DC's

______________
Dave Muller Karen Carpenter Empty Drum Kit 4 (2013)

 

______________
Alicia Eggert Pulse Machine (2012)
‘This electromechanical sculpture was ‘born’ in Nashville, Tennessee on 2 June 2012, at 6:18 PM. It has been programmed to have the average human lifespan of babies born in Tennessee on that same day: approximately 78 years. The kick drum beats its heartbeat (at 60 beats per minute), and the mechanical counter displays the number of heartbeats remaining in its lifetime. An internal, battery-operated clock keeps track of the passing time when the sculpture is unplugged. The sculpture will ‘die’ once the counter reaches zero.’

 

______________
Stéphane Vigny Sans Titre (2012)
‘Witness the dozens of cymbals arranged by Stéphane Vigny into a musical landscape, which is subtly brought to life by the discreet triggering of a mechanical vibration.’

 

______________
Terry Adkins Muffled Drums (2003)

 

______________
David Shrigley Headless Drummer (2012)

 

______________
Michael Sailstorfer Drumkit (2005)
‘Michael Sailstorfer fuses two loci of masculine aggression in Drum Kit, a drum kit fashioned from the scraps of an LAPD police car. The drummer and police man are recurrently imagined as rogue figures, however the police officer only becomes one when teaming up with other officers to create “force.” The LAPD is one of the most violent police departments in the United States and the drummer is perpetually cast as the craziest band member in our pop cultural memory.’

 

_____________
Terence Koh Sprungkopf (2006)
Mixed media sculpture/installation:destroyed/altered drums, plaster, paint, spray paint, wax, metal, plastic, wood with sweat, beer cans, strobe lights, black plastic, black walls and floors, accompanied by video documentation and hand silkscreened posters.

 

_____________
Christoph Büchel Minus (2002)
‘A punk-concert was held inside a room at the Kunstverein Hannover. Immediately after the show, the entire room was frozen.’

 

______________
Fabienne Audéoud, John Russell & Wayne Lloyd The withdrawal from conversation/return to the oceanic: the weight of the breast. Twenty women play the drums topless. (2002)

 

______________
Ivan Navarro Wail (2010)
Neon light, plexiglass drums, metal, mirror, one-way mirror and electric energy.

 

______________
Samson Young Nocturne (2015)
‘For this work, Young collected video recordings of night bombings – predominately U.S. attacks on the Middle East, ranging from the Gulf War to ISIS – and edited the found footage into a six hour-long film, which plays mutely on his laptop computer. As he watches, the artist uses household objects and “live foley” techniques to reproduce the sounds of explosions, gunshots and debris as accurately as possible. This work is conceived of as a “Sonic Warfare Training Program,” with the artist taking on the role of training combatant; by the end of the show, he will know the aleatoric composition by heart. His “sound effects” are broadcast on-site via pirate radio frequencies, accessible via FM receivers both within and outside of the gallery.’

 

________________
Pascal Grandmaison Manner (2003)

 

______________
Krištof Kintera Bad News (2011)
‘Bad News, created in 2011, represents a devil who, head leaning on a drum, reacts to his listening to a radio airing announcements about catastrophes, speeches by dictators and Heavy Metal music hitting the instrument like a maniac.’

 

______________
Naama Tsabar Twilight (Drum Case) (2006)
‘Encasing a whole drum set into an instrument case extended to such a size that it nullifies its usability. It is transformed into a giant stage, substituting a backstage functionality with a performative, front-stage one.’

 

______________
Dolphin Explosion performs “Boogie Man” with guest drummer Mike Kelley (2006)

 

______________
Pedro Reyes Disarm (Mechanised) (2012)
‘Disarm (Mechanized) is an ambitious installation, comprising of 8 mechanical musical instruments, resulting from Pedro Reyes’ international project in which illegal firearms were used to fabricate musical instruments. Musical instruments were created from firearms, including revolvers, shot-guns and machine-guns, which were crushed by tanks and steamrollers to render them useless. These were offered to the artist by the Mexican government following their confiscation and subsequent public destruction in the city of Ciudad, Juarez. From the 6,700 destroyed weapons the artist received from the Mexican Secretary of Defence, Reyes created two groups of instruments including Disarm. This installation of mechanical musical instruments can either be automated or played live by an individual operator using a laptop computer or midi keyboard.’

