acataleptic, eloining
Corporeal cocktail/Mental array. And why not? Cronenberg's Pet Shop in a Heidegger-HideyHole, o.n.o. Why stop there? Hail the new flesh is fine if one is new and one is fleshy. But this life is often all bones, proto-chokey devices. Grab me 'round the chest, and I'll spit it out.
posted by murmurists at 4:24 am
7 Comments:
Too often, the flesh feels nagging, cantankerous and demanding.
In the Cartesian dualism stakes, I feel I'm losing the game.
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Whilst in the depths of Doctoral study haze, I felt the body was a skin dragging behind the mind. The corporeal seemed to be an intrusion, a burden, an aboration. But then, with migraines out of control and with deadlines looming one after another, it's only sanity to want the ether of a mind-only existence, I reckon!
Yes, who was it wrote about 'this too, too solid flesh'?
Quite like the idea, sometimes, of being pure mind ... but then am wedded to the sensual, after my own fashion.
I suppose (and it'snot much to posit really) that we arestuck with and, as humans, constituted by an eternal wrestling with this duality. Of course, thefact that we perceive it as a duality is, in and of itself, human. I love and enjoy the body, that said. The ancient Greeks had it right, I think: mind and body, developed and attended to together. I know myself mental study tends to make one ill, makes the body depleat and atrophy. A run around the block for every chapter read is best. As a fan of music and asa musician, I cannot really hope to escape the body. I know I like something when I cannot keep still. Walker does it to me. But been listening to Wolf Eyes lately, too. Derek Bailey is never far away. I type thisto the sounds of Mr B and Evan Parker's London Concert, and my feet are tapping.
Evan Parker - I always think of myself as a sax player in inverted commas when thinking of his technical ability.
I see Scott Walker has mixed Acoustic Ladyland's new single 'Salt Water', which features one of my major touchpoints, James Chance, on sax ... I don't think Mr Chance and Mr Walker were in the studio at the same time, but it would have been quite a meeting of minds.
Evan Parker's amazing. I missed seeing him a couple of times. He played on a previous Walker LP of course. Not familiar with Chance. John Zorn I like. His work with Naked City I like. I think about the sax when I'm playing acoustic guitar. Have you heard Jaco Pastorius' bass version of 'Donna Lee' by Coltrane? - starts his eponymously-titled first LP. It's inexplicable, breathtaking.
Walker is a true and actually unpretentious and non-passive-aggressive recluse, I would say. When asked whether Walker had seen his film about Walker, Stephen Kijak said 'no'. A ripple went around the cinema. People get caught up in some easilly-wrought emotional backlash loop, as in 'how rude', 'how weird', etc. But what I find interesting is that Walker has the emotional power to not be interested in seeing the film. That takes some doing, I'd say; and I do believe Walker has not seen the film and will never see the film, just like I believe he never listens to a record after he's finished it. I think this is pure, a methodology; and is aimed not at looking weird, it's just how he wants to be. I'm minded of two other instances of powerful existential commitment: Gilbert & George and Derek Bailey. None of these ever let their guard down. They respectively live and lived that commitment.
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