new seasonal collage
Jesse Darling: Our Bodies, Our Selfies Workshop
Reclaiming Overshare for Its Revolutionary Potential: a three-day experimental groupworkshop in radical show (& no-show) & tell (& don’t tell).
Everyone’s a performance artist on social media. It’s not just what you share, it’s how you share it: you’re the art director of your own life, and the critical distance you assume in deciding what will make the cut can be a mechanism of survival or it can be a source of anxiety. This workshop will help us [attempt to] take control of our bodies and our selfies in the age of identity production. Does this mean sharing less? Sharing more? Sharing differently? During our time together we will look at examples in art and performance history that utilize these practices and compare them to our own. We will think about the socio-economic context of the platforms we use to propagate our work and our selfhood online (Facebook et al). We will look at how we might align (or distance) our offline selves to our Facebook/Twitter/Tumblr profiles. Through the combined processes of trial and error, show and tell – and stand and deliver – we will attempt to get post-virtual together and find out how it feels.
Dates, times and location(s):
3-4 October, AND Festival, Liverpool
5 October, Liverpool Sun & Air Naturist Club (nudity not mandatory)
Participants will need to arrange and pay for their own travel and accommodation. Meals and snacks are provided (please advise of any dietary needs ahead of time).
This workshop is for anyone (writers, artists, performers at any level of experience, and/or people who identify as none of these) who can relate to any of the statements above, and/or who actively maintain a persona in virtuality (online or in their work). It’s also for people who want to opt out of virtual performativity, or who feel anxious about the pressure to [over]share. Spaces are limited. If you would like to apply, please email email@example.com (cc’d to firstname.lastname@example.org) using “DIY10” as the subject line, with a short description of who you are, what you do, why you’re interested, and what you hope to get out of this. Please include at least one of the following: CV/biog, web link (Tumblr/Youtube/website/whatever), images of your work.
Closing date for applications is Sunday 9 June.
Jesse Darling is an artist and occasional essayist based in London. S/he comes from a background in performance and now works in participatory sculpture, installation and digital media, thinking a lot about analogs to the body in virtuality and the theatrical object of “queer materiality.” JD teaches neutral mask technique and has led similar workshops at Bold Tendencies in Peckham and at Fierce Festival (with Lucky PDF’s School of Global Art). Upcoming projects include two large-scale participatory installations, The Singularity I and The Singularity II, as part of an 18-month program of body-based art at the Arnolfini, and a curated series of Performance for Gif on Rhizome.com. JD prefers contingency, immediacy and gesture over authority, engineering and form, but likes it all ok.
Jesse Darling on email@example.com
This DIY is supported by the Live Art Development Agency
‘Beware,’ said Hugo, “of being trapped in your own imaginings. You instill sparks in others, you charge them with your illusions, and when they burst forth into illuminations, you are taken in.’ — from Anaïs Nin’s Henry and June (1932), and related to last summer’s poem from Ariana Reines.
And sometimes I believe your relentless analysis of June leaves something out, which is your feeling for her beyond knowledge, or in spite of knowledge. I often see how you sob over what you destroy, how you want to stop and just worship; and you do stop, and then a moment later you are at it again with a knife, like a surgeon.What will you do after you have revealed all there is to know about June? Truth. What ferocity in your quest of it. You destroy and you suffer. In some strange way I am not with you, I am against you. We are destined to hold two truths. I love you and I fight you. And you, the same. We will be stronger for it, each of us, stronger with our love and hate. When you caricature and nail down and tear apart, I hate you. I want to answer you, not with weak or stupid poetry but with a wonder as strong as your reality, I want to fight your surgical knife with all the occult and magic forces of the world.
I want to both combat you and to submit to you, because as a woman I adore your courage, I adore the pain it engenders I adore the struggle you carry in yourself, which I alone fully realize, I adore your terrifying sincerity, I adore your strength. You are right. The world is to be caricatured, but I know, too, how much you can love what you caricature. How much passion there is in you! It is that I feel in you. I do not feel the savant, the revealer, the observer. When I am with you, it is the blood I sense.