 

______________
Ed Ruscha Double Americanisms (2019)

 

______________
Yuko Mohri THE BEGINNINGS (or Open-Ended) Part 1 (2015)

 

______________
Jonathan Polkest Drum Fusion (2008)

 

______________
Christian Marclay Museum Tinguely Performance (2018)
‘On the 26th of January, as part of a two-day international symposium, performance artist Christian Marclay took up the challenge to interact with the artwork of Jean Tinguely. Joined by Okkyung Lee (Cello) and Luc Müller (Percussions), the trio performed a concert in the midst of machines created by Jean Tinguely and other material found in the museum by interacting with them spatially and by the sounds they produce.’

 

______________
Los Carpinteros Congas (2015)

 

______________
Anri Sala Still life in the Doldrums (2015)

 

______________
Michelangelo Pistoletto Terzo Paradiso (2003-2013)
346 cymbals, lids, 120 x 640 x 1120 cm

 

_______________
Open Reel Ensemble Tape Tapping (2018)
‘Japanese musicians Ei Wada, Haruka Yoshida, and Masaru Yoshida create reverberating drum beats on the outstretched tape of cracked open reel-to-reel tape recorders from the 1970s and 1980s. The group, appropriately named Open Reel Ensemble, produces an intriguing timbre that more closely resembles a synthesizer than an analog drum. The group has created the soundtrack for Japanese designer ISSEY MIYAKE‘s last four seasons.’

 

______________
John M Armleder Furniture Sculpture 189 (1988)
‘Furniture Sculpture 189 is a quasi-symmetrical composition consisting of a silent drum kit standing in front of a horizontal yellow canvas with two strips of mauve at each end, hung very low, so that the drums share the same visual space. The title of the work is a nod to its musical genealogy. Indeed, Furniture Sculpture echoes Erik Satie’s experiments in Furniture Music from 1917 on. This was music designed to create a mood rather than be listened to: as Satie himself wrote, it ‘claims to contribute to life in the same way as a private conversation, a painting in the gallery or the seat one is, or is not, sitting on’. While Furniture Sculpture may be read by analogy as installations contributing to an ‘art of ambiance’, the use of a silent drum kit in Furniture Sculpture 189 also gestures to Cage, a major influence on Armleder’s performances.’

 

______________
Alex Gawronski The Old Man With the Big Long Horn (He’s the One Who Isn’t There) (2016)
‘The title of this installation, The Old Man With the Big Long Horn (He’s the One Who Isn’t There) paraphrases a lyric from seminal experimental-absurdist ‘band’ The Residents. The creepy apparition conjured in the song is that ugly thing, ignored by reason and self interest, that is nonetheless ever present and inescapable. Inserted through the wooden monolith, a TV depicted a close-up of a musician (Jack Wotton) simulating a beat from Jean Luc Godard’s 1967 film Weekend. In a scene towards the end of that film, a rock drummer plays over farcical events like the blackly humorous cannibalisation, by a group of deluded ‘revolutionaries’, of a wholly unlikable bourgeois couple. The lose-lose scenario depicted speaks of a contemporary world devouring itself.’

 

______________
Dawn Kasper Cluster (2016)
Cymbals, cymbals stands, ardunios, motors, motion sensors, power strips, extension cords and AC adapters, dimensions variable.

 

______________
Claes Oldenburg

Drum Set (1967)

Miniature Soft Drum Set (1969)

Ghost Drum Set (1972)

 

______________
Jean-Lucien Guillaume Chocolate Drums (2000)

 

_______________
Takeshi Ikeda Band of the Night (2005)
‘I and my friend destroy earnestly the drums made from styrene and corrugated paper. This work is made by the basis of the influence of the idea which records the song for 1-30 second on a 7-inch record in large quantities. This idea was borne by the trend of hardcore punk from the first. At the exhibition, all possible drums were made among one day, and it repeated destroying every day. The wreckage of the broken drums so, then day by day stacks and goes up to the hall.’

