square white world

we have to …

no, we don’t.

wake up?

no, we don’t.

and it is as if we are passing through a dream…

pass through

dreams passing through a dream…

pass through

gathering the images to us we want

desire is like turbulence

in our transit

who has time these days to furnish themselves

for the interior decoration of their minds?

who has time to…

choose carefully, cos you’re gonna be spending a lot of time in there …?

who has room?

to gather together the images around us…

we want?

in our transit, passing through.

and I recall your 20th century critique of an airport,

a hotel lobby, or foyer: that it was merely a place to pass through,

a transit lounge. Decorated by …?

“architecture is the first science of sensation”

I think we need more screens.

we don’t. cos you’re not gonna be spending much time in there, at all

and pushed up against the body by pain, it has evicted us

pushed up against the wall… it’s nice to have something to watch

out of the corner of your eye

Lou Reed & John Cale knew Andy knew:

a pathology, which the Quay brothers say somewhere is what they need to find

as if a pathology were … no, yes, a character or gave character, by giving to the work

direction: to the transit, direction

gathering together the images … in the turbulence of a wake,

a passing through, in the turbulence of a …transit.

in pain, we lose our sense of independence to

the body,

like an alien thing, like an image we didn’t choose or want.

Who has time, anyway, to furnish the room of the mind?

…or sick, discovering my time is not my own…

it passes differently, differently passes, with indifference to … the wallpaper.

…

time we have no choice but to pass through

…

rewards of loss, in shame

but loss, no matter still

…

what we have really lost is the body

no, we haven’t. It is, as used to be said of desire

repressed.

but loss, no matter still:

still in your room, still against the wall, still

evicted from your sense of self, out of the corner

of your eye: images.

Are they the one’s you would have chosen?

it was repressed, your desire. Now it is not.

but the shame is how your body has evicted you

the sense of loss is from its betrayal.

In, as part of, Claire Bishop’s original Artforum article, “The Digital Divide,” there appears a ‘media case study’ where Mark Dion says what he’s afraid of in the digital, as part of it. I talked about this in the lectures uploaded here. In a strange serendipity, Mark Dion appeared in another Artforum I picked up yesterday. Now, here that is.

That serendipity I have been thinking about all through the writing of the lectures linked to above. Had been. I thought it connected with the recourse to character, that thought seems to necessitate. At least, this is the impression Gilles Deleuze gives: of personae being necessary to think through; conceptual personae, that is. And there is a passage in The Logic of Sense where Deleuze writes of the torsion of character.

This torsion is the experience familiar to us when thinking about blue cars, for example, of blue cars coming to us out from the images the world is full of, as if having their own intentionality. Or, for example, that experience of reading about Mark Dion in an article unconnected to the one by Claire Bishop, which I had set myself to read for the sake of the topic on which I was lecturing–digital media and the moving image. And now that same sense of a torsion, of images attracting themselves to the characters of thought, as if having their own intentions, when I read in Wayne Koestenbaum’s My 1980s, in an essay supposed to be about giving advice to the young, that is really more about Koestenbaum giving up (pretensions of?) teaching.

What is the connection here? not so much Mark Dion as what he says in the ‘media case study’ beside the Claire Bishop article: because Bishop’s article asks why the number of artists (in 2012, when it appeared) who thematise the digital, media, is so few. Perhaps the more interesting point she makes is that the preference she sees for artists to use older, analogue media devices, rather than the newer, digital ones, with which contemporary life seems to be saturated, that this preference is itself expressive of a thematisation of the digital for its repression.

Dion’s example in the ‘media case study’ is for taking the side of resistance to using digital media in his art work. It doesn’t seem like he is himself repressing the digital, and so thematising the digital in spite of himself. Rather he prefers for people to experience his work at the scale on which it is built, to be surrounded by it, near it, and to have a spatial relation to it.

My thematisation of the digital in my lectures has more to do with temporal relations, brought about the moving image and screentime, that are a part of the digital condition, than with spatial ones. But the spatial relation is striking, since on the screen the work, the image, the blue car or the Mark Dion, are small. Or that they shrink…

And this is where Koestenbaum’s essay in My 1980s comes in: making a contrast between “image and reality,” he realised, in the dream he’s recounting to us, that he was the sculptor of his fate, and, he writes:

… as a consequence of this new self-determination, I began to grow small, as in Alice’s Adventures in Wonderland, until it seemed I was only a photograph of myself, a miniature pedagogue, with the jauntiness of a child on the way to kindergarten, lunchpail in hand.

–Koestenbaum, 2002.

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