Under the Imperfect Sun: A San Diego Community Occupation as presented at #AndNow2015.
San Diego is a place marked by liminality, occupying the lower left corner of the United States and the shared border with Mexico. Its genealogy includes some of the heroines & heroes of art pushing genre out of bounds, including Kathy Acker, Eleanor Antin, David Antin, Rae Armantrout, John Cage, Juan Felipe Herrera, Fanny Howe, Hiromi Ito, Eileen Myles, Jerome Rothenberg, Roberto Tejada, Rodrigo Toscano, Quincy Troupe, and Shirley Anne Williams. The current San Diego literary-performing-art community is defined by its defiance of genre categorization, a vibrant collaborative spirit, and an engagement with border-crossing artistic activity. San Diego’s verbal artists have moved their work in the direction of embodied performance, live translation, magical incantation, theoretical investigation, anthropocene territory, and political action, signaling their place at the contested vanguard of contemporary practice.
This collaborative reading-performance by current San Diego artists interrogated sole authorship, page-based writing, linguistic and geographic boundaries, and the limited limits of language, genre, and communication.
Moderated-directed-curated by Sandra & Ben Doller, the performers included: Kiik A.K., Adam Bishop, Ben Doller, Sandra Doller, Yelena Gluzman, Kendall Grady, Gabriel Kalmuss-Katz, Kim Koga, Nicolee Kuester, Grant Leuning, Feliz Lucia Molina, Pepe Rojo , Ben Segal, Ethan Sparks, Anna Joy Springer, Jose Antonio Villaran, Steve Willard
*Tin Can/Cupping piece:
All performers and audience started seated in the auditorium. At the sound of a feeble rape whistle, all performers turned to an audience member and read from a text, giving a private performance. The intimacy, privacy, and intelligibility of these individual performances were contrasted by the cacophony of all the performances happening simultaneously, creating a room full of sound.
After a few minutes of these readings, Ben & Sandra Doller handed paper cups equipped with fishing line to all the performers, who in turn handed a paper cup to their audient. The individual reading performances then continued with each performer reading his/her text into the paper cup, walking away from their audient to keep the fishing line taught, a la tin can telephones.
After a few more minutes, Ben & Sandra walked around cutting the fishing lines, ending the performance after each line had been cut.
*Found Text piece:
Performers: Ben Doller, Sandra Doller, Pepe Rojo, Gabe Kalmuss-Katz, Angela Eunsong Kim, Kendall Grady, Pepe Rojo, Anna Joy Springer
The performers took seats on the stage and read from pieces of found text addressing ideas of art as diplomacy, language as primary, and poetry as purity. Speakers were divided into Poets (Ben & Sandra) and Committee members (all other performers) who stood as they spoke and alternately overlapped, ending with a repeated phrase in unison.
*Simultaneous pieces: Introverted Microphone & Girl-Girl
Performers: Kiik A-K, Adam Bishop, Kim Koga, and Nicolee Kuester
Nicolee Kuester stood at the podium on stage left and approached the microphone. She repeatedly approached the microphone as if about to speak. She opened her mouth to speak. She licked her lips and almost spoke. She made breathing sounds as if about to start speaking. She cleared her throat lightly. Her lips crackled into the microphone. She inhaled expectantly. She appeared to be ready to speak. She never spoke.
