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MEAT EATER - OLIVIA ERLANGER
SOLD-OUT SEMINAR ON CREATIVITY (Mom on a Banderole)
I. Rhythmic Back-Story (the makings of a )
they packed and left in the middle of the night
he got a job selling shoes
she pressed pants in a local dry cleaners
the children read the books they found in the new place
and at night cried quiet soundless
he coughed germs in bas-relief (positive negative sculpture) each stuttering moment in
time is frozen post-expulsion
in her head
in my head
i’ve found a way back home
his lung particles hang in the air
unsure whether to waft or fall
II. It’s All Over (a flunky life)
the yellow brick road
i cried for tuberculosis when i read about penicillin
haven’t you ever died in a dream and upon waking felt tired of life
going back to sleep as protest / cheaper than banners and paint
renunciation of capitalism in eating dirt and french lentils
i’ve liked you so many times / i mean i really like you
click / endless click / i’ve set the controls to the heart of the son (hi mom)
IV. Admission (I’m just like you, you can be just like me)
i need a break / a small documentary / a tiny novel / a wee cuppa soup
my Esoteric and Occult Online Store is corporatism’s antidote and progeny (EOOS)
the child is the father of the man
V. The First Setback (you will be stabbed in the back, you will come out alive)
he’s sleeping / no one knows why / someone wants to wake him but doesn't dare
he might have pressed pants
or collected his kids from school
instead we’re sitting here holding a crocheted tea cosy between us
talking about ARPANET
the fridge hum pulsing / a rising tide / a phenakistoscope / more stable than it seems
we’re the opposite holding a tea cosy
asleep
coughing a communal bas-relief / someone could make an opera to those arcs
those molecular molehills
VI. Dorothy and Toto (you’ve found your abettor half)
the modern opera is soap / is television / is space
there’s no place like home / there’s no place like home
it’s where the heart is (i’ve set the controls)
i need a tiny novel in a way
in a way there’s nothing like it / except a lie-in / which is rather like it
in another way there’s nothing really like anything really
VII. How to Wake Up Everyday and Love What You Do (HI-NRG soul)
i could search almost anything + aristotle and find something to write about
but it’d be cheap wouldn’t it / probably published in frieze
when aristotle discussed plants etc. / introduce artist’s work / talk about the hot house
of culture / use all plant metaphors / in bas-relief
germs are so stately in gas chromatography
visualising the electromagnetic field is very sexy foreplay
VIII. Look in the Mirror and Say I’m Worth It (everyday’s connected)
the whole world of chemistry comes into the simple act of pressing pants
and coughing
educational toys for the creative child / i see a boom coming
i never think about bust / i’ve liked you so many times / i mean i really like you
d.t.
I. Rhythmic Back-Story (the makings of a )
they packed and left in the middle of the night
he got a job selling shoes
she pressed pants in a local dry cleaners
the children read the books they found in the new place
and at night cried quiet soundless
he coughed germs in bas-relief (positive negative sculpture) each stuttering moment in
time is frozen post-expulsion
in her head
in my head
i’ve found a way back home
his lung particles hang in the air
unsure whether to waft or fall
II. It’s All Over (a flunky life)
the yellow brick road
i cried for tuberculosis when i read about penicillin
haven’t you ever died in a dream and upon waking felt tired of life
going back to sleep as protest / cheaper than banners and paint
renunciation of capitalism in eating dirt and french lentils
i’ve liked you so many times / i mean i really like you
click / endless click / i’ve set the controls to the heart of the son (hi mom)
IV. Admission (I’m just like you, you can be just like me)
i need a break / a small documentary / a tiny novel / a wee cuppa soup
my Esoteric and Occult Online Store is corporatism’s antidote and progeny (EOOS)
the child is the father of the man
V. The First Setback (you will be stabbed in the back, you will come out alive)
he’s sleeping / no one knows why / someone wants to wake him but doesn't dare
he might have pressed pants
or collected his kids from school
instead we’re sitting here holding a crocheted tea cosy between us
talking about ARPANET
the fridge hum pulsing / a rising tide / a phenakistoscope / more stable than it seems
we’re the opposite holding a tea cosy
asleep
coughing a communal bas-relief / someone could make an opera to those arcs
those molecular molehills
VI. Dorothy and Toto (you’ve found your abettor half)
the modern opera is soap / is television / is space
there’s no place like home / there’s no place like home
it’s where the heart is (i’ve set the controls)
i need a tiny novel in a way
in a way there’s nothing like it / except a lie-in / which is rather like it
in another way there’s nothing really like anything really
VII. How to Wake Up Everyday and Love What You Do (HI-NRG soul)
i could search almost anything + aristotle and find something to write about
but it’d be cheap wouldn’t it / probably published in frieze
when aristotle discussed plants etc. / introduce artist’s work / talk about the hot house
of culture / use all plant metaphors / in bas-relief
germs are so stately in gas chromatography
visualising the electromagnetic field is very sexy foreplay
VIII. Look in the Mirror and Say I’m Worth It (everyday’s connected)
the whole world of chemistry comes into the simple act of pressing pants
and coughing
educational toys for the creative child / i see a boom coming
i never think about bust / i’ve liked you so many times / i mean i really like you
d.t.
Some accidentally produced “little piece of the real” (the dead body) attests to the success of communication. We encounter the same mechanism in fortune telling and horoscopes: a totally contingent coincidence that is sufficient for the effect of transference to take place; we become convinced that “there is something to it.” The contingent real triggers the endless work of interpretation that desperately tries to connect the symbolic network of the prediction with the events of our “real life.” Suddenly, “all things mean something,” and if the meaning is not clear, this is only because it remains hidden, waiting to be deciphered. The real functions here not as something that resists symbolisation, as a meaningless leftover that cannot be integrated into the symbolic universe, but, on the contrary, as its last support. For things to have meaning, this meaning must be confirmed by some contingent piece of the real that can be read as a “sign.” The very word sign, in opposition to the arbitrary mark, pertains to the “answer of the real”: the “sign” is given by the thing itself, it indicates that at least at a certain point, the abyss separating the real from the symbolic network has been crossed, i.e. that the real itself has complied with the signifier’s appeal. In moments of social crisis (wars, plagues), unusual celestial phenomena (comets, eclipses, etc.) are read as prophetic signs.
Žižek, How Real is the Real? in Looking Awry, p.32-33
