1. Jesse Chase says: January 13, 2013 at 8:57 pm as i read over the images and text im found constantly aware of pareidoidical implications. a synaesthesia? i dunno, but most definitely an intuitive acknowledgement of duchamps “differance”, a genlin felt-sense (as i understand those potentialities). the knowledge and information found in your work triggers a response in my imagination and intellect. do you believe the nature of your pursuits insists/demands a sort of techno-poetic pillaging, a ransacking and redistriubution of values, the purpose without purpose, in order to gain, or, develop a newer learning, or a new approach to learning via literature and philosophy and art, etc?
Thanks for your remarks and questions. Yes, in a word you are on the cusp of getting at what my work has been involved with and yes, a techno-poetics as developed in his writings by Donald Theall and Marshal McLuhan and also Gilles Deleuze is always at play with the addition too of works and texts by Derrida. Differance is a phase in the work of Duchamp’s Glass project that rings with the same tones that both Derrida and Deleuze located in their discussions concerning time/space “issues” in the work of philosophy and literature. Given the ephemeral nature of my own work as it appears to me in its potentialities for future changes to the work in progress there is nothing for it but to demand (of myself at least) the redistribution of values of which Nietzsche wrote or at least, at present, keeping this power in mind; but it is a literary or word or language issue that brings all change about since art works themselves do not of course come unaccompanied by language. This is probably what you are picking up on from the point of view of synaesthesia: the ringing singing mind even. Thanks for your note again – such observations as yours help my own interaction with my work. Purpose without the damning effects of outer concerns for the welfare of the work is a tricky balancing act – this is also a subject that unfolds with the concern I have for “new learning” and who is learning what in the Arts, in the potential crossovers and interactions between visual art, writing, poetry, philosophy, literature and poetry. This is surely a great part of what Nietzsche’s Will to Power was always concerned with.