Went to them. And want to say everything here, like a wolf, but must reserve it, like milk, for another blog: HARRIET. I will be blogging there for the month of April, which is Poetry Month in the U.S., and frankly, that's confusing. I would have chosen November. I will RETURN like a cousin, who came to visit, then went on a side-trip to the Pacific Northwest before looping back: in May. I mean, I want to write about what happened with the Ban fragments, and the blood painting, but must repress the facts. For example, I just went on a date with a man who talked, almost exclusively, about metallurgy. It was the best date ever, I have to say. Feel dizzy. Had to come home abruptly. More on my attempts to become a writer/human being -- ceremony and betrayal in turns -- at HARRIET. They have switched off the comment box. Let's see if I can do it. I feel it is okay to have a creative space here at PUNJABI. But non-linearity, in a public sphere, risks another reading. Let's see how long I last, Iran. Japan. Georgia. I haven't blogged about Dodie Bellamy's new book, Terence Koh, or the conversations I have been having my sister about sensation.
Sensation and sound. She is helping me to think about voyeurism. Sound that's both contained and sent: through the thick glass. Like the smell of blood, or the taste of it. How to make sound do that. Rohini is editing sound towards a qaawaali loop. I don't know if she would say it like that. I want to ask her for that. That loop. Can the voyeurs -- the people who come to see me naked, on August the 19th, in Los Angeles, covered with blood -- reddened -- and chopping meat at a table in a room -- the plastic tarp beneath my feet -- put the ipods in their mouths? How do you build sensation in the absence of touch? Andrea Spain: "Bhanu, next, we're going to work on tragedy." I read the brochure that accompanies the exhibit at the MCA, then sent a belated panel description [a panel on EXCESS with co-panelists Kate Durbin (obviously), the other Kate, Kate Zambreno, Johannes Goranssen, and Daniel Borzutsky] to Kate Durbin. My description uses language -- "animals, blood, sugar" -- that is used to describe the materials in Nitsch's work:
"Hi Kate, sorry for Le Delay: hope the information below: suits: Thank you again -- BK
Tech needs: perhaps the capacity to project something from a mac
Description: I would like to think about animals, sugar, and blood: the materials of the body as distributed beyond it during a scene of great violence. How are violence and sensuality in conversation, during the performance of a scene that has one use or function in the novel, but another beyond it? I want to think about performances that stem from a text, where a text has reached the limits of a verbal capacity. The scene that exceeds the book, or cannot, in the book, be redistributed [re-dreamed]: as blood might be, in a spill piece?"Last night, I went to Denver to see the blood paintings. I committed a crime. I did my first UNICORN performance at the MCA. Afterwards, I read from one of my bodywork textbooks, JOB'S BODY by DEANE JUHAN, about danger and posture, posture/gesture and the pericardial tissue, in front of a spill painting. No. Repress!!!! I repress myself and switch to the other blog.