Lost Binder

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Comic2

Written by Jesse Huisken

April 18, 2013 at 4:33 pm

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J. Huisken Visi-book #1

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J. Huisken Visi-book #1

Written by Jesse Huisken

December 29, 2012 at 8:35 pm

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Short Notice

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Recent update: I will be reading as part of the one year Anniversary of the Eminent Domain electro-acoustic/instant composition/experimental music series. Old works and some notes from two in-progress book length works. See you there.

EMINENT DOMAIN – November 12, 2011 – 8pm – one year anniversary concert

Nigel Craig – electronics
Chris Strickland – amplifed acoustic guitar (Montreal)
Joda Clement – synthesiser

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Tomasz Krakowiak – percussion
Chris Strickland – amplifed acoustic guitar (Montreal)

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Jesse Huisken – reading

Somewhere There
227 Sterling Road, Unit 112 (directions)
8pm

Written by Jesse Huisken

November 11, 2011 at 5:53 pm

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Jpg Two

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Written by Jesse Huisken

October 27, 2011 at 9:14 pm

The Museum or Landfill

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I have an piece of writing on urban geography and the economics of everyday life alongside essays by Kenneth Hayes and Mark Lanctôt in this first catalogue of Daniel Young and Christian Giroux’s growing body collaborative artworks. It is distributed by ABC Books, and in Toronto it should be available at Type Books on Queen St. Have a look at it.

Written by Jesse Huisken

October 27, 2011 at 9:11 pm

Posted in Uncategorized

Jpg One

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Written by Jesse Huisken

October 27, 2011 at 8:35 pm

Posted in Uncategorized

Language and Power. A brief farewell to a non-troversy.

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We read the wrong book in the right corpus. Rather than being sensitive to the creation of cultural capital we should have been aware of the creation of new social categories by the ambassadors to subculture. By forcing people into belonging (or not), or merely in acknowledging a nonexistent controversy, a category is brought into being. As common sense might instruct the very act of asking people to choose creates a new identity. In what were formerly heterogeneous, autonomous and vital groups a new subscription is born, and at the very moment of the greatest subcultural diversity and destructive reinvention of identity a unity is proposed, under abjectly consumerist form. In other words, just as commercial culture risks losing any ability to follow, predict or capitalize on trends it creates a name for all trends, in a kind of hedge fund of cultural capital.

Underneath this commercially administrated culture are the real, but no less mediated, impulses and material circumstances which generate particular styles. For example, in terms of clothing, the opposing impulses towards distinction and conformity, to compete as a creations of oneself, or to ‘pass’ in the ‘straight’ world of wage labour (or to balance both demands) without money are both parodied as new styles of affordable (but profitable) street fashion (examples could be extended endlessly). It would be untrue to the experience of everyday life to claim that these original impulses are no more or less authentic than their commercial co-optation. When put on the defensive subcultures (just as with political tendencies) are forced to accept belonging or not, and must relinquish autonomy and virulence, in a sad parody of the class unity which is none the less strongly present in the genesis of style. These new categories subsequently come into existence, with the encouragement of commercial sponsorship and are capable of forging their own truces and accommodations with the demands of autonomous styles. It remains the task of those with some sense of loyalty to produce an imminent critique of their own Chimera, the profitable mass exploitation of practical affordable living.

Written by Jesse Huisken

August 15, 2011 at 12:41 am

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Jeff Wall’s The Mantid

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In Wall’s most recent work, The Mantid (ciba-chrome), we notice the subtle suggestion into his signature back-lit pictorial frame of the spaces of global capital, signified by the sponsorship on the cyclist’s skin-tight apparel. The viewer is shocked by the distorted and irrational posture, nearly expressionist and evocative of Artaud’s theater of cruelty, or Acconci’s self defeating body-art. The clenched fists allude powerfully to the re-modeling of the body by technology and competition, as well as to the salute of socialist solidarity and the thrusting arms of the mural art proletariat. Within the discourse of art history the positioning of the model on the chair alludes to Duchamp’s first readymade, though Wall has executed a clever displacement of the wheel, now found resting on the floor. Thus this work encodes a dadaist gesture, subverting the fascist kitsch of Leni Reifenstahl’s celebrated athlete portraits. acconci

Written by Jesse Huisken

February 14, 2010 at 11:11 pm

Posted in Art

A more potent sleep-inducing object.

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mandarin
As maximalist, fantastic, and magical realist aesthetics proliferate we need to be reminded of how unconscious the unconscious is. As far as the revolution of the mind is concerned Bréton was as unsuccessful a prophet as Marx was regarding a revolution of class. If Paris is the western icon of failed revolutions then in Minnapolis the waking kingdom wins victory after victory over a sleep deprived population. Kunin asserts and reasserts the setting of his novel to redirect us away from surrealism’s Parisian topos, in order to contest some of its claims on the space of dreams. We can believe that whatever the city in which they are produced dreams more and more resemble the anxieties and banalities of waking life.

Surrealism as a whole contains as many techniques as it does divergent ideological platforms, and the trances of Robert Desnos or the dream journals of Henri Michaux and Michel Leiris represent alternatives to the high-fi effects of its fabulist strains. In the case of Leiris, surrealism’s emancipatory goals give over to a cynical and static anthropology of the mind’s automatic functions. The most embarrassing and banal concerns are treated as a type of evidence for an objective representation of dream life, with all of their potential tedium intact. Here we see a precedent of some kind for Kunin’s use of shame as a veritable technique of composition.

Ultimately, however, it might be mainly through a highly calculated artifice that the reality of contemporary dream life is most accurately rendered, as in the fiction of Kafka, and even more so that of Blanchot, which Aaron Kunin’s prose work most resembles. While it is impossible to summarize the complexities of The Mandarin there are suggestions within the work that one of Kunin’s missions is to conjure the experience of the dream apart from any fabulist aesthetic, the most obvious being a character who writes novels meant to put people to sleep. In part by inducing exhaustion, through wearying digressions, hollow exchanges, matter of fact impossibilities and constant recycling of very particular references Kunin succeeds brilliantly. Just as we lose interest in a person’s most profoundly evocative dream as he describes it, the novel sacrifices all of its interest as art, carefully sabotaging its own themes and allegories, in order to most artfully represent our failure to articulate our own memories of sleep.

Written by Jesse Huisken

February 9, 2010 at 12:40 am

Posted in Poetics