un autre manifeste

Les Voleurs

Out of the closet and into the museums, libraries, architectural monuments, concert halls, bookstores, recording studios and film studios of the world. Everything belongs to the inspired and dedicated thief. All the artists of history, from cave painters to Picasso, all the poets and writers, the musicians and architects, offer their wares, importuning him like street vendors. They supplicate him from the bored minds of school children, from the prisons of uncritical veneration, from dead museums and dusty archives. Sculptors stretch forth their limestone arms to receive the life-giving transfusion of flesh as their severed limbs are grafted onto Mister America. Mais le voleur n'est pas presse' --- the thief is in no hurry. He must assure himself of the quality of the merchandise and its suitability for his purpose before he conveys the supreme honor and benediction of his theft.

Words, colors, light, sounds, stone, wood, bronze belong to the living artist. They belong to anyone who can use them. Loot the Louvre! a bas l'originalite', the sterile and assertive ego that imprisons as it creates. Vive le vol-- pure, shameless, total. We are not responsible. Steal anything in sight.

...William S. Burroughs, in The Adding Machine

A nice big aluminum Christmas tree, maybe pink

From a Charlie Brown Christmas, pieced together from a long pan. Beautiful background painting; I don't know who did it, but Bill Melendez directed. A larger version is here. Happy Peanuts, everybody.

Shape, Color, Movement and Light

Here is a summary

Studio Bits

Apologies for the silence in the last week or so during which a recalibration of my studio mind seemed in order--post semester craziness. Here are just a couple bits of color, text and shape hanging about/propped up in the studio.

Martin Luther's Walk Home

From the Wikipedia article on Christmas Trees:

In some accounts, Martin Luther of Germany is credited with coming up with the idea after seeing the night stars through the branches of a pine tree on a walk home, and decorated a tree with his family with candles and silver and gold tinsel.

letterpress

walking home/looking up

More jumbled text: this is a side project I did a while ago, in which I ran Burroughs' essay on the fold-in method through an online text randomizer, and laid out the results page by page. The idea was to have each phrase remain in the same spot from page to page, though that got a little loose.

Landscape Pages

Some new collages I've been working on.

Re[(:)(a)(d)]d text

In the midst of Red Text and More Red Text being posted here, I was pursuing in small pieces my (sometimes, admittedly, painful) night-time project of reading the Old Testament, in particular this excerpt of its own red text:


Per the lingual plague, here we go, a fragment, translated into simple Chinese into Hindi into English:

使其祭坛和拧断其头，将它刻录成的祭坛上，其血液应耗尽了边的祭坛上，他将带走其作物的羽毛，并投下它旁边的祭坛上东面，在为灰烬;他须撕裂它的翅膀，但不是分裂它四分五裂		His head and twist your altar and altar in the water, blood from the altar should go out, he will take away their crops and the wings of the altar on the east side branch, in order to ash, he tears to the wings Was done for, but it's no different

Lingual Plaque

I loved Open Wound 1.0 that Seth wrote about earlier. It reminded me of a game my dad and I would play several years ago through e-mail, when I was living abroad. We would take a block of text and put it through an online translator, then translate it back to English. Some things get lost, meaning shifts, the copy isn't as good as the original. We started calling it Lingual Plague, referring to the extra bits of language that collect, seemingly out of nowhere. Online translators are better now than they were when we started doing this eight years ago, so it helps to run them through multiple times using a different language each time. I decided to try it using the text from the first part of Seth's post, here the original again:

Talking about William S. Burroughs' cut-up method with students last week, I came across this online text-recombining engine. My favorite thing about it is that it's called Open Wound 1.0, but it's a pretty interesting version of a randomizer. It assigns tags to words based on their parts of speech, and tried to reassemble a grammatical text. As such, it doesn't actually work, but the attempt is interesting. This is the beginning of the Technical Manifesto of Futurist Literature, reassembled:

I then translated it to Bulgarian and back to English, then I took the results and went to Finnish and back again, then Italian. Here's the result:

We're talking about William S. Burroughs' cut method with students last week that led to this on-line text of the recombination of the engine. My favorite thing to him is that he is entitled 'An open wound 1.0, but this is a very interesting randomizer. He gave the speech codes based on their parts of speech, and tried to erect a grammar of text. As such, it is not real work, but the experience is interesting. This is the beginning of a technical literature reassembled futurist manifesto:

I'm a little bummed that the translators are getting better. Back in 2000, three passes would yield an almost incomprehensible garble of text. Now, it seems like the final pass through Italian actually fixed a few things that were messed up after the Finnish version.

UPDATE: I just ran the text at the top of the blog, "repository for fragments, detritus, phrases..." through quite a number of times and the results are more amusing, probably due to the loose grammar of the original:

Beet, fruits, phrases, short, attachments, indexical backer, the holder for a piece of chaotic and intuitive, it is foolish and unnameable, which is part of the section unfolds

more red text

It looks better larger.

red text