P1010076

P1010076 a video by PinkMoose on Flickr.

don't buy hardcore japanese bear porn before meeting evangelical xian buddies
don't try to explain that yr problem with sexuality lately, is not shame (you have mostly gotten over shame) but is ennui or exhaustion, using the one liner: "monogamous heterosexuality is the only kink i haven't tried"
don't have anexity attacks about money in front of yr best friend at 11 30 on monday night.

one of the more interesting things about this long discussion of the 20 years b/w days of heaven and the new world, is that many of the projects taken up and then abandoned, either as scripts wrote of films shot, are adaptations that required more narrative concision than the ones he chose (including Dirty Harry, McMurty's Desert Rose,  Percy's The Movie Goer, a biopic of Jerry Lee Lewis, and others.)

southern poverty law center is collecting racist ephemera for research

Chuck Eddy's work on the intersections of hip-hop and country, in the 1980s and 90s, are now mostly held in weird little listicles, like this brilliant one from spin, but should be a huge book. it is vital, historically minded, and  quite difficult work. I haven't quite engaged with the implicaitons, but there are class and gender overlap.

Barbra Kruger  fucks with Supreme Skateboarders, an interesting test case for the line b/w approporiation an copyright.

major early serra is rotting in a farmers field outside of king city ontario.


Wombat Video One.


wombat video two.

the cartography of video games, strikes me as one of those places where the implicaitons of interioirty and discrusive nature of textual movements, could be fully epxressed--an updating of the medevial rooms of memory, Lana Polansky's brilliant article, hints at that reading, ut goes to places unexpexted and much smarter:

A city is a mapped space, full of landmarks and signage. It’s a space where dynamic things can happen—people can alter or displace themselves or objects in unpredictable or unforeseen ways—but always on top of a basic underpinning of urban planning. I walk through areas of my city, which are like dark spots in my mind, to see where they connect, and there’s a thrill in discovering what’s new to me. But once the spots are coloured in, they become defined, and they lose their mystery. They aren’t mine to uncover anymore. Oh, that’s how this connects to that. My head becomes familiar with the layout, and constructs a mental map. The place becomes labelled, explainable and mundane. There’s exactitude to this.
I have the same attitude to game territories. Their maps are there a priori; they’re built into the code. The space is designed, or mapped, before I step in. It is not my job to go where no player has gone before: instead, I am filling in a new mental map of deeply conceived, designed, mapped, and programmed territory.

Owen Hatherlty on Thatcher as Enemy of The Built Enviroment.

The interesting thing about Bass as a designer is how afraid he is of colour--his famous work, with it's under rated taxonomy, and blunt butch miniliasm often flirts but rejects the implications of decoration as a design, this is why his titles for Around the World in 80 days is so impt--it's vulgar.

web remix  of Leaves of Grass and House of Leaves, it becomes almost infinite.

a bakers dozen install shots of the new El Antusi show in Brooklyn. The best work is the carved, small horizontal, wall based compositions.  though the epic spectacle of the "blankets" of bottle caps retain their gravitas and power.  (i like how their are dots, splotches, lines, and ragged edges in the smaller, horiziontal peices--and how the peices are gouged, carved, nailed, and tied together--much of the formal problems of sculpture, of how to make sculpture, were left to painters and assembelge artists after the mid60s, early 70s, and in these spaces they are seemingly wrenched back) (altho they are called horiziontal wall peices, they are often a collection of small vertical slats placed in an uneven line--and so they are horiziontal only in the sense that the bottle cap peices cascade and falling eschew the common binaries of sculpture) (there are also two v. small circiular table peices, that just curve into each other with such tenderness and intimacy)



90 minute live concert of Josh Turner at Sea World in Orlando. His patter is so charmingly uncharming.

Peter Bochave,  veteran of the 80s bath house raids, founder of Spa Excess, civil serant to toronto' sexual avant garde, died this week. The obit is fantastic.

Elaine Stritch dying in Michigan, instead of her apartment at the Caryle, just seems unfair.

Graphs  comparing the disparity of ages of male and female love interests in hollywood film.

new bowie video

Like  Gedney's photos of Kentucky, which just seemed anonymously reflecting the needs and d esires of s all communities, Tammy Mecure does the same thing for her county in Tenesse. It's incredibly difficult to do with any amout of artfulness, contempt or seeking an observers vision. Her works continue a long tradition of localized documentation in the South, and are brilliant.

