http://lalaishere.net/category/writing/
Either (A Popcorn Eating Hamster Fisted Gerbil Playing Upon A Piano) Or (So You Think You Can Go Off Like A Frog In A Sock MounTy Druitt County Style)
Just what are the promises of post-modernity?
God is dead?
Resurrected within Karl-Heinz Stockhausen’s aestheticisation of 9/11?
Nothing is true?
Everything is permitted?
As far as genetic codes and creative industries in the “greatest of all arts: the art of living”; there is also the art of dying. And I do believe Nazi Germany might have been vying for the “greatest [un-imaginable] efficacy of radical performance” until Baz Kershaw straddled the cusp - the space betwixt and between modernist narratives and post-modernity’s promise of simulated appropriation and appropriated simulations.
You know what?
I prefer drawing long bows to the elongating of ancestral lines. But whatever flips your wig or floats your boat … do you get the picture?
Either ancestors or identifications.
Either genetics or mimetics.
I identify with the kind of formless pulsing luminous mist of Robert A. Heinlein’s novella The Unpleasant Profession of Jonathon Hoeg.
I am all about transcendence and low socio-economic backgrounds like Mount Druitt and the bureaucratic mode of operating the art industrialist’s advocacy. Within the economic irrationalism of the c®apitalist system, grant writing specialists endorse management speak as an evolutionary necessity, in order to fund their multi-media spectacles and entertain a demographic without an attention span; or at least one increasingly in deficit.
A language formerly known as a medium or form is now a ‘delivery of service’.
And the winner of the award for Best Business Practices at the Melbourne ‘International’ fArts Festy Evil 2011 goes to … Site Unseen Unsound …
http://www.siteunseen.com.au/supporters.html
We are aspiring to be ambiguous, inspirational rogue cells. Cancer. Terrorism. Antonin fArtaud’s theatre of cruelty, life as art’s double induces a homeopathic cure. Example breeds example. Righting wrongs. Beginning ends. Ending beginnings. Wronging the righteous us … US ...
Irrespective of its ‘socially live artness’, deluded artifice competes with science for legitimization as ‘research proper’ in order to justify its excessiveness and non-utiltarianism.
Either ethics or aesthetics?
Neither!
Enjoy celebrating the art of art-as-sporting-competition and its strategic advertising campaigns.
Enjoy celebrating the art of Astroturf sculptural installations.
Enjoy celebrating banal clichés.
Enjoy celebrating exhausted, tiring questions about artificial constructs and nature or mind-body splits.
Enjoy celebrating the self-proclaimed humility of Rebecca Conroy’s ‘humble collaborations’ upon a continuum of tax-payers/funded others/audience/spectator-actor/viewer/participant/CONSUMERS and please do not forget WITNESSES … PLEASE DO NOT FORGET THE CRIME OF ART CRIMES …
The imperative of this writing exercise is concerned with the considerations of rhetorical mimesis and a concomitant provocative appropriation of one (an)other’s dialogical and discursive madness.
Is walking REALLY synonymous with critical engangment?
How does one critically engage?
Not with this.
I mean how does one REALLY CRITICALLY ENGAGE … REALLY?
I mean NOT WITH THIS. REALLY.
NOT WITH THIS.
I like FaceBook LIKE AND LOVE THAT LIVEfART HAS BEEN AROUND IN EXISTENCE SINCE THE MID-EIGHTIES
MY OWN BRAND OF LIVE PERFORMANCENING fART has been around in existence since my ancestral lineage fucked each other until they conceived THIS PIECE OF FUCKING SHIT and a BEWILDERINGLY STUNNING WORK-IN-PROGRESS-PERFORMANCE LECTURE – refer: Fiona McGregor’s REAL TIME LIVEWORKS Festival review of I Luv Amanda Crowe 4EVA (an autobiographic work floundering through lack of content, courage and form not even the superlative Georgie Read could save due to PERFORMER EMBARRASSMENT) and the exultant Carriageworks vivification of “ancillary, fairly-priced good coffee; bars and restaurants worthy of the neighbourhood, open late as befits a mature culture and decipherable well distributed program” .
http://www.realtimearts.net/article/101/10151
TOYS (Take Off Your Skin) elaborates a voluntary flash mob – albeit as clones of a Japanese dancer – whose participants desperately desire to infiltrate the crazy, glamorous and insular fart-scene.
Whether that is – despite the impostures of Rebecca Conroy as one of this key 2009 Fringe Festival event as participant – really “something entirely different and unique” (and I mean REALLY); I have neither the qualification nor desire to ascertain – especially considering Australia’s small arts pond is overrun with nepotistic big fish.
LIVE fART as a strategy? I prefer terrorism – whatever that means; for whatever it is worth. Something; Being at stake; Becoming something Other – what else?
LOVE your genetically pre-determined space.
PREFER my either transcendentally prescribed or proscribed space.
GOD LOVES A COALESCING DISCREET fART-FORM.
CAN’T WE JUST BE POLITICAL ANIMALS?
Can we not will?
Why can’t we?
Can we not?
What is the significance of producing culture within a civilization of exponentially proliferating images, textual information and dialogical discourses producing static white-noise and visual illiteracy?
From here to Mikhail Bakhtain. Polyphony. Heteroglossia. Utterances.
I LOVE THIS IRONIC FIGURE OF THE EXPERT.
LAURIE ANDERSON.
I am suspicious of the suspicion that Plato’s truth was right and true.
I love to prefer Socratic Platonism ‘s SHAMANIC SOPHISTRY.
Like psychoanalysis’ appropriation of algebraic themes , the art-world’s fetishised obsession justifies its appropriation of scientific means while all the while undermining its own excessive surplus reality – its value as sacred, transcendental or spiritually ritualistic irrespective of how banal.
PLATO’S PHARMACY PHARMAKON THEUTH
