2009.10.17 11:08
Duchamp to direct THE LUCKY BUMS
"The same "sense of loss" that supports history and mourning also supports the damnatio memoriae, which is both an enforced and denied nostalgia. There must be a sense that something has fallen out of representation, that it was at one time but it is no longer--a sense that something has been lost. If not, then memory truly fails and with it the force of the damnatio memoriae. The force of the rehabilitation has much more to do with the re-enactment of the death and condemnation of Flavian than with an account of the events of 394. The survivors have always remembered Flavian, but it is only after the rehabilitation that they can "satisfy the debt of duty owed the dead"--that is, acknowledge the irremediable fact of his loss, through the act of mourning. The writing of history, too, is motivated more by guilt and a desire to mourn than by a desire merely to evoke. The survivor is the one who remains to see that the proper rites are performed for the dead and for that part of the self which has perished, and in the end compulsively to rehearse that loss once again by writing the history" [re-accurately].
--CWH [SL]
The virgin wolfs, the Hirpini and the snails (spirialling), at the end of the axis of war.
So there was a connotation after all.
The Eutropia question.
"You do know the Sabine word for wolf, don't you?"
The Jennewein question.
"Is the axis of war the sacred axis or the profane axis?"
The Adam obsevation.
"Look, she dropped another hair pin."
The Duchamp question.
"Are reenactments virtual or real?"
The two Ps in Hopps.
link - mp/11/1017
2002.10.17 18:17
reenacting Primarily Not Duchamp
Primarily Not Duchamp, an exhibit at Venue (a quondam art gallery in Philadelphia) November 1993, is presently reenacted at wireframe/VENUE at xxx.htm.
Follow the links at the bottom of each page's entry and you will then eventually have seen all the works currently available for viewing. When you reach the list of works page (xxx.htm) note that the blank titles are actually hyperlinks that appear when the cursor hovers over them.
The title of the exhibit derives from the cracks of The Large Glass being "primarily not Duchamp." There are other clues within certain works as to how the exhibits fits together, and these will be explained when each work is more fully explained (maybe within the next couple of weeks).
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