n. infantile pattern of suckle-swallow movement in which the tongue is placed between incisor teeth or between alveolar ridges during initial stage of swallowing (if persistent can lead to various dental abnormalities) v. [content removed due to Bush campaign to clean up the internet] n. act of nyah-nyah v. pursuing with relentless abandon the need to masticate and thrust the world into every bodily incarnation in order to transform it, via the act of salivation, into nutritive agency

Tuesday, September 26, 2006

my current brandnew italian-sounding theory boyfriend

from "Public Space in a Private Time," Vito Acconci


Public space, in an electronic age, is space on the run. Public space is not space in the city but the city itself. Not nodes but circulation routes; not buildings and plazas but roads and bridges. Public space is leaving home and giving up all the comforts of the cluster-places that substitute for the home. Space on the run is life on the loose...


The collision of electronics and bodies will subvert the organization of information and of cities. Each bit of information is controlled, but the mix of information is accidental and can't be organized. The propaganda from one station, on a radio that's carrried in the street, weaves in and out of the propaganda from another station, and another. One product on a shelf, in a rack, bulges against another and pushes that one into another, etc. One billboard image peels away only to reveal behind it another image, which comes into collusion then with the unpeeled part of the upper image. One neon message is lost in the stars of another neon. One home computer can plant a bug in the programs of other computers. Public space is the air space between bodies and information and other bodies; public space is a mix of electric current and sexual magnetism. So much information fills the air, and so many things and so many bodies, that you can trust and love any one of them only "for the time being." There's no danger of being a true believer, no danger of being a husband or a wife--you're playing the electronic field, you're on the move and on the make.


...instead of spaces that people have to stop at and slip into, public art furnishes spaces that house people as they keep moving: it might be in the form of vehicles, or it might be clothing, that takes as its model the T-shirt that invites you to read text at the same time as it dares you to start at the breasts behind it. The end is public, but the means of public art might be private. The end is people, but the means might be individual persons. The end is space, but the means might be fragments and bits.


The model for a new public art is pop music. Music is time and not space; music has no place, so it doesn't have to keep its place, it fills the air and doesn't take up space. Its mode of existence is to be in the middle of things; you can do other things while you're in the middle of it. You're not in front of it, and you don't go around it, or through it; the music goes through you, and stays inside you. It's a song you can get out of your head. But there are so many voices, too many songs to keep in your head at once... This mix of musics produces a mix of cultures; of course pop music exploits minority cultures, but at the same time it "discovers" and uncovers them so that they become born again to sneak into and under the dominant culture. The music of the seventies was punk; the music of the eighties was rap. Each of these types is music that says: you can do it, too. The message of punk was:... The message of rap is:... The message of punk and rap together is: actions speak louder only because of words, so speak up and talk fast and keep your hands free and your eyes wide open and your ear to the ground and be quick on your feet and rock a body but don't forget to rock a culture, too.


Courtesy of my TOtP class....
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