THE TUBE : issue#1

passing under meaning

"...a magazine in a poster tube"

contents:

Darja Bajagic

Merlin Carpenter

Nik Geene

Stuart Middleton

Luis Mondejar

Mitchell Sides

Gili Tal

Wuinea Juno

editors: Dan Mitchell & Richard Sides

poster tube with 8 A1 170gsm posters + editorial slip

edition of 95

more at: bus-editions.com/bus011

£50 + p&p

BL: One advantage of the unrequited in love poetry is that it provides a fictional support for apostrophe — the recipient of address isn’t responding, isn’t there, because of her coldness or superiority, not because she’s been objectified, or because she’s a personified abstraction, or whatever. This book has many moments of address, but their failure to be reciprocal is understood as a limitation of the speaker or his medium, not some attribute of the beloved (perfection, indifference, death)

French, from Late Latin apostrophus, from Greek apostrophos, from apostrephein, to turn away : apo-, apo- + strephein, to turn; 


There must be an easer way to do this
I mean without writing, without echoes
Arising from focusing surface, which should
Should have been broken by structures
Hung from the apex in hope of deflecting
In the hope of hearing the deflection of music
As music. There must be a way to speak
At a canted angle of a enabling failures
The little collisions, the path of decay
                 α
But before it was used by the blind, it was used
By soldiers who couldn't light their lamps
Without drawing fire from across the lake
Embossed symbols enable us to read
Our orders silently in total dark
In total war, the front is continuous
Night writing, from which descends
Night vision green. What if I made you
Hear this with your hands.

Mean Free Path [excerpt]

Ben Lerner

For the distances collapsed. 
            For the figure
failed to humanize 
the scale. For the work,
the work did nothing but invite us
to relate it to
            the wall. 
For I was a shopper in a dark
            aisle. 

For the mode of address 
            equal to the war 
was silence, but we went on 
celebrating doubleness. 
For the city was polluted 
with light, and the world, 
            warming.
For I was a fraud 
in a field of poppies.

For the rain made little 
            affective adjustments
to the architecture.
For the architecture was a long
lecture lost on me, negative 
mnemonics reflecting 
            weather
and reflecting 
            reflecting.

     ...

I finished the reading and looked up
Changed in the familiar ways. Now for a quiet place
To begin the forgetting. The little delays
Between sensations, the audible absence of rain
Take the place of objects. I have some questions
But they can wait. Waiting is the answer
I was looking for. Any subject will do
So long as it recedes. Hearing the echo
Of your own blood in the shell but picturing
The ocean is what I meant by

*

You startled me. I thought you were sleeping
In the traditional sense. I like looking
At anything under glass, especially
Glass. You called me. Like overheard
Dreams. I’m writing this one as a woman
Comfortable with failure. I promise I will never
But the predicate withered. If you are
Uncomfortable seeing this as portraiture
Close your eyes. No, you startled

     ...

Unhinged in a manner of speaking 
Crossed with stars, a rain that can be paused 
So we know we’re dreaming on our feet 
Like horses in the city. How sad. Maybe
No maybes. Take a position. Don’t call it
Night-vision green. Think of the children
Running with scissors through the long
Where were we? If seeing this as portraiture 
Makes you uncomfortable, wake up

*

Wake up, it’s time to begin 
The forgetting. Direct modal statements 
Wither under glass. A little book for Ari
Built to sway. I admire the use of felt
Theory, like swimming in a storm, but object
To anti-representational bias in an era of
You’re not listening. I’m sorry. I was thinking 
How the beauty of your singing reinscribes 
The hope whose death it announces. Wave 

     ...

Numbness, felt silence, a sudden
Inability to swallow, the dream in which 
The face is Velcro, describing the film
In the language of disaster, the disaster in 
Not finishing sentences, removing the suicide
From the speed dial, failing to recognize 
Yourself in the photo, coming home to find
A circle of concerned family and friends 
It’s more of an artists’ colony than a hospital 

*

It’s more of a vitamin than an anti-psychotic 
Collective despair expressed in I-statements 
The dream in which the skin is stonewashed 
Denim, running your hand through the hair 
Of an imaginary friend, rising from bed
Dressing, returning calls, all without 
Waking, the sudden suspicion the teeth
In your mouth are not your own, let
Alone the words

https://arquivodeemergencia.files.wordpress.com/2010/08/perec-species-of-spaces.pdf

He had bought a large map representing the sea,
Without the least vestige of land:
And the crew were much pleased when they found it to be
A map they could all understand.

“What’s the good of Mercator’s North Poles and Equators,
Tropics, Zones, and Meridian Lines?” 
So the Bellman would cry: and the crew would reply
“They are merely conventional signs!

