Mat Laporte's Blog, page 30
July 9, 2015
hard to pick a favourite track from this album, but this might...
hard to pick a favourite track from this album, but this might be it rn
To start indicate the place that’s nine-tenths. Smallin volume, it lies suspended in our body. A...
To start indicate the place that’s nine-tenths. Small
in volume, it lies suspended in our body. A child
visualizes a sphere floating through hollow arms and legs,
dancing through the torso. It contains the rest, but
is finite. It appears to be an insignificant point,
free in itself, permitting misconception, perfection
belongs behind you and in what you will do, just as
in time there is never a nine-tenths. Only its
endless picture.
- from “Nine Tenths Of Our Body,” by Diane Ward, in Code of Signals
July 8, 2015
An Interview with Bernadette Mayer by Stephanie Anderson
BM: […] Maybe it’s time to tell you—hope I didn’t already tell you this—my ideal house.
SA: Okay.
BM: It would be this house, but it would have to be relocated in the middle of the woods. And rebuilt a little bit so that there would be porches on all sides of it. Wouldn’t that be great? And, if you really had the leisure, all the porches—well, not all of them, but some of the porches—would have to be glass-enclosed. Like the ones facing south and I don’t which others… You’d have to figure out from where you moved it. And in the house would be an indoor swimming pool. And outside the house, an outdoor swimming pool. And nearby, a glass-enclosed walkway for walking in the winter. You would have your neighbors walk there, too. And at one end of the walkway, where people would finish their walks, I would be sitting there fixing them grilled cheese sandwiches. To allow them to get on with their day. And we would have really excellent bottles of wine available. Or, you know, Coke I guess, if people needed it. Wouldn’t that be great?
afrosonics:
I’m wondering what separates your consciousness...
I’m wondering what separates your consciousness from the consciousness that goes mad, for real?
Six Years: the dematerialization of the art object from...
Six Years: the dematerialization of the art object from 1966-1972, by Lucy Lippard.
One of my favourite things in the world rn.
July 7, 2015
Ted Greenwald from DAWN ONDawn onAs, iffyBe so kind, looks onThe clear light FriendliesEmbody the...
Ted Greenwald
from DAWN ON
Dawn on
As, iffy
Be so kind, looks on
The clear light Friendlies
Embody the money, short for
Inscribe on to forever iris inside clasp
Suggestions unhinge putting something on if
Embody the body all on about
Suggestions unhinge iris inside clasp
The view’s special All on about
As Way off
The clear light looks on
For into, friendlies
Findings issue breathing
Not quite flat, diverse modren boobs
Learn to do so Fussball bubble
Nod happily, diverse modren boobs
(Happy nod) says another begins set in
Love most about muse excuse
Come across, bait and switch
(Happy nod) says another Ignore this
Come across muse excuse
Lived-in because ignore this
Learn to do so, deal with, pleading
A few later, fussball bubble
Nod happily feet many language
Ribbon wonder stray
Word space posture peel-off
Praying dismantle play out wrong rights
A brainier adhesive posture peel-off
Ask for animal offering most nights
Head pack weak knees
No good reason offering most nights
Head pack Sonata taste light
A precious bundles weak knees
No good reason devotion arrives
Praying dismantle push too far
A peek there play out wrong rights
A brainier adhesive so far legs
Romance speaking demo
Color go to long night
Meet mermaid watery brushes with
Upside down swing bobbin
Build over, strip to reruns
State mind (good laff), final forever
Going become, peer into hammer
Build over, wander before surrender
Going become final forever
If only, wander before surrender
Color go to eyes snake
Upside down watery brushes with
Points fine, agree, eyes snake
Curve echo digit
Early to ice it’s air
Hands-off, maybe not, slight of and
Doze on a doggy, day it’s air
As come up talk talk
Lift head, that’s right
Bottom back down cutaway shell
As come up Same room
Bottom back down That’s right
Back off floor, same room
Hands-off, maybe not jones in stride
Beautiful thing slight of and
Doze on a doggy, facial phrases
this song makes me happy and almost nothing else does
this song makes me happy and almost nothing else does
July 6, 2015
Frampton on Heterodyne: “I began to make it when I had no...
Frampton on Heterodyne:
“I began to make it when I had no money for raw stock and only several rolls of colored leader but nevertheless (had) the need to make or work on a film. As I first conceived the film, I intended it to be a kind of revenge done with the bare hands against - first of all animation - or cell animation in particular and secondly, against abstract film with a capital A as they were practiced in the late 40’s and 50’s as a kind of engine cooler for the art houses where I first saw serious foreign movies. As I thought about the film, I wanted it to have a very open, resilient kind of structure with the maximum possible amount of rhythmic variety, both in terms of count, beat and variety in the rhythmic changes of shapes and the rate of the rhythmic change. I used a debased form of matrix algebra to make up, in advance, the structure of the film, and tried out several arithmetic models for that structure… with very short film pieces, before I found one that seemed to suit me. As I came to make the film, it consists entirely of 240 feet of black leader into which are welded about 1,000 separate events. Each consists of one frame, and there are 40 kinds of frame, ranging from a frame that consists entirely of red or green or blue to a frame which may consist of red leader with a triangle of blue leader welded into the middle of it. I say welded because the film was put together using three colors of leader and 3 ticket punches - a square, a circle and a triangle - which I felt to be constantly recognizable and also impersonal shapes - and where one color is let into another, or where a color shape is let into black leader, it is literally welded in with acetone. I was doing all of this under a magnifying glass with tweezers and brushes and so forth… they’re disposed along the continuous line of film by a scheme roughly the following: in order to avoid a scheme in which certain types of frames would, by rhythmic recurrence, fall at the same spot in the film, or in the same exact frame, I decided to use prime numbers, that is, numbers divisible only by themselves and as a starting-point since they begin to share harmonics extensively only in their very high multiples - I further decided I could use no prime numbers less than 40, because 40 is the number of frames in a foot and didn’t want any single type of event to occur any more often than once every one and two/thirds seconds, and then I subjected my list series of tests that involved the sums of their digits-casting out those that didn’t meet the tests so that as it turned out the, commonest event, a frame that is entirely red, occurs every 61 frames in absolutely regular repetition throughout the film; and the least common event, a red triangle on a black ground, occurs every 2,311 frames - all of this necessitated an amount of arithmetic which I did over a period of 6 weeks - reduced it to a large stock of 3X5 cards and collated them, and sat down which my rewinds and splicer and simply put the thing together - altogether on the level of personal logistics, it tied up my time and need to be making a film for about three months at the end of which I found myself with a little more money for raw stock and I could go on and make other kinds of films.”
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