Welcome to (Month 6: Volume 2), the new exclusive collection for paid subscribers! Thank you again for supporting this project, I really appreciate it!
(Month 6: Volume 2) contains tons of contemporary art, music, fashion, literature, videos, and more stuff that resists categorization!
Don’t forget this newsletter will exceed most email limits, so you’ll need to click through to “view entire message” at the bottom of this email or click over to the website to enjoy the whole thing.
And remember, every entry comes with a link so you can explore more and more.
Now then, without further ado…
Contemporary Swedish artist Jens Fänge
“Glitch poetics” is a mode of reading and writing language errors in contemporary literature in ways that reflect something new about our encounters with digital technology. It is an emergent literary style, a media realism in which literary language is entangled in today’s hyper-mediated conditions, making them speak about the way things are and will be as we integrate digital technologies ever deeper into our lives. In media art, the glitch is recognised as an aesthetic arising from between-states, alternative connectivities and misuse.
— from GLITCH POETICS by Nathan Allen Jones, via Open Humanities Press
Contemporary Ghanaian artist Richard Mensah
Mugler Spring Summer 2022 by Casey Cadwallader directed by TORSO
Written and Directed by Matthew Barney
Music Composed and Directed by Jonathan Bepler
Contemporary Italian artist Maurizio Cattelan
Contemporary American artist Eddie Martinez
The 2022 boundary 2 Annual Conference was held from March 31-April 2 at Dartmouth College. The meeting also celebrated the 50th anniversary of the journal. Talks from the conference are now available online [via boundary2], including these two:
R.A. Judy: Poetic Socialities and Aesthetic Anarchy
Hortense Spillers: Closing Remarks
Contemporary Australian artist Waldemar Kolbusz
The realist phenomenological response to empiricism argues that the structure of the universe is evident in how a human consciousness naturally tends to unify in some cases and differentiate in others. We stipulate first that “this is a literary work” and “this is not”, and then we decide what that term means. Human consciousness has an intuitive grasp of objects that belong together in categories—e.g., books, fictions, literary works—that allows us to recognize what kind of thing something is, what its species is (or, in philosophical terminology, its eidos or form). The same intuitive grasp of form allows us to read a work and identify what it lacks, what should have been done, what seems extraneous, what should have been cut.
So, what is a book? What is a literary work? By what principle are these in any way unified?
And what about the limit cases?
— from “LITERARY HORIZONALITY” by CHARLENE ELSBY, via The Philosophical Salon
Terence McKenna's Final Interview (1998)
Contemporary Canadian artist Erik Nieminen
Contemporary German artist Daniel Richter
Dry Cleaning - “Scratchcard Lanyard”
Directed by Rottingdean Bazaar
Contemporary Chinese artist Zhang Yongxu
Zypherus Cardanus watched the ink dry on the closing question mark of the manuscript before him. Satisfied, he gently folded the calfskin and placed it on the side of his desk. He sighed, staring out the East-facing window of his study at the vast plain that stretched out for miles. Beige grasslands, a few old stones in rough piles. To the left, out of view, the terrain sprinted upward into two hillocks. Paris, he thought to himself. He didn’t really know how to pronounce it, though he knew the French alphabet and language better than just about anyone in the city. Some pretended to know. But no—it was a dead language. He tipped the little top-hatted head of the plastic bird before him into his glass of potato wine. He yawned.
— from “Voyages Divers” by Ben Libman, via Minor Literature(s)
Contemporary South Korean artist GaHee Park
La Monte Young + Marian Zazeela - The Theatre Of Eternal Music — Dream House 78'17 (1974)
Contemporary French artist Bernard Frize
Ivan Argote is a Colombian artist and filmmaker based in Paris
last night before I fell asleep I typed into my Notes app: beautiful sunsets that have the texture of the end of the world. I dozed off into a dream about murder; I lived in an apartment complex and watched as my neighbor beat a man to death. I didn’t know who was safe to tell, I didn’t know where to go. I woke up around sunrise, surprised by the violence of my own brain. I fell asleep again and entered a new dreamland where the sun was descending.
—from DANIELLE CHELOSKY’s “BREATH PLAY”, via Always Crashing
Kasper Sonne is an internationally exhibited Danish artist living and working in Greenpoint, Brooklyn in New York
A ReDub of the 421 Dub Show
On this first day of Summer, ABOT repeats a great Summer Music Show, the 421 Dub Show from 2020: An overview of Dub music viewed as a subset of electronic music. Featuring: LKJ, Leftfield, Mark Stewart, The Slits, Wha-Ha-Ha, Blundetto, Fat Freddy’s Drop, and Roots Manuva.
Listen HERE
Contemporary American artist Hernan Bas
Ono herself “performed” art works. One consisted of mounting a piece of paper on the wall, opening the refrigerator and taking out food, such as Jell-O, and throwing it against the paper. At the end, she set the paper on fire. (Cage had advised her to treat the paper with fire retardant first so that the building would not burn down.) The art work consumes itself.
