fugitive ethical: March 2006

Monday, March 20, 2006

On WeCheHei

I recently read a book about quantum physics and superstring theory. Great book—easy to understand, neat pictures, and two whole chapters on black holes. I love black holes. The idea of this super powerful force at the center of our universe that serves as both the beginning and end of existence, and we can't even see it. You couldn't ask for a better metaphor.

So the book was great, but now I keep having this recurring dream. I'm out in space, just floating along in a t-shirt and jeans, when I get the feeling that I'm slipping. I look around and discover that I'm moving rather quickly toward a huge dark circle. I realize, of course, that it's a black hole, so I start swimming away from it (crawl stroke, I think). At this point I'm obviously a bit panicked, but then all of a sudden I see a woman in a boat not ten feet from the tips of my fingers (this metaphor has layers). I yell to her and flail my arms, but it's no use, she doesn't even acknowledge I'm there. The problem, I realize, is that she's just outside the event horizon, which means, to my horror, that I've already crossed over.

This is about where I wake up. And by the time I calm myself and assure the dog that everything is alright, I've forgotten if the woman in the boat was Andrea Rosen or Amy Sacco. And, of course, which one was the black hole?

Ok, so it's not really a recurring dream; more of a narrative strategy. Which is probably better since Freud is only good for literary analysis anyway. But I think you get the picture.

I like this idea of the cultural event horizon. Because it's not as if things don't "happen" after crossing the event horizon—they do. They just can't interact with things on the outside (or, probably, with each other). I should note, I guess, that we've discovered radiation leaking from black holes. So I suppose on some level everything's escapable. Though I'm not sure if that makes me feel better or worse. But the point is that no matter what goes on inside the event Horizon—unicorn wars, time travel, black American Express cards—it has absolutely no bearing on you or me. We can speculate and calculate the probability of physical laws remaining in tact as we approach singularity. But at the end of the day the world inside the event horizon might as well be a fairy tale. And for this reason the
distinction between "real" and "theoretical" collapses, because from outside looking in the two are one and the same.

Maybe later we'll talk about art. About the similarities between opening a gallery and opening a club. About exchange value and the commodity of cool; the club-as-event; the red rope. The horrors of usefulness. But for now let's start with the event horizon. I'm pretty sure Wechehi did.

Saturday, March 18, 2006

WeCheHei


This is another one of those things I can’t explain.

There were several questions at the outset, as always… completion/center/moment - the continued riffing on the decadence theme, which, given where I live, can’t be expected to stop soon. Naming too, continues to be front and center, new names, old names, stage names, group names… I can’t seem to come up with one that isn’t patently ridiculous. I’ve been living with FE for a while now, turning it over, still seems so stupid about ninety-nine percent of the time, but there are those events that make me remember why I liked it in the first place, and still do. Though to be honest most of the time I just write FE and think of iron, you know, the element, Ferrous sulfide or whatever. But to the issue at hand.

It certainly seems a little late for essays, or tributes, or critiques. And I think I believe the visual field to be exhausted, totally spent, beyond the capacity even for pastiche, insofar as there would need to be something like the possibility of parody for us to say, with any certainty ‘pastiche’… (I guess I would like to deny Jameson the privilege of his signifier, even… such an arty gesture, but I mean, here we are) Maybe there is a nostalgia at work... one that I would like to hold onto, I think, for as long as possible. Nostalgia as confession; confess nostalgia!, nostalgic for confession: no one confesses anymore, no one apologizes, I do, but not for the things I should, right? Whose embarrassed? By what? I confess my nostalgia for the time when confessions where made for, I dunno, low culture, for crap, for a time when crap was crap and cool was proud, for Black and white images of places, of a place, in this case, fabricated by me, totally made up, the relationship between this grotesque pretension to meaning and the total novelty of a ridiculous new name: wechehei. Rhymes with buhbyebye. This is the tension that excites me, not just montage but something even more productively unhinged, an attempt to chain a certain memory to the act of legitimating my own shitty ‘hood as uniquely shitty. Plus its pretty.

So yes, it is also a performance of a certain kind of writing or representation, a certain artiste-tic tendency to romanticize and wax poetic about the neighborhood, the placeyness of it all… this part actually bothers me less, insofar as I think I my rent is high enough to cover this particular luxury. That and the place is hell on weekends, trust me.

(Cocktail Project): This Is Not A Protest