words written in the week of
July 20th to July 26th
in previous years.
This was ago

it's been a while since I wrote here.

writing here is a kind of channeling. what I am doing is that I open myself up to the world, the world that is inside of me, the me that is the world. after doing so the fingers do what they do; they write, they articulate, they flow. what my fingers are, are simply conduits for energy. out from the shoulder to the arm to the fingers, they spew, and so out emerges what is necessary.

every once in a while a meeting emerges that makes you rethink the nature of life. a kind of sparkliness that allows a form of possibility to emerge. what do you find in a meeting? a possibility unfurling, you think, an endless opening, a revealing. can you see how far the horizon goes, you might ask? do you have a collaborator? is your passenger seat full? what will you do?

I had forgotten the ways in which an evening can be imbued with magic, the way that people can stir up the possibility of life. is this not just who we are, all the time? I had forgotten, you know, forgotten the magic of people, forgotten the beauty of what it means to see another, and another, and another, and momentarily share these stories of what kind of lives we wish to live, and how we want to die. do you remember? we are all here for a moment, briefly.

so many words written like this, over and over again until they achieve cliche. the thing is! the cliches are true! they are past selves, other selves, trying to yell at you a truth that cannot cross a barrier, that stops at the end of an experience, or perhaps is only understandable once you jump into the pool, suddenly opening your eyes and realizing that you can see, and that the world is different, here. or is it getting out of the pool? no matter. the cliches are true, you know. life is limitless and endless because in this moment the deliciousness of a way of being is possible and present. do you know? and the deliciousness is made even more delicious by the knowledge of pains and sufferings past and future, grief and love and joy past and future.

here we are! in this life! in this one precious life! I need to remind myself, nay, I want to remind myself, the need is not a requirement but a calling, a chuckling bellowing calling, that in this precious life the path I am following is actually the path of presentness, of wildness, of being, of death, of reckoning with dying, of the knowledge that we will die and that this momentary way of being will too shall pass. this will die. will it die? we will die. and so then, the question goes, how? how do you want to die? how do I want to die?

the joy of moments like this is that I can only tap into this desire, of dying beautifully, on nights where my heart is so full and I am so happy to be alive, so happy, in fact, that my happiness lifts me up, a hot air balloon, and in the stratosphere I see the curvature of my earth, and my life. I see: there, I was born. over there, probably, I will die. I am more or less in the middle of it. ah, the middle, you think, the middle of the week, the middle of a vacation, the middle of a burn, the middle of a meal. to be savored! to be savored, relished, not with desperation or haste because the end is coming, but because: how beautiful! how difficult, sad, tragic, wonderful, the ways in which we try to love, and fail, and succeed, and the ways in which the love we have for the world grows when we see it for what it is: a cavalcade, an avalanche, a gaggle, a crowd, a murder of crows, a thousand flapping wings, a thousand furrowed or downcast eyebrows, wondering, couldn't I be loved? could I be?

it's always people. in the end, it's always people, specific people, not just people in general, but this person, that person, this love, that love. V, whose voice rings clarion with softness, clarity, and wisdom; A, who knows how to name what needs to be named, and is integrated; C, who I see growing into who she already is; W, who knows how to see what needs to be seen, call in what needs to be called; C, who arrives with a patient, sorrowful, thoughtful learning; H, who is learning, growing, unfolding into the world with confusion and earnestness; A, who I find is searching, discovering; E, who arrives with a delightful reactionary fervor...

and T, who sees with delicacy and care, and honesty and beauty. L, who is kind and curious and rumbling through life in her way. Y, who is growing, crying, discovering, lonely but brave, admirable. F, who is magical, special, kind, in service to. D, who is enthusiastic, warm, good-hearted, excitable, and kind. B, who is searching, curious, searching for home, aiming, directed, a stork. C, who is a new mother, with the excitement of what it means to grow..

oh, so much more. would it be possible, I want to ask. would it be? we will find out.

would it be possible? could it be? the magic of an evening. here I lie, listening to crickets chirp. if anything this was worth it, I want to say; this was worth it, this moment, this shining place. here we found ourselves to be, in the space between moments.

once a few years ago I woke up at 6am and climbed to the top of our park slope apartment and looked at the world in wonder. "every day has one of these", I think I said, the city rawly waking, I thought. every evening has one of these, too, the 3:36am realization, the kind of love for the world that can emanate, through all of the grief and sorrow and suffering, too. all of it, all of it. you know?

This was 11 years, 11 months, 26 days ago

what does it mean to enter into someone's space which, let's say, is in the process of being painted, or organized, and to have that person apologize to you? as if that would be something to be apologetic about in the first place. what is it to consider the messiness and the unfinished state of a place something to excuse, to tolerate, to squint one's eyes and pass by barely flinching?

the assumed normal state of things being a finished state -- or not even finished, just a specifically curated state. post studs. post drywall. post joint compound. point paint. the finality and the cleanliness of a space having taken hold. that is the moment of presentation.

