter of looking around to see if you've got company. In the toilets or elsewhere. You usually do.

"For as Simone de Beauvoir said: 'The body is not a thing, it is a situation: it is our grasp on the world and our sketch of our project.'"

one winter afternoon

without any doubt he was

whatever(first and last)

mostpeople fear most:

a mystery for which i’ve

no word except alive

—that is,completely alert

and miraculously whole;

with not merely a mind and a heart

but unquestionably a soul-

GERUND

standing straight

https://www.youtube.com/watch?v=k7X7sZzSXYs&feature=player_embedded#at=250

union

Peter Weiss

Marat/Sade (1967)

Norbert Elias

http://www.norberteliasfoundation.nl/index.php

Only late in his long life did Norbert Elias (1897–1990) achieve intellectual celebrity, but since his death he has been recognised as one of the greatest sociologists of the twentieth century. He is most famous for his theory of civilising processes, but his ambitious vision for the scope of the social sciences extended to the whole development of human society from its earliest origins, including the long-term growth of knowledge and the sciences. 

His writings extend to such diverse topics as violence, sport, ageing and dying, time, work, art, poetry, utopias and the relations between the sexes. He likened networks of interdependent human beings - 'figurations' as he called them - to a dance: in constant flux yet structured. His approach has come to be known as ‘figurational sociology’, or more generally – because its appeal is far wider than professional sociologists alone –figurational studies.

Sea

http://www.jonathanfarr.com/landandsea.php

Lullaby for Realville

http://www.youtube.com/watch?v=PBnHWv6NUgE

bend over i'll drive

Marlene McCarty

The Woodcutters, Bernhard

 "And as I went on running I thought: I'll write something at once, no matter what -- I'll write about this artistic dinner in the Gentzgasse at once, now. Now, I thought -- at once, I told myself over and over again as I ran through the Inner City -- at once, I told myself, now -- at once, at once, before it's too late."

‘Otherwise Known as the Human Condition’

such a fantastic thing to be able to arrange your time as you please...It just means you are responsible for yourself tpr.ly/f9wH1l

 "What I am anti is this assumption that the novel is the only proving ground—that you are really more of a writer, as it were, if you are writing a novel. Really for me, there is no difference. It’s not like I really want to be a novelist and then there is other stuff I do in between novels, one subsidiary to another. In terms of fiction, the gap between what happens in life and what’s on the page is no greater or less, really, in the fiction than the nonfiction. Because some of it is made up in the nonfiction as well. It’s not like the books are depending for their interest on my having claimed to have some James Frey–like experience. It’s all pretty ordinary stuff. But I’m keen on this idea of—I guess I’d use the term the nonfiction work of art—being judged by all of the criteria used to judge novels."

contemporary african art gallery

Tying the rooms together is the repetition of symbolism and the idea of play, learning and culture. As you progress through each room your thoughts develop, and through this process your interpretation of the knowledge you possess is challenged....


http://www.tate.org.uk/whats-on/tate-modern/exhibition/meschac-gaba-museum-contemporary-african-art

(the water is tepid)

Life shrinks or expands in proportion to one’s courage.

Anais Nin

()

don't expect thanks from anyone but do it anyway

This is my story, I’ve told it, and now in your hands I leave it.
- Marina Warner, From the Beast to the Blonde

Sea stone stubborn the bell rings out in in through the surfaces of the stone buildings and moves through even your sleeping head. Expectations like monsters rise and fall and in the mistaken moments you feel yourself disappear in a tide of shame. The heavy frames move over wheels fast past tall windows. Floor boards and chairs held forwards listening to the silent table attentive heavy elegance. Plants are here and curiosity is growing from the inside out. Although  I find it difficult to remember.

you have a practice
i have a practice

how to look at everything

 http://vimeo.com/39888203

speaking about perception of things that are not necessarily true

little gladys

angry ada

Peter

http://www.youtube.com/watch?v=axucqo_SNLo

auto love (small riot)

who is it for

it is for me

and then for you

TAKE ME OUT

heavy seal
your inuit soul
i have in one hand a light
in the other a bowl
smooth stone body
your heart is heavy

the wooden table holds your cold skin
listening and the light
silent dark weight
i have in one hand a light
in the other a bowl

when she finds a mouth to speak

ACCLIMATISING

SLOWLY

* new action : follow through *

* it is a drama *

poem.

