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By YC

Obscure references, interview lapsing (between A and B)

Yane Calovski
(a fictional interview inspired by Sander and Hunt, in Valdez: Anthology of Revolutions, Centre d’Edition Contemporaine, Genève, p. 62-67; 2004.)

A: Every story requires some kind of proliferation. This is true if we believe in language, if we read the walls around us, the spaces that we move through, the messages that move through us, address us.

B: “I write, but I don't write anything.” (Hanne Darboven)

 

A: How do we put it all together and how do we look at the damage done? How do we untangle the mess? How do we take back the term “popular”, distinguish between popular as ‘widely appealing’ and popular as ‘of, for and by “the people”’?

B: Lapsing as some form of decline, a downplayed process of erasure. There is much which remains unwritten, undocumented, scattered, stolen, disrupted, damaged, disfigured.

A: Why do we lapse? We will die if we lapse too often, too soon.

B: Maybe to escape the revolution. Or to join the revolution.

A: Meet me at the park we will talk about gliding, slipping, gradually falling, deviation, rectitude, termination, privilege, neglect, devolution…

B: …film festivals, retro porn, shabby bicoastal, sound tracks, trans aggression, fishing, shock value, good contracts, big collections, independence, devils advocators, protégé…

A: But who, what? Wait…

B: The body defined.

A: But what, by whom, when?

B: That which can be stopped, wounded, contained, exposed, hidden, usurped, nourished, or killed.

A: Can we actually influence the way we report on reality? How it out to be, how it should be but it is not?

B: The other dimension.

A: I don’t follow you.

B: Social, economic, political transition that never ends. Numb to news. Stains we cannot wash off. We are poisoned.

A: I’ve always preferred Stalin.

Yane Calovski

 

Obscure references, interview lapsing (between A and B)

 

(a fictional interview inspired by Sander and Hunt, in Valdez: Anthology of Revolutions, Centre d’Edition Contemporaine, Genève, p. 62-67; 2004.)

 

A: Every story requires some kind of proliferation. This is true if we believe in language, if we read the walls around us, the spaces that we move through, the messages that move through us, address us.

B: “I write, but I don't write anything.” (Hanne Darboven)

A: How do we put it all together and how do we look at the damage done? How do we untangle the mess? How do we take back the term “popular”, distinguish between popular as ‘widely appealing’ and popular as ‘of, for and by “the people”’?

B: Lapsing as some form of decline, a downplayed process of erasure. There is much which remains unwritten, undocumented, scattered, stolen, disrupted, damaged, disfigured.

A: Why do we lapse? We will die if we lapse too often, too soon.

B: Maybe to escape the revolution. Or to join the revolution.

A: Meet me at the park we will talk about gliding, slipping, gradually falling, deviation, rectitude, termination, privilege, neglect, devolution…

B: …film festivals, retro porn, shabby bicoastal, sound tracks, trans aggression, fishing, shock value, good contracts, big collections, independence, devils advocators, protégé…

A: But who, what? Wait…

B: The body defined.

A: But what, by whom, when?

B: That which can be stopped, wounded, contained, exposed, hidden, usurped, nourished, or killed.

A: Can we actually influence the way we report on reality? How it out to be, how it should be but it is not?

B: The other dimension.

A: I don’t follow you.

B: Social, economic, political transition that never ends. Numb to news. Stains we cannot wash off. We are poisoned.

A: I’ve always preferred Stalin.

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