Showing posts with label bodies. Show all posts
Showing posts with label bodies. Show all posts

Monday, January 30, 2012

Un MU.ZZ.LE

I find myself deeply and sharply inspired by the Xanga page Findingatiger.  It's an achingly personal journal of what could probably look from the outside like a pretty boring life.  It's a real journal, but it's written with both the arcing ambition of a piece of serious fiction and, intentionally or not, in a fragmented, attention-fractured voice that either 'captures' or simply really is the way people in their twenties now think, talk, and feel.  It is literary in heft, while still being utterly trivial in content.  It makes me ask a quite serious question about how much of our life is inner and how much objective and factual.  It also encourages me to maybe try some things in this blog that I haven't tried in this or any other space in some time.

I was thinking about my life - my by many measures extremely lucky, slightly crazy, weird life over the past ten years.  And I compared it to the slight echo of disappointment that lingered in the air after all of it.  The idea that maybe I haven't been great, or that I was not entirely present for the moments that counted, or I have been so awkward-and-proud-of-it that I've missed one too many things to make my weirdness worth it.  It's impossible to know, I guess - it's like that old question about whether my 'green' is the same as your 'green,' and how could we know if we can't literally get inside one another's brains?  Maybe some people see and feel the drama and turmoil of their inner lives simply because they spend the time looking there.  Maybe I can be such a chipper dude simply because my brain chemistry is like whatever's the opposite of psychotic.

I'm listening to the new Gonjasufi album, MU.ZZ.LE.  I put it on right after the Bad Brains' I Against I, so I must be on some sort of thing.  The Bad Brains was what I put on after I bailed on Occupy Tampa for the night.  I stopped by very briefly, just long enough to hear the start of a conversation about the kitchen that I really didn't have even the slightest desire to stick around for.  A substantial part of energy in the camp is going now into these sorts of discussions - which as simple as they sound, regularly explode into massive personality conflicts that stretch over multiple meetings, night after night.  This is because the camp is made up more than anything else by asocial narcissists, including longtime homeless, travellers, borderline head cases, and apparent drug addicts.

It took less than a month for this population to make up the  critical mass of the 24/7 occupation of Occupy Tampa.  I have some serious concerns about where we go from here, despite the valiant efforts of several organizers to keep momentum going into several ongoing and exciting projects.  The idea of the 'occupation' has been so crucial to the appeal of the movement in the public eye - but I have seen much firsthand, not just in Tampa but in New York City, to suggest that in the long term these occupations might have destroyed themselves - that in fact the police in cities across the country are doing Occupy a huge image favor in decamping them before their tents become symbols, not of freedom and uprising, but of needle drug use and screaming matches.

What does this say about the ethos of the Occupy movement, its commitments to horizontalism and autonomy?  Well, it leaves me sorely tempted to declare that, at least at the very extremes, there are people for whom the chance to make their own decisions represents a clear and present danger to themselves and others.  Occupy has attracted a great number of, first, genuinely mentally ill people, and second, borderline personality types.  People shout to get attention, and turn it into a fight when shouting isn't enough.  People badmouth one another and scream and cry.  People require regular trips to the hospital from participants with cars, for injuries incurred long ago and far away.

And yet.  These people are broken, beat, tired - and yet I can't bring myself to dismiss them, to throw up my hands in despair.  They are struggling just like the rest of us.  And god knows, this is where any of us could end up if we were taken off our Xanax and put in a minimum wage job for ten years struggling to take care of kids and a wife and a house until one day suddenly it's all gone away.  Or been put out of the house at fourteen and made to fend for ourselves.  Or had to grow up transgendered in a macho Latino family.  Sometimes the cliches are just true.

We all fancy ourselves misfits, we suburban white kids and Brooklyn hipsters, but how ready are we to recognize a real one?  I've never been one of the hipster haters, I think that art is essential to progress and pretension is essential to art.  But the almost complete lack of trendy participation in Occupy has maybe disturbed the comfortable fiction I'd so long lived with that under all the superficial bullshit these people shared my discontent.  That their consumerism was, as they often claimed, somehow ironic.  But I saw a cute couple the other day, in Ray-Bans and cutoffs, and realized I've never felt more distant from people like that.  They were suddenly only slightly less offensive to me than the Britnis and Bobbys who had tormented my high school years (or at least haunted my imagination).

