A companion to SnipersLoveNest.com: a site dedicated to Dallatude & homo-mania.
Santorum named CEO of Christian film studio
Associated PressAssociated Press – 2 hrs 12 mins ago
DALLAS (AP) — Former U.S. Senator and GOP presidential candidate Rick Santorum has been named CEO of a company that makes movies meant for a Christian audience.
EchoLight Studios said Monday that Santorum will serve as head of the company. The company’s first film is slated for release in the fall, and it has another movie in post-production.
The company says Santorum has spent the past year working with Dallas-based EchoLight.
Santorum says in a statement that Dallas can become the Hollywood of the faith-and-family movie market.
So let me get this straight:
People are boycotting Kraft just because of this one ad
Wow, when you put it that way it almost seems like we live in a rampantly sexist, misogynistic, and hypocritical society.
preconceived hierarchy of cultural values and assumptions of artistic worth,” it says. “Each mirror imaginatively propels its viewer forward into the seemingly infinite progression of possible reproductions that the artist’s practice engenders, whilst simultaneously pulling them backwards in a quest for the ‘original’ source or referent that underlines Levine’s oeuvre.”
aporia, radically, space, proposition, biopolitical, tension, transversal, autonomy.
An artist’s work inevitably interrogates, questions, encodes, transforms, subverts, imbricates, displaces-though often it doesn’t do these things so much as it serves to, functions to, or seems to (or might seem to) do these things. IAE rebukes English for its lack of nouns:
Visual becomes visuality, global becomes globality, potential becomes potentiality, experience becomes … experiencability <http://www.thisisexile.com/project_artbrussels_2012.html> .
the space of humanity
questioning the division between inside and outside in the Western sacred space”-the venue was a former church-“to highlight what is excluded in order to invest the sanctum with its spatial purity. transforming it into a kind of ‘temple of confusion.’”
Spatial and nonspatial space
field, as in “the field of the real”-
"the parafictional has one foot." (Prefixes like para-, proto-, post-, and hyper-
intersection, parallel, parallelism, void, enfold, involution, and platform.
elegantly bridge a rift in the art-science continuum”;
The real — engagement with reality”; another <http://www.e-flux.com/announcements/human-condition-empathy-and-emancipation-in-precarious-times/> “collects models of contemporary realities and sites of conflict”; “sub real is … formed of the leftovers of reality.”
enlarge image <http://canopycanopycanopy.com/16/international_art_english>
perception is radically questioned.
characterized by absurdist propositions that playfully and subversively invert expectations
the tension between internal psychology and external reality, and relates observation and knowledge as states of mind.”
"radically questioned" "playfully and subversively invert." ("internal psychology and external reality") or entire phrases.
enlarge image <http://canopycanopycanopy.com/16/international_art_english>
both an uncanny stillness and a deadening balance.
"Investigations" <http://www.turbulence.org/blog/archives/003552.html> "reveals something else about the real, different information."
Like an insect, or the wounded, or even a fugitive,
The principle of antieconomy
the curatorial” as “forms of practice, techniques, formats and aesthetics … not dissimilar to the functions of the concepts of the filmic or the literary” that entail “activities such as organization, compilation, display, presentation, mediation or publication … a multitude of different, overlapping and heterogeneously coded tasks and roles.”3 <http://canopycanopycanopy.com/16/international_art_english>
metaphysical “space” where Kim “contemplates” and “reveals” an odd “tension,”
belle lettristic rigorous interpretive criteria, French poststructuralist
the doors having been gouged away and anti-structurally encrusted to the point where they bear their inoperative condition on their face, the Balzac having been executed with such a degree of subjectivity that not even Rodin believed
suffixes -ion, -ity, -ality, and -ization, so -“the political,” “the space of absence,” “the recognizable and the repulsive”-
the void — the multitude,
simultaneously, while also, and, of course, always already. Many tendencies that IAE has inherited are not just specific to French but to the highbrow written French that the poststructuralists appropriated, or in some cases parodied (the distinction was mostly lost in translation). This kind of French features sentences that go on and on and make ample use of adjectival verb forms and past and present participles. These have become art writing’s stylistic signatures.5 <http://canopycanopycanopy.com/16/international_art_english>
