textures & sinking

by Feng

In my epic adventures as pro-procrastinator, I have seen quite a few (or started) films of late. Ones of note include Eraserhead and Ghost… the latter of which I had to stop watching because it made me cringe inside out… but I finally figured out who Patrick Swayze was, which made an apples to apples game in which he was the perfect answer to “clammy” make beautiful sense… and I was also able to figure out how I feel about David Lynch. It’s love.

Two quotes that cemented this love:

“I’m obsessed with textures. We’re surrounded by so much vinyl that I find myself constantly in pursuit of other textures. One time I removed all the hair from a mouse with Nair-Hair just to see what it looked like. And it looked beautiful”

“I’m really interested in textures … For instance, I once had this dead cat. A vet gave it to me. I took it home. It was a real experience. I got all set up for it in the basement. And I dissected it. I examined all its parts, the membranes, the air, the skin, and there are so many textures which may be pretty gross on one side but when you isolate them and consider them more abstractly, they are totally beautiful. There’s something in nature, especially when nature starts decomposing, that brings out these textures. For a long time I loved looking at that.”

Texture is probably what I care about most aesthetically. If words have textures, if language has texture, then I am more interested in texture than form/content, though of course all of them are related and inextricable from each other. Sometimes I want to lick my books and my fingers get excited when I read. I guess what I mean when I say texture is ambiguous… but like, when Fanny Howe says, out of nowhere, “…the sea at last lies over this place / and registers expressly…”, the sea she is talking about isn’t actually the sea. I don’t know shit about semiotics, but there is some major sliding between signs going on here, or some intense oscillation between signifier and the abstraction it creates. It’s not non-sense, but it’s definitely not normal-sense. The word sea without its normal context is naked. Whatever is sieved from my sea connotations is left and fleetly grappled with by my passing over it with my touchy eyes. A sea that lies. It can only be registered as a sub-text or thought-texture. And then Fanny Howe says, “…I know evolution is done developing / Its laws of mathematics must be correct / In my created head I don’t exist…” and “the mist / is fixed…” and this camouflaging of the self or dissolving or whatever one calls it I imagine to be like a blending or blinding into texture.

texture Look up texture at Dictionary.com
early 15c., “network, structure,” from M.Fr., from L. textura “web, texture, structure,” from stem of texere “to weave,” from PIE base *tek- “to make” (cf. Skt. taksati “he fashions, constructs,” taksan “carpenter;” Avestan taša “ax, hatchet,” thwaxš- “be busy;” O.Pers. taxš- “be active;” Gk. tekton “carpenter,” tekhne “art;” O.C.S. tesla “ax, hatchet;” Lith. tasau “to carve;” O.Ir. tal “cooper’s ax;” O.H.G. dahs, Ger. Dachs “badger,” lit. “builder;” Hittite taksh- “to join, unite, build”). Meaning “structural character” is recorded from 1650s. 

tex·ture

http://sp.dictionary.com/dictstatic/d/g/speaker.swf [teks-cher]  Show IPAnoun, verb, -tured, -tur·ing.

–noun 

1. the visual and esp. tactile quality of a surface: roughtexture.
2. the characteristic structure of the interwoven or intertwined threads, strands, or the like, that make up a textile fabric: coarse texture.
3. the characteristic physical structure given to a material, an object, etc., by the size, shape, arrangement, and proportions of its parts: soil of a sandy texture; a cake with a heavy texture.
4. an essential or characteristic quality; essence.
5. Fine Arts .a.the characteristic visual and tactile quality of the surface of a work of art resulting from the way in which the materials are used.
b. the imitation of the tactile quality of represented objects.
6. the quality given, as to a musical or literary work, by the combination or interrelation of parts or elements.
7. a rough or grainy surface quality.
8. anything produced by weaving; woven fabric.

Eraserhead unravels like a poem to me. There is so much layering of imagery and clotting of symbols and mating/weaving of textures. The tapestry is a mood.

Here is a nice bit of writing about it: http://www.thecityofabsurdity.com/papers/jdl.html

I was very taken by the brain-stem thing, or plant/intestine hybrid thing that is littered throughout the movie.

Here is an non-grotesque piece of fabric art by Seiko Kato that reminded me of the little worm stems:

I’ve been thinking about butterflies, poop, and poetry, and I feel like a crazy person because I think everything is connected. The word “fold” has been very important to me lately. I’m excited to read “The Fold” at some point though my pile of books is looking rather Everest…

In The Fold, Gilles Deleuze argues that Leibniz’s writings constitute the grounding elements of a Baroque philosophy and of theories for analyzing contemporary arts and science. A model for expression in contemporary aesthetics, the concept of the monad is viewed in terms of folds of space, movement, and time. Similarly, the world is interpreted as a body of infinite folds and surfaces that twist and weave through compressed time and space. According to Deleuze, Leibniz also anticipates contemporary views of event and history as multifaceted combinations of signs in motion and of the “modern” subject as nomadic, always in the process of becoming. -University of Minnesota (yay!) press

On another digressive note, a friend and I were talking about the non-membrane between thinking and sensing. I like being like a kid that makes up words by crashing them together. Sense + Think = Sink. Or like, in the awesome Look Around You series…

I like the idea of sinking into texture.

Some random in-bed doodling that connects this to the previous post about sucking.

Finally, some nice texture from my very own window:

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