Anaïs Nin, “Henry and June” (1932)
m: i’m gonna write a whole fuckin manifesto on the topic: “liz kinnamon, when to resist and when not to resist,” and then you open up the book and the page says go fuck yourself and a bomb goes off in your face
(and from the same night)
“did someone buy this for you as a gift?” (pointing to a plastic-covered etching of napoleon.) yeah. “i knew it, that’s so sweet. you kind of look like napoleon. leos have a strong mouth area.”
“you really know how to love someone.”
"So well done Tumblrers, showing us how much you care has made some people very rich." -
Yahoo to Buy Tumblr for $1.1 Billion
… With all of this said, what do we make of this Audre Lorde quote?: “Caring for myself is not self-indulgence, it is self-preservation, and that is an act of political warfare.” It is both thrilling and affirming, I think, to sit with the possibilities of redefining self-care as though it were going on the political offensive. This may especially be the case in a context where the dominant meaning of “care” either has become industrialized in such a way that it consolidates (instead of contests) one’s’alienation from her conditions of existence, or from the means necessary to inform herself about, determine, and pursue the course of care and wellbeing that she needs.
But what I think is especially important about this now regularly cited quotation is what comes before the first comma, what comes before, that is, the moment when self-care finds its euphemistic, sunny resolution as “political warfare”: the disavowal of self-care as “self indulgence.” What, after all, is wrong with self-indulgence, with stealing time to enjoy the self, to pursue ways of being and living that are not necessarily productive? Lorde’s rewriting of self-care as political warfare seems to me to be symptomatic of a philosophy of movement building that has an unacknowledged investment in surveilling the behavior of its members (and demanding that they surveil themselves), a philosophy that is so deeply committed to the idea that everything is political that it cannot see the ways it enforces that definition through the implicit demand that its members justify all their behavior on its terms. Everything is political, in other words, can be a particularly disciplinary and disciplining definition of the political because of the way that it privileges a kind of ruthless scrutiny, assessment, and justification of one’s behaviors on the basis of whether or not they generate political value. At the same time, it tends to regard the political less as a contestation over social transformation than as the sum total of “good” or “bad” political behaviors.
At worst, everything is political can privilege a kind of left version of austerity logic, one that calls implicitly for the abstention from behaviors that don’t serve the Higher Purpose of generating and assessing individual behavior in the form of political value. It can only handle self-indulgence and extravagance when those things can be given a justifiable political form, when they can be commended or valorized, in other words, for how radical they are. It can only handle self-indulgence and extravagance, in other words, when they cease to be self-indulgent or extravagant at all, and claim, on the flip, to be productive and progressive.
• • • lowendtheory: On Audre Lorde’s Legacy and the “Self” of Self-Care, Part 2 of 3
Evening Will Come -
Eileen Myles: “Painted Clear, Painted Black” (via whateverjeanne)
“I think of the reader as somebody who deserves something other than a recitation from the long phallic night of my heart whether that recitation takes the form of personal expression or a wily conceptual sound poem. I like an author who is aware of reception and the body.”
“My work has a chameleon quality in which it feels the room and changes. I write to hold the music of the room. If the poet wanders in her studio and that is the text then one can pause while the siren outside blares or even incorporate it into the poem. One of the most important things I know about poetry is that the words don’t need to be heard. They aren’t ever. Not all of them. And I think of that as an emotional truth. Poems are not made out of words. They’re made out of emotional absences, rips and tears. That’s the incomplete true fabric of the text.”
“I feel bad for the limp wristed word delicate because it sure takes the hit of Marjorie’s contempt”
“The naked woman will always find her way in the art world.”
