this lousy world

the neurotic teacher

museum archive labels:research


Goya, Untitled (Perro Hundido)

this is for the riot, girls


Hard Times the mix


01 Hole- Smoke
02 Song of a Sinner- Top Drawer
03 Screams in My Ears- Bill Fay
04 96 tears-? and the Mysterians
05 Solitary Woman-Charlie Starr
06 Blue Days Black Nights-Buddy Holly
07 It Ain't Easy-Bowie
08 God's Gonna Cut You Down-Johnny Cash
09 Red Right Hand-Nick Cave and the Bad Seeds
10 New Dark Ages- Dan Melchoir's Broke Revue
11 Sound of Silence- Simon & Garfunkel
12 Blues Run the Game- Jackson C. Frank
13 Hard Time Killing Floor Blues-Skip James
14 Train Song-Vashti Bunyan
15 'Til I Get It Right-Tammy Wynette
16 Does the Sun Still Shine- Janine
17 Hard Times- Baby Huey
18 Cry to Me- Solomon Burke
19 You Don't Love Me- Kim & Grim
20 No No No- LA Vampires & Zola Jesus
21 When Night Falls- Medicine Head
22 Down But Not Yet Out- Felt
23 Only A Shadow- Cleaners From Venus
24 I Cry (Night after Night)- the Egyptian Lover
25 We've All Time to Sleep- Grouper
26 Before- Jim Schoenfeld

shake that devil off,
sway that devil off,
cry that devil off,
put your arms up
head down
like you're learning how to fly
straight out of this hole.

hard times


the world is a circle

everything depends on/
where you are in the circle /
most of the time you are/
upside down.


William S. Boroughs, sayin it.

fuck yeah

(click the highlighted 'full text' on the right hand side)

happy random thanksgiving


personal problem (musing)

the world exists to tell us that we are not its personal problems. that is why we enter human relationships: to create spaces for the personal. it is the greatest sadness to encounter the indifferent world in a relationship space, and it becomes an im-personal space just like any other, like a bus stop. we get farther and farther away from that ideal, Lacanian 'Real' when we are me/me. the lines we draw between any notion of (us).





American Snapshots, part 1

Zanesville (2010)

Jezebel (2010)

Jessup (2010)

in the forest preserve in lyons

(after Robert)

in Lyons, the "forest preserve"
littered with dead deer, illegal sport
population control
,littered with litter;
all of it banal: thousands of
plastic straws, many colors, cigarette ends(the
american luxuries: riding in cars, smoking,
drinking x-tra large beverages:
simultaneously, an increase in pleasures)
shards of iridescence: broken cds.
shards of transience, moving through
landscapes at high speeds,
the landscape doesn't mind.
here it waits for more reminders of
you, which it will break down
to styrofoam confetti, longer lasting than
that moment,( quick flash of your hand in the night, the air
on your palm; letting go. )
and longer than
entire life.

the foundation of Chicago
most of it now gone,
the remainder abandoned across
from a British Petroleum power plant(bp, yellow green),
which is busy, industrious
as this place is dead, forgotten.
6 cars in 2 parking lots,
assorted subjects sitting inside,
waiting, fucking, drugging.


winter is the best time for forests
which a mile away from the highway
it begins to seem.
the wind passes easily through the trees,
everything sighing.
the movements of animals
amplified when lushness is
stripped away.
you can see everything coming,
in a winter forest.
there is the clarity of nakedness.
the slowing down of the earth's
things falling apart slowly in the cold.
walk slower, conserve your strength,
pull your breath around your head.
when you reach the railroad tracks,
keep moving over the rusty ties, the
white stones caked with alloy
only stop
to take one in your hand

the spring.

tyranny of symbols

spanish civil war poster, 1932


Janet in her weird halfsie tux stage.

(i want to be at this party)


fluxus manifesto

yes, still.

Alexandra is my name

" Truthfully, I am "homesick" for a land that is not mine. I am haunted by the steppes, the solitude, the everlasting snow and the great blue sky "up there”! The difficult hours, the hunger, the cold, the wind slashing my face, leaving me with enormous, bloody, swollen lips. "

(Alexandra David-Néel in a letter to her husband, Eugene Néel, 1916)


marina and ulay, rest energy (1980)

can hold.

judith butler motherfuckers


You honestly think I give a fuck about what you wore today?

