Christian Skjødt
Ronald van der Meijs
Douglas Henderson
Nelo Akamatsu
Stephen Cornford
Rebecca Horn
Stéfan Piat
Ulrich Eller
Florian Hecker
Benoit Maubrey
Haroon Mirza
Roberto Pugliese
Aernoudt Jacobs
Kaffe Matthews
Ted Apel
Julijonas Urbonas
Janet Cardiff & George Bures Miller
Katarzyna Krakowiak
Cléa Coudsi & Eric Herbin
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Christian Skjødt Inversion (2013)
Made specifically for a WWII bunker, Regelbau Fl277, located at Furreby beach at the Danish west coast, a translation of the external (luminous) circumstances are brought into the darkness of the bunker in the form of sound. Consisting of eight autonomous systems this responsive environment examines the intensity of light using a formation of solar panels located outside on the beach. These are connected to boxes inside of the bunker, each equipped with analogue electronic circuitry and a loudspeaker presenting the solar energy as an audible and ever-changing frequency.
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Ronald van der Meijs Plastisphere (2019)
The stop motion image video gives a clear picture of the growth and decay of the plastic cell structure which is made by shopping bags. While this structure catches the daylight like organisms do on the surface of the ocean in order to live it. This architectonical plastic structure is slowly breathing in and out continuously which takes about 20 minutes to fill it with air and takes 20 minutes to vacuum it.
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Douglas Henderson Wonder Woman (2011)
Wonder Woman is a cartoon character invented in 1941 by the late William Marston (who also developed the polygraph, aka lie-detector test), and she was to be the first feminist superhero bringing ideals of “love, peace and sexual equality to a world torn by the hatred of men”. Here represented by two 12″ speaker drivers which pulse up and down, suggestively decorated with the remnants of one of Madonna’s bras. Wonder Woman was remarkable for her ability to bounce offending bullets from her bracelets, and this soundtrack layers dozens of recordings of popcorn popping in resonant pots.
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Nelo Akamatsu CHOZUMAKI (2017)
water, glass vessels, magnets, plastic, electronic devices, controllers.
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Stephen Cornford Binatone Galaxy (2011)
An installation for used cassette players which looks on their obsolescence not as an ending, but as an opportunity to reconsider their functional potential. Superseded as playback devices, they become instruments in their own right. Replacing the prerecorded content of each tape with a microphone gives us the chance to listen instead to the rhythmic and resonant properties of these once ubiquitous plastic shells. Binatone Galaxy brings the framework within which a generation purchased their favourite records to the centre of attention, revealing the acoustics of the cassette and the voices of the machines themselves.
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Rebecca Horn Concert for Anarchy (1990)
A grand piano is suspended upside down from the ceiling by heavy wires attached to its legs. It hangs solidly yet precariously in mid-air, out of reach of a performer, high above the gallery floor. A mechanism within the piano is timed to go off every two to three minutes, thrusting the keys out of the keyboard in a cacophonous shudder. The keys, ordinarily the point of tactile contact with the instrument, fan disarmingly out into space. At the same time, the piano’s lid falls open to reveal the instrument’s harp-like interior, the strings reverberating at random. This unexpected, violent act is followed between one and two minutes later by a retraction as the lid closes and the keys slide back into place, tunelessly creaking as they go. Over time, the piano repeats the cycle. A mounting tension to the moment of release is followed by a slow retreat to stasis as the piano closes itself up like a snail withdrawing into its shell.
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Stéfan Piat Rear Window (2018)
“Rear Window” by Stéfan Piat, an installation consisting of two empty rooms – one bordering the begijnhof’s garden, the other a bustling square. The windows are airtight, but thanks to microphones and loudspeakers, visitors can hear the street sounds from outside. In Piat’s work, we watch the outside world from a window that becomes a screen, like in Hitchcock’s classic Rear Window. But unlike Jimmy Stewart’s character in the film, we can actually hear what we’re seeing. We’re not only voyeurs, but also eavesdroppers, since we can discern the conversations of passers-by.
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Ulrich Eller Talking Drums (2008)
Forty identically constructed snare drums hang individually at face level on thin steel cords propped on circular wall positions along the architecture’s rhythmic pillars. All of the drums resonate the sound of short chalk strokes via inbuilt loudspeakers, similar to a quick writing process. The interaction results in a staccato-like, coincidental dialogue form, a “conversation” among the drums in different moods, wherein the sound backdrop permanently alters between the original sound of the recording and the typical resonating sound of the snare drum.