I cannot live with You (640)

by Emily Dickinson

I cannot live with You – 
It would be Life – 
And Life is over there – 
Behind the Shelf

The Sexton keeps the Key to – 
Putting up
Our Life – His Porcelain – 
Like a Cup – 

Discarded of the Housewife – 
Quaint – or Broke – 
A newer Sevres pleases – 
Old Ones crack – 

I could not die – with You – 
For One must wait
To shut the Other's Gaze down – 
You – could not – 

And I – could I stand by
And see You – freeze – 
Without my Right of Frost – 
Death's privilege?

Nor could I rise – with You – 
Because Your Face
Would put out Jesus' – 
That New Grace

Glow plain – and foreign
On my homesick Eye – 
Except that You than He
Shone closer by – 

They'd judge Us – How – 
For You – served Heaven – You know,
Or sought to – 
I could not – 

Because You saturated Sight – 
And I had no more Eyes
For sordid excellence
As Paradise

And were You lost, I would be – 
Though My Name
Rang loudest
On the Heavenly fame – 

And were You – saved – 
And I – condemned to be
Where You were not – 
That self – were Hell to Me – 

So We must meet apart – 
You there – I – here – 
With just the Door ajar
That Oceans are – and Prayer – 
And that White Sustenance – 
Despair – 

http://wombmagazine.com

Moss
Moor
Peat
Love
Cold
Lost
Wind
Dream
It's
Over
Now
Grown
Old
You're
Leaving
I'm
Here
We
Move
On
And
The
Bench
Sits
Awaiting
New
Dreams
As
Ours
Move
On

April is my favourite of the cruelest months
New light uncovers lost romance
Hyde park grows white 

From 2015, it won't be a secret any more

he

hypervigilance/guilt/apology//over
made time to think
made arrows
made snow
mountain
moby-dick
soil
sea

hello ullr

beautiful difficult histories

non participant
participant

Existing is less obvious than they make out

soup

in defiance of being here
eggs in the ground
bones around your ankles
eating the heart of the magi

rain

ok?
ok!

anxiety can be a beginning

H O W
T O
T O
A C T I O N
?
?
?
?

Hölderlin

‘Patmos’

‘Wo aber Gefahr ist, wa ̈chst / Das Rettende auch’ 
[‘But where danger is, there grows / also that which saves’]. 

anxiety = intense desire

Kali the Mother

Swami Vivekananda

The stars are blotted out,

The clouds are covering clouds,

It is darkness vibrant, sonant.

In the roaring, whirling wind

Are the souls of a million lunatics

Just loose from the prison-house,

Wrenching trees by the roots,

Sweeping all from the path.

The sea has joined the fray,

And swirls up mountain-waves,

To reach the pitchy sky.

The flash of lurid light

Reveals on every side

A thousand, thousand shades

Of Death begrimed and black —

Scattering plagues and sorrows,

Dancing mad with joy,

Come, Mother, come!

For Terror is Thy name,

Death is in Thy breath,

And every shaking step

Destroys a world for e'er.

Thou "Time", the All-Destroyer!

Come, O Mother, come!

Who dares misery love,

And hug the form of Death,

Dance in Destruction's dance,

To him the Mother comes.

planning less = space for more

structural materialist film?

places where there is space
places where you look straight at what you want and it looks straight back
films as a way of looking where there is space
looking straight at the object
instead of looking all around it

unhoarding

ITS ALWAYS BEEN LIKE THIS

will they
(as i imagine)
destroy it all
when they realise
there is a rumbling
down here

neglect

give it a name
put a line round it
paint it a colour
give it a place
write it into a sentence
dream it a flesh
flexit into new words
wonder at it
written by your hands
in front of you

why are you so cold

if you start from here, there is anywhere to go

this is where the anger sits
heavy and childish (dangerous)
but held safely only in open space (here)
if there was no space for this then she would really stop (panic)

this is the only way it can be
there has to be space for the child
under my skin

she sometimes dreams of his sudden face
to relieve the tension of your cold stare
that doesn't understand why this can't be contained

and there is no way to understand
only unravelling
she has to get out
to imagine things (are ok).

