“Yes, but I also like anonymous kinds of things. To treat objects like objects is to do something to them — which is not to say necessarily to transform them — which implies a kind of ascendancy or positive motion forward. This would be a modern movement. What I’m describing is not postmodern either, though. That implies a kind of faith in various styles.”
“Art as life ritual. The conventional artist looks for his own style; he wants to achieve something but does not ask what. He thus serves the ruling institutions by making his products attest to the concepts on which these institutions have built up their existence. And he is repaid for this, honoured and pensioned. However, art is above all justified through the enjoyment of art and not through the pressure of a style. Art as experience, training, and as the destruction of all established ideas about life… painting as therapy. Art is a cure against addiction… a series of elementary chains of experience.”
“ready-made-king duchamp lured the chief ape from slovakia, uncle scrooge, and the coyote from kleve  onto the greasy pole of iconoclasm.
BECOMING AN ARTIST IS VERY HARD
BUT IT IS NO LONGER HARD TO BE ONE
RECIPES FOR THE ART SNARE
place a white primed canvas on the pavement in the rain. unsuspecting passers-by will provide the priming coat with their muddy shoes.
the artist is fastened by a rope to the window-frame (the actionist rudolf schwarzkogler plunged to the pavement and met his death during a flight simulation from the 4th floor, because he wasn’t on a rope). legs braced against the window ledge, the artist evacuates arse-outward the runny contents of his bowels on to the picture 30 meters below. on video: the slap of faeces as they land, in slow motion. a fine drizzle of particles back and forth creating dust and shadows.”
“I come from Mexico and Mexico’s so urban and it’s so difficult – to me it seems very painful that I cannot embrace a landscape very well because I’m accustomed to walking the streets and looking for signs, cars, buildings, walls, people just confronting me – so close to me that I am just getting all these images.” – Alberto Mijangos
Today, it is behind Islam that I contemplate India; the India of Buddha, prior to Muhammad who – for me as a European and because I am European – arises between our reflection and the teachings which are closest to it /…/ the hands of the East and the West, predestined to be joined, were kept apart by it. /…/
The West should return to the sources of its torn condition: by way of interposing itself between Buddhism and Christianity, Islam islamized us when, in the course of the Crusades, the West let itself be caught in the opposition to it and thus started to resemble it, instead of delivering itself – in the case of the inexistence of Islam – to the slow osmosis with Buddhism which would christianize us even more, in a sense which would have been all the more Christian insofar as we were to mount beyond Christianity itself. It is then that the West has lost its chance to remain woman. 
Claude Levi-Strauss, Tristes tropiques, Paris: Plon 1955
I have..answers to this question. First, a counter-question. What does it mean to be a discourse on something? Must a discourse on something mention that something by the name it is known by in other circles?
You became an artist because you were not content. We were
dissatisfied with some aspect of the dominant configuration. One of
the ways of changing the configuration is the making of art. Other
ways are going to the streets; other ways are to do something else.
But there are ways to change the dominant configuration by making art.
That’s why you become an artist.
… anybody after 1875, the artist is attracted to one of the
supplements of being an artist. A bohemian lifestyle comes with the
territory. You’re entitled to it. When you’re a circus performer
you’re entitled to it. …. A bohemian lifestyle is against the
dominant lifestyle. Your existence makes some guy, who decided to do
it their way and go to business school feel bad. Because you both end
up with more or less the same access in the society. Maybe not the
same money. but the same access. And money is just a means of
We’re getting back to what we all were aspiring to when we were
younger, when we looked at dialectical materialism. We’re all getting
back to what we aspired to as a decent, justifiable life for every
person on the planet.
“Nothing in the world can be compared to the human face. It is a land one can never tire of exploring. There is no greater experience in a studio than to witness the expression of a sensitive face under the mysterious power of inspiration. To see it animated from inside, and turning into poetry.”-Carl Theodor Dreyer
Hey jackass with a book of quotes and a beaver shaped bong, go outside and walk your dog or collect shiny things. Do us all a favor and take a long quote riddled walk off a short poetic pier.
“Just like the white wing dove, sing a song sounds like she’s singing, whoo baby, whoooo” – STEVIE NICKS.”
“Nothing in the world can be compared to the human face. It is a land one can never tire of exploring. There is no greater experience in a studio than to witness the expression of a sensitive face under the mysterious power of inspiration. To see it animated from inside, and turning into poetry.”
Hi Ben! What an amazing video. So glad Jason Jay sent me the link. (haven’t been keeping up on what’s been going on in South Texas blog land lately….) More than a little surreal to see Cage up there performing with a studio audience laugh track in the background. He’s really pretty charming and humble about all of it, though, isn’t he???
“I’m tougher than a lot of directors are on actors because I expect them to care. I expect them to come there with some ideas. Not defensive ideas but ideas really for the character. If they don’t, I really don’t want them around. I’ll cut them out of the film. It doesn’t take a genius to recognize it when it’s brilliant.
It takes somebody who’s stupid to compromise on something when it’s not brilliant.”
AL: Do you differentiate between chance operations by a performer, and
improvisation by a performer? Or do you see it as being the same thing.
JC: No, chance operations are a discipline, and improvisation is rarely a
discipline. Though at the present time it’s one of my concerns, how to make
improvisation a discipline. But then I mean doing something beyond the
control of the ego. Improvisation is generally playing what you know, and
what you like, and what you feel. But those feeling and likes are what Zen
would like us to become free of.
“Cardew was struck by a hit-and-run driver on his way home one evening
from a tete-a-tete with his students. While it’s always nice to have
some great and grand explanation for a senseless death, none of his
acquaintances that I’ve met have offered assassination at the hands of
the Tory government as an explanation. I chatted briefly one evening
with his wife, who discussed only the possibility of a drunken driver
at the time, and commented on the narrowness of the street, lined with
“The more general point to be made here is that the global reflexivization/mediatization generates its own brutal immediacy whose figure was best captured by Etienne Balibar’s notion of excessive, non-functional cruelty as a feature of contemporary life: a cruelty whose figures range from “fundamentalist” racist and/or religious slaughter to the “senseless” outbursts of violence performed by adolescents and the homeless in our megalopolises, a violence one is tempted to call Id-Evil, a violence grounded in no utilitarian or ideological reasons. All the talk about foreigners stealing work from us or about the threat they represent to our Western values should not deceive us: under closer examination, it soon becomes clear that this talk provides a rather superficial secondary rationalization. The answer we ultimately obtain from a skinhead is that it makes him feel good to beat foreigners, that their presence disturbs him… What we encounter here is indeed Id-Evil, i.e., the Evil structured and motivated by the most elementary imbalance in the relationship between the Ego and jouissance, by the tension between pleasure and the foreign body of jouissance in the very heart of it. Id-Evil thus stages the most elementary “short-circuit” in the relationship of the subject to the primordially missing object-cause of his desire: what “bothers” us in the “other” (Jew, Japanese, African, Turk) is that he appears to entertain a privileged relationship to the object – the other either possesses the object-treasure, having snatched it away from us (which is why we don’t have it), or he poses a threat to our possession of the object. What one should propose here is the ultimate identity of these “useless” and “excessive” outbursts of violent immediacy, which display nothing but a pure and naked (”non-sublimated”) hatred of the Otherness, with the global reflexivization of society; perhaps, the ultimate example of this coincidence is the fate of psychoanalytic interpretation.”-Zizek