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Florian Hecker Rearranged Playlist as Auditory Stream Segregation (2009)
‘Rearranged Playlist takes outtakes of existing works I’ve been doing over the last three or four years, and these outtakes are interrupted by monotonous tone sequences that draw on Alfred Bregmans’s idea of sound streaming, Auditory Scene Analysis or better, Auditory Scene Synthesis, and the segregation and reintegration of such streams.’ — FH
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Benoit Maubrey The Temple (2012)
Copy of “oracle” temple ruin at Delphi constructed from 3000 recycled loudspeakers and electronics. The Temple stands outside the ZKM in Karlsruhe. Sound: “white noise” from radio receivers and people’s voices (starting March 16th 21012 by calling the German telephone number 0721 – 8100 1818 people could express themselves through the sculpture for 3 minutes).
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Haroon Mirza: /o/o/o/o/ (2013)
Attaching turntables and a mixer to an amplifier is a routine familiar to any budding disc jockey, but this kind of set-up process is also a preamble to any display of Haroon Mirza’s work. In other words, his assemblages and installations need to be turned on, plugged in or mic’d up. The 36-year-old Sheffield-based artist plays and creates his own records and music, often directly through his sculptures, which mismatch junk shop-bought hi-fi separates with everything from television sets and keyboards to projectors, lasers and even dry-ice machines. ‘/o/o/o/o/’, titled after the typographic notation of a musical waveform, and features five record players, a reverberation chamber and a room of surround-sound speakers.
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Roberto Pugliese Equilibrium Variant (2011)
In this work, the Neapolitan sound artist and composer has positioned a lever with an attached microphone in front of every loudspeaker. The seemingly natural movements of the computer-controlled levers result from an attempt to keep the feedback sound in balance. Roberto Pugliese programmed special software for this purpose. Since the sound tends to amplify itself, it is impossible to maintain it at a constant volume, so the levers stay in constant motion. The robotic units behave differently due to the different features of the loudspeakers.
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Aernoudt Jacobs Permafrost (2012)
Permafrost is an environmental sound sculpture about the freezing process of water. An installation has been developed in which we can observe the constantly repeated cycle of freezing and melting. By means of a custom-made sound apparatus the process is made audible. Permafrost deals with the sometimes paradoxical relation between nature and technique.
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Kaffe Matthews Sonic Bed (2005)
These [beds], with speakers immersed in their upholstery, create situations that transform the listening experience for the sitter into a stimulating and sensual massage, turning ‘weird’ or ‘boring’ music into something meaningful. All kinds of people would queue for hours, have very different experiences and talk of the musical as well as physical and psychological sensations they have had afterwards.
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Ted Apel Call and Resonance (1995 – 2015)
Five very large test tubes are used to impart strong resonances on hand made sound making circuits in each tube. Each circuit independently alternates between recording sound and playing back its recording. The sounds recorded are a combination of the sounds produced by the other tubes, the ambient sounds of the space, and the resonance of the tube. In this way, the combined soundfield is an emergent property of the five tubes, that is, each tubes sound is dependent on the contributions of the others.
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Julijonas Urbonas Sounding Door (2009)
Sounding Door is an interactive sound art installation designed by Lithuanian artist Julijonas Urbonas to turn any door into a unique musical instrument and a stage at once. Equipped with custom-designed electronics and software, the installation plays and composes sounds according to the door’s movements, that is, its position, speed and acceleration.
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Janet Cardiff & George Bures Miller The Killing Machine (2007)
Partly inspired by Franz Kafka’s ‘In the Penal Colony’ and partly by the American system of capital punishment as well as the current political situation, the piece is an ironic approach to killing and torture machines. A moving megaphone speaker encircles an electric dental chair. The chair is covered in pink fun fur with leather straps and spikes. In the installation are two robotic arms that hover and move- sometimes like a ballet, and sometimes attacking the invisible prisoner in the chair with pneumonic pistons. A disco ball turns above the mechanism reflecting an array of coloured lights while a guitar hit by a robotic wand wails and a wall of old TV’s turns on and off creating an eerie glow.