production <http://the.sketchengine.co.uk/bonito/run.cgi/first?corpname=preloaded%2Feflux&reload=&queryselector=iqueryrow&iquery=production&lemma=&lpos=&phrase=&word=&wpos=&char=&cql=&default_attr=word&fc_lemword_window_type=both&fc_lemword_wsize=5&fc_lemword=&fc_lemword_type=all&fc_pos_window_type=both&fc_pos_wsize=5&fc_pos_type=all&usesubcorp=&sca_doc.institution=&sca_doc.title=&sca_doc.url=> , negation <http://the.sketchengine.co.uk/bonito/run.cgi/first?corpname=preloaded%2Feflux&reload=&queryselector=iqueryrow&iquery=negation&lemma=&lpos=&phrase=&word=&wpos=&char=&cql=&default_attr=word&fc_lemword_window_type=both&fc_lemword_wsize=5&fc_lemword=&fc_lemword_type=all&fc_pos_window_type=both&fc_pos_wsize=5&fc_pos_type=all&usesubcorp=&sca_doc.institution=&sca_doc.title=&sca_doc.url=> , and totality <http://the.sketchengine.co.uk/bonito/run.cgi/first?corpname=preloaded%2Feflux&reload=&queryselector=iqueryrow&iquery=totality&lemma=&lpos=&phrase=&word=&wpos=&char=&cql=&default_attr=word&fc_lemword_window_type=both&fc_lemword_wsize=5&fc_lemword=&fc_lemword_type=all&fc_pos_window_type=both&fc_pos_wsize=5&fc_pos_type=all&usesubcorp=&sca_doc.institution=&sca_doc.title=&sca_doc.url=> . Dialectics <http://the.sketchengine.co.uk/bonito/run.cgi/first?iquery=dialectic&queryselector=iqueryrow&corpname=preloaded%2Feflux> negation totality Dialectics dialecticsis
"humanity has aspired to elevation and desired to be free from alienation of and subjugation to gravity. … This physical and existential dialectic, which is in a permanent state of oscillation between height and willful falling, drives us to explore the limits of balance." Yes, the assertion here is that standing up is a dialectical practice.
This blurring of real and constructed, only existing in the realm of performance, speculation and judgment, implicates the viewer in its consumption, since our observation of these celebrities will always be mediated.”
anarchically, expressively. aesthetically, sedimented methodologies
fascism’s aestheticization “interrogate” and “problematize” and “blur boundaries” and even “highlight blurred boundaries.”
a site for sustained inquiry into protest strategies and activist discourse” that “attempts to embody the organic, dynamic processes of the protest in action.”
values is fundamentally symbolic, interpretable.
October sounded seriously translated from its first issue onward. A decade later, much of the middlebrow Artforum sounded similar. Soon after, so did artists’ statements, exhibition guides, grant proposals, and wall texts. The reasons for this rapid adoption are not so different from those which have lately caused people all over the world to opt for a global language in their writing about art. Whatever the content, the aim is to sound to the art world like someone worth listening to, by adopting an approximation of its elite language.
But not everyone has the same capacity to approximate. It’s often a mistake to read art writing for its literal content; IAE can communicate beautifully without it. Good readers are quite sensitive to the language’s impoverished variants. An exhibition guide for a recent New York City MFA show, written by the school’s art-history master’s students, reads: “According to [the artist] the act of making objects enables her to control the past and present.” IAE of insufficient complexity sounds both better and worse: It can be more lucid, so its assertions risk appearing more obviously ludicrous. On the other hand, we’re apt to be intimidated by virtuosic usage, no matter what we think it means. An e-flux release <http://www.e-flux.com/announcements/issue-no-82-out-now/> from a leading German art magazine refers to “elucidating the specificity of artistic research practice and the conditions of its possibility, rather than again and again spelling out the dialectics (or synthesis) of ‘art’ and ‘science.’” Here the magazine distinguishes itself by reversing the normal, affirmative valence of dialecticin IAE. It accuses the dialectic of being boring. By doing so the magazine implicitly lays claim to a better understanding of dialectics than the common reader, a claim that is reinforced by the suggestion that this particular dialectic is so tedious as to be interchangeable with an equally tedious synthesis. What dialecticactually denotes is negligible. What matters is the authority it establishes.
Sketch Engine Module 3:
To generate your own histogram, do a concordance search for the word of your choice. Then, in the sidebar, select “Frequency.” In the new window, select the type of analysis you want to do (e.g., by year or by institution) in the “Text Type Frequency Distribution” panel, and then click “Frequency List.”
Click above to generate a histogram from the e-flux corpus.
Using Sketch Engine, you can track usage over time and generate histograms-graphs of frequency distributions-that show how certain terms “trend” in the e-flux corpus. For instance, here Sketch Engine depicts how the usage of the word precarityhas spiked since 2008.
Using Sketch Engine, you can track usage over time and generate histograms-graphs of frequency distributions-that show how certain terms “trend” in the e-flux corpus. For instance, here Sketch Engine depicts how the usage of the word precarity has spiked since 2008.
Surprisingly, instances of the name of art historian, October editor, and IAE icon Benjamin Buchloh have been declining since 2006.