Kiik A-K stood at the microphone on stage right and read the following piece written by Kim Koga, titled “Girl-Girl.” Adam Bishop and Kim Koga moved around in the middle of the stage, Adam pulling strings attached to Kim’s feet and hands and moving her like a puppet:
“girlgirl get rope sling
girlgirl leak sockets girlgirl plays the meatmeat. the eventual beat creep of his last teddyteddy. skinbag drag drags along a different grass lad. the open like born like opening steak. the flat fat of your body lad. smearing of only union house, mark it LCL spread a uterine endomediatrician. girlgirl overmark it LCL. how lathe back remnant of skinbag. skinbag crawl. skinbag crawl big. skinbag a little flag hag she drag skinbag crawl. skinbag drag it out, skinbag blow it up. a stage for a screen thing grind girl wake girlgirl bow and girlgirl gone. pinkpink love date eventual bait split heart cover lung and sufferer suffers a lack of pink (pink!) lack of heart and too much breath skinbag moist and green gangrenous glistening ground. skinbag crawl. too much breath skinbag mold rot modern comp last may strand love split split small splinter skinbag-breath long breath. flat map map for long way that long way integral skin language girlgirl your outliers here. a skin breadth stretch heart. lung fail a little pleasy cell and away splay out a long long not long enough cell clog. a kind beneath cell cell. long lank last stand it is best and pink girlgirl. novel lank and split a synopsis of the way that girlgirl’s skinbag wept. a little fill of breath and water not enough Heart.Place holder here.constant girl gardens a little for skinbag rag infection the only, fall little green on flesh and little tinge on toe the furtherest tumor from the root of your bow the negative ion sleeps in the mag comes in and sleeped the center boards in and comes and then there is nothing but pink and pink and lace.a web of gain the lank of the mode escape. the last node.girlgirl set the tile and crack the grass glide window open glass glide around see. wipe crumb away. the cut of and cut cut leaves way small rift wall an attic lash of the blank blank. girlgirl travel. girlgirl birth a skin. a bag. suffocate lung beneath tide moss paint grow green leg. most that can become the less life left slice slice an only the new tear way out. skinbag skin park tree. bark roughed on. dream peony head of lion dream. girlgirl bow pinkpink an elevated leaveningof new new.girlgirl balls girlgirl ballin skinbag away from some else length of flat suddenly water.”
Performers: Feliz Lucia Molina & Ben Segal
Feliz and Ben wrote parts of The Beginning while staying at The Unifiedfield in Cebu this past winter. The Beginning is forthcoming from Urgent Books (edited by Franco Bifo Berardi) at urgeurge.net
Feliz stood at stage left, and Ben stood at stage right. They read alternately from their collaborative work, The Beginning. Their performance included a stereoscope and stereo card titled “Husking Cocoanuts: A Familiar Scene in the Cocoanut Country of the Isle of Luzon, P.I.” Copyright 1906 by Manufacturers Keystone View Co. On the back of the stereo card is a description of the scene. Because we had just one stereoscope, only one audience member (Katy Bohinc) was invited to view the stereo card. So only Katy experienced the reading/performance in full.
Alignment, adjustment, convergence, blurred focus and voices in a single text mirrors the process of receiving visual information on a stereoscopic pair defined as separate images depicting left-eye and right-eye views of the same scene as a single three-dimensional image. Who knows what collaboration means, but for now we look through a stereoscope that displays a doubled image of cocoanut huskers in the Philippines. Feliz and Ben are not doubles of each other. Both are playing with the possibilities of cohabitating a text or household. “The nut is then split with a stroke of the bolo, and the two halves dried in the sun.”
*Audio-Visual Translation piece with whiteboard:
Performers: Nicolee Kuester (C), Pepe Rojo (A), Jose Antonio Villaran (B)
The three performers—A, B, and C—took the stage and alternately whispered into each others’ ears and wrote on the giant whiteboard.
This performance was a series of instantaneous translations of the first ten stanzas of 17th c. Mexican poet Sor Juana Inés de la Cruz’s “Hombres necios…” from Spanish to broken Spanish to gibberish Spanish to halting and failed English.
- There is a big whiteboard and 3 performers: A and B both speak Spanish and English, and C only speaks English but maybe has a general idea of how Spanish words are pronounced.
- A writes the original Sor Juana text on part of the white board.
- B faces away from the board so he cannot see the text, and C whispers the Spanish text as best she can into B’s ear, who attempts to repeat aloud the sounds that C is whispering.
- A attempts to transcribe what B is saying onto the white board next to the original text. Naturally, A will not be a fast enough writer to transcribe all the words. He’ll do his best.
- When this is done, C then whispers her attempts at pronouncing the new transcription into B’s ear, who again speaks it aloud as faithfully as he can. A transcribes as best he can, writing next to the previous transcription. More words are lost or broken.
- Repeat this process another 2 times, until A runs out of space to write on the board.
- After the last “Spanish” transcription, C changes places with B, who goes to write at the board. C whispers the latest text into A’s ear, who repeats aloud what she hears as “English” while B writes this version as best he can on the whiteboard.
This piece used whispered misunderstanding, verbal mistranslation, and the slowness of hand-writing as a way of filtering language into sound and associative fragments. Perhaps in this way a poem is persuaded to surrender some secret nuggets from its core.
