move back to a more comfortable place
''one's eyes are situated next to one's ears''
negotiate love negotiate dance
working against your better judgement
time to hide, learn how to give in, what is the constant effort?
loneliness creating beauty
could not remember why I'm here why I left what the big deal was
do you expect to go places physically but not mentally?
exposing oneself and saying the truth does not evaporate the mystery
the sense of time and pleasure
“UNLESS THE WORK OF ART has wholly exhausted its maker’s attention, it fails This is why works of great significance are demanding and why they are infinitely rewarding. the nature of things rather than, as science does, the “mechanics of everything.”experimental writer Donald Barthelme once greeting Davenport at an award ceremony with “I read you in hardback.”the suppression of desire ruined civilization. In compiling his final book, The Death of Picasso, Davenport drew largely from his stories reflecting Fourier’s ideas. Characters in several of them seek ways to invent their lives as they see fit, just as he sought to do with his imagination.For without desire, the imagination would atrophy,” he wrote in the essay “Eros, His Intelligence.”preferring regularity to turbulence, habit to risk, prejudice to reason, sameness to variety
Why should communication between cultures be harder than it was when pilgrims, crusaders, nomads, merchants crossed Africa Asia and Europe. One answer is given by Angel Rama ‘while European writers could address their audiences without worrying about the marginal readers outside Europe, writers from other regions of the world continue to yearn for European readers and regard their reading as the true and authorizing one. Two factors arise here: one is the readiness of the colonized not only to submit passively but to participate actively in the communicative structures. The second is the root of this colonized mentality in the communicative structures that ensure the imbalance of cultures. Dialogue can only occur between equals. In a command structure, communication is limited to the confirmation that an order has been understood and carried out, or seeking out approval for initiatives designed to please the colonial power. There is an anthropological limit on true dialogue, and circumscribing factor is the imbalance in cultural power.
Nationhood is an export of European modernity.
The old colonial powers retain their strategic position through what can be isolated as a monopoly on communication: wealth accumulates neither in the home country of a transnational corporation, nor at the sites of manufacture which may be scattered across the globe, but at the centres where technologists and managers govern research and development.
Why do cities play such a vital role in contemporary capitalism, when the global economy is so powerfully based in communications networks? Economic power operates by blocking communication flows: by creating nodes through which the flows of human intercourse are forced to pass, and in which they can be mined for profit. Money is not a very complex mode of communication, but it does communicate.
The same cities that govern the stock exchanges govern art exchanges. Each attempts to cling to a fading uniqueness in the guise of national art, even while, by the nature of the information economy, each becomes more like the others. The effect of this is not to produce distinctive forms of art, but to encourage even further the development of a transnational class, equally at home in any world city, and recognising one another by their shared taste in an increasingly homogeneous world art.
Differential racism: the new racism operates not so much by binary oppositions between colonizer and colonized, the strategy of the older, biological racism, but by inclusion. This ‘hatred born in proximity’ proper to a world of massive migration ensures that racial exclusion arises generally as a result of differential inclusion. Never as a result of nature but always as a difference of degree… the old racism saw exclusion as necessary and absolute, the new abandons this universalism in favour of inclusions. In the new Europe, ‘we’ are all Europeans, but the old Europeans continue to occupy the centre stage exclusively.
Art that demonstrates unredeemable cultural difference is of the highest value, since it undergirds the fundamental argument of neo-racism: that there exist cultural differences that cannot be overturned, differences that provide ideological and discursive explanations for the continuation of white dominance.
The popularity of long-haul destinations speaks of an increasing desire for the exotic as counterbalance to the increasing homogeneity of the metropolitan centres. Postmodern theory understands long-haul tourism, in some respects the vanguard of expanding capitalism, as the result of the lure of an authenticity which is no longer available in the post industrialized, overdeveloped areas of the world, sunk as they are into societies of spectacle and simulation.
The consumption of the Other, in material, intellectual, spiritual forms, has become a hallmark of postmodern times. World art, like world music, heralds a sentimentality among the powerful, an enjoyment without responsibility, and a false nostalgia for a mythologized state of cultural innocence which never prevailed in the West and does not in the poor regions of the present day. The sentimentalist cult of authenticity, that bogus respect for the cultures of others, permits, indeed demands, the policing of traditions and the preservation of ways of life to supply a stream of novelty entertainments for the elite.
Creating work which does not finally take the shape of a commodity
Task of remaining true to themselves while refusing the imposed signification of tradition, typicality and authenticity; of making work that can communicate, or in some way be habitable across the world, without thereby becoming proof of the inclusiveness of neo-liberal globalization programmes.
What art does is mediate. Art’s promise of a different mode of relationship between people is constantly broken by the intervention of an institutional organization that presumes to know, in advance, what is being communicated, by whom and to whom. By reconstructing mediation as a transmission of meaning, authenticity or exoticism from A to B, the art institution diminishes the utopian potential of art.
Though the politics of the World Trade Organisation is based in the free flow of goods and controlled flow of people, the barriers to migration and travel are lifted for the transnational executive.
Every difference is an opportunity for trade, but trade in the conditions that obtain under globalization is never the communicative trade of the ancient bazaar. It is instead, an opportunity to extract profit, most typically not by either buying or selling but by lending, supplying and controlling the medium in which the trade occurs. As finance capital overtakes production, so the contemporary art institution, as it were, dematerializes art. The accommodation of conceptualism into the institution is remarkable.