On Hip Hop and Pussy Eating

i am not sure if i don't want to do the work, because i find the work invalid, or i am growing a carapce of apathy as a defense mechincaism, because i dont think i can do the work (last essay for lalonde's revisions)

P1010014

P1010014, a photo by PinkMoose on Flickr.

la freeway cloverleafs
bucks and antlers entangling in fight
aieral photos of waterparks

P1010382

P1010382, a photo by PinkMoose on Flickr.

hooray, hooray, the first of may/
outdoor fucking begins today

P1010083

P1010083, a photo by PinkMoose on Flickr.

ome great things i saw at papier 13

1. Edmund Alleyn at Simon Blais-- Bright purple serigraph from the late 70s, of a shirtless man in a cowboy hat, either cocky and straight boy play acting, or terribly queer irony--the reproduction of kitsch prevents us from seeing it w/o jaded eyes--made better b/c it was a work that was mostly done by a cannoical quebocois abstractionist, b-list working the odd angles of the unquestionable. 
2. New Edmonton Art Gallery!  David Candier, including some work by Blair, of canonical books in tight iron boxes and theatrical locks. 
3. Lynn Cohen Brick Sales at Art 45. One of the occupied territory works, but one i had not seen before, the formica frame, the sans serif title, and the image itself, of a warehosue that sold brick siding, a set of grids in a grid pattern, interupted by walls and desks. One of the things that I keep returning to, w. Cohen, is how much of a formalist point she makes, how difficult the power of the aesthetics are. (Same booth, two anonnymous argentine photos of tattooed prisoners, great accidental compisitions, some ethical problems) 
4. Adrian Wilmison's Rackhamesque Dyptch of a single figure walking thru a forrest. 
5. Eric Daudelin's Fontanesque circle of gold leaves. 
6. Jean McEwan's very soft, compostion of ragged edged sqaures, in rotting leaf tones
7. Brian Goombridge at Susan Hobbs, In a room full of collage that was too busy, too clashy, too precious, or abstract to the point of banality (see Jacob Whitby), this peice, a black and white photocopy of a duerer, abutting a black and white photocopy of a photo of a mies tower, each w. their own caption, seperated and floating on a bright yellow grid, was intimate, slightly sweet, and more than a little sour. 
8. Being in Quebec, less Molinari than I thot, but gobs and gobs of Tousiangant, the targets i am still on the fence about, but the 73 HCB, look all spacey and contentless, perfect reflection of the failures of the optical expirments of the 70s that have failed, and so terribly fashionable--continues to be one of Canada's great colourists--but mostly because he just couldn't keep his taste in check. The HCB ones are kind of minimal, two concentric circles, lots of white space, in dark purples, beiges and green--completely mechicnal and designed for government offices, and they are great for it. (I am finding more and more, a couple of things, the fewer concentric circles in a Tousigant, toe more i like it, and the less neon his colours were, the fonder i am of him--the 70s did him no favours but these are from the 70s)
   
9. Maggs Peirott, which I am still trying to figure out exactly how I feel,
   
   

Thinking of that Kim Gordon Article:

a) Is it the case that most of my aesthetic tastes have been inherited from here, whole hog, somewhere around me being 13? (Reading about her in Details at SJSA, the idea of newness before the material of newness)
b) Was the divorice less about Thurston fucking around, then a kind of exhaustion at the world thot was a perfect post-femminist division of labour that once again turned out to the sublimation of female work under male hipness.
c) how often do we have to hear stories of the aesthetic and political left--of Waldman, DiPrima, hooks, Carolyn Cassady, Hettie Jones, and other women expected to do domestic work and the work of aesthetics) and how often, in married couples, do we continue to assume not only the production is monolithic, but thru the lens of masculine taste.
d) So, not that it's not really our biz, but is Gordon saying her divorce, is a priotizing of her own aesthetic, and separating from Moore's, just as Moore's choice of sexual partner become a question less of ethics and more of aesthetics? Even Post-Riot Grrls, even post-Love, post-the Slits, the Raincoats, Poly Sterene, Wendy Williams, Kathleen Hanna, even before that, all of that Le Tigre Hot Topic canon (a canon that is v. v. close to who my friends talk about, who we love, who we agree on, the teenbeat posters of our post-queer future) (though it doesn't feature Gordon, why is that?), do we still refuse that a girl can play a guitar, with as much ferocious quality as a boy. (and that painting, raising a kid, making chicken, playing guitars, designing clothes, producing films, et al etc could be considered creative acts--so perhaps the advantage of that Elle interview is Gordon talking about splitting from Thurston in a way that resembles the splitting of music off from other work and other capacities--b/c you sense that Thurston perhaps prioritized the rock and roll while doing other stuff?)
e) Which, you know, makes me wonder, can i be Kim Gordon when I grow up?

P1010054

P1010054, a photo by PinkMoose on Flickr.

1. flanuer exp. 
2. pilgrim exp. 
3. intro to texts (esp) dates)
4. benjamin as flanuer 
5. benjamins text as flanuer (Debord)
6. benjamin as martyr (Taussig)
7. benjamins texts as relics of martyrdom (Susan Buck Morris and Panorama)
8. textual intervention as act of pilgremege.  (Benjamins archive)
9. chaucer as pilgrim 
10. chaucers text as pilgrmage (narratology/directionality)
11. chaucer's text reworked (dimshaw)
12. meeting together on the same road 
13. violence of text (barthes) 
14. historical context and reader autonomy 
15. conclusion and historicizing ambiguity. 

