The Nomad Rhizome
April 2010, Oberlin Ohio
Thesis Statment and Map

and i who am gently worshiping the remains of these shattered typewriters, shadows of symbols, wicked culture engineers in the blackness/when with the coalescing of a dada lilith, grotesque animisms, livewire semiosis, mixed-media ekphrases, the nihilism of translation attempts, the conscious misrepresentation of shuddering forms/i would burrow it into thee: the marrow of my mind/livid in their nightless delight, they are the sudden shafts of flame, ringing heat and swift bites against the shallow matter of gorgon praises/screaming screaming screaming/press my flesh against thine, cross the fingers of our souls in a divine catastrophe, misspelling creation, a thrice never'd theosophy/we know we are in flux, beginning every moment a new rupture, scraping with the dregs of that eternal bottomless belly, scratching the way out from empty invisible hell/to let the living face of words burst blood against your rigid intelligence

Most of all I want you to be free, to Map it yourself [Do This: take paper and pencil and Map It] - Please really be Always Reading [always already reading / this will sink in], and be attentive to the Rhizomatic-Nomadic superstructure of the event.

In my work I am interested in the evocation of matrices between media and theory, in mapping the play and overlap between genres of text. Mapping combinations and convolutions between and around alphabets and other semiotic libraries.

This is to weave a shifting mental framework between ekphrastic illustrations of abstracts, meta-linguistic problems, animistic puppetry, an anarchist politic, polygonous religious nihilisms, formulaic voodooing of types, and a denial of identity. All of it can be a menagerie, and menageries within menageries - an exotic playground (and i want to let you know, to assure you, that that kind of reverse pornography, where you-are-the-porn, has by no means to be demeaning, simple or disempowering), or a single flashing hypertext.

Decontextualization is one of the primary guiding motives of this work: to apply post-colonial, structuralist, feminist etc literary theory outside of the traditional conception of those genres, but also to historically revise objects and position them in a novel web of associative play. The vast majority of these objects are discarded, post-consumer figures - at once automatically critical (a critique resulting from their social position) of the system which produced and discarded them, and resurrected, phoenix-like, from the refuse. The garbage is a generative space that severs histories and creates free tabula rasa items that are open to interpretation. Hands become bodies, stems become eyes, letters become whole, multiple people.

I want to preserve lucidity around the immediate metaphor of media. In film I want to Fuck With time, not control it. I want to make photos against photography... to be remembering the lineage of the line in drawing and the philosophical aspects of that physicalized utterance... then be making analogy to sculpture, book, script, light and performance-slavery: respectively (at least) incarnate doubled into sound, person, contour, genesis, and the birth of the ego.

Every communicative act is translation, and as such represents the impossibility of noetic transmission, and the profound subjectivity and selectivity of semiosis. Surely I am going to need to offer a series of definitions. Please explore the references provided in the Bibliography [here] for more information.

How can we think about this? A roving horde of species, of different creatures, different members, different kinds of maps? The Studio as the World's backstage, touching various spots, Machines that Deconstruct themselves? To multiply sensorial engagement, how do we choose which to take, where to go? What is a Work-In-Progress, a dynamic work - where can it go, how many iterations can there be, what's the P? Considering the imperative of losing-control, Speaking in (creaking) Tongues? Let’s be asking Questions.

Fundamentally, I’m interested in Ways Of Looking, in considering meaning as a cork board, from which items can be both taken and appended. There is of course by nature no central thesis for the show, but some in terms of a sounding board, I’m more than happy to offer a list of concepts:[addenda]

Creation as Comparison, Anarcho-Primitivism (w/ the technology problem), Linguistics, Metaphysicalisation of the Physical, Race and the Yonic, Stations of the Cross, The Nomadic Imperative, Genesis out of the Discarded, Translation/Interpretation, Combination of Genre/Synaesthesia/Interdisciplinary Sonics as metaphorical thought, Physical and Ideological Mapping, The Derivative, Nihilist [non]Narratives, Valorization of Difference and Normativity, Discursive Otherness: Exotic, Shock Value, Attention Prostitution, Machines that Deconstruct (or De-Story?) Themselves, Return/Advance to Small Gods, Permissivity of the Performative Space, Taming the Vicious to Sooth, An Afterlife of Now, Automatic Contexts and De-Contextuals, Inherent Indispensable Contradiction…