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Katarzyna Krakowiak Making the walls quake as if they were dilating with the secret knowledge of great powers (2012)
The sound sculpture is the amplification of the entire Polish Pavilion at the 13th International Architecture Exhibition as a listening-system. Rather than creating a new space the project takes an empirical turn, taking the existing interior in the 1:1 scale as its point of departure, with all its deficiencies and imperfections guiding the work. Architectural micro-deformations of the building’s walls and floor, the renovation of the ventilation system, and reinforcement of the resonant frequencies serve to bring this latent acoustic experience to the fore. The focus is on the secret but audible knowledge inscribed in the niches, apses, bays and vestibules, full of long-acknowledged deficiencies and forgotten paradoxes. None of the sounds in the Pavilion are alien to the building. They are all always already there, all the time. Yet, once amplified, the familiar ambient sounds become alien themselves.
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Cléa Coudsi & Eric Herbin Turnletters spirit (2009)
This sound installation is composed of hundreds of tiny metal letters placed on a table guided randomly by a complex machinerie of magnets. Nothing can be read yet everything is to be seen…
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p.s. Hey. ** Dominik, Hi!!! No, I don’t believe I ever met Andrea Gibson, or if I did it would’ve been brief, a hello sort of thing. I agree about that doc. PHM would’ve been better if the rock alien never learned to speak English, but then it would’ve been a giant flop. Happy birthday to your brother! Are/will you be in attendance? Love making the potato chips I’m eating 1/10th less salty, G. ** _Black_Acrylic, HB to the kiddo! Whenever it actually is. It’s healthy for kids to grow up knowing that they could be eaten by a monster, no? That book has good vibes. ** Bill, Hi. Cool about the barge concert. Kazuhisa Uchihashi does ring a bell, I’ll look him up. As ever, I hope that June concert ends up getting an audio-visual record. Do you know Bob Ostertag? I like things I’ve heard by him, usually collaborations. In fact just couple of days ago I was listening to a piece by Ibrahim Alfa Jar that he was thoroughly involved in. ** Tosh Berman, Hi! Thanks, I trust Brian peeked in and saw your and others’ glowing words. I hosted Jack Hirschman at Beyond Baroque back during my tenure. He was very warm and extroverted. And his reading managed to draw the old Venice poets people who otherwise would never set foot in the place. I hope your recovery is very on pace. ** Carsten, Hi. Thanks for thanking Brian. Everyone, Carsten adds a poetry doc to the array yesterday aka ‘The Bard of Encinitas’, a doc about Jerome Rothenberg. Here. We’re in the 19 degrees range here, which is my idea of ideal. I should be around in July at least most of the time? Still waiting to see if a possible film festival or two around then comes through. Just let me know your dates in advance when you know them. ** Alice, Hey. I’m good, thanks. I’ll see if Sorely Tunnel Adventure is google-able. Thanks. Sounds most curious. I’ve seen ‘Coney Island at Night’. Yeah, very pretty. We barely had any free time in Brussels. If it’s still up, the Lutz Bacher restropectve at a museum called Wiels is very worth seeing. I’m sure Hugo will direct you to the local high points. You take care now and through the weekend too. ** CS, Hi! I’ll look for those documentaries you mentioned. I don’t … think I know them? Thank you. What are you going to do with the white dead tree part? Prop it up somewhere for future contemplation? Nice that you’re proximate to a beach. We just have the fake beach or rather pile of sand that Paris dumps on a certain part of the Seine every summer. No dead trees for sure. Dead rats maybe. I’m happy you settled in here too! Happy day. ** Wes, Hi, Wes. Thanks very much. I feel pretty certain that Brian saw and took your words to heart. How are you? ** Charalampos, Hi from here (you know where). Me too about the producer hunt. I don’t think that part is ever smooth and easy though. Well, when you make strange little films at least. Excellent reading material there! ** jay, Thank you and a special presumed thank you from the mysterious Brian. See, if ‘Swann in Love’ was like ‘Story of the Eye’ I’d probably give up the ghost and read it. Thanks, pal. Nice weekend in the works? ** Adem Berbic, That would be quite an effect. I’d probably be beset with guest-post offers if that were the case. There were some grungy bits of Hung Kong, but not many. I had no beef with Hong Kong. It was just skyscrapers as far the eye could see, and I had hoped for more. One wants -bow to unleash an unremitting wall of noise unless that’s just me. So, good! A bit confused about what had such impact in your peripheral vision, but I suppose that’s the point. ** Steve, Ginsberg seems like the man of the