 

 

*

p.s. Hey. ** _Black_Acrylic, Hi. Yes, I’ve heard and read nothing but disappointment and accusations of counter-productivity re: that ‘Manosphere’ thing. Chucky, now there’s a real man. ** Bill, Hi. I hope your flight had lots of filmic gems and generous freebies and that your jetlag is kind. And where are you? ** Hugo, As you can surely guess, I had nothing to do with the ‘Ugly Man’ cover. When I was doing research on Dean Corll there was absolutely nothing about any snuff film connection. That seems like a stretch to me. Rain here too. Non-high five. ** Dominik, Hi!!! I guess the only potentially good thing is that cancelling an election for no plausible reason might be the final fuel needed to start a revolution? Film programmers are even more passive aggressive than literary magazine editors. In the worst case scenario, obviously. The birthday wishers seemed totally random. Oddball. As a semi-addict of lost and unadoptable dog videos, I feel love’s relief. Love making the Punch the Monkey video uploading phenomenon much less viral, G. ** jay, Hi. 30 minutes, you’re such a jet- or EuroStar-setter, wild. There’ll be another time. I hope the dinner is a feast. ** Carsten, Famously nuts. If you have no other way to try to reach him, and you really want to pitch him on your idea, going through his production company … why not? It could reach him, and you have nothing to lose apart from the unpleasantness of possibly being ghosted. ** Adem Berbic, My impression is that it was more the people who controlled his career that were the creeps. But I don’t know. He and I shared a boyfriend at one point, and the boyfriend said he was kind of innocent and sweet. If you can quit, for fuck’s sake do. Don’t be afraid of the patch. When Zac quit, he had them plastered all over himself. If you can’t quit, I’ll spot you a cig when I see you. My week is my usual week so far. It’s okay. Less frustrations than not. And it’s not over yet. ** fish, Hi. I’m not writing fiction at the moment either for the same reason: none of my ideas are exciting enough. That said, I would recommend just writing to get used to doing that, and I think if you get into the semi-habit at least, it’ll give exciting ideas a good reason to form maybe? ** Steve, Yeah, I heard, what a wasted theoretically interesting possibility. ‘Songs of the Humpback Whale’ was a little too scary to listen to on acid back in the day, but people certainly tried. ** kenley, Hey. Oh, I’m not sure what the grocery store cake liking is about. I have a thing for fake food, and they’re kind of like fake food that you can actually eat, which is certainly appealing. I like the cakes with the most unnatural colored icing. Like blue and purple and stuff. The French aren’t into cakes except at Xmas/New Years re: the Buche de Noel, etc. Otherwise there aren’t really cakes here in the North American sense. Pastries, for sure, in all shapes and sizes. The patisseries here are everywhere and like amusement parks for the mouth. Faye Dunaway is fun to observe being a diva freak. It seems like she can’t open her mouth without saying, ‘Don’t you know who I am?!’ ** Steeqhen, So sorry to hear about your downer week, man. It really does sound like forcing yourself to fraternise with friends IRL is the right way to go. It’s okay about the venting. Whatever works and helps. ** HaRpEr //, I will. He’s on a big book tour right now, so I probably won’t hear back from him for a while. I think he would love being taught in schools. Dude likes to be respected. Granted I’m a giant Baldessari fan, but I’d say he’s a poet, sure. Yay, you’re in the impending SCAB too. Can’t wait. Any moment now, I think. Nice, I always feel like when I’ve aced a novel’s ending, it will definitely get finished, whatever backwork is still needed. ** Uday, Hi. With the restored posts, it’s mostly dead video imbeds and links I have to fix, but this blog has a bad habit of disappearing images sometimes that I have to re-upload. And sometimes the posts are dated, and I need to expand them a little. Stuff like that. I don’t know what you mean about ‘unfindable’. When I restore a post, I take the original offline. That Pettibon is so seductive, yeah. And hard to transcend, yeah. Nice project: yours. ** Laura, Hi. As I always say, I don’t remember my dreams, and I have no understanding what they’re doing. They’re an inaccessible genre to me. I’m not much of a Placebo fan other than their first album, so I guess that comparison is like, I don’t know, Instant coffee -> coffee. Fave GbV albums … I’m going to have to be minimalist. At the moment I would say ‘Under the Bushes. Under the Stars’, ‘Bee Thousand’, ‘Universal Truths and Cycles’, ‘Kid Marine’ (Pollard solo), ‘Speak Kindly of Your Volunteer Fire Department’ (Pollard/Gillard), ‘Let’s Go Eat the Factory’, … I’d better stop there. If the visa application gets cancelled, I’ll have to get a tourist visa and hope the second longer terms visa application works. I’m an optimist, so I predict aka hope you’re getting closer and closer. Save all of your zen for your migraine, for goodness’s sake. ** Right. Self-explanatory thematic post today. See you tomorrow.