*Simultaneous pieces: Transfer Drawing and Trash Pierrot
Performers: Yelena Gluzman and Grant Leuning
Grant Leuning stood in the center of the stage and took off his shirt, replacing it with a Pierrot-style white shift. He held a dead fish in one hand and a text in the other and spoke.
Trash Pierrot and the Joke of the Big and Little Fish
Trash Pierrot is a persona giving body to the Clown after nihilism. This clown is the incomprehensibly existing, a specter or apparition, the visible expression of a structurally coherent but existentially absent subject. It is also skeletal, a framework clumsily animated by images, the intersection of very few visual marks strictly repeated. Both as ghost and skeleton, the clown inhabits a dead body. As a practice, our clowning is reduced to a study of centuries-old forms or anthropological accounts of a transhistorical scamp. As a cultural object, the clown as playful masque performing the mutability of values is dead, resurrected as a monster, validating the contemporary by disclosing violence in every apparent innocence. Perhaps most important, as humorists, clowns aren’t funny at all.
In order to give body to these ghastly and skeletal strains, this performance of Trash Pierrot told an antique joke in the tradition of the Greek parasite, “those whose position at table was due neither to right nor to courtesy but to their own impudence”. The joke is called the Joke of the Big and Little Fish. Textually extant from the 3rd century Greece, in Athenaeus’ Deipnosophistaí, later attributed to the fool Ash’ab in 8th century Medina, to Nasreddin Hodja in 13th century Turkey, appearing in 15th century England’s Jack of Dover tales, up to 17th century France where the story is rendered historical in the Fables de La Fontaine and into the anthropological 20th century in Enid Welsford’s The Fool: His Social and Literary History. The joke in each version is incomprehensible and unfunny to the modern ear. The telling of the joke in this context emphasizes the dislocation of the specter, the critical frame of absent performance as such, and indicates a possible future for the clown figure as the caustic reenactment of formal conditions of possibility.
At the same time as Grant is performing, Yelena addresses the audience from the microphone at stage right:
“Dennis Oppenheim did a performance piece in the 1970’s, where one of his kids would draw on his back while he tried to replicate the drawing on a piece of paper in front of him. It was called Two-Stage Transfer Drawing. This is how Oppenheim later described the work, ‘As Chandra runs a marker along my back, I attempt to duplicate the movement on the wall. Her activity stimulates a kinetic response from my sensory system. She is, therefore, Drawing Through Me…Because Chandra is my offspring and we share similar biological ingredients, my back can be seen as a mature version of her own…In a sense, she makes contact with a future state.’
I suggest that Oppenheim’s piece puts Family as the condition that makes possible the interpretive gestures of the work. I say, respectfully, fuck that notion of family and future as pre-given, natural, and bigger than the interactions within it. Families aren’t formed through copulation (pace Jacob Wren), they are made and remade through interpretation.
I propose to bastardize Oppenheim’s piece, to discard Family as a pre-given condition, and instead allow it to be *produced by* the elegant interpretive practices that make up Transfer Drawing.
So what I’d like you to do is to take off your shirt. Take a marker. For the next four minutes, draw on the back of the person sitting nearby that which is being drawn upon your own back by someone else.”
Yelena then walked into the audience and took off her shirt, along with fellow audience members/participants as they drew on each others’ backs, or didn’t.
*Open Pit piece with multiple voices:
Performers: Kendall Grady, Nicolee Kuester, Pepe Rojo, Ethan Sparks, Jose Antonio Villaran
The performers stood in a row on stage.
Text by Jose Antonio Villaran:
“The ‘Open Pit’ is a poetic journey into the presence of extractive industries in contemporary society, especially as related to modern consumer practices. I am interested in exploring the polyvocality of the material, writing through what I believe to be four of the main stakeholders in extractive industries: the private sector, the people, the government, and the non-human world. The project is conceived as an assemblage of collective enunciations, and framed as a performative conversation with my 2 year old son Miqel, in an attempt to not only connect the world of mining and extraction to daily life, but also to my own personal history growing up in Lima, Perú, and my current experiences as a graduate student and father living in California.”
your computer is killing morococha
Players / Entities
[ a ] = the private sector
[ i ] = the entity that’s not one of the entities
[ x ] = the people comprising the body of the open pit
[ c ] = the government
[ g ] = the non-human world
[ n ] = the parent
the body of the open pit
the text for [ i ] is to be read as background noise, and at a lower volume, running each sentence against the next (although not necessarily fast). the text is also meant to be read as a closed loop; the reader returns to the beginning when reaching the end.