— from “Yoko Ono’s Art of Defiance" by Louis Menand (June 13, 2022) vi The New Yorker
Contemporary German artists Michael Elmgreen and Ingar Dragset
As with all art forms, there are to be found in fiction various movements, lineages, schools, questions, and, indeed, problems. For those who, with any degree of seriousness, study, consume, and attempt literature, there is an infinite supply of specific areas of investigation, turns within turns, subterranean Undergrounds of rabbit holes. One such niche that must be of particular interest to at least several people is that which can be called the Dujardin Problem, a particular set of ontological difficulties and occurrences that arise in specific types of first-person narration. Taking its name from a short, obscure novel published nearly one hundred and fifty years ago and promptly forgotten, this phenomenon is a strange and vexing branch off the point-of-view family tree.
— from “We’ll To The Woods Once More: Emily Hall’s The Longcut and the Dujardin Problem of Consciousness in First-Person Narration” by D. W. White, via L’Esprit Literary Review
Mickalene Thomas is a contemporary African-American visual artist
In collaboration with GHARPS x ULTRAVIRUS for COEVAL MAG
ᗷᘿᗩSᖶᘻᓍᕲᘿ22 is folklore for the entangled future. Eco-tek wearables forged in a farfetched forlorn fairytale: cybergothic sprites, mutant doof faeries, half-price haute couture as hypersitional magick. In a post-fact world ruled by neo-feudal robber barons, fantasy is the new currency.
director THORSTEN HERTOG
art direction & costume GEORGIA HARPER
production company ENTROPICO
Contemporary Guyana-born British artist Frank Bowling
The others had said they had no money to spare, as anyone could understand, and I couldn't blame them for supposing they might not get their money back for some time, though I admit thinking that every single one of them could have coughed up at least a twenty or a fifty. How much money was a twenty these days? Yet Bankhead was the one I'd expected the most from, the one I'd most overestimated, and his refusal to reply or look me in the eye infuriated me. I'd always suspected he viewed himself as superior to me. He seemed to think he smelled better than I smelled and that if we opened ourselves up his organs and blood would smell better than my organs and blood.
— from “Hundred” by Glen Pourciau, via The Rupture
Contemporary American artist Gary Komarin
Our poet begins by describing the structure of Creation. The Earth attracted the Moon, the Moon stirred up the tides and the tides pushed the Earth and Moon apart, gradually widening the distance between them. From ancient times until the present day, this has been the fundamental structure of human spiritual pursuit. Thus we uncover a millennia-old spiritual conundrum: Longing is proportional to distance.
— from “Beauty, Distance, Structure: On “The Distance of the Moon” from Italo Calvino’s Cosmicomics” by Can Xue, translated by Natascha Bruce, via Sublunary Editions
Contemporary American artist Pam Glick
From the wombs of true believers, I came out faithless a godless decadent heathen but somewhere in my foggy ancestral memory I recall that women used to worship snakes.
— from “Dominant Genes” by SJ Sindu, via Honey Literary
Contemporary Finnish artist Jenni Pasanen
This essay argues that thinking about university futures requires not only practices of critique and desire, but practices of rigorous and reflexive imagination. Building on Bill Sharpe's three horizons framework, it argues that debates about university futures are dominated by horizon 1 thinking (critique of the current situation) and horizon 3 thinking (normative aspirations toward desirable futures) but that there is limited exploration of horizon 2 (the emerging possibilities that may create radical disruption).
— from “Imagination and the Future University: Between Critique and Desire” by Keri Facer, via Critical Times
HyeGyeong Choi is a contemporary Korean painter residing in the US
JooYoung Choi, born in Seoul, South Korea, immigrated to Concord, New Hampshire in 1983 by way of adoption
It seems hardly a coincidence that the colour red – seen here in photographic filters, texts, and two giant, tinted windows, among other places – acts as a literal roter Faden (‘red thread’, meaning ‘throughline’ or ‘common thread’) throughout. Red: the colour of love, of anger, of life and blood, war and courage; a colour with equally devastating and beautiful associations. For when violence is expressed through beauty, it is enrapturing – and it is precisely in this threshold that Weems’s work, and this exhibition, comes alive. Her practice and this overview not only remember but confront acts of violence against humanity through a soul-crushing beauty.
— from “Carrie Mae Weems Questions the Preservation of History” by Emily McDermott, June 16, 2022, via Art Review
“Pygmalion’s Ugly Season”
A film by Jacolby Satterwhite
featuring Perfume Genius
Label: Matador Records
Director: Jacolby Satterwhite
Edit: Jacolby Satterwhite
Animation: Jacolby Satterwhite
Design: Jacolby Satterwhite
VFX: Jacolby Satterwhite