The office body can sit and stand and slouch.

circles circle circles

circles circle circles

BODY = SEPARATE
MIND = ATTACHED

north!
north
north
going

LOVE

IS

WEIRD

shit shit shit

one way streams

TEXT AND FILM

Friend

She is beautiful
She reaches out to meet his love
They are unshakeable
She takes her hands around his arms
She is alive with his prescience
She is herself irrefutably she
She is strong and exploring brave
She is writing writing
Encouraged by herself and led by knowing

its a slow escape
its a humble move
it sees finitude

i saw you on the sofa next to a giant white duck
talking about unbearable intimacy
looking at the paper
your handwritten words scattered and abrupt
the words you didn't read out loud
the traffic on the other side of the hill
the telegraph wires shimmying in the wind
slow techno
ivor cutler
last hours of a machine
the clouds moving
hands warming
tea sofa hat

its a double edged spoon you carry
to scoop
or provide

when you need to get out
squeezing out between the fence posts
(without alarms set off)
is careful work

Theres a fate here that’s fit for explaining everything but me

When the words fit it’s the machine that clutches and pushes

It’s the pen

I cling to the movement of the engine

The pace of its step

The rhythm of this pacemaker

Out of synch with my blood

I push on whats outside

It pushes straight back

As if we are disappointed with one another

And I cling to our baby

This illness

That makes each of resist until taught

We both ache with the lax and pull of anger's tack

Yielding despair in automata.

The inside is knotted

Your neck is in the arm

You put it all on at once

Two quick

Back track

Put the inside on first

Lign it up to keep you warm

Come on

Find that china bowl

And out you go

change is good change is good

werkzeug

time to put it on show!

http://www.lacan.com/badpre.htm

"the name of the bow is life; its work is death" Heraclitus

gisela pankow

http://www.gold.ac.uk/history/news-events/hysterical/

http://ojp.nationalrail.co.uk/service/timesandfares/London/OBN/050413/1330/dep/100413/1130/dep

last week's story

this week's story

and free spirit

between the animal and the superman

dorthe's nancy quote:

“-For me the body is first a hole, a tube if you want, and around the tube is a skin. The first character of this topology is that it is a resounding thing. The air can go through the tube and you have the skin over it and you produce music. The body is at first a certain sound, and that sound is the voice. “

Emily

I cannot live with You –  It would be Life –  And Life is over there –  Behind the Shelf The Sexton keeps the Key to –  Putting up Our Life – His Porcelain –  Like a Cup –  Discarded of the Housewife –  Quaint – or Broke –  A newer Sevres pleases –  Old Ones crack –  I could not die – with You –  For One must wait To shut the Other's Gaze down –  You – could not –  And I – could I stand by And see You – freeze –  Without my Right of Frost –  Death's privilege? Nor could I rise – with You –  Because Your Face Would put out Jesus' –  That New Grace Glow plain – and foreign On my homesick Eye –  Except that You than He Shone closer by –  They'd judge Us – How –  For You – served Heaven – You know, Or sought to –  I could not –  Because You saturated Sight –  And I had no more Eyes For sordid excellence As Paradise And were You lost, I would be –  Though My Name Rang loudest On the Heavenly fame –  And were You – saved –  And I – condemned to be Where You were not –  That self – were Hell to Me –  So We must meet apart –  You there – I – here –  With just the Door ajar That Oceans are – and Prayer –  And that White Sustenance –  Despair –

the unsolved issue of consciousness

Nishida Kitarō

http://muse.jhu.edu/journals/philosophy_east_and_west/v062/62.1.kitar.html

cross discipline

 mountainous 
beckett
matthew broome
laura salsbury and ? at warwick

Wellcome Trust

Death: A self-portrait

15 November 2012 - 24 February 2013

wombtomb

Hauser and Wirth

Eva Hesse

30 January – 9 March 2013, Hauser & Wirth London,
Savile Row

Opening: Tuesday 29 January 6 – 8 pm

In 1964, Eva Hesse and her husband Tom Doyle were invited by the industrialist Friedrich Arnhard Scheidt to a residency in Kettwig an der Ruhr, Germany. The following fifteen months marked a significant transformation in Hesse’s practice. ‘Eva Hesse 1965’ brings together key drawings, paintings and reliefs from this short, yet pivotal period where the artist was able to re-think her approach to colour, materials and her two-dimensional practice, and begin moving towards sculpture, preparing herself for the momentous strides she would take upon her return to New York.

Hesse’s studio space was located in an abandoned textile factory in Kettwig an der Ruhr. The building still contained machine parts, tools and materials from its previous use and the angular forms of these disused machines and tools served as inspiration for Hesse’s mechanical drawings and paintings. Sharp lines come together in these works to create complex and futuristic, yet nonsensical forms, which Hesse described in her writings as ‘…clean and clear – but crazy like machines…’.

Omnipotent

don't pretend its beautiful, just because it does what you want

getting in. (1989)

http://www.ubu.com/film/silver_getting.html

je me souviens

http://ubumexico.centro.org.mx/sound/perec_georges/interviews/2/Perec-Georges_Text-Interviews_04-I-Remember-Je-me-souviens.mp3

whose shame?