Ed Dorn in the Summer of 1968

“If you went to the Sorbonne, which we did, and, you know, saw the situationistes spilling over the balconies and explaining the L.A. riots, it all made some kind of sense. It was beautifully intellectual and feasible and containable, embraceable … and now it’s so cheap, you couldn’t give it away...”

Vanessa Place

Poetry Magazine was right : I am the law as a lawyer sees it, nothing less than a likeness of being, a set of facts selected from a larger set (itself gleaned from a constellation of actual and fictitious events) and categorized by a codification of conduct, itself categorized from a constellation of possible points of perception. A set of facts, therefore, of being, being thus referencing genre, or medium, thereby referencing nothing more than the means of likeness itself at its point of reception. My linguistic materiality is therefore nothing, and thus, like the American that I am, becomes something. I do not elucidate. I instantiate. I am repetition with variation, the generic affect of which is affectless-ness. There is no disjunction, because there is no juxtaposition. I am everywhere displaced.The question always is whether teleology is possible : whether the deterritorialized creates a new territory. What is the subsumption of the, or the unhinged individual case, of a-judication, of the text as the text, of language as language as nothing more than enunciation? Thierry de Deuve wrote that « Art was a proper name, » meaning that it is only the individual case that calls art into question, and always into question : once work has been deemed art, it operates retrospectively in its subsumption to the rule of art. What has not been written about writing is that in the case of writing, it cannot work subsumptively because it cannot act outside the perception of language in the first instance. Art may be any thing, or nothing at all. It has another point of referentiality—language...

Experimental Soviet Homemade Photography

Film family portraits

YouTube - Laura Nyro sing's Dr. John's "Mama Roux"

To The Motion Picture Production Code on its 75th Birthday

When we look on the pre-Code years (from roughly 1929 to July 1, 1934), we see an American cinema in which actresses are as important or more important than actors, in which love and sex are presented with a certain blithe insightfulness and maturity. Then comes the wrench—and from then on nothing is the same...

...The Code's founders hoped to foster a wholesome culture. All they fostered was a repressed culture, one with neurotic emanations slipping through the cracks. Look at the Marilyn Monroe persona and those of her imitators in the 1950s—the image of woman as oversexed child. For that matter, look at the much more palatable gamine image of Audrey Hepburn in that same decade, the image of woman as asexual child. These are sex symbols for a guilty, prurient, and uncomfortable culture, one nothing like the pre-censorship film culture of the late 1920s and early 1930s...

Why Portland Beats Vancouver

"Anyone who thinks Vancouver is cosmopolitan has never been south or east of Portland," the writer asserted. "Most of Vancouver's other attributes, meanwhile, are seen in better form in either Portland, Seattle, or San Francisco. Spend your time in Victoria instead, or Whistler, or, heck, Nanaimo..."