Carolee Schneemann, Fuses, Self-shot, 16mm film, 1964-1967.
A silent film of collaged and painted sequences of lovemaking between Schneemann and her then partner, composer James Tenney; observed by the cat, Kitch.
«…I wanted to see if the experience of what I saw would have any correspondence to what I felt– the intimacy of the lovemaking… And I wanted to put into that materiality of film the energies of the body, so that the film itself dissolves and recombines and is transparent and dense– as one feels during lovemaking… It is different from any pornographic work that you’ve ever seen– that’s why people are still looking at it! And there’s no objectification or fetishization of the woman.»
A silent film of collaged and painted sequences of lovemaking between Schneemann and her then partner, composer James Tenney; observed by the cat, Kitch.
«…I wanted to see if the experience of what I saw would have any correspondence to what I felt– the intimacy of the lovemaking… And I wanted to put into that materiality of film the energies of the body, so that the film itself dissolves and recombines and is transparent and dense– as one feels during lovemaking… It is different from any pornographic work that you’ve ever seen– that’s why people are still looking at it! And there’s no objectification or fetishization of the woman.»
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It’s just as erroneous for us to describe the world in terms of masses of cells or subatomic particles as it is to wax poetic about a forlorn autumn sky or the melancholy of a forest. Even in the most hardened of the sciences there is an occult form of personification, and the best that literature can do is to yearn for a poetics of the impersonal. The more I write, the more I feel an overwhelming urge to accept the obvious, which is that we are forever cut off from a world we neither have access to nor whose existence we can affirm or deny. The resignation provides a bit of motivation…
Eugene Thacker, Infinite Resignation
Eugene Thacker, Infinite Resignation
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