Liam Gillick, perhaps the quintessential artist of the IAE era, had his best year in 2009, judging by the number of instances. But in terms of relative frequency-instances in a given year relative to the total number of words used in that year, as well as the frequency of the word within the overall corpus-his best year was 2003.
Releases in our corpus have been tagged by sponsoring institution. This histogram shows the relative prominence of Gillick in the releases-and, we surmise, in the programming-of IAE-speaking institutions.
Say what you will about biennials. Nothing has changed contemporary art more in the past decade than the panoptic effects of the Internet. Before e-flux, what had the Oklahoma City Museum of Art to do with the Pinakothek der Moderne München? And yet once their announcements were sent out on the same day, they became relevant-legible-to one another. The same goes for the artists whose work was featured in them, and for the works themselves. Language in the art world is more powerful than ever. Despite all the biennials, most of the art world’s attention, most of the time, is online. For the modal reader of e-flux, the artwork always arrives already swaddled in IAE.
Because members of today’s art world elite have no monopolies on the interpretation of art, they recognize each other mostly through their mobility. Nevertheless, the written language they’ve inherited continues to attract more and more users, who are increasingly diverse in their origins. With the same goals in mind as their Anglophone predecessors, new users can produce this language copiously and anonymously. The press release, appearing as it does mysteriously in God knows whose inboxes, is where attention is concentrated. It’s where IAE is making its most impressive strides.
The collective project of IAE has become actively global. Acts of linguistic mimicry and one-upmanship now ricochet across the Web. (Usage of the word speculative spiked unaccountably in 2009; 2011 saw a sudden rage for rupture; transversal now seems poised to have its best year ever.)8 <http://canopycanopycanopy.com/16/international_art_english> Their perpetrators have fewer means of recognizing one another’s intentions than ever. We hypothesize that the speed at which analytic terms are transformed into expressive, promotional tokens has increased.
As a language spreads, dialects inevitably emerge. The IAE of the French press release is almost too perfect: It is written, we can only imagine, by French interns imitating American interns imitating American academics imitating French academics.9 <http://canopycanopycanopy.com/16/international_art_english> Scandinavian IAE, on the other hand, tends to be lousy.10 <http://canopycanopycanopy.com/16/international_art_english> Presumably its writers are hampered by false confidence-with their complacent non-native fluency in English, they have no ear for IAE.
An e-flux release for the 2006 Guangzhou Triennial,
8 For how to interpret Sketch Engine histograms, please consultthis gallery <http://canopycanopycanopy.com/16/international_art_english> .
9 We should not suppose that because of their privileged historical relationship to IAE, the French have any better idea of what they’re saying. “[Nico] Dockxs [sic] work continually develops in confrontation with, and in relation to, other actors,” reads an e-flux press release from Centre International d’Art et du Paysage Ile de Vassivière. “On this occasion he has invited [two collaborators] … to accompany him in producing the exhibition, which they intend to enrich with new collaborations and new elements throughout the duration of the show. The project … is a repetition and an evolution, an improvisation on the favourable terrain that is time.”
10 Consider the relatively impoverished IAE of this announcement for the 2006 Helsinki biennial: “Art seeks diverse ways of understanding reality. Kiasmas [sic] international exhibition ARS 06 focuses on meaning of art as part of the reality of our time. The subtitle of the exhibition is Sense of the Real.” The vocabulary is correct if unadventurous, including both “reality” and “the Real.” But the grammar is appalling: The sentences are too short, too direct; the very title of the exhibition surely includes at least one too few articles. The release suggests that its authors are not consummate users of IAE, but popularizers, reductionists, and possibly conservatives who know nothing about “the Real.”
enlarge image <http://canopycanopycanopy.com/16/international_art_english>
The London collective BANK’s Press Release (1998) invited the public to join in combating the “particular linguistic manifestation” that had come to characterize exhibition press releases and gallery texts. Click here <http://www.john-russell.org/Web%20pages/Artworks/Exhibitions/Bank/A_fbl.html> to view the corrected releases.
The London collective BANK’s Press Release (1998) invited the public to join in combating the “particular linguistic manifestation” that had come to characterize exhibition press releases and gallery texts. Click here to view the corrected releases.
aptly titled “Beyond,” reads: “An extraordinary space of experimentation for modernization takes the Pearl River Delta”-the site of a planned forty-million-person megacity-“as one of the typical developing regions to study the contemporary art within the extraordinary modernization framework that is full of possibilities and confusion. Pearl River Delta (PRD) stands for new space strategies, economic patterns and life styles. Regard this extraordinary space as a platform for artistic experimentation and practice. At the same time,>