For real, real?

While you were outside of a Starbucks.

Tweeting low-res pics of your hindquarters.

Showing off your crotch blowout.

I was in a fucking mine shaft.

Fading my selvedge.

And reading Glenn O’drama’s bio.

On my iPad.

You city slickers slay me.

You really do.

But I guess if Rozay is a dealer.

And Yeezy is a martyr.

Then y’all are some rugged motherfuckers.

But on the real.

When’s the last time you heard it like this?

Henley and suspenders.

Scragglepuss beard and lived in White’s.

Clay pomade and fucking boulders.

Do they let you bring a shovel to brunch?

At Balthazar?

Didn’t think so.

Just because I look like a 49er.

Doesn’t mean my swagger isn’t on a hundred.



I’m chillin’ in the Sierra Nevada.

Somewhere near Kings Canyon.

Prospecting for steez.

You’re drinking a Sierra Nevada.

Somewhere near Flatbush.

Prospecting for chicks with septum piercings. "



preach it.

(subtitle: macho can die as far
as i'm concerned.
and worse yet "real") (yeah i 've been reading judith butler,



its ok

not building a wall;
making a


We live on the third world from the sun. Number three. Nobody
tells us what to do.

The people who taught us to count were being very kind.

It's always time to leave.

If it rains, you either have your umbrella or you don't.

The wind blows your hat off.

The sun rises also.

I'd rather the stars didn't describe us to each other; I'd
rather we do it for ourselves.

Run in front of your shadow.

A sister who points to the sky at least once a decade is a
good sister.

The landscape is motorized.

The train takes you where it goes.

Bridges among water.

Folks straggling along vast stretches of concrete, heading
into the plane.

Don't forget what your hat and shoes will look like when you
are nowhere to be found.

Even the words floating in air make blue shadows.

If it tastes good we eat it.

The leaves are falling. Point things out.

Pick up the right things.

Hey guess what? What? I've learned how to talk. Great.

The person whose head was incomplete burst into tears.

As it fell, what could the doll do? Nothing.

Go to sleep.

You look great in shorts. And the flag looks great too.

Everyone enjoyed the explosions.

Time to wake up.

But better get used to dreams.

(Bob Perelman)


jean luc godard, Les Carabiniers, "girl militant,"(1963)

me, wag.

(minute 4:30)
Life, friends, is boring. We must not say so.
After all, the sky flashes, the great sea yearns,
we ourselves flash and yearn,
and moreover my mother told me as a boy
(repeatedly) 'Ever to confess you're bored
means you have no

Inner Resources.' I conclude now I have no
inner resources, because I am heavy bored.
Peoples bore me,
literature bores me, especially great literature,
Henry bores me, with his plights & gripes
as bad as achilles,

Who loves people and valiant art, which bores me.
And the tranquil hills, & gin, look like a drag
and somehow a dog
has taken itself & its tail considerably away
into mountains or sea or sky, leaving
behind: me, wag.
(John Berryman, Dream Song 14)

There sat down, once, a thing on Henry's heart
só heavy, if he had a hundred years
& more, & weeping, sleepless, in all them time
Henry could not make good.
Starts again always in Henry's ears
the little cough somewhere, an odour, a chime.

And there is another thing he has in mind
like a grave Sienese face a thousand years
would fail to blur the still profiled reproach of. Ghastly,
with open eyes, he attends, blind.
All the bells say: too late. This is not for tears;

But never did Henry, as he thought he did,
end anyone and hacks her body up
and hide the pieces, where they may be found.
He knows: he went over everyone, & nobody's missing.
Often he reckons, in the dawn, them up.
Nobody is ever missing.
(Dream Song 29)


alex leon and marc kremers, rainbow dripping
make your own:


How to be alone. (theory)

close your eyes,
you are in a well.
you've fallen in,
you forgot why.
this is how it is now,
you've been here once

now. you can concentrate
on a pure thought,
like seeing the mouth of the well from far off
filled with light
after much time groping in the dark
which feels so close always
filling your hands with it,
pulling it close like a lover's hair
coming up with that dark air

fill your lungs, dear one
no one will hear you
that name.

take your time.
feel your way.
cover yourself
with this shroud
of everything that is not
until you forget

a lump of sugar
becomes greater than itself
in expansion,
and you are that.

you will be here
for the billions of years
it will take
to reform you
a stronger crystal
new materials,
under a cloak of
and you will have time to

soon the intimacy of that nothing
will be shed
in shades of becoming
and your body will be
you will be reminded
of the fact of: your hands, reaching
out like a sleepwalker tentative
then your face
the weak winter sun creating
your face.
your eyes,
you can
when you are ready
to see.