Occupy, at least out here in the real hinterland, is a province of the true fringe - the left behind, the kicked out, and the fucked up.  And even though I don't always look like it or often give in to it, I'm one of those myself.  I mean, I guess I must be, or why am I spending so much time with this gang of losers?  I went to the Publix Greenwise a few miles from the Occupy Tampa camp tonight - it's a kind of commercial-organics-froufrou grocery store, like a low-rent Whole Foods.  It was full of beautiful women in their early 30s, shopping alone.  They were dressed like me, in the nearly automatic neat-creative mode that comes with giving a shit and making an adult, white salary.  But there was something in their eyes, something scared and vacant and confused.  They didn't know (and here comes another true cliche) how they could still be unhappy after buying the things they had been told to want.

I can't deal with that.  And I'm also realizing: maybe the only thing stopping me from truly feeling those situations, that amazing past I've travelled through, was that I haven't spent enough time writing about it.  I am a writer - why is this not how I've been creating myself?

Saturday, January 15, 2011

I'll Give You Something to Remember Like the Alamo.

I've been on a crude version of it for over a year now, but to celebrate the release of the book (and its treasure trove of new detailed tips), I'm renewing my commitment to Tim Ferris's 4 Hour Body/Slow Carb eating program.  Maybe I'll post more about that sometime, but today is my favorite part - the "eat whatever the hell you feel like" day.  I've had a crepe, two sodas, a donut, a Zats burger, a Snickers, and now, before I hit the sack, the piece de resistance - a grab bag of burgers from McDonald's.

Don't look at me like that.

Anyway, McDonald's Japan has just revived its "Big America" campaign, featuring four different regional flavors.  First up is the Texas Burger, and it's an unmitigated disaster.  (A few years ago this would have been predictable, but McDonald's food has been getting much better).  Sadly the Texas2 Burger is ruined by the Japanese influence.  Rather than Jalapenos, I think the spiciness comes mainly from horseradish mustard, the chili-esque substance slathered on it is nuclear red, and there's what is, I think, a piece of ham on it?  But it's supposed to be bacon?  I don't know.  But it does not even remotely remind me of home.

P.S. - Testing out some Amazon linking options here . . . 

Saturday, January 8, 2011

"Transformation" at Tokyo Museum of Contemporary Art: Bio-Viewing

I spent about four hours yesterday cruising through the TMOCA exhibit "Transformations," which is ending a the end of this month. It's absolutely essential for anyone with an interest in art, and likely important for anyone who thinks seriously about the show's particular themes - the status of humans in an era of advancing biotechnology. The exhibit deals with things like genetic engineering and artificial limbs, but also more abstract ideas of transformation. It's so full of amazing stuff I didn't have time to fully absorb all of it, much less the energy to keep going to the current display from the permanent collection, so I plan to go again soon.

It's an amazing museum and this exhibit is not to be missed - but there are definitely some problems. The biggest head-scratcher was that Matthew Barney's Cremaster 3 is being shown in its entirety on two small LCD screens suspended above an installation, in a gallery room full of film stills. Since the film is still impossible to legally see outside of a museum, this leaves the option of standing for an hour and a half, or sitting against a wall. On top of that, since it's showing in a fully lit gallery instead of a screening room, parts of the occasionally very dark film are just hard to see. Especially since so much space was given to other films, this seems crazy. I can only think of two explanations - either there was an assumption that people have already seen Cremaster 3 and only needed a refresher, or Barney didn't agree to a full-scale screening as part of his broader tendency to limit access to the work.

Masakatsu Takagi
More generally, though, there were just too many films, which led both to viewing fatigue and, worst of all, some sound bleed - particularly in one section where Sputniko!'s techno-pumping installation threatened to break the suspension of disbelief fostered by Masakatsu Takagi's enthralling Ymene.  That work still managed to be the show's greatest discovery for me - conceived as a "bird's-eye-view" video, it uses video manipulation techniques that are completely impossible to describe, and has the visceral impact of a roller coaster ride.  It's mind-bending in the best possible way, and absolutely worth experiencing even in somewhat compromised conditions.

Other highlights included Jan Fabre's amazing self-portrait busts, in which he molds horns of real-life species onto his own head, Lee Bul's somehow acutely Asian robots, and Patricia Piccini's deeply uncanny short about a mermaid.  I'm late enough getting to this show I can't justify a full writeup, but suffice it to say, if you live in Tokyo or will be here in the next few weeks, you owe it to yourself to go.