marked a long time ago 1

“. . . I suppose, though, it’s just another expression of the inherent sadness of sound, of sound’s defective essence; after all, sound is so perishable: it’s no more than a nudging of air, a fragile sequence of crests and troughs – soft, ripply, rounded like Mallomars, and perilously dependent on its medium; it’s so different than light, which has hardness, and beaminess, and eternality; sound just dissolves, it radiates away into emptiness, resolving its curves into formlessness and passing through the atmosphere into directionless space; and this, too, is a sadness; for so much is lost; so much is lost; in fact, I can practically see the process happening right now, standing where I am – up here, on the roof; for up here, on my roof, looking towards the darkening sky, I can almost see the world’s endless dusts of sound silently dispersing – all of them powerlessly unfurling against the distant clouds, dissolving into the leveling night . . . ; and so, up here, with darkness descending, and with the breeze at my back, I plant my feet against the edges of a few sturdy slates, and get back to work, wondering what new things I’ll be able to pull in, with my antenna, so well anchored:”

(Evan Dara, The Lost Scrapbook, p. 58.)

september 12–september 17

Books

Films

  • Hallelujah, I’m a Bum!, directed by Lewis Milestone
  • Der Baader Meinhof Komplex (The Baader Meinhof Complex), dir. Uli Edel
  • Uncle Buck, dir. John Hughes
  • La cifra impar (Odd Number), dir. Manuel Antin
  • Model Shop, dir. Jacques Demy

the decline of the west

O Oswald, O Spengler, this is very sad to find!
My attic, my children
ignore me for the violet-banded sky.
There are no clean platters in the cupboard
and the milkman’s horse tiptoes by, as though
afraid to wake us.

What! Our culture in its dotage!
Yet this very poem refutes it,
springing up out of the collective unconscious
like a weasel through a grating.
I could point to other extremities, both on land
and at sea, where the waves will gnash your stark theories
like a person eating a peanut. Say, though,
that we are not exceptional,
that, like the curve of a breast above a bodice,
our parabolas seek and find the light, returning
from not too far away. Ditto the hours
we’ve squandered: daisies, coins of light.

In the end he hammered out
what it was not wanted we should know.
For that we should be grateful,
and for that patch of a red ridinghood
caught in brambles against the snow.

His book, I saw it somewhere and I bought it.
I never read it for it seemed too long.
His theory though, I fought it
though it spritzes my song,
and now the skateboard stops
impeccably. We are where we exchanged
positions. O who could taste the crust of this love?

(John Ashbery, from And the Stars Were Shining.)

token resistance

As one turns to one in a dream
smiling like a bell taht has just
stopped tolling, holds out a book,
and speaks: “All the vulgarity

of time, from the Stone Age
to our present, with its noodle parlors
and token resistance, is as a life
to the life that is given you. Wear it,”

so must one descend from checkered heights
that are our friends, needlessly
rehearsing what we will say
as a common light bathes us,

a common fiction reverberates as we pass
to the celebration. Originally
we weren’t going to leave home. But made bold
somehow by the rain we put our best foot forward.

Now it’s years after that. It
isn’t possible to be young anymore.
Yet the tree treats me like a brute friend;
my own shoes have scarred the walk I’ve taken.

(John Ashbery, from And the Stars Were Shining.)

noted

september 7–september 11

Books

Films

  • Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles, directed by Chantal Akerman
  • Tout la mémoire du monde, dir. Alain Resnais
  • Cortázar (Celestial Clockwork), dir. Tristán Bauer

Exhibits

  • Carol Bove with Janine Lariviere, “Plants & Mammals,” The Horticultural Society of America
  • “Milton Glaser’s SVA: A Legacy of Graphic Design,” Visual Arts Gallery, SVA
  • “Ken Friedman: 99 Events,” Maya Stendhal Gallery

the very same culture that had destroyed all reason for going from one place to another

“That’s an attitude too that you often find in the kinds of artists who are content to call themselves ‘cultural operators’ and who get involved with the idea that art has to be revolutionized and made scientific, but they’re getting it all ass-backwards that way. They’re trapped in an illusion that our whole society agrees upon, jet planes were invented because of the developments of science, all of our technology comes out of science, and we’re all drugged on technology and on the idea that I can take this jet and be in America in six hours. But why should it make a difference to me that I can get to American in six hours, maybe I don’t want to go to America at all, and maybe it’s all the same if I get there in six days, or six weeks, I could take a clipper ship and clipper ships were certainly more pleasant than airplanes and maybe just as safe. A friend once told me about an airplane trip where he began to realize that the culture that had made it possible to get from one place to another on all of these fantastic means of transport was the very same culture that had destroyed all reason for going from one place to another. Travelling doesn’t mean anything any more. One of the things technology does to people is to rob them of motivations, you push buttons and you open cans and life becomes much poorer than it ever was before, it’s enriched only by a greater degree of boredom. It creates these huge empty spaces in our lives and then fills them up with itself again, you wash the dishes in a machine and while you wash them you have to look at the television. People who are most alive when they’re active, people who need the feel of being effective and useful in all of the things that go into their daily living are people for whom technology doesn’t mean anything at all, or at least anything positive.”

Gianfranco Baruchello & Henry Martin, How to Imagine: A Narrative on Art and Agriculture, pp. 151–2.)