sitting

where we got to

Non-identity as understood between these lines is everything that is conceived as Identity, in this instance the piece as pieces in-themselves and what this piece as pieces is not. Non-identity exists because it is already identity; it is the invisible and negative form of identity, which is brought to life through the recurring creative processes of expression and reception. This dialectical body is in form acted out and performed

slowly

catching up
slowly unpeeling
the music
NOT music
pointing directly at you

dayglo walls

you turn the floor blue

going public

i was trying to read chapter 2 at the back of a rep talk, he was trying to sell us drugs, i was trying to read.
this is what i remember:
since death of god, aesthetic became ethical. unlike the education needed to take part in aesthetics, no one is outside of ethics, which brings to the fore the substance in self-design. self design is not just spectatorship controlled by consumer markets, but can be a move towards the nature of things, the 'real', 'truth'.
every spectator becomes an actor. aesthetics becomes poetics.

p76

Distractions from Phillips and Taylor


The most striking distinction between the erotic life of antiquity and our own no doubt lies in the fact that the ancients laid the stress on the instinct itself, whereas we emphasize its object. The ancients glorified the instinct and were prepared in its account to honour even an inferior object; while we despise the instinctual activity itself, and find excuses for it only in the merits of the object. The only way modern people can justify their desire is to privilege the object.

i

which eyes do you look with

trifle

Zabludowicz Collection - Jason Dungan 31st May-1st Jul

http://www.zabludowiczcollection.com/london/exhibitions/zabludowicz-collection-invites-jason-dungan

Yoko Ono

serpentine! june

people in groups tend to make much more interesting decisions

Ever since hearing minimalist composer Steve Reich's cutandpaste tape piece It's Gonna Rain (1966), Eno has been fascinated with music that generates itself in semirandom fashion -- resulting in "complexity arising out of simplicity". And so Eno has made several pieces consisting of disparate elements spread out over several CDs, played by a batch of ghettoblasters in 'shuffle' mode, leading to endless neverbeforeheard variations of the pieces in question.

"It's Gonna Rain was one of the most important pieces of music in my life," Eno comments, "and the whole idea of generative really came out of that. With a generative piece you set a machine going and it makes itself, and you as the composer are also the listener. The act of listening is the act of composing. When you're hearing these complicated shifting patterns going on, it's the aural equivalent of Moire illusions, and that very much impressed me. What also impressed me was how different the composer's role is from the old romantic idea that the composer pours out these wonderful things to the passive you, the listener -- with art as a kind of tube that the artist shouts down to the more or less thick listener at the end."

Eno's work area, with some of the ghettoblasters used in his generative music experiments.

"Honour thy error as a hidden intention," proclaimed the first of a set of Oblique Strategies cards which Eno devised (with artist Peter Schmidt) in the 1970s, to be used in oraclelike fashion whenever one was feeling creatively stuck. One particularly significant mistake that turned into a hidden intention occurred when Eno spent several months of 1975 bed-ridden after a car crash. Physically unable to play the role of the 'old romantic' composer, and being forced to listen to environmental noises with increased intensity, he hit on the idea of music as an atmosphere, an environment. It fit the concept of generative music like a glove, and this became the germination point of his most influential concept: ambient music.

Starting with Discreet Music (1975), Eno released several nowclassic ambient albums, including Music For Films (1978), Ambient 1: Music For Airports (1978), Ambient 2: The Plateaux Of Mirror (1980, with Harold Budd), Possible Musics (1980, with Jon Hassell), and Ambient 4: On Land (1982). All were wholly or partly composed according to generative principles, often making innovative use of the technology of the day, such as synthesizers, tape machines and delay lines. (Eno also famously devised the Revox tape delay process that was applied extensively by guitarist Robert Fripp, who unselfishly called it Frippertronics.)

These ambient albums complement Eno's more conventionally songbased output, first as a member of Roxy Music, then followed by No Pussyfooting (1973, with Robert Fripp), Here Come The Warm Jets (1973), Taking Tiger Mountain (By Strategy) (1974), Another Green World (1975), Before And After Science (1977), and Wrong Way Up (1990, with John Cale). Many of these albums were made with extensive help from other musicians, exemplifying another Eno axiom: "people in groups tend to make much more interesting decisions".

http://www.soundonsound.com/sos/oct05/articles/brianeno.htm

Eno

paint and music

ealing college of art

idea/materials/move

leaving enough space

if you try everything at once you will fail to taste anything

year 2

Holding your own limbs
To take you directly
Where you're going

Hesoid and Ovid

eves dropping on conversations

http://classics.kenyon.edu/assop/2005-6/myht05docs/myth0201hdt.pdf

Are You My Mother? Alison Bechdel

<<Are You My Mother? is furiously literary, full of citations and quotations, and crafty symbolic parallels to the books its author is so often depicted reading with furrowed brow. The presiding genii of this particular work include Adrienne Rich, Sigmund Freud, Alice Miller and, above all, Virginia Woolf and the British psychoanalystDW Winnicott. ("I want him to be my mother," cartoon Alison says.) The concepts Winnicott contributed to object relations theory (the "good enough" mother, transitional objects, the true and false self, etc) provide themes for each of the book's seven chapters, but its swirling, circular structure derives from Woolf.>>


<<Winnicott held that infant and mother regard each other as mirror image – a replica of the self that is at the same time inaccessible. Bechdel feels that until she can get her mother "out of my head" the two women can never truly know each other, and that an exorcism of this kind is exactly what Woolf achieved by writing To the Lighthouse. Woolf got the idea for that novel while "walking round Tavistock Square". The young Winnicott's analyst had his office a block away. Bechdel imagines the two crossing paths on that very day in a beautiful series of pages that show just how masterfully she has developed her ability to fuse drawing and diagram in a visual poetics of thought.>>


http://www.guardian.co.uk/books/2012/may/24/are-you-my-mother-alison-bechdel-review?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+theguardian%2Fbooks%2Frss+(Books)

sunday

1920s art school

go see bauhaus! barbican (just don't go in the shop)

  

(olde eyes) unfinished world

angry arthur and

heart heart

http://www.satoshiland.com/biog.html

chaosmosis?

Psychiatry in dissent - Anthony Clare
where are the other discourses?

baked apple cheese cake

i used to eat this as a child. 28 years to make one.

slow cooking

begin

I'm starting a blog to help me think
This is the fault of Heidegger's 'What Is This Thing Called Thinking' and some other important people
I thought i could think, but without thinking
At least here i can see something of what i think
And i'll know that i'm trying to think
And i can see how i avoid thinking
This sounds dead end, but i think there might be surprises.