hour there in NYC. I’m putting together my midyear faves list for the blog. Ah, the joys and not of culling and excising. ** HaRpEr //, I’ve never heard that joke. And now I’m trying to think of a French philosopher who looks like a Bond villain with very little success. Maybe Deleuze. Or, wait, Foucault! Enjoy your vacation from your novel. It can be very relaxing to let your brain run free, for sure. I was about to make an Elizabeth Ellen joke but I thought twice because she seems like someone who would google her own name a lot. Try Hobart, I say. That’s a marriage that sure seems like it’s in the offing. ** laura w, Wow, ‘Devil’ and ‘Lancelot’ are my Bresson #1 and #2 too. You and I need to get a coffee someday. I’m generally wary of A24 films too, but you never know, and they do seem to be maybe starting to take some chances recently? My eternal optimism speaking there. No, I need to be a hard ass about Proust. I know if I even read a paragraph, I’ll get stuck there. Like quicksand if quicksand was a real thing. Happy still early Friday on my end to you. We have the whole rest of the day to find enlightenment! ** Uday, Hey. It was Brian’s debut post, and it went so well that maybe he’ll toss the blog another one, one can only hope. That’s so sweet about your grandfather. One of my grandfathers died of a brain tumor when I was an infant so I never met him, and my other grandfather was estranged from his son/my father and I only met him a few times, and all I remember about him is that whenever I saw him he would bite my ear really hard. ** Okay. You people who’ve looked the blog for a while know that I have a fondness for art that makes noise, and today you get 19 more examples of artworks that do that. See you tomorrow.
Now available in North America 
Hi!!
I agree. It would’ve been way more fun if Ryan Gosling and the alien hadn’t learned to communicate so quickly. Also, I think they should’ve had a lot more concepts the other didn’t recognize, even after finding a somewhat shared language – concepts that simply didn’t exist in the other’s world. Alas. I always expect way too much.
Unfortunately, I didn’t attend my brother’s birthday party. We’ll have to have our own little celebration the next time I go to Hungary or he comes to Vienna, neither of which is set in stone yet.
I’m trying to avoid potato chips, overly salty or not, because once I eat one, I can’t stop. Love inventing headphones that automatically emit the sound their wearer finds most pleasant in the world at any given moment, Od.
Eek, “The Killing Machine” is pretty terrifying. I’m sure I’ve mentioned “Penal Colony” by Kafka being something that I found pretty intense as a child, so that one has my seal of approval. I love “Turnletters Spirit” too, that’s really pleasing as an image. “Concert for Anarchy” is great. Do you know Conlon Nancarrow? If I could slip something of my own into this day, it’d probably be one of his performances.
I wouldn’t say “Swann in Love” isn’t “Story of the Eye”-ish. It’s got a similar kind of internal detective-work structure of impulse and reaction, but with romantic love instead of erotic love (?), or whatever you’d call SotE. It’s very, very sedate though. I don’t think it has the same abyss of non-meaning at the centre of the obsession in Bataille, and weirdly, the main re-contextualising “twist” in the tale of Swann in Love is told in the epilogue of book 1, so it’s a hard one to read in isolation. Anyway, lots of love from here. Just got some lovely news about a friend’s parent wanting to take me and her on holiday somewhere, so, wow! Hope your day is excellent, adios.
No complaints about Merz erecting a noise wall, don’t get me wrong. To be fair, the first 5–10 minutes were more of an intro and had some smothered, underwater, sonar-sounding noises, which reminded me of my semi-arbitrary fave of his, Dharma.
Yeah, I think I’ll let it marinate for a while longer in the first instance, or maybe it’ll disappear. I expect that the texture of the feelings can be channelled into something.
This is a couple days late, but I just remembered how, while Guattari did do a lot of work in mental hospitals, Deleuze hated going to those places, actually seeing any kind of mental disability or disturbance always made him super uncomfortable. Not sure why that factoid always jumps out at me, but it does. Also, I pulled up the joint biography to fact-check that, and found this line about G’s time working at the La Borde clinic: “Already a recognized group leader, Guattari was determined to use his judo, if necessary, to quell any violent tendencies.” I choose to interpret that literally.
One more thing – are any bits of Amsterdam particularly stay-in-able or is the whole place pretty alright? Eurostar has a flash sale, so T and I are allowing ourselves to be tempted. Option B is to do 2026 Paris #3, and maybe TGV ourselves down to Marseille or something partway through – for us right now, it seems the sea’s siren song is as punchy and commanding as Merzbow’s set was.