[ i ] should stop reading and remain silent whenever [ n ] is reading.
the body of the open pit should read somewhat slowly, making an effort to pronounce each word as clearly as possible.
(use the love like a bridge)
both [ i ] and [ a ] start reading at the same time.
sulfur and zincite
cuprite and gold
our fathers went to the same school together. our grandparents knew each other well. they frequented the same country club, although the differences were quite noticeable.
iron and silicon
galena and quartz
jose alberto and i went to the same school our fathers did; an all boys catholic school
with the same group of students from kindergarten to senior year in high school.
governed first by nuns, then priests, then teachers. you will probably not go to this school miqel. you will probably not hang out with jose alberto’s son or daughter
you will probably not enter tonka heaven. our fathers were not quite friends; they respected each other, but from a certain distance.
the two families: benavides y villarán. now they run the largest gold mine in latin america. your grandaunt is the first elected woman mayor in the history of lima.
*The Yesterday Project:
Performers: Ben & Sandra Doller
Ben & Sandra stood back-to-back, reading text from their cell phone screens into separate microphones. They each read one sentence at a time, interlacing their collaborative prose pieces.
The Yesterday Project is a blind collaboration: the authors each separately wrote a document recording the previous day, every day, for 32 days, without sharing their work. There were no other constraints except that each piece had to begin with the word “yesterday,” and no discussion of the writing, process, or content was permitted before or after. (On two different days, a word count constraint was agreed upon beforehand.)
The collaboration took place over the summer of 2014 in the shadow of a diagnosis of life-threatening illness: Melanoma cancer, Stage 3. The resulting work reads as part reality show, quotidian performance, conceptual essay, documentary, love letter, health food cookbook, and living will. On the 31st day, the authors performed a live reading of 3 sections of the work, surprising each other with the intersections and differences between their lived experiences as art.
This is the writers’ declaration of dependence—an investigation of shared identity, adulthood, and the risks inherent in deep connection. An incessantly honest chronicle of the dailiness of struggle, creativity, relationship, and environment, The Yesterday Project projects an imagined future as a radical act.
The Yesterday Project is forthcoming from Sidebrow Books in September 2015, and an e-chapbook will appear from Essay Press in August 2015.
Performers: Gabriel Kalmuss-Katz and Grant Leuning
Grant and Gabe read alternately from microphones at stage right and stage left.
“These pieces are intended to enact a serial effacement of authorship and authority by engaging in tandem translation, pseudo-translation and epistolary misdirection. The composition of pieces began from the wrong end, a completed text with a coherent and named author. As they changed hands, the pieces were divorced from their initial English and then coercively reinserted back into that language, composed in antagonism to the original text. This secondary author was given compositional authority to reconcile the text along the new formal, narrative and prosodic possibilities that appear in the second English. By calling this second role as ‘translator’, their own contributions are disguised as representational movement from authentic groundtext to always-imperfect simulacra. Finally, the pieces were enveloped and given direct epistolary address to their former author but opened and read by their ostensible correspondent. In performance, they conclude as unfaithful corruptions, offered up for approval to the wrong person.
Translation and the translated also form a significant portion of the text’s material. This includes a straightforward English translation of Nicolás Guillén’s Policía, a bilingual response to his Futuro, interpolated fragments by Bertolt Brecht and Mu Dan, whose translation of Percy Shelley’s Mutability was preserved as ‘untranslatable’ in Chinese.”
You are comfortable if the
coffee shop Tarot reader
enters my office and says
“Coffee Shop” while standing on
the table? Are you O.K. if she tells you
to close your eyes so she
can shuffle through her
phonebook in privacy?
You are comfortable taking a business card,
for her edibles company, her
the so-called “Incremental Edibles?”
This means crumbs, my friend.
[This next part I consider untranslatable]
Are you O.K. learning that the only thing
you conclusively own these days is some
music, the sound of old people pressing
demo on synthesizers set up on the side-
walk, then to sit back and wink at their
collected spare change?
Well, relax. Get fucked up on the sprinkler-
leakage taste of muddy grass açaí smoothies
with floated chunks of palm tree. Get comfortable
with everything, spend one half a day dog sledding
the other half with party punks in the gutter. You’re
not bound by parking meters, go from banner this
neighborhood to banner that one, see what every-
body is offering today and take your piece. In the
end, the only thing you can trust is your property.