The word is sometimes used to refer to the methods and general approach to empirical research of a particular discipline, or even a particular large study, although the term ‘research techniques’ is perhaps more apt in this context. The principal concern of methodology is wider philosophy of science issues in social science, and the study of how, in practice, sociologists and others go about their work, how they conduct investigations and assess evidence, how they decide what is true and false. The topics addressed include whether the social sciences are in fact sciences; whether the social scientist needs to understand a sequence of social actions to explain it fully; whether there are laws in the social sciences which can predict as well as explain; whether research can be, or should be, value-free; causation and causal powers; inductive and deductive theory; verification and falsification; and other problems in the philosophy of knowledge and science (most of which are treated under separate headings in this dictionary). See also neo-Kantianism; neo-positivism. 
Oxford Dicitonary of Soc. 

Pronunciation:  Brit. /ˌmɛθəˈdɒlədʒi/ , U.S. /ˌmɛθəˈdɑlədʒi/

Etymology:  < method n. + -ology comb. form, probably after post-classical Latin methodologia... (Show More)

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  Originally: the branch of knowledge that deals with method generally or with the methods of a particular discipline or field of study; (arch.) a treatise or dissertation on method; (Bot.) †systematic classification (obs. rare). Subsequently also: the study of the direction and implications of empirical research, or of the suitability of the techniques employed in it; (more generally) a method or body of methods used in a particular field of study or activity.

OED

The general study of method in particular fields of enquiry: science, history, mathematics, psychology, philosophy, ethics. Obviously any field can be approached more or less successfully and more or less intelligently. It is tempting, then, to suppose that there is one right mode of enquiry logically guaranteed to find the truth if any method can. The task of the philosopher of a discipline would then be to reveal the correct method and to unmask counterfeits. Although this belief lay behind much positivist philosophy of science, few philosophers now subscribe to it. It places too great a confidence in the possibility of a purely a priori ‘first philosophy’, or standpoint beyond that of the working practitioners, from which their best efforts can be measured as good or bad. This standpoint now seems to many philosophers to be a fantasy. The more modest task of methodology is to investigate the methods that are actually adopted at various historical stages of investigation into different areas, with the aim not so much of criticizing but more of systematizing the presuppositions of a particular field at a particular time (see also naturalized epistemology). There is still a role for local methodological disputes within the community of investigators of some phenomenon, with one approach charging that another is unsound or unscientific, but logic and philosophy will not, on the modern view, provide an independent arsenal of weapons for such battles, which indeed often come to seem more like political bids for ascendancy within a discipline.

oxford soc

it's ironic, in the midst of anxiety and depression, how comforting and how triggering witnessing, even in the most abstract sense, a suicide attempt. green line going west was shut down at lionel giroux, i was going east.

 I have been thinking of the supposed radicalism of the Annie's position of late, especially considering the natue of country's recent conservatism. The critical opinion seems to be that they are breaking apart the Post-Garth soft rock politeness. But country has not been very polite.  The pendulum has swung of late--critics ignore what has occurred in the work of John Rich and his eventual descendants. The great thing (and I think the under rated) thing about this age of Rich, is that it's pretty gender neutral. From Gretchen Wilson onward--the fun has occurred to women as much as men. The Annies position on pleasure is not radically new. What is radically new, is it's use of pleasure as a disruptive strategy against a slew of targets, that seem to be obvious but haven't really been addressed. In Hush Hush, we can list family (especially the silence of the front pew), alcoholism (rehab, vodka being snuck, eggnog instead of beer), performative peity (the spectacular line "Well daddy's reading propaganda/And he's talking about the end of days), and even a discussion of grass so casual it might as well come from 70s outlaws. So what becomes new, is a different kind of integrative either/or.  this is not partying on Saturday and church on Sunday--but a recognition of the tense negotiations between the south as a libertine's playhouse and the south as a sanctified space. The tension, is that though both of those exist at the same time, in the argot of the time, the Annies suggesting that not only the hypocrisy of it, but the silence of it is foundational is what is really left unsaid. That to expect the south to exist without the "hush hush" is to expect the south to exist not at all. (It's actually what makes the Annies great--but it sells, and it ends up on CMT, and it wins awards, and people sing along--so it's not subversive--one wonders what that means, if everyone knows what's going on, and everyone is speaking it aloud, does it become a steam valve where the real work doesn't need to be done--we talk about drugs and sex and Jesus and pot, but we don't write songs about how grand daddy fucked the maid, or that the one drop law is still a growing concern, or that Billy can't take his husband to Sunday dinner, or why all of those foreclosures, or the real history of slavery or what exactly happened at theTallahatchie Bridge) The personal is political. This is a political song. But it's politics will only go as far as the market will allow. (As a song--the brilliant chorus, the harmonics, the guitar work, how brilliant the whole thing hangs together, it's a ten--but the Annies always make me a bit nervous). 

federal tories are connected to quebec corruption

these collections of rent party cards, from Langston Hughes collections, suggest a way for communities of resistance to for, around the supplying of basic needs.