* (restored)
—-

 

‘Blob is a funny word, an ugly thing. It’s alive and nobody knows why. Maybe it came from outer space or it came from a science experiment gone bad or from pollution or from the sea or out of a really sick body. It never stops moving, moving all around with no place to go. When will it die. It can’t die by any means known to man at this moment.

‘What’s your gut reaction? “Gut reaction” is an American term for your first response to things before you examine the facts intellectually. When you see the blob your gut reaction is: you want it to be gone, you want it to die.

‘The blob’s movements are alien yet oddly familiar. Pulling and stretching. Like peristaltic movement. Like the way things move through your body by contractions which result in locomotion. You understand this is linked to your bowels and intestines because even though this motion is involuntary, it is conscious on some level. It is essentially a wave, the universal form of energy transmission divided into peeks and troughs like a bad ocean. Unending waves, wave after wave, wash away your shape. Now formless. You are the blob.

‘Now, you want to help the blob.

‘With its transparent skin, the blob exposes its muscles, organs, blood flow. The banal workings of the organism are revealed in fragile detail. How embarrassing. To encounter the blob is to see the simple, low ambitions that sustain life with no greater purpose. The blob can only and merely exist, it is useless. Whatever happens inside the blob should be hidden, should remain private.

‘The blob can be funny like any mutation, a dead end creature in the chain of evolution. And in the food chain, it has no niche, no other life form feeds on the blob. It’s a disturbing creature because it is unique A Monster that could kill you like a cancer, a devolution of cells. Here is the nightmare scenario: a terratoma analogous to you, an evil negative offspring replaces you the host. A formless double, the blob kills you when it takes up residence within.

‘When you gaze at the blob, your eye no longer has a focal point because the blob has no focal point. You see right into it. You may keep loosing your sight in a myopic blur. In this way the blob can escape even though it moves very slowly and with no apparent direction.

‘In the movie, “The Blob,” the ruby colored nemeses could be a sign of the counter culture, the erotic, psychedelic, loud, political, chaos impending into the serene, the anxious cold war America of the 1950’s.

‘The blob is scary because we do not understand it nor do we easily recognize it. Always changing shape, it’s more like a spill than a sphere. It’s like part of a fat person that escaped and came to life. It’s like Jell-O or slime or mold.’ — Tony Oursler

 

______
Further

Tony Oursler Official Website
Tony Oursler @ Metro Pictures
Tony Oursler @ Lehmann Maupin
Tony Oursler @ Electronic Arts Intermix
‘The Uncanny World of Tony Oursler’
Carlo McCormick ‘The Pathology of Projections & Cynical Spiritualism’
Tony Oursler ‘Sixth Wall’
Philip K. Dick & Tony Oursler ‘Psychomimetiscape’
TO interview by Alan Licht @ Bomb
Tony Oursler’s ‘The Presence Project’
Re: Tony Oursler’s ‘Mud Opera’
Re: Tony Oursler’s ‘The Influence Machine’
Tony Oursler books @ Amazon

 

