What I Think I Hear Is Violence and I Want More
I have begun to desire noise. Noise that prompts. Maybe wounds. I want to remember something that feels tangible, and if I have no memory of how this feels I want to create one.
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Claire Bishop critiques “research art” as text-heavy and citation-driven, but her Eurocentric framing misses artists like D Harding and Megan Cope, whose work transforms research into lived cultural practice.
Kim Gordon’s rock-star body is an object of projection—vacuuming, sleeping, wielding a Jazzmaster in Airbnb limbo. From Sonic Youth to No Home Record, she performs middle-class blankness, but what’s staged, what’s real, and who’s the audience for her disembodied domestic rebellion?
“It is no longer my face (identification), but the face that has somehow been given to me (circumstantial possession) as stage property.” — Jason Bahbak Mohaghegh, Omnicide: Mania, Fatality, and the Future-in-Delirium