“Other maps are such shapes, with their islands and capes!
But we’ve got our brave Captain to thank: 
(So the crew would protest) “that he’s bought us the best—
A perfect and absolute blank!”

What happens when Mercury goes retrograde?
All sorts of things! It’s like everyone you know has suddenly gone mad! You might find yourself getting into bizarre arguments about nothing at all, being unable to finish sentences or barely even able to form a coherent thought. Your computer and other electronic equipment is more likely to go on the fritz. You could experience travel delays, too. Double-check your flights and take a book with you to keep you occupied while you wait for the train! We don’t tend to get all the information we need at this time, so it can be hard to make big decisions and it’s not always the best time to sign a contract, either.

launching tonight at 'Exta' at Res. View this email in your browser

---------------------------------------------------- DARK CREATURES launching tonight at Res. Enclave 1-3, 50 Resolution Way, London SE8 4AL Soft launch: 25 September 6-9pm Preview + performances: Thursday 1 October 6pm til late Continues to 4 October open Thu-Sun 12-6pm   Picking through the rotted entrails of a corpsed body-politic, intoxicated by the acrid fumes of old flesh, Exta performs the dredge-core evocation of a corpus mysticum; an ecstatic futurology divining an alien socius of (anti-) social bodies. It presents an untimely vision of a dank sludgescape populace that is disoriented, corrupted and feverishly fucked; new flesh, new territories, and new headaches… An anabolic fibroproliferative mess. Exta mobilises occult intensities, Sci-Fi dynamics and slime-vectors of decay to divine a future body-politic and its delirious inhabitants. with: Dark Creatures, Michelle Hannah, Lewis den Hertog, Emilia Kurylowicz, Stuart Middleton, Eva Papamargariti, Tai Shani, Gary J Shipley, Craig 'VI' Slee Curated by Lucy A. Sames and Dane Sutherland

the porcupine dilemma, is a metaphor about the challenges of human intimacy. It describes a situation in which a group of hedgehogsall seek to become close to one another in order to share heat during cold weather. They must remain apart, however, as they cannot avoid hurting one another with their sharpspines. Though they all share the intention of a close reciprocal relationship, this may not occur, for reasons they cannot avoid.

Both Arthur Schopenhauer and Sigmund Freud have used this situation to describe what they feel is the state of the individual in relation to others in society. The hedgehog's dilemma suggests that despite goodwill, human intimacy cannot occur without substantial mutual harm, and what results is cautious behavior and weak relationships. With the hedgehog's dilemma, one is recommended to use moderation in affairs with others both because of self-interest, as well as out of consideration for others. The hedgehog's dilemma is used to explain introversion and isolationism.

A number of porcupines huddled together for warmth on a cold day in winter; but, as they began to prick one another with their quills, they were obliged to disperse. However the cold drove them together again, when just the same thing happened. At last, after many turns of huddling and dispersing, they discovered that they would be best off by remaining at a little distance from one another. In the same way the need of society drives the human porcupines together, only to be mutually repelled by the many prickly and disagreeable qualities of their nature. The moderate distance which they at last discover to be the only tolerable condition of intercourse, is the code of politeness and fine manners; and those who transgress it are roughly told—in the English phrase—to keep their distance. By this arrangement the mutual need of warmth is only very moderately satisfied; but then people do not get pricked. A man who has some heat in himself prefers to remain outside, where he will neither prick other people nor get pricked himself.

This last point is worth remembering when one considers the answer that Schopenhauer himself supplied to the porcupine problem. Schopenhauer suggested that people ultimately feel compelled to retain a safe distance from each other. "By this arrangement," he wrote, "the mutual need for warmth is only very moderately satisfied; but then people do not get pricked" (1851/1964, p. 226). Of course, Schopenhauer was known for his sour temperament – "It is hard to find in his life evidences of any virtue except kindness to animals... In all other respects he was completely selfish" (Russell, 1945, p. 758) – and his philosophy was famous for its pessimism.

JOHN WATERS My dirtiest memory happened when I was about fifteen. I was going to Ocean City, which is about three hours away from Baltimore, with a bunch of kids in a convertible. I was sitting in the backseat. We were going down the highway and in front of us you could see a buzzard in the road eating road kill and we were getting closer and closer. They always fly away, and this one did too, but two seconds too late. So it hit the hood of the car, flew back, and landed in the backseat on top of us. You could see its eyes, you could feel its wings flapping with mange and dirt. It was only in the backseat for like three seconds, then it flew out the back, but that is a memory I can never ever forget. It was truly a dirty feeling you could never wash off, a hideous little experience but kind of a great one because no matter how many times I tell the story I can never describe what it felt like for those three seconds. I guess it was like a horror movie.