Phillp Sterns makes really lovely Glitch inspired tapestries.

these gifs of chicago ice flows are really great examples of representation and localised geography, plus, pretty.


Scott Pare Phillips v. subtle photos of the impressions that clothing leaves on womens bodies, has a spare eroticism and explains why i refuse to wear socks.

Agnes Martin, Milk River, 1963.  (milk river is near lethbridge, the silt causes the water to turn white, milk weed grows on its bank, the sap of the milk weed is gummy and white)

Marricone's  boycotting Tarintino's future work b/c of violence seems disnegenous.

domestic elevators.

being in quebec  has made me realise how under rated hard edged abstraction is--these tiny and human scale geometric work by john mclaughin suggest a tiny bit of a  revival, note how they look like bahuas era graphic design, and how that inspired post war american aesthetics. essay is worth reading too.

a conservators notes on some of the problems with still paintings that ha ve not seen the light of day in decades--including the usual cracking, and the unusal (black mould)

custom lego in the design of arabic architechture

high end english lingerie makes my pussy wet

Sheila Hicks, 1974 (one of the things i love about fiber art in the 70s is how willing it is to be ugly)

twine game  about the politics of the clinic, if you are transgendered, a little women's studies 101, but pretty perfect in it's use of a new medium.

read this  article in the nyrb about the tensions between american and french academic culture, the nature of celebrity, the problem of location, and the culture of the academia, as it releates to derrida and then go stew.

a lot  has been written about the new brad paisley single, some of which is by me at the juke box, but the linked essay is a really great run down of why he is important.

i have been  listening to the Peter Pears rendition of the Britten Chamber Opera Turn of the Screw (literal chamber opera--james has never quite been american or english, and the poltiics of the parlour for the anglos are always a bit different) and i really love how horrorfied, and airless, and ambigious and freudian/family secret it is. Apparently the new Brooklyn staging is a mess (which is why i have been listening to the Pears), but the nonense latin is deeply intended and queer--which makes me wonder about how much the neo-classical instincts in early 20th century britian were a kind of queer cant (the article talks about Auden and Britten being school teachers, and that the latin in the opera coming from primers--but one could add Hausman, and Wilde's use of Latin--and so Britten' use of James as a way of discussing family secrets becomes a kind of way to parse James' use of english as queer cant, decades before Sedgewick.


the sally draper poems

P1010091

P1010091, a photo by PinkMoose on Flickr.

P1010032

P1010032, a photo by PinkMoose on Flickr.

reading this week's nyer, about a sex scandal at Horace Mann (one of two or three there), the author buries this ppgh: in recent years reports have surfaced of sexual abuse at St Paul's, Andover, Exeter and other prominent private schools. (51). He then goes on to mention Buckingham Browne and Nichols. Canadians can add Selwyn Hall in Montreal, and UCC in Toronto.

Reports here, mean that those who have gone to the police, or have resulted in settlemants—reports that have been made part of the official discourse. The schools have a number of things in common—they were at the time of the reporting, or continue to be single sex, they encourage a kind of secrecy, they cost a lot of money to get into, they are boarding or have compoenents of boarding attached to them, etc etc.

Ironically—the closeness of a boarding school, might have been the schools undoing. Just as the homosocialness suggests a kind of boundry policing that allowed teachers to have sex with students to isolate them, into thinking that they were so special, that no one would understand the practice—when students returned to schools or found each other online, they found they were not alone, and a reversal of the loyalty kicked in. each of these settlements came when a group of boys got together, and worked collectively in order to find justice. There is something in the effort to make butch corps d'espirt

(personal overshare—though some of the recent renuinons online and in person have occurred since sjsa have shut down, so many of the people in the school are committed to it's program, and the loyalty does not seem to allow for this reversal to occur. The idea that what occurred at sjsa was abusive is not allowed to be part of the discourse. Also, the other schools mentioned had a sexual breach—the homosociality was breached sexually—noone at sjsa has admitted that they were fucked by other students, or fucked by other teachers, much of the role that other teachers had, was not to isolate and seperate students as a way to make them part of the elite, but to strip any indviduality off them, and working against the instincts of Selwyn or UCC.)

(which makes me think—is there scandals that are left to emerge re: Lynn Ward or Fork Hill or etc. Also, b/c of Byfield's influence—sjsa and most likely the other ones, were so fucking weird, that their might not have been distincit similarities)