______
Bowie/Oursler

David Bowie/Tony Oursler Where Are We Now? (Official Music Video)

‘My first actual contact with David was like a shock of energy, fully charged with the magic of media, music, and glamour. It was as if he had somehow bilocated between our world and one of myth and didn’t fully exist in the same space as ordinary earthlings. Of course, this was all in my mind, and my reaction said much about the delusions of popular culture. Somehow this giant I’d been listening to and watching with such admiration since forever was in my studio in person. It was hard to reconcile fantasy with flesh. Later, I would notice that this was a common effect of David’s presence, sometimes with hilarious results. I remember seeing a Jasper Johns exhibition at MoMA with David, his wife Iman, and the artist Linda Post. David sauntered through the show, busily discussing the art and holding forth like we were in a bubble, while the focus of everyone around us shifted from the art to him. Finally, as we were leaving the museum, a group of women surrounded David and began touching him, as if in a spontaneous frenzy of admiration.

‘That was in the late ’90s, in the early stages of a friendship that lasted more than twenty years. At that time I was living in a hovel of a studio at 175 Ludlow Street, on the Lower East Side. During David’s first visit, it took me at least an hour to calm down. As it turns out, behind the star power, he was almost a regular guy. Except that he was David Bowie, after all, who appeared to have different-colored eyes and who had that voice. I still remember fragments of our first conversations: We both agreed from experience that drugs are bad. While he was chain-smoking and sipping coffee, his thoughts ricocheted, much like his career, from music and film to books, art history, and comics, and back again. He was humble about his accomplishments (saying of his work, “One can pluck a few peppercorns from the shit”), and his humor was unforgettable, as was his deep laugh, often accompanied by a conspiratorial sideways grin. Friends asked me why he came to my studio, and at first I honestly didn’t know. It took me a while to understand that he loved art, from discussing how it was made to seeing how artists lived and worked. And it turned out that David wanted to interject some of my work into his lexicon. Much of what we did together became very public—videos can be found on the Internet—but some has never been seen.’ — Tony Oursler, Artforum

 

___
Etc.

Excerpt from ‘Perfect Partner’ by T.O., Kim Gordon, & Phil Morrison (2006)

Early T.O. film ‘The Loner’ (1980)

Tony Oursler on the art of video projection

 

_______
Interview
from designboom

 

In video art, what is ‘projection’ for you?

Tony Oursler: Physics tell us we see light, not objects. For me projection is ‘inner thoughts projected outward onto the world’ and the viewer is a collaborator of the artist. The exposes the gender of reaction to the artwork, finishing it.

Please describe an evolution in your work, from your first projects to the present day.

TO: My projects are more focused now than they were in the past. I’m comfortable with a lot of different mediums that I wasn’t so comfortable with early on. I’m sort of claiming back certain things. I started twenty years ago with photography, drawing and painting and now I’m trying to round them back into my work. It’s been an interesting elliptical process. I think an artist’s life is kind of like a snowball, picking up stuff as you go. everything’s on the outside of the snowball and sometimes you have to burrow in to get the old stuff.

Reality’s something we’re not getting from reality; it’s something people are looking for to entertain them. There’s been this reversal where the powers that be have funneled reality into the entertainment sphere and entertainment has been funneled into the sphere of policymaking.

TO: I’d always looked toward pop culture to decipher things as a mirror of the world, and now I don’t at all, because I know who the creators are, and I can see through what they’re trying to do, so it doesn’t work on me at all. I wish it did. In a weird way, I miss it. There was a time when I used to look at pop culture and take it apart piece by piece to figure out how the magic American engine worked. I was very paranoid and full of conspiracy theories. But now I just look at it as a bunch of morons who are barely getting by, just pushing the buttons on this machine that’s rolling forward. The people have the power of production in their hands, yet the good stuff is yet to be made. The most boring things I just don’t get: people who are fascinated by Paris Hilton, phenomena like that, someone who does nothing and becomes a celebrity, or even worse the city destroyer Trump.

What books do you have on your bedside table?