MIKE KELLEY Actually, I think my dirtiest memory is more like a guilt projection. 1 always used to imagine God as a film editor. He was up in heaven at a console, from which he was projecting all of your sins for a big audience of saints, and all your dead relatives were there weeping. All the good parts of your life were edited out and only the nasty dirty bits had been saved and cut together into one film that lasted forever and made all the dead people from all of time so sad that they spent the rest of eternity weeping. I really want to build that control room.

You come out realising that what you have encountered is irony or commentary or deconstruction of a promiscuously dangerous and pervasive thing called religion. But you come out realising something like this only by virtue of the extended dialogue you've just had with misrepresentation. In the end, I think your lesson is not even a general lesson. It's about how you catch yourself in the act of understanding how you have been produced by misrepresentations - at the same time as being caught up in them. This last idea signals the enormous gulf that separates your work form most explicit critical art practice, in which all the flags of dissent are run up the mast for you. 

MK: Exactly. 

JW: Its about how you yourself have stood or sat before a candle at some point and had a sentimental thought or been caught up in romance or religion or Catholic ritual or whatever it was. 

MK: Such rituals are very attractive; I cannot deny that. I try to keep that level of attraction there. 

Researches study the sex lives of black swans

Swans have long been viewed as a symbol of fidelity and everlasting love. But in fact they are cheating philanderers who regularly flee the nest for extramarital sex, Australian researchers have revealed.

"Swans have long been renowned as symbols of lifelong fidelity and devotion, but our recent work has shown that infidelity is rife among black swans," said Raoul Mulder from the University of Melbourne's zoology department.

He and colleagues tested the DNA of many cygnets and found that one in six is the product of an illicit encounter. Researchers now wonder how females manage to slip away from their over-protective partners, to mate on the side. To find out they are now attaching tracking devices on swans' tail feathers.

Up to 60 male swans at Melbourne's Albert Park Lake are being fitted with a tiny microchip. The females on the other hand are being fitted with a miniature tracking device, known as a decoder.

"When a male and female copulate, the female's decoder unit detects the microchip implanted in the male's tail feathers, registering the male's identity, as well as the time of copulation," Mulder said. "All mating events are logged onto the decoder unit, so that a complete record of her mating behavior over several weeks can be downloaded when the swan is recaptured."

Mulder said the study targeted black swans because they were large enough to wear the tracking device and were more common in Australia than their white cousins.

Mulder noted that "there are risks associated with mating with other birds so there must be some evolutionary benefits." He told AFP that they don't rule out the possibility that swans have a very sophisticated mating behavior.

Scientists are trying to see what are the strategies adopted by the females in their choice of mates and how they change their partner for another one with superior genes. Such strategies should ensure the maximum fitness of their offspring.

Now look, I like him too, I like
Hippie Johnny
But I'm straight
And I want to take his place
I said, I'm straight
I said, I'm straight
I'm proud to say
Well I'm straight
And I wanna take his place

Now I've watched you walk around here
I've watched you meet
These new boyfriends, I know
And you tell how they're deep
Look but, if these guys, if they're really so great
Tell me, why can't they at least take this place and take it straight?
Why always stoned, like hippie Johnny is?
I'm straight and I want to take his place
Oh I'm certainly not stoned, like hippie Johnny is
I'm straight and I want to take his place
I said, I'm straight
I said, I'm straight
I'm
I'm straight and I want to take his place
All right you Modern Lovers what do you say?
(I'm straight!)
Tell the world now
(I'm straight!)
That's it
(I'm straight!)
Yeah I'm straight and I want to take his place

kind of a long shot but if theres any representatives of german seafood brand Top Mare surfing the net who stumble accross this blog post Im kind of having a 'mare at the moment and I eat shitloads of your raucherlachs so maybe youd consider a sponsorship deal? if so just give me a ring on +491521662741 thanks

Since neither soul, nor aught belonging to soul, can really and truly exist, the view which holds that this I who am 'world', who am 'soul', shall hereafter live permanent, persisting, unchanging, yea abide eternally: is not this utterly and entirely a foolish doctrine?

slightly late notice isnt it but this is in 1 hour, in leeds

studded belts worn like ammo spray hair dye and a knuckle skull duster ring, wrap a free tibet bob marleys face rasta weedleaf sofa throw can-pipe of oregano

doo doom chush 

happy bday lottie xxx

Shame cultures never come into existence to benefit individuals; they lead naturally to the next step, which is absorption into an institution: outside institutions, codes of conduct accomplish little.

Lucy Orta - Operational Aesthetics

Lucy Orta