Irrational Degradation

My increasing attraction to gothic, hyperbolic and parodic rhetoric has me reading an excellent biography of George Bataille by Stuart Kendall. I've read the pornographic novels Story of the Eye and Blue of Noon, but Bataille's theoretical works have remained somewhat impenetrable. This brief summary of his ideas has me underlining every other sentence. I'm drawn to these elaborate, knotted and knotty words: lacerations, corrosive, monstrous, sacrificial...
Some juicy tidbits:
"It is clear that the world is purely parodic, that each thing seen is the parody of another, or is the same thing in a deceptive form." "A derivative work merely copies a respected original; a parody degrades that original with mocking mimicry, assaults its absent and abandoned authority. Parody is the literary equivalent of transgression, upholding as it undermines." "Materialism is above all the obstinate negation of all idealism, which amounts to saying, finally, of the basis of all philosophy." "Base matter 'refuses to allow itself to be reduced to the great ontological machines resulting from these [ideal human] aspirations'." "'I submit myself entirely to what must be called matter, since that exists outside of myself and the idea.' Base materialism is a corrosive sense of matter, one in which form ruins."
I've always been interested in extremes, seeking out those areas that push against, struggle with, reject, distort and interrogate the status quo - perhaps as a balance or foil to my lack of actual activity in such areas, my generally placid exterior. (Though I'm increasingly worried that bitterness and aggression leak through my social anxiety...) At any rate, it remains a theoretical interest in extremities, except perhaps in art practice.
Using extremes in work is a difficult proposal, however. How does a piece simultaneously invite and assault? The accusation of difficult work is that it excludes and is exclusive. Two impulses battle within my desire - that of appealing among a wider audience, which rubs against my own tastes in repetition, intensity, ugliness and confusion. Hopefully this friction can be productive. It creates a quivery feeling in my gut, a feeling of pushing against invisible (and therefore all the more resistant) walls. The difficulty of adapting the preverbal (or even precognitive) impulses into a clear, strong voice. A cloud that rests just beyond the reach of fingertips.
My favorite work remains uncompromising, theatrical, obsessive, elliptical... and obscure. Robert Ashley, Jerry Hunt, Costin Miereanu, Catherine Sullivan. I've been thinking more and more how my favorite artistic experience is one of unresolved confusion. A kind of sustained, elevated inability to make sense of things, suspended within formal precision and aesthetic integrity. The longer a work can resist my mind's struggle to find or impose coherence, the more I'm interested in returning, thinking and exploring.
Plunging into the dark shit which animates and balances the dynamic of existence.

Narrative Tangentiality

Finished composing for and performing Montauk with the Liz Gerring Dance Co. and now back from the run at the Baryshnikov Art Center in NYC. Returning to the ink paintings and now working with black acrylic, india ink, and a bit of charcoal in addition to the blue ink, and larger pieces of paper (I'll post some new pictures soon). It feels great to be back in the studio. Listening to Robert Ashley's Perfect Lives - two or three "episodes" each day... Despite my deep admiration for a few particular pieces (Automatic Writing, The Wolf Man, and especially In Sara Mencken Christ and Beethoven There Were Men and Women), it's only my second time listening through this sprawling opera.

Robert Ashley's music is a wonderful example of ambiguity - structures as non-structures. There's a quality of endless wandering, limitlessness. I admire this quality because my own music seems to become, in the course of things, resolutely unambiguous. In reaction to or against the segmented, ordered quality of my recent performance piece, Flock & Tumble, I've been interested in shifting more towards structures of narrative ambiguity and thinking about what that might mean in the upcoming project with Linda Austin.
Ashley seems to have recognized some hidden attribute of television, some rarely utilized possibility for expansion. Over the winter break and in the midst of snow storms, Kelly and I watched the first and second seasons of Mad Men, which might serve as another example (though far more conventional).

The potential within the framework of a television series is something Twin Peaks first noticed and utilized in a self-conscious way. The open-ended aspect of television gives the possibility of endless narrative expansion, something that Mad Men uses to create a network of characters and psychologies rather than a narrative arc, following endless side-paths within an established group of elements. A revelation of character rather than plot, a deepening of interior space. Very little happening on the surface, but great depths below.

Perhaps this all has something to do with a working method that starts without possibly knowing the ending. A reliance on brainstorming, automatic writing... A faith in the generative properties of the network.
Soap operas take this tangentiality to absurd extremes, but with reversed emphasis - lots happening on the surface and very little below. This was recognized and parodied by Lynch in Twin Peaks, and even mirrored by the television show within the television show (Invitation to Love). A certian degree of amnesia is necessary to continue.
Perfect Lives remains slippery in every way. The established elements of piano, organ and voice are a kind of changing same, constantly flowing, a pattern of syllables... Even instability is unstable, as short "songs" emerge and then disintegrate. A few phrases, names and places stick. Perhaps patterns would emerge with repeated listenings, and I would like to finally see the video, which is now available on dvd.
Robert Ashley also talks about engaging different attention spans, something I've been pondering lately. I'm wondering what the effect would be of extreme repetition of dance events, "looping" single actions or phrases of various lengths, working with the varieties of memory - immediate, short term and long term. (Does anyone have the approximate lengths of these categories, neurologically-based?) What would be the difference between a five second "loop", repeated many times, and a 30-second "loop" or a two-minute "loop"? Or loops that tangent partway through their repetition... I'm interested in the live repetition of human gestures because of the inherent impossibility of exact repetition. I'm interested in using this repetition as a way of accessing the brutality of separation, the way that violence becomes aesthetic.