"I love . . . names."
--J.S. Custer, from a review on Amazon.com entitled "The Logic of Laughter"
Out of the building blocks, the raw materials of a social readymade,[names] become interfaces — precisely because of the way they are already ‘wired’ to social codes (like the programming codes of the computer). Don’t start out with the usual phobic rejection of reference, and certainly not with the usual squeamishness about the non-literary social. The text broadcasts a social address that makes a comfy suburbanizing distance impossible. It calls out. It’s more presentational or theatrical, less given to auratic or cinematic absorption (Brecht).
A little of the ‘elliptical’ is okay — an informalism . . . of connections. The connectionism is a Surprise Machine. It works by . . . MULTIMPLICATION.
We face up to [names] which are more like deindividuated subjectivities. A projectile cluster (or stickerball) (or snake tangle) of [names] offers up a staged memory trace of how earlier word-clusters (and their repetition) turned the body into a lively, reactive surface of inscription.
Strangeness puts things right in your face, right up to our ears.
A fluid architecture of information makes the contagion of the text more likely. We find ourselves the accomplices of the text’s sense. A social connectionism is there for the taking, a barrage or multiplication of images (or of the raw material for images): montage takes place within the frame.
We’re not using the physical choreography of language to decorate (or cover up) its referential, mediating role. Rather than a narrative, we get a collage of multiplicitous positioning. Carved out of their usual representational contexts, the [names] [go] to work all the more extravagantly on our nerves, which makes this writing closer to a linguistic pornography.
Here, the words become the social characters, and that’s how you’re composing: you build the text out of a broader social translation for what goes on within and between persons. Any individual unit, anything resembling an image, comes with its code implied, revealed — as if everything (already, always) involves a translation. This is a hyperbolic extension of the way that single words or [names] carry a charge that is social. We’re exploring a social gameworld, a multi-dimensional stadium of meaning. Explanation is embedded in the writing itself.
The praxis of the reader reconstructs this responsiveness. And reconfigures the relation to an outside context.--dismembered text lifted from Bruce Andrews's "The Poetics of L=A=N=G=U=A=G=E"
(That's the way you play the game)
(Drop that name!)
(That's the way you play the game)
(Drop that na-a-a-a-a-a-a-a-me, ah-haaaaah!)
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