“Whose courtroom in what state are we in anyhow. ‘Feeling’ will always interfere with the advised (and really I mean masculine) reading of such texts but feeling (how about we try substituting ‘being female’ for feeling just as a stunt) is always a problem (a good one) in literature and feeling”
Fantasy dogwhistles, that’s what it does. It has little to do with plots, and everything to do with shaping the dynamic attachment of subjects to worlds and worlds to their mediations. Even if I am actively fantasizing, and in my fantasies I am talking, fantasy is very quiet. It is not what I thinkis making me get up and walk around the room. It is a structure of adhesion, sticky but not binding, very quiet, nothing more quiet–yet this is what I mean by noise–and with it I feel the limits of my senses, sovereignty, conceptualizing force.
All of which are grazing the world and sensing where action is and isn’t. But a scenario, that’s something different. A scenario is the opposite of a scene, or more precisely, a scene turned into its opposite. In Taylor’s work a scenario is a scene that you imagine actively, a game of “What If?” If you play that game and spool out the consequences, it might actually change your relations to the objects you’ve moved with in the game.
— The Game (2): Supervalent Thought
everyone on tumblr come to the beach right now
the parts of texas new mexico and arizona that have
only mountains, clay colors and lilac and not even a gas station for hours
are “not a place to live but to visit”
mostly bc they’d have 2 reconsider their attitudes
they’d have to behave majestically
idk how to be so thoroughly hard boiled or some shit, there are people who are so wholly bought out, who enforce capitalism/professionalism like natural law without self-trickery
i talked shit about foodies
bc i think foodies are the footsoldiers of neoliberalism and they just looked back, blinking
i sed the restaurant is like the apotheosis of alienated labor & they were like
“i mean, you’re in it right now, too, so”
you’re mired in it so you’re just saying this bc yr miserable doing it
why would we not listen to the ppl actually doing the work
ppl will tell themselves anything to be able to continue doing the things they do
the goal of work, of existence under these conditions of life, is to make your psychic and emotional life completely opaque — to obscure it so that as such, one may go on, remain productive. we train and train this way — this takes training the way it takes maintained repression and violence to beat down every eruption of resistance — we learn not to bring our personal life to work, and then we look up one day, we pay sum hundreds for a meditation retreat only to learn our insides are completely indecipherable
for me it’s only love if its excessive
“you are an individual like no one i’ve ever met”
every man in texas looks like george bush
(“all men are cops”)
dust covered clothes are some of the most beautiful things in the world
a country built on self-storage
“honor as surplus dignity—honor not something everyone can have
it must be constantly maintained, thus the connection throughout history between
violence & honor” (david graeber)
having a personality makes your whole academic career suspect
“i have a separate facebook for my personality”
as young as i can remember i’d pack a bag and say i was running away—i’d go sit under a tree or something with my bookbag and wait until i got very lonely, and feel abandoned. unsurprisingly i’d go to a friend’s or back home. i don’t know whether the air at home was too hostile or too stultifying or whether i just wanted to wander, which is what i do and don’t want, now
“i am a sensualist, my heart purrs”
someone on the airplane is reading a book w/ last name author ‘turtledove’
weak-willed people will hurt you the most
bc they will say yes to whatever is front of them
they can’t say no
they want at any cost to be liked
they can’t sit through discomfort
so nothing they say is actually worth a damn
one thing i’ve never had sympathy for is the kind of woman who will betray you for some dude’s approval
the kind of girl that will lap up any attention a male gives her
who will throw you under the bus to get affirmation
who doesn’t prioritize friendship
white dudes have serious limits
n, do i repel ppl
“maybe just the ones sum kind of deep boneknowledge knows you should repel? i dunno. most people i know who know you love you, including me.”
it’s just about liking the ways someone’s egotistical
The Kilburn Manifesto: our challenge to the neoliberal victory -
Today – Wednesday April 24 – the founding editors of Soundings, the new left journal first published in 1995, launch a manifesto that will attempt to outline ways forward. Over the next year we and our collaborators will, in a series of monthly instalments, examine different aspects of the current crisis and try to frame a more systemic set of questions than is usually asked. We do not offer policies but alternative approaches and demands that we hope will contribute to the broader debate that is the environment in which policymakers operate.