i'll be the HAPPY phantom
and i'll go wearin'
my NAUGHTIES like a jewel
they'll be my ticket
to the universal opera
there's judy garland
taking buddha by the hand
and then these seven little men
get up to dance
they say confucius
does his crossword with a pen
i'm still the angel
to a girl who hates to SIN
And then I read an e-flux email about an upcoming "multidisciplinary event" inspired by Marcel Duchamp's last major work that has viewers look through a peep hole in a wooden door at an landscape, Etant donnés: 1° la chute d'eau, 2° le gaz d'éclairage in which what I presume must be a quote from Duchamp is used a the title for of an exhibition, I want to grasp things with the mind the way the penis is grasped by the vagina.
I then went in search of a definition for bachelor machine and found a section of an essay by Nell Tenhaaf in a book called Feminism Art Theory that talks about bachelor machines, Duchamp, Deleuze & Guattari and ends with a fluid image.
To speak from this fragmentary and fluid feminine place is to see that the strange conjuncture of technological mastery, autoerotic pleasure and nihilism of the masculine machines might be thought of differently. It might be thought of as a mythical territory to be reclaimed by the desiring bride.Granted, these words/images resonate with me for reasons beyond this project, this Part II. Yet there is some reason that I think they belong in my blog. They somehow are part of my rehearsal. One of the things that I think Dean's discussion of the rehearsal does not show well is the ways that multiple threads of associative appropriations, that may seem off topic, that are not bound directly up in Dean's first story/second story, set up/punch schtick, add some oomph to a routine.
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