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There is a byway between reality and dream. A transit we call Möbius Blvd … Inspired by the enigmatic Möbius strip, a mathematical construct that defies conventional notions of linearity and infinity, Möbius Blvd has no beginning or end but exists in a place where reality and dream have fused … coalesced … merged. With each turn of the page, you'll encounter a unique blend of horror, fantasy, and science-fiction—fiction that will challenge your perceptions and leave you in awe of the infinite possibilities that exist within the written word. Indeed, Möbius Blvd is far more than a magazine; it's an experience. It's an exploration of the infinite, a passage through dimensions where the only constant is storytelling at its most daring, a kaleidoscope of wonder and terror. Join us on this winding, never-ending journey of speculative fiction that will keep you entranced from the first twist to the last loop. Open your mind to the limitless worlds of Möbius Blvd … and discover that the boundary between fiction and reality is as thin as a strip of paper with a twist. In this issue: A HERO FOR HIS PEOPLE Jason Lairamore EYE OF THE BEHOLDER TS S. Fulk HEINRICH AND THE WITCH Pete Barnstrom HOTEL CARTHAGO Kim J Cowie THE BIG EMPTY Wayne Kyle Spitzer THE EYES OF ABYSS Bridger Cummings THE FLAMINGO CANTINA WARLOCK Matthew Knight THE GIFT OF MELANKOMAS Rick M. Clausen THE MORON Ethan Canter THE MOTHERS Zackary Medlin
The Eight Technologies of Otherness is a bold and provocative re-thinking of identities, politics, philosophy, ethics, and cultural practices. In this groundbreaking text, old essentialism and binary divides collapse under the weight of a new and impatient necessity. Consider Sue Golding's eight technologies: curiosity, noise, cruelty, appetite, skin, nomadism, contamination, and dwelling. But why only eight technologies? And why these eight, in particular? Included are thirty-three artists, philosophers, filmmakers, writers, photographers, political militants, and 'pulp-theory' practitioners whose work (or life) has contributed to the re-thinking of 'otherness,' to which this book bears witness, throw out a few clues.
Eighteen essays written by Buchloh over the last twenty years, each looking at a single artist within the framework of specific theoretical and historical questions. Some critics view the postwar avant-garde as the empty recycling of forms and strategies from the first two decades of the twentieth century. Others view it, more positively, as a new articulation of the specific conditions of cultural production in the postwar period. Benjamin Buchloh, one of the most insightful art critics and theoreticians of recent decades, argues for a dialectical approach to these positions.This collection contains eighteen essays written by Buchloh over the last twenty years. Each looks at a single artist within the framework of specific theoretical and historical questions. The art movements covered include Nouveau Realisme in France (Arman, Yves Klein, Jacques de la Villegle) art in postwar Germany (Joseph Beuys, Sigmar Polke, Gerhard Richter), American Fluxus and pop art (Robert Watts and Andy Warhol), minimalism and postminimal art (Michael Asher and Richard Serra), and European and American conceptual art (Daniel Buren, Dan Graham). Buchloh addresses some artists in terms of their oppositional approaches to language and painting, for example, Nancy Spero and Lawrence Weiner. About others, he asks more general questions concerning the development of models of institutional critique (Hans Haacke) and the theorization of the museum (Marcel Broodthaers); or he addresses the formation of historical memory in postconceptual art (James Coleman). One of the book's strengths is its systematic, interconnected account of the key issues of American and European artistic practice during two decades of postwar art. Another is Buchloh's method, which integrates formalist and socio-historical approaches specific to each subject.
Stitched together over five years of journaling, Obiter Dicta is a commonplace book of freewheeling explorations representing the transcription of a dozen notebooks, since painstakingly reimagined for publication. Organized after Theodor Adorno's Minima Moralia, this unschooled exercise in aesthetic thought--gleefully dilettantish, oftentimes dangerously close to the epigrammatic--interrogates an array of subject matter (although inescapably circling back to the curiously resemblant histories of Western visual art and instrumental music) through the lens of drive-by speculation. Erick Verran's approach to philosophical inquiry follows the brute-force literary technique of Jacques Derrida to exhaustively favor the material grammar of a signifier over hand-me-down meaning, juxtaposing outer semblances with their buried systems and our etched-in-stone intuitions about color and illusion, shape and value, with lessons stolen from seemingly unrelatable disciplines. Interlarded with extracts of Ludwig Wittgenstein but also Wallace Stevens, Cormac McCarthy as well as Roland Barthes, this cache of incidental remarks eschews what's granular for the biggest picture available, leaving below the hyper-specialized fields of academia for a bird's-eye view of their crop circles. Obiter Dicta is an unapologetic experiment in intellectual dot-connecting that challenges much long-standing wisdom about everything from illuminated manuscripts to Minecraft and the evolution of European music with lyrical brevity; that is, before jumping to the next topic.
A book consisting of a list of students enrolled in Michael Asher's Post Studio Art class at CalArts, semester by semester, from 1976 until 2008. In memory of Michael Asher. Post Studio Art met on Fridays to critique and discuss work presented by students. The class began at 10 AM and continued into the evening, often ending at 8 PM, 10 PM, and occasionally even later. The group continued the conversation until there was nothing more to say. By throwing out the clock, Michael Asher opened up a space for engaged consideration and questioning that proved fundamental to the thinking and practice of the artists and others who took part. The book includes a short introduction and seven appendices. Produced by Leslie Dick and Adriano Pedrosa, it was printed on Riso by Golden Spike Press, which is run by current CalArts students, and designed by Michael Ray-Von (BFA: Art 2012).
A candid and colorful memoir by the singer, songwriter, and “Duchess of Coolsville” (Time). This troubadour life is only for the fiercest hearts, only for those vessels that can be broken to smithereens and still keep beating out the rhythm for a new song . . . Last Chance Texaco is the first-ever no-holds-barred account of the life of two-time Grammy Award-winner and Rickie Lee Jones in her own words (Hilton Als). It is a tale of desperate chances and impossible triumphs, an adventure story of a girl who beat the odds and grew up to become one of the most legendary artists of her time, turning adversity and hopelessness into timeless music. With candor and lyricism, she takes us on a singular journey through her nomadic childhood, her years as a teenage runaway, her legendary love affair with Tom Waits, and ultimately her longevity as the hardest working woman in rock and roll. Rickie Lee’s stories are rich with the infamous characters of her early songs—“Chuck E’s in Love,” “Weasel and the White Boys Cool,” “Danny’s All-Star Joint,” and “Easy Money”—but long before her notoriety in show business, there was a vaudevillian cast of hitchhikers, bank robbers, jail breaks, drug mules, and a pimp with a heart of gold, and tales of her fabled ancestors. This intimate memoir by one of the most trailblazing and tenacious women in music is filled with never-before-told stories of the girl in the raspberry beret, whose songs defied categorization and inspired American pop culture for decades. “A striking, distinctive self-portrait.” —The New York Times “Terrific . . . Jones is as fearless in prose as she is on stage.” —Minneapolis Star-Tribune “Men leave, fame fizzles, family breaks your heart . . . but Jones knows a good story and how to tell it.” —Kirkus Reviews (starred review) “[The] premiere song-stylist and songwriter of her generation.” —Hilton Als, Pulitzer Prize–winner and author of White Girls
"This is the colorful and dramatic biography of two of America's most controversial entrepreneurs: Moses Louis Annenberg, 'the racing wire king, ' who built his fortune in racketeering, invested it in publishing, and lost much of it in the biggest tax evasion case in United States history; and his son, Walter, launcher of TV Guide and Seventeen magazines and former ambassador to Great Britain."--Jacket.