I am thinking about salads - a salad as essentially a collection of 'unfinished' things, or at least objects that have not touched fire, or that it is at its most direct a collection or an assemblage that happens to merge together into a whole. at no point does one's critique of a salad extend into a finishedness ("I'm sorry that this thing wasn't seared in a pan with some olive oil") but rather a celebration of directness. or: the object speaks, there is no transformation or production process engaged here, no act of 'cooking' but just mostly the direct appearance of (ostensibly) labor-limited objects here. a bell pepper, kind of chopped. some greens, roughly washed and thrown in a bowl. some cheese, jabbed at and crumbled with a fork. olive oil and balsamic vinegar, sprinkled over in eyeballed amounts, the tilt of the bottle, level of liquid sloshing briefly. that is it.

why not space? space as salad. why is the careful curation of objects and places such an emphasized point? is it because the aesthetic qualities of 'finished' space can be strong, can hold a kind of power, and so a pursuit of this 'finish' is of an aesthetic one, not one of decorum or propriety? the lesser of two evils would be such - that the continuity of the smooth white wall is a desired visual attribute that drives this 'finishedness' rather than the proper finitude of being-done. being-right.

biting into a space-salad would be the process of experiencing every element in continuous succession. !-#-@-$-%, and a kind of persistence-of-sensation overlaying them on top of each other. spaces beholden in a continual gradient. some overall dressing that is the pretense of continuity. the elements of a building presented as they are - drywall, studs, screws, tools, dust, roughness, sweat, leftover scraps, contractor bags. and more importantly to step into that space without apology or withdrawal but a full on appreciation of discrete elements that would assemble together into a whole, but only through the process of experience.

--

more to talk. but:

why is it that, within 3d/2d space, drawing a box is one of the easiest things ever -- yet making a box, a perfectly rectilinear planar surface, is immensely difficult?

or better question -- how is it that the logic of representation and drawing dominates architectural design processes, but the logic of material manipulation dominates construction processes? how are these two things reconciled, if at all?

--

why is it that some people have time to do things, and other people have their time cut short, so suddenly and nonsensically? why is it that you work in an office twenty floors up, and she works in a office over there, and she works at a studio space, and he works in a restaurant, and we all do these different things, spend the same time, are paid so differently, and have such different valuations of our own lives imposed onto us?

the punch of a singular event slices through these sections of time and effort and evaluation, reminds me that all I have is time, so little time, just time.

This was 12 years, 11 months, 23 days ago

it's been a while. long gaps, long gaps.

a series of short bulletpoints to illustrate the montage of things seen and past:

1. dealing with things is always hard.

2. this is because everything is made out of people.

3. because everything is made out of people and made by people, this means that making anything is always about dealing with the interactions between people.

4. everything is politics; everything is management; everything is logistics; everything happens in the moment where you open your mouth and speak; the interface between people. it is all that. everything done and made and reified into the world is a balance between 1) you and your being, and 2) you and others, and while this definition may seem obvious and over-encompassing it's also focused and slim, a slender line drawn on a cream-colored page.

This was 15 years ago

Things, of course, never really happen as I would want them to, and then things happen better than I would want them to.

If anything I want to say something like: Sorry, St. Petersburg, sorry for ignoring you, sorry for having you be the backdrop for endless hours running between subways, areas, pulling out guidebook translators that I never thought would come in handy.

Here's to calmness, to settledness, to the infrastructures of bureaucracy that I will jump through, to meeting strangers and have it be effortless, suddenly, knowing all the right things to say, here's to ffriendly candidness.

This was 15 years, 1 day ago

Sometimes when I write on my site, I write to me, or I write to an
imaginary other, or I write while deliberately not thinking about it
so that I am just focused on the sound of my words, because the
concept of a blog/website where I'm sort of absently ignoring this
openness (but at the same time somewhat intimate with my thoughts) is
a little bit of a contradiction, an opposition asking for a solution.

Tonight, tonight I will write as if I'm writing you an email, and I'll
type as if that is so, and here you go, whoever you are; either you're
reading my email to you or you're reading my email that I'm sending to
him/her, looking me look at you straight in the eye or looking at me
look at you from an angle, three-quarters also. (Like the family of
analyses of cubism that declares cubism to be about a simultaneous
multiplicity of perspectival viewpoints.)

--

I would like to say something here about St. Petersburg, about being
here. Nothing comes to the ends of my fingertips except the taste of
infrastructure in my mouth. That is:

In Dusseldorf, the curvature of the monorail linking the metro to the
airport. The boxiness of the buildings around the Dusseldorf
hauptbahnhof. The quality of sunlight on a Sunday morning, very quiet,
very still, very poised.

In St. Petersburg, the metro, with lights, with paint, with
infrastructure bolted together, neither old nor new, semi-outdated, of
a bygone era, etc. this is what people call and abbreviate as
'soviet', I understand, which takes on a meaning just more than the
word itself. The metro coming out of the deep, deep, ground. Feeling
an unfamiliar alphabet come to familiarity, unlocking the phonetics of
a place.

