Number One Hundred and Five

Blues Traveler's "Hook," Crash Test Dummies' "God Shuffled His Feet," Charles Bernstein's "Don't Be So Sure (Don't be Saussure)," and Bernadette Mayer's "Epigram on Epigrams" are all deeply connected.

Number One Hundred and Four

Blues Traveler's "Hook" is a language poem.

Number One Hundred and Three

"He thought it woozily, with a vaguely bewildering, vaguely tiring sense of scale--a secondhand sort of epiphany, removed from its source, smudged, moved elsewhere, experienced now without clarity or context, therefore less insight, really, than mood swing...." p. 208.

Number One Hundred and Two

"A world without right or wrong was a world that did not want itself, anything other than itself, or anything not those two things, but that still wanted something. A world without right or wrong invited you over, complained about you, and gave you cookies. Don't leave, it said, and gave you a vegan cookie. It avoided eye contact, but touched your knee sometimes. It was the world without right or wrong. It didn't have any meaning. It just wanted a little meaning." pp. 179-80.

Number One Hundred and One

"There was an enjoyment to being alive, he felt, that because of an underlying meaninglessness--like how a person alone for too long cannot feel comfortable when with others; cannot neglect that underlying the feeling of belongingness is the certainty, really, of loneliness, and nothingness; and so experiences life in that hurried, worthless way one experiences a mistake (though probably the awareness itself, of nothingness, was the only mistake; some failure of optimism or illusion, to be corrected, somehow)--he could no longer get at." pp. 170-71.

Number One Hundred

Number One Hundred! Time for a Caesura! A Lacuna if you Will! A Blogging Break if you Won't!

Number Ninety-Nine

Number Ninety-Eight

and I haven't even mentioned Carolee Schneemann or Sherrie Levine

Number Ninety-Seven

Never mind the why, worry about the how, says Billy Connolly.

Number Ninety-Six

Number Ninety-Five

Marclay: vinyl is a medium: for what?: for playing music?: yes: for sculpture?: sure: what else?
a guitar is a medium . . . .
. . . to be used how?. . . .

Number Ninety-Four

a gearing up for the gearing up.

Number Ninety-Three

Soon after we can see, we are aware that we can also be seen. They eye of the other combines with our own eye to make it fully credible that we are part of the visible world.
If we accept that we can see that hill over there, we propose that from that hill we can be seen. The reciprocal nature of vision is more fundamental than that of spoken dialogue.

---John Berger, cribbing from Winnicott.

Number Ninety-Two

to reflect is to redirect?

Number Ninety-One

Number Ninety

A proper charm bracelet, like this one, is both overcrowded and unreadable, a jangle of details that refuse to coalesce into an explanation. . . . The fish, the typewriter, the acorn (to scale), the globe (not) are not words in a sentence, but objects from the real world fallen down the rabbit hole and brought together by a conspiracy of fortune and design.

—The Collections of Barbara Bloom, p. 118.

Number Eighty-Nine

you and me both.

Number Eighty-Eight

John Cage, Gertrude Stein, Wittgenstein, Ezra Pound.—Still?

Number Eighty-Seven

Number Eighty-Six

George Brecht's

TWO SIGNS

SILENCE
NO VACANCY