The kingdom of Police,
otherwise known as the Flatfooted Blowhard.
the phylum includes:
The English, Sherlock. (Pipe.)
Carter, the North American. (Pipe.)
electronic interrogation recorders,
under artificial light. Behavior:
spends hours a day sitting, observing from a great distance,
strained eyesight is a common feature. When provoked
it charges blindly, best not to be a bystander
in such a situation.
Within the phylum, the most typical class in the Common Policeman.
notably smaller, a louder call.
Identifiable by metal buttons, badge. The head
forms a cap. Generally blue plumage.
Normal diet: juvenile delinquency,
riots, strikes, larcenies,
*Simultaneous pieces: Forgiveness Meditation, Please Stop Calling Yourselves Americans, and The Pogroms of Our Climate
Performers: Anna Joy Springer, Pepe Rojo, Steve Willard, and all
Anna Joy Springer walked on stage and wrote a Forgiveness Meditation on the whiteboard:
“’May I forgive myself.
May I allow myself to be a student of life and to keep on learning.
May I forgive myself.
May I allow myself to be imperfect and to make mistakes,
and if I can’t forgive myself now, no problem.
May I be able to when I am ready;
I trust my pacing and unfolding.’”
I learned these phrases from the dharma teacher and activist Arinna Weissman at a New Year’s meditation retreat last winter. The words in each line are objects of meditation. In a meditation focused on forgiveness, the meditator might focus on these lines and the emotions and sensations aroused by them for several minutes, and then change the object of forgiveness within the lines to focus on forgiveness of others and the desire for forgiveness from others. Sometimes, a guided forgiveness meditation would begin with these gestures toward self-forgiveness, then move on to imagining various others (friends, teachers, neutral others, enemies, and groups, including humanity as a whole), ending with ‘May we forgive ourselves.’ Sometimes, these preliminary lines prepare a practitioner to move less jaggedly into loving kindness meditation, or ‘metta.’ Metta meditation is both a meditation that uses imagination to generate a quality of unconditional friendliness and a meditation that develops concentration. Metta is one of the four Brahma Vijaras or ‘divine abodes’ / ‘good places to live.’ The Brahma Vijaras are Metta (loving kindness or unconditional friendliness), Karuna (compassion), Mudita (sympathetic joy or overall joyousness), and Upekka (equanimity / nonattachment to specific outcomes).
I also think of these shelters as what I might like to become for other people. In order to be an effective participant in challenging or triggering interpersonal, political, and social endeavors, I have discovered from direct experience that it is important to both acknowledge the truth of my own mistakes and the simultaneous truth of my desire to learn, unhindered by buried guilt and self-recrimination, both of which arise so freely in me. Guilt and self-recrimination are not sustainable fuels for revolutionary undertakings of any sort, and they often instead fuel defensiveness and lead to an inability to listen and to respond skillfully to circumstances as they arise. Any political praxis that avoids the human need for forgiveness may inadvertently allow dominant social forces to redirect that human need toward its own benefit. The neoliberal corporate plutocracy is not benefitted by supporting effective practices of forgiveness and unconditional friendliness. Dissolving egotism is necessary in learning to respond, moment by moment, to circumstances that arise. The market, as it is now, could not flourish without supporting and renewing forms of egotism, including the egotism that one is ‘bad.’ Guilt, shame, self-loathing, and a sense that one should already ‘know better’ and ‘act accordingly’ does not help anyone out-imagine systems of oppression, whether institutional, interpersonal or internal. There are many teachers in various Buddhist traditions who teach these practices, and many other spiritual traditions have useful techniques for generating forgiveness.
I then wrote down my phone number and offered to give a guided forgiveness meditation by phone to anyone who called me, and then joined the larger group in making our shushing sound.”
Pepe Rojo meanwhile started speaking from the back of the audience and then walked to the front until he stood on stage reading:
IMPROV (from backstage): Please stop calling yourself Americans…
Swallowing barbed wire. That’s my state of mind, that’s my state of body. You get used to it. You just insert it slowly in your mouth and start passing it through. Don’t mind the blood, don’t mind the pain, just keep on doing it. Try to protect your tongue, or you won’t be able to talk for a few days. You’ll feel it going into your throat, tearing away at your esophagus. Sphincters are tricky. You’ll get a little relief when it arrives at your stomach. Gather your strength, as the winding road through your intestines is the most painful and dangerous part and you don’t want your unprocessed shit flooding the vacuum between your inner organs and your flesh. That can really ruin your life. There’s this joyous and absurd moment when the barbed wire exits your anus and you can grab both ends. Resist the temptation of flossing your digestive tract. It’s all downhill from there. Just get it out of your system and nurse your inner scabs. You’ll be grateful for them next time.