Thank you for these, Dennis! I am stepping out of the “silent majority” for the sound post.
I only made it through the first half and am jotting down free associative notes as they come to me. Inversion is such a chord though, it reminds me of the songs where they hit that atonal down tuning and I just wonder why I listen to anything else ever again. From my notes: “Plastisphere sounds like a campfire.” And “Highly recommend Grant Morrison’s version of Wonder Woman (called Earth One). If ever in a comic book shop, this is the only one to get” Hope all is well and congrats on the Closer reprint, want to read the new intro.
Oh an to respond to your note from before, I am beyond ecstatic for the launch! I think we’re going to throw a party in Baltimore and Ithaca. Have a good weekend!
All the best,
Sam
Hi Dennis
I don’t really know what we’ll do with the tree yet. I like thinking about burning it but I don’t like barbecues that much. Probably put it into cement and fixate my eyes on it while drinking coffee. Or forget it entirely.
I think the series is called un siècle d’écrivains, or a century of writers. I mostly remember Klossowski’s because it has some formal stuff I found funny and clumsyish.
Yeah Paris. I always had a good time there but I don’t think I like it. I prefer NYC though I doubt I’ll ever go back there.
These days truly feel like the endtimes for me. Not sure what I think about it. Probably nothing. I’ll probably finish some stuff with my publisher this month. At least I’m happy about his work.
I’ll check your sound stuff when I’ll have access to a soundsystem
Douglas Henderson’s Wonder Woman makes for a uniquely evocative artwork. Madonna’s pointy bras had made a big impression on a childhood me, a power not even my card-carrying feminist Mum could ever quite live up to.
I don’t know any of these 19 intriguing projects, despite having come across some of the artists. Will check out soon. I see Urbonas is into amusement parks and has a roller coaster project!
Tonight’s concert was in a chapel in a cemetery. One of the groups was the abstract clarinet duo International Nothing, a perfect fit for the space. It’s quite the block: across the street is a record shop with an Andrew Hill album in the window, and the Filmgalerie video rental store with a window display of DVDs of Lynch, Third Man, Possession, etc. Whoa.
Bob and I crossed paths decades ago, but we’ve only been hanging out for a few years. I don’t know the Jar collaboration, will look it up. In case you didn’t know, he’s been putting out some interesting books. The next one is coming out next year, will be stories about boys he met in bars in Asia (proceeds going to the boys). I’ve gotten the occasional preview, and there are some absolutely jawdropping stories.
I don’t know if we’ll make a recording of the gig. I might ask a friend; the venue used to be pretty good about that, but I think they’re a bit shorthanded these days.
Bill
Talking drums are actually a thing in Africa. Yoruba, for instance, is a tonal language, & there are drums that can replicate its speech patterns & rhythms.
Yeah I’ll let you know my Paris dates as soon as I can pinpoint them. Still got some wrapping up to do here before I look into that. Is there a neighborhood you’d recommend for a hotel/rental?
When will you post your half-year list?
It’s hot and sticky here again, so I ended up staying inside and writing album reviews. LOST HIGHWAY begins a week-long revival today, and I hope to check it out this weekend.
TIL there’s an ongoing series of films starring Michel Houellebecq. (I knew about the first one.) Can a Bond villain role be far behind?
hi dennis! i wanted to reach out to you about a project i’m working on — is there an email address that would be best to reach you? thank you so much!
Hey. I did send the piece to Hobart, yes. There’s this interesting editor called Gadfly who has written stuff on the site that was wild enough for me to think that they might appreciate what I have to offer.
Today I actually also started a new story pretty spontaneously. I’ll see how it goes, but I’m in the frantic, early happy stage right now. I do feel withdrawal symptoms for my novel but I know that there’s nothing I can think to do with it right now.
I reread ‘Story of the Eye’ today which I haven’t read since I was about fifteen, though I’ve read more Bataille since, and I forgot how good it was. It’s direct and quite simple but has elaborate and complicated sentences when there need to be which you can easily brush over without really noticing how complicated they are. And it is wickedly funny when you don’t expect it to be. What really struck me was its gothic quality with the haunted sanatorium and an apparition in the window which I thought was very beautiful and I didn’t think about before. Not a radical take that ‘Story of the Eye’ is good but I forgot QUITE how good.