TO: That’s a good question. I’m a bibliomaniac, so I collect books. At any given moment I might have one book about spiritualism, another like a thriller and one about the military. There is one about the alternative new-age military culture that happened after vietnam when they introduced psychic activities to warfare, trying to kill people through thought.

Describe your style, like a good friend of yours would describe it.

TO: My friend once said I was like the Picasso of video and that was a very flattering, stylistic comment. My other friends probably call me sloppy… and insane.

The Christian Right is afraid that religion is going to be replaced by technology—that a computer can deal in absolutes better than a spiritual leader can. If you think about it, the Moral Majority got firmly embedded in the Republican Party around 1980, which is when computers started becoming more popular. I don’t think it’s a coincidence. Organized religion in this country has been very worried since then that religion’s really going to go out the window.

TO: I like the feeling of reaching progress through technology; I wish it could be true. I hope so for my son. When I wrote my timeline on virtual media around 2000, I realized that as a video artist there was no art history written for me. All this stuff that plugged in or moved or had anything to do with light was very finicky; curators, if a bulb broke or something, just put the piece in a box in the basement. It was much easier for them to put paintings and photographs on the walls, so those of us in video were left with no history of virtual image production. It goes all the way back to the first mention of the camera obscura in a Chinese poem around the year 1000. The image was upside down and associated with the dark side of human nature from the start. Anytime there’s a new kind of technology there’s this association with evil or death, so I think your theory is correct. It’s true of every human invention: rock ’n’ roll, it’s the devil’s music; photography, there was spirit photography; the radio, it was Constantine Raudive who did that tuning into the dead radio; and television, there are lots of examples, but the people who believed they could communicate with the spirit world through technology were really rebels. They took the tools and put them to personal radical use rather than be sublimated by them.

What are you afraid of regarding the future?

TO: I guess death, taxes and fascism. Actually I don’t know.

 

____
Show

___________________
Part. 1: works at a (relative) standstill

 

________________
Part 2: works in motion

Guilty (1995)

Slip (2003)

Cigarettes (2009)

Star (2003)

Pain (2008)

Switch (2010)

Vampiric Battle (2009)

Judy (1994)

various works (2008)

Cave-in (2010)

Untitled Work with Money (2008)

Frog (2005)

E*Nel (2016)

Caricature (2002)
—-

 