Fuck crossing borders.
IMPROV: Things I’ve learned at &NOW: It’s OK to hate Kenneth Goldsmith.
NOTES FOR A STORY:
The first modern drug cartel is the British Empire. The first modern disease is individuality. The first modern training is reading. The first modern appliance is the S-trap flush toilet.
Anatomy is destiny (Freud). Anatomy is industry (Sterling).
Common side effects include nausea, vomiting, headache, skin color changes, increased/decreased sexual interest, oily skin, hair loss, and acne. Women using this medication should use 2 forms of birth control (i.e., condoms and birth control pills) while using this medication. Enlarged clitoris or breast swelling in men. Microsoft tells me last one is not a complete sentence.Clearness of mind. Headache, nervousness, crying, paranoia, anxiety, depression. Urgent need to urinate. Unwanted hair growth. Aggressive behavior. Am I pregnant?
Body stock. Organ stock. The exportation of misery. Body as capital. The capitalization of queerness. Body as product. Necro-politics. Genetic pool. Seizures. Body diseases. Mental diseases. Drugstores. Biochemical heaven. Involuntary organ donors. Prostitution and healthcare. Body labor. Services. My body is yours.
Privatopias. Guarded communities. “A kind of orange juice strainer to separate flesh from flows of money”. Bio-politics. Guardian drones. Private property. Security. Buying your future. Medical prevention as inner bodily surveillance. Insurance companies. Nationality: unwilling club registration. The reconquest will be genetic. The invasion will be chromosomatic.
Gene editing. Molecular breeding. Climate apartheid. Internet of things. Bio-printing. Geo-fencing. Depressor. Supressants. Enhancers. Optogenetics. Transfection. Contamination. Contagion. Breeding. We need new glands.
Maquila-ware. Maquila wear. Third World bodies taking care of First World bodies. Ill-ware. Hyper-connected=Dis-connected. Emotional wages. The meat will save us.
IMPROV: Things I’ve learned at &NOW: White people is bad…
I am a writing machine. I write for a living. I live for a writing. I write types. I typewrite. I am what I write. I write what I am.
I am a writing machine. Scratch that. My memory’s not keeping up with me. Let’s start over. I am a counting machine. I count the days, I count the numbers. I count the money, and I’ve even counted the years. You gain some you lose some Dollars, I mean. Money too. Typing counting machine. Writing counting machine. One, two, three. A, B, C. I type what I count. I count what I type. I type on my count. I count on my type. Can you count on yours? Please, please, please count on me. Type on me. Count on me. Write on me. Count on me. Please type on me. Please count on me. Please count please type. Count. Write. Type. Please type p l e a s e w r i t e p l e a s e t y p e p l e a s e p l e a s e p l e a s e p l e a s e
Meanwhile, all the other performers sat in a circle on stage between Anna Joy and Pepe, reading softly to each other from pink cards handed out by Steve Willard. Our instructions were to try to hear each other, which was almost impossible. When Anna Joy and Pepe were finished with their pieces, they joined us on the ground reading-speaking and shushing.
Steve Willard’s Notes on “The Pogroms Of Our Climate”:
Formally, “The Pogroms Of Our Climate” takes its surface structure (cards ask each participant to read, repeatedly, a different poetic sentence related to current events) from Fluxus-style, group-performed events (such as Shiomi’s “Event for the Midday”) which, though the performances themselves are ephemeral, leave some mark.
We were seated on the floor in another ellipse, reading aloud to one another, while adjusting pace and volume to “try to hear the other performers.” The readers I could hear I don’t know well, but their intellectual commitments, senses of irony, and friendships seem more lifelike than anything text-cards in mock-curatorial period style (Hass-Silliman sentences) might accumulate toward.
Passing cards around (worth reading twice?) and subsequent revision—
—help sentences fail their “tests of time” much as Schumannism failed Clara. The more diffusely formal convivialites of social life fail only more diffusely. Print, events, pure Biedermeier toasted toward ambient pain…despite more serious disparities’ desires to have it do otherwise. . . .