Luscious Dick

statement: Are avant-garde practices still important to you?

For me, historically (as much as the phrase “history” can be applied), avant-garde practice is about the technology available. This technology, the most advanced available, is used in ways that prevent its best use. Best use meaning what the technology was refined to do.

This is not only about writing. Musical, that is, sound avant-garde performance uses instrument modification, recording equipment modification, and even recorded material modification.

This is combined with a reduction of the object itself being created to a more simplistic state. Sound poetry of all types, dadaism, et al. rely on simple deconstructed sounds to combine into a new cohesion. They can sound primitive, childish, or even nonsensical, but regardless the object is simplicity. The complexity comes from the combination and transmission of the art.

How does this inform my processs?

In the active, conscious sense, I use it in reverse. In ‘glitch’ art, for instance, the artist incorporates technological errors, degredation, and similar arteefacts of data storage and playback into the work. A human created something, then the (for example) video-tape machine has a slight error to cause momentary shadowing and discoloration The computer affects the person. What I do is the opposite. The programs create a text and a form for the text, and I “edit” those and then they are combined. In that sense, we exchange roles.

In another sense, avant-garde practices present but not something I actively consider. I do use advanced technologies to create sentences and draw lines. I do use simplistic thought in text presented in a way to create unintelligible communication. Or at least apparently unintelligible. It is a communication stripped of context, which is another function of the avant-garde: to remove as much context as possible while still communicating an emotion regardless of how understandable it will be to the consumer.

The process I use is one of binary extremes. Computer vs human, simplicity vs hypercomplexity, clear vs blurry, readable vs understandable.

project description:

The final work is a combination of text and algorithm. The placement of the text is not generated based on the theme of the text.
The visuals are made by creating a form that the text is applied to.

A simple example would be using a L-system and then have the program draw the form using text rather than lines. I use many variants of algorithms, not only L-systems.

Specifically I look at the results of the text generation, and edit that; I look at the results of the form generation, and edit that. Then I have the computer re-draw the edited form with the edited text.

text: a forced entry // raw material

The New Age movement, is namely that because the wholeness and the Emptiness is a forced entry. In attendance on an intensive search for oblivion was bowing chapion Nate Marchand. The energy-laws can therefore try to explain. But in the house. But for an ominous silence greeted this strangely assorted score of people were honored to be seated by him. The way here is necessary to bury it. I personally have had, and still am, continually floating through my body, with that characteristic thud, thud, thud of a forced entry.

project: sit remnant of an immemorial civilization

project description:

see project description “a forced entry” …

text: sit remnant of an immemorial civilization // raw material

This region, comprehending not only to his own affairs, it isn’t as big as a victim. Book-plated, Catalogued, Checked. The evening of the culvert as high as ten acres in this fruit under the influence of the Chapel. The inference was a dull stroke, such as the only person in one case under the trees. While Oleander was getting ready to be worked out and to sit remnant of an immemorial civilization. It was probably the cause much impressed when I was naught but a heavy plunge, a whimsical irony. Glowing inwardly, but in his own door-post, and not knowing how to act. We claimed the attention.

project description:

see project description “a forced entry” …

text: gauche nonentities // raw material

Fluttering or the surface of deeply consecrated dismantled azure brightness, lamenting that lack of the eachother’s territories. And drank it. Drank the darkness and the villagers speaking needn’t, ain’t. You, because they were any Knight, rather than that other. Only under the Diploma includes a more proud, pale flintlock concern. And the love motive but in those terribly silent. I was set up and tossed the stable and it seemed, lost their steps, and then off taking of a chance to promise, of course. Of woman they may be vain: to her elbow, to support heaving whiteness of views our far corner of flesh, who would profit, by sharp, cruel. And she went down. He had brought in his pocket of it, if he one of the dragon as refuse….What, Reginald had resisted the gauche nonentities.