Stephen Kane Monologue: Communal Archived Memory

8:26 AM Stephen: lilili

Stephen: XXX was good, i didnt ask about bf, i kissed her on the cheek cuz i was too scared for the lips, she was doing some thing somewherethe weird thing is she knows kinda where she is but is still all like high school about it
just an asian girl dropping acid in the eleventh grade
8:59 AM i should have been more forward
i dont know, that's the weird thing about everything
9:00 AM remember the first person that ever liked you?
how psyched you were?
even if he/she looked like they were bred in the midwest

. . . . . . . . .

9:04 AM i never told you, but when YYY found out, she came over my house hysterically screaming
threw a cellphone at my forehead
the neighbors called the cops
9:05 AM it was horrible, she was gone by the time they came, and they were just giggling like lil suburban cops

6 minutes
9:11 AM Stephen: are you still in love with people that are over?
the weird thing, it's always obviously the idea and not the person
9:12 AM like me and XXX have this archived memory of the night we met
9:13 AM magical lower east side, before they were best new music
when the album came out, i was wishing for a 7.9
anything not 8.2
9:16 AM

9:17 AM it was her birthday party last night
and i spent the entire night on the couch with this girl who had become a yankee fan two years ago
just on and on about derek jeter/ bernie williams
9:18 AM then she told me she was 20
but there's something about that age, do you remember it?
the thrill of underage abandomnet
9:19 AM i'm just going off, but i was happy yesterday
and now i'm like hyped but feeling a little less enthusiastic
9:21 AM the one thing is, i love you writing
9:22 AM i just remember reading your proust essay, the flow, and you wrote so effortlessly
remember how mads i got about your O paper you wrote in like 3 hours?
9:23 AM and your richard II paper, when paula totally ripped me apart and then collleen was just like 'steve, please try to concentrate"
honestly, shakespeare was jus' difficult
9:25 AM

steve kane, just keep doing you.
an irish woody allen ain't got nothin on you baby.



esteban schimpf,
pussy and bubbles, 2010

mall goth tendencies

vanitas themes in contemporary art?




halloween's over. go get a Cinnabon, and a new idea.

LIFE? it's cool.


some ways of looking

Dan Graham
Graham’s «Cinema,» which today exists only as an architectural model, is integrated into a typical office building. The «Cinema» is located on the ground floor of a corner building, in which on the side facing the street corner a slightly curved projection screen made of two-way mirrored glass is inserted. (We see only a flat plane instead of a cylinder segment in the model.) The passerby on the street can see the film, without sound and reversed, and, depending on the lighting in the film itself (that is, depending on whether or not a film sequence is very bright) can look through the projection wall at the cinema audience. In contrast, the side walls of two-way mirror glass do not allow the passerby to see inside during a film screening, since the streets are normally more strongly lit than the interior of a cinema is by the film projection, so that the glass façade becomes a mirror from the outside. Before and after each film screening, however, the movie audience inside can be seen as it disperses or assembles anew.When light from within and outside strike the glass in equal measure, the facade is both semi-reflective and transparent. Spectators on both sides can observe both themselves, their space, and those within, observing themselves, within their own space.


Carolee Schneemann "Meat Joy" (1964)

Free Fridays is on hiatus but will be back, and interactive, in 2 weeks.


dear todd


breaking free

"In a forest, I have felt many times over that it was not I who looked at the forest. Sometimes I felt that the trees were looking at me, were speaking to me . . . I was there, listening . . . I think the painter must be penetrated by the universe and not want to penetrate it . . . I expect to be inwardly submerged, buried. Perhaps I paint to break out."
-Andre Marchand