*

p.s. Hey. ** Laura, Hi. Plot is like too much skeleton unless the film just wants to be a fun ride. That’s what chopped means? Good to know. Yeah, I guess if someone was chopped (up) they’d be rather ugly at least in a conventional sense. When guys are well built people will say they’re cut, and maybe that confused me. The translation thing isn’t that interesting. Maybe if we had managed it would have been. He’d translate then I’d fix it and then he’d fix it and I’d fix it again. No struggles or anything. We understood each other because even though he was Dutch he spoke perfect English. There’s now a remote possibility that the visa mess can salvaged, but I won’t know until next week. Robert Pollard/GbV is my favorite living artist and I hear a giant amount that would take far too long to even begin to list. But I don’t hear Placebo. GbV and Sebadoh were lo-fi colleagues, so that’s a connection. I’m going to close my eyes at some point today and try to feel your zen. Thanks. I’m too antsy to transmit zen, and you don’t want my antsyness, trust me. xo. ** lotuseatermachine, Hi! Oh, that’s okay. Coming and going here at one’s own idiosyncratic pace is highly doable for me. You’re in the new SCAB! Great, excited to see/read it. Thanks for reading ‘Closer’, and I think that sounds like a good haul on the selling stuff front. Carsten did a good job of pointing out how to do a mss. submission formally. You basically just want it to look like a simplified version of the potential book. There’s not really a required form at this point, I don’t think. Readable and clean looking. I’m happy to address detailed concerns if you have them. ** Dominik, Hi!! Yes, it’s pray or rather ‘pray’. I don’t think our fascist monster can legally cancel the mid-terms, but I’m about 90% sure he’ll try. The great majority of film venue people are too lazy or chickenshit to just say no and just ghost you instead. It’s ugly. I think the Viennese festival is very soon. It’s a ‘horror’ festival, so he probably didn’t think we qualified even if he did like the film. My guess. There is a chance the visa thing will get fixed, but I won’t know for a while. So I get to keep living with the stress for a bit, oh boy. I didn’t realise that people could have boring dreams. But why wouldn’t they, I guess. Love wondering why five people sent him happy birthday emails yesterday, G. ** _Black_Acrylic, People sure are talking or at least posting about that Manosphere doc. I guess I should investigate the fuss. What did you think? ** Carsten, Kier was nothing compared to Faye Dunaway. I’ve seen her throw outrageous diva meltdowns and hissy fits in public that were absolutely jaw-dropping. I don’t know anyone connected with Raoul Peck, no. I can check, but I don’t think he’s in my sphere of friends and contacts. There’s usually a way to track people down if you’re driven enough. ** Thom, You’ve gotten some golden stores there, yeah, but then that’s my experience to some degree and certainly fantasy about Portland. Hope you like ‘Dear Dead Person’. He’s great, I just wish he didn’t take decades to put a book together. Nice: old British folk tune. I used to be really into 70s progressive UK folk or whatever one would call it: Incredible String Band, Pentangle, Bert Jansch, Fotheringay, Sandy Denny, etc. Were you happy with the recording? ‘Bee Thousand’! Thirty minutes of God himself. xo. ** myneighbourjohnturturro, Whoa, hi man! What a pleasure to see you. What up? Yes, yes, about Zwartjes. I only know that Grandieux is working on something. He did a talk here recently, but I was out of town, so I might’ve been able to know more. Interesting about the script. With Littell, wow. I had coffee with his producer once and she said that one of the reasons it’s so hard for him to get his financed is because he refuses to write a script first. So that’s a switch. Huh. I’ll see if I can find out anything. Thanks! I hope you’re extremely more than good. ** fish, Thank you. Oh, hm, nothing immediately springs to mind re: interesting internet set or directed fiction. But there must be. I’ll have to think. Yeah, I spend tons of time on the internet, in no small part looking for things to make blog posts with. Otherwise, pretty normal: social media, news, listen to music, watch films or weird videos, go down rabbit/black holes re: something or some artist I’m into at the time. You? Are you thinking of writing about the internet? ** Steve, Thanks. Like I said above, there may now be a solution to the problem after all, but I won’t know for a while yet. Ugh. French bureaucracy is legendary for a reason. Do dolphins enjoy said drugs, or perhaps the question is how we can we sure if they do or don’t? ** Adem Berbic, I’m strong on Burroughs ‘Naked Lunch’ -> ‘Wild Boys’, but that’s it. I mean, honestly, if you’ve read one great Burroughs, you don’t necessarily need to read another one because, essentially, they’re all the same book except maybe for ‘Wild Boys’ which has a little clearer narrative. ** HaRpEr //, When I was a teen and just post-teen and going to see experimental films a lot I tried to make it a point not to be high when I watched them because I wanted to see what they could actually do to my brain and senses on their own, and because I was kind of studying them. Glad you liked ‘Godlike’. I think that’s Richard best prose work. I’m going to copy and paste what you wrote and send it to Richard if you don’t mind because he would be very happy with your read. ** Minet, Hey there! Lovely to see you! Oh, shit, your Paris dates are during the time that I won’t be in Paris. I’ll be in the US from April 2-9 showing Zac’s and my film. So … urgh. I’ll be here otherwise. That really sucks. My agent is Ira Silverberg. He was my original agent, and I just recently went back to him. If you or someone needs his contact, email me or hit me up on Insta and I can pass it along. Thanks! I hope we can sort out the Paris neat-miss. Love back. ** Uday, Wow, I think I wish I was that me in your dream, although that Pied Piper adaptation sounds a little dodgy. Or, actually, maybe not. Wow. Happy for the most part is pretty best one can expect, I think? ** Okay. Today I decided to restore an old exhibition in my galerie featuring the wacky but moody but poetic art of Tony Oursler. Fun galore possibly. See you tomorrow.