For the happy man! - Collected writings DEPRESSION: Ed Atkins
For the happy man! - Collected writings DEPRESSION: Ed Atkins For the happy man! - Collected writings DEPRESSION: Ed Atkins
And bullet-time, really, is a lifesaving bit of exegesis. And things often came sellotaped to the covers of specialist magazines. Or conspicuously missing from the covers of specialist magazines, pocketed by specialists who determined to maintain their specialist status by denying access to other, non-specialist or pre-specialist plebs. Beautifully written, ain’t it? –That scene with the playing card and the bullet. Or the one with the balloon and the bullet. Or that one with the apple and the bullet. Beautifully scored, also. And it’s not for nothing we named the camera ‘Phantom’. All that excessive recourse to revenant forms as cultural analogues. And there’s plenty of that sort of stuff conjured down here: the pressure, the proximity to RED hell, the lack of ocular privilege – the lack of ANY sensory privilege – has harbored the idea of a haunted house thick with zombies, ghosts, ghouls and vampires. Ruled by the notorious, prehistoric Vampire Squid from Hell. This one goes out [... –––>>>] then ploughs hard into the shoulder at a grim, determined pace. A drill whining at the end of its charge. And I mean to say that, I don’t really know how to make a gun. I could make a bullet, I think – and perhaps eventually come up with a way to propel the thing sufficiently enough to make a mark. Perhaps even kill something. And I don’t know. And I can make educated guesses, though. Provisional
education. And I do, certainly, have a relationship with guns. One of semi-intelligibility. A little one-sided, I suspect. And I do darkly suspect that guns know a frighteningly large amount about me. –Their particular penetrative aspect, etc. Never constructive, of course. As in: ‘we’ll never manage to put that playing card back together.’ And guns don’t work down here. And nothing works down here. Nothing save for that NASA pen and the off-screen Bathysphere. This one goes out along the long, oiled cock of a rifle. The ornate, occult rifle and its occult subject / object proposition. Think of Pinocchio and Gepetto lodged in the fat colon of the whale: the mast of Gepetto’s junk stuck, spanning the bowled diameter of the whale’s large intestine. Mulched krill backing up. Insolubility is a decision, we should say. Dispassion, also. Dispassion as a verb, as something I do to myself, to other things. ‘I’m going to dispassion this.’ Etc. More often than not, this is the kind of violent placative mode I plump for. A low-polygonal boulder presenting the easiest, most comfortably abject (mattressed) means to approach the great wall of my frustrations. Both the boulder and the wall are, of course, hollow. Moreover, me too! A hollow man: a bed sheet of ferociously detailed skin tossed over chicken wire, sealed with a
- Page 8 and 9: Minotaur 2013
- Page 11 and 12: Depressions
- Page 13 and 14: The proper work of a thumb lies in
- Page 15: are simply weapons for piercing the
- Page 18 and 19: Dear [...] This will be presented i
- Page 20 and 21: The repulsion of two-two fleshy mag
- Page 22 and 23: moons. Simply depressions, concave
- Page 24 and 25: forms to depress. A critique of dep
- Page 26 and 27: motor cortex (a plague), Gyrus (‘
- Page 28 and 29: ER! - Cuneus (the scene at the bott
- Page 31 and 32: Or tears, of course 2013
- Page 33 and 34: (Flat palm butts flat door - though
- Page 35 and 36: tion is his own) O! - This always-a
- Page 37 and 38: Else flattened by the interminable
- Page 39 and 40: As in: light-like curves that pass
- Page 41 and 42: Liquid crystals running terminal co
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- Page 45 and 46: ness. I conjure the very medicine t
- Page 48 and 49: Warm, Warm, Warm Spring Mouths 2013
- Page 50 and 51: And no provision has been made for
- Page 52 and 53: And this whole thing a concession,
- Page 54 and 55: And it’s not too much to imagine
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- Page 60 and 61: Inexpensive. Which is part of it, t
- Page 62 and 63: This is no longer an experience, bu
- Page 64 and 65: A heavy mood that turned away from
- Page 66 and 67: (Is this thing on?) And a trellis o
- Page 68 and 69: Into the cool water. This one goes
- Page 70 and 71: This one goes out to your singular
- Page 72: I don’t want to hear any news on
- Page 75 and 76: I wanted to ask whether you thought
- Page 77 and 78: legibility. A primordial story of s
- Page 79 and 80: owner of the eyelash, your lover. B
- Page 81 and 82: The smell was certainly sexual, I t
- Page 83 and 84: discrete line to slight-inked line
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- Page 87 and 88: muscles) Averting our eyes from one
- Page 89 and 90: late to be a fucking lie told badly
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- Page 93 and 94: great prairies of skin are, in each
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And bullet-time, really, is a lifesaving bit of exegesis.<br />
And things often came sellotaped to <strong>the</strong> covers of<br />
specialist magazines. Or conspicuously missing from <strong>the</strong> covers<br />
of specialist magazines, pocketed by specialists who determined<br />
to maintain <strong>the</strong>ir specialist status by denying access to o<strong>the</strong>r,<br />
non-specialist or pre-specialist plebs.<br />
Beautifully written, ain’t it? –That scene with <strong>the</strong><br />
playing card and <strong>the</strong> bullet. Or <strong>the</strong> one with <strong>the</strong> balloon and<br />
<strong>the</strong> bullet. Or that one with <strong>the</strong> apple and <strong>the</strong> bullet. Beautifully<br />
scored, also.<br />
And it’s not for nothing we named <strong>the</strong> camera<br />
‘Phantom’.<br />
All that excessive recourse to revenant forms as cultural<br />
analogues.<br />
And <strong>the</strong>re’s plenty of that sort of stuff conjured down<br />
here: <strong>the</strong> pressure, <strong>the</strong> proximity to RED hell, <strong>the</strong> lack of ocular<br />
privilege – <strong>the</strong> lack of ANY sensory privilege – has harbored <strong>the</strong><br />
idea of a haunted house thick with zombies, ghosts, ghouls and<br />
vampires. Ruled by <strong>the</strong> notorious, prehistoric Vampire Squid<br />
from Hell.<br />
This one goes out [... –––>>>] <strong>the</strong>n ploughs<br />
hard into <strong>the</strong> shoulder at a grim, determined<br />
pace. A drill whining at <strong>the</strong> end of its charge.<br />
And I mean to say that, I don’t really know how to<br />
make a gun.<br />
I could make a bullet, I think – and perhaps eventually<br />
come up with a way to propel <strong>the</strong> thing sufficiently enough to<br />
make a mark. Perhaps even kill something.<br />
And I don’t know.<br />
And I can make educated guesses, though. Provisional