Interestingly enough there's no puncture here. I feel like I have
always been here. Perhaps this is because I have not been wandering
alone; perhaps this is because I've made acquaintances and talked and
aimed in a country that is a) not mine and b) not familiarized by me
and so I have already put up this barrier, I realize, already
preventing myself from displacement.

Tomorrow I will wander, alone, for a bit, buy train tickets, go see
some young independent art, buy some blinis, and so on. Eat another
bowl of borsht. Liquify, Spongeify. Become permeable.

I lose all powers of description tonight, tonight there is nothing but
the joy at being here, and the joy of moving. With valence.

This was 15 years, 2 days ago

st. petersburg to seoul, vis train and ferry. without lifting a wing.
here we go.

am to sleepy to talk, but wanderlust is kicking into effect, I am
seeing the unfamiliar syntaxes of infrastructure: different bottle
sizes, can sizes. People are different. I will be pulled out of
myself, and be pushed into myself, more external, more quiet, more
talkative, more introspective. I will redraw my boundaries.

I can't remember where exactly but somewhere in Anti-Oedipus, Deleuze
(and Guattari) talks about the loss of the self, how we are afraid to
encounter the loss of the self. And immediately when I read that I
thought, "of course, obviously; the loss of the self is unmooring,
freewheeling, disorienting. It's more a meta-disorienting then a
disorienting; the question is not of the jumbling of senses, but of
the jumbling of the definition of which senses are which." It's a
hygiene problem, so to speak. Keeping the world out, having me be
solid.

and I think sometime a few days ago I talked about a phenomenological
puncture of sorts, or maybe what I really meant was a phenomenological
punctum, something that makes you say "wow" with all the force of a
sudden change, a rapid difference, a rupture. Travel is the inverse of
Serra, in that the world moves around you.

I go to travel alone to be apprehensive, confident, available, to let
myself be porous and fill with the atmosphere and energy of the air,
to be soaking up newness with every step.

here's to ruptures and porousness and redrawing the exterior edges of
my self and being powerfully okay with that.

9:52pm EST, july 18th, saturday, on the plane to dusseldorf.

This was 16 years, 11 months, 27 days ago

another one of those dreams I don't realize that I had dreamt it before until the time comes.

The last time I had this semi-recurring dream was two years ago, maybe.

Metropolis, entangled highways and parking lots, dark and enclosed, high elevators with precarious places to drop and fall endlessly.

Inside, an underground floor with vinyl green floor much like korean underground apartment parking lots. The walls occasionally have the same two-digit story number spray painted on them. The rumble of a monolithic rivulet of cars nearby.

The elevator's large and circular, a room-size platform suspended in the middle of a tube. One wrong step and I fall for who-knows-how-many floors. Someone's looking for me all the while. Am I escaping, or entering? I enter into a hallway where similar elevators exit similarly. Are I running? Beneath I on this platform without guardrails I see a network of cars running and tangling. I go somewhere, and then go somewhere else.

Entering an elevator again the doors close. Inside this space is pure vulnerability -- as I look on in horror, the elevator slides up, down, moves sideways, mockingly denies me access to my chosen floor, starts accelerating upwards endlessly, disappears. Elevators are to be avoided. I take the stairs, which is a rectilinear spiraling strand suspended in empty space. Somehow I reach the end but it's not certain whether this is end is the same end I started from; still uncertain I wake up.

This was 17 years, 11 months, 23 days ago

Profiling
Until September 9, at the Whitney
"Profiling features two artworks that present a dialogue on issues surrounding surveillance, protection, privacy, and identity by exploring the use of automated systems for tracking and "profiling" people in public spaces. A continuously accumulating history of movements of visitors that is both a statistical plot of gallery activities and a record of each act of each visitor; and a catalog of visitors' head shots with classifying adjectives randomly attributed to them (i.e. unsuspecting, complicit, hungry)"

What the Dormouse Said #2:
Exceptional excursions into the way new and old media should be done
Sunday July 29, 8 & 10:30pm, $7, $10 minimum, MonkeyTown
There's no introduction to this, but the former What the Dormouse Said looks like it was interesting.

Also: Location One Artists-In-Residence exhibition ends on Saturday!

This was 17 years, 11 months, 27 days ago

It's too bad. Here there's change, I'm trying to project my mind's eye onto walls and seeing myself twelve months later and full of uncertainty hope and doubt and all that. Touchingly here and there I'm walking back doing these invisible dances in trainful underbellies wondering, thinking.

When I enter someone's home, in the process of this hobby of mine (entering others' homes in search of one of my own) I usually take off my headphones and slip my left arm out of the straps of my backpack and let it hang askew, asymmetricality lending informality to my posture. The weight difference lifts my left foot off the ground slightly. I scan the bookshelves for authors I recognize, sometimes none, sometimes the usual suspects, sartre rushdie marquez plato shakespeare mamet and whatnot.

I'm not sure how this is relevant but I ordered the GPS logger and at the same time I felt myself withdraw and disconnect more. A lack of communication verified, attempted translation into the wanderings of my physical location seen orthogonal to this flat earth, this mortal coil.

change and solitude permeates my summer.