I was actually reading my dad’s old copy from back when he was being arty before I was born. His friend who gifted it to him wrote ‘I won’t say “enjoy” but I hope you find it a good read’ on the inside of the cover. I felt naked coming across that as a teenager for some reason. I naively could literally not imagine him reading that book. I guess I was pretty lucky that I could discreetly slip that off the shelves as a kid and run to my room.
Hope you have a great weekend! I’m definitely going to watch the Albert Serra film ‘Afternoons of Solitude’ tomorrow because it just got added to MUBI in the UK.
i admit to being mostly ignorant about noise art before now, but am newly intrigued. perhaps i will have to do some googling…
have you seen sinners? a friend of mine is trying to get me to watch it because i like vampires. v excited to hear about your upcoming midyear list! 2026 being half over doesn’t make any sense to me.
i did unfortunately not find enlightenment but perhaps you did! i unno. we had a power outage at work and i read the new (or newly translated) edouard louis. itwasalright. i think i might be getting tired of his thing. man i feel like such a hater lately lol.
listen if you’re ever in new york!
Hey Dennis! Kinda been using twitter again, regretably, to contact friends I am collaborating with musically, but damn that place is an abyss… Usually if your work comes up its people using it to one-up each other for who has more shocking book recs, or people (even fans) saying “arent gay guys soooo fucked up and wacky!” I just wanna talk about the prose and the structures of the novels and all that good stuff, but I rarely get responses about that stuff, which is funny, because I think your work is so clearly focused on structure and internal rule sets and the implementation of prose and stuff. I guess social media is a terrible place to discuss literature, it all just feels like high school cool kid contests… not to mention that sooo many people are happy to make themselves walking stereotypes… Anyway, had a much more interesting discussion after I lent a writer friend God Jr. and it totally blew him away. Yay for writer friends!!
Speaking of which we are ACTUALLY wrapping up the first issue of our Holobiosis zine now… I let the artist I picked for the “spotlight” section write up their own stuff for some of it, which meant more stuff to wait for… but she got back to me! Just gotta finish formatting. Giving myself a bit of grace for how long its taken, cuz its my first time curating and editing and formatting something like this, on top of working two jobs… We’re gonna rent out a space in the library sometime in July to do a release get together/reading, just test out if we can get any friends psyched on it…
Also, we’ve briefly talked about how artists can be instructional for other artists, even when it is in a different medium or using wildly different subject matter etc. Love when you talk about lo-fi rock or video games or whatever informing your novels! I’ve been thinking about how much your approach informed the last album I made (the symmetrical one that uses its own internal rule set for what instruments/themes can be on each song etc.) and its kinda funny in a way… given how much people focus on your subject matter it almost sounds odd to say “dennis cooper inspired my conceptual ambient psych folk record” but the mechanics behind what you do are certainly the things that inspire me the most. I love the idea of making stuff that unlocks that feeling I got when I first read something like Guide, and noticed the way the prose kinda lifts out of itself, or operates in two modes… Or the way Period feels like a scultpure. Idk why that stuff excited me so much, its kinda the main thing I look for in reading these days…
Really fascinating post today, very up my alley, will need to take a bit more time to dig around tho… I have this idea where I hide inside an outdoor sculpture, in a park, covered in knobs and switches, crouching on the ground with samplers and synths. The idea is that strangers approach the sculpture and play with the knobs, and I improvise music that evolves based on whatever the strangers movements make me feel… an intimate yet public improvisation… Anyway you always throw so much good stuff around thay theres plenty to catch up on on the weekend… hope yrs is gearing up to be replenishing in some sense!
Forgive me but the mental image of your grandfather biting your ear is really funny, especially because my sort of default version of you is you now so what I’m really picturing is a sort of genericised old man biting current-you’s ear. Nice post today. Good to be able to close my eyes for what is usually a highly visual experience. I’ve always wanted to know your favourites from the audio section of UBU too. If I had any talent in that area whatsoever I’d try to make music with these sounds.
Hiii Dennis, just a wee update about Laura: she’s doing better but is still gonna need a day or two before she can pick up the pen again. In the meantime she asked me to ask you three (3) words. Any words.
As for moi, I’m looking forward to seeing that Backrooms movie. I know it’s not going to be as good as I would let myself hope, but I’m happy to switch off a few brain cells in order to squeeze maximum enjoyment out of it. (Positive consumerism or embracing mediocrity? No idea. No care.)
Oh! We also continue to die to see Room Temperature. Take our money? Make it happen?
Have a great weekend x