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Notes - Page 66

sense it was merely self-deception. In any case, what is at issue here is not simply a matter of attitude: day job and real work constitute a phenomenon, a constant experience, of dividedness that affects both, whatever anguish one manages to repress or sublimate; a "significant" violence in the organization of daily life.

30 Chris Carlsson, ed., Bad Attitude: The Processed World Anthology (London: Verso, 1990); Martin Sprouse, ed., Sabotage in the American Workplace (San Francisco: Pressure Drop Press, 1992); Ben Is Dead 15, Revengeissue (October-November 1991); REsearch 11, Pranks (1987); P.M., bolo'bolo (New York: Semiotext(e), 1985), 41 ff. See also Gone to Croatan for accounts of workers' riots in the early history of the United States.

31 Dick Hebdige, Subculture: The Meaning of Style (London: Routledge, 1979); also cited in REsearch 12: Modern Primitives (1989), 192-93: "Girls have begun playing with themselves in public: parodying the conventional iconography of fallen womanhood--the vamp, the tart, the slut, the waif, the sadistic maitresse, the victim-in-bondage. These girls interrupt the image flow. They play back images of women as icons, women as the Furies of classical mythology. They make the SM matrix strange. They skirt around the voyeurism issue, flirt with masculine curiosity but refuse to submit to the masterful gaze. These girls turn being looked at into an aggressive act."

32 Alphonso Lingis, Excesses: Eros and Culture(Albany: SUNY Press, 1983), 19-46.

33 Stewart Home, ed., Plagiarism: Art as Commodity and Startegies for Its Negation (London: Aporia Press, 1987; repr. Sabotage, 1989). See also Home, Neoist Manifestoes / The Art Strike Papers (Edinburgh: AK Press, 1991); Lautreamont, "Poems," in Maldoror, trans. Paul Knight (London: Penguin, 1978), 274; Kathy Acker, Hannibal Lecter, My Father (New York: Semiotext(e), 1991), 11-18; John Oswald, "Plunderphonics, or, Audio as a Compositional Prerogative" in Robin James, ed. Cassette Mythos (Brooklyn: Autonomedia, 1992), 116-25; Karen Eliot, "No More Masterpieces Manifesto," in James, 154-55; John Yates in Martin Sprouse, ed., Threat By Example, 57-61; Mike Bidlo in REsearch 11: Pranks, 54ff. For general remarks on plagiarism,

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