#i feel like it’s important ghat it not have tick images on it

[the-meme-monarch]

shirt that says “tick magnet” instead of chick magnet but the font is still styled flirtatiously like in cursive with like maybe heart graphics or something

[longwind3d]

pg 175 - the interview with Michael Nash is incredibly important.

"living within the frame" TAKING TOO LONG IT'S/YOU'RE TAKING TOO LONG IM NOT IN ANY RUSH BUT MY ACTIONS WANT TO FEEL BE AND ACT FREE the ticking clock and the beating heart "A LOT of my work ostensibly started out by trying to prove something, much like scientist does. you start with a premise or hypothesis or an obeservation and you want to create an arena that acts as a symbolic representation of that aspect of the world in you. the idea of the controlled epxeriment is what i think a lot of early performance and conceptural are was very much taking on — that kind of pragmatic positivistic approach of the experiment that exists in a kind of raefied state outside normal existence. but video not let me that because the camera, as it was evolving, became better and more portable, and all of sudden you could take this thing outdoors insteaf of working with the confines of the eclectronic studio. "body artists" — vito acconci. terry fox, dennis oppenehim and others — who used that device to frame existence. it was one of the rare historical moments that artists find themselves in from time to time, incorporating experience itself directly into what was being called a work of art. it was a major sift, not making something about an expreinrce but making something into an expreince. like when acconci bloindfolded himself n 1969 or 1970 and had someone he didn't know that well lead him around the pier on the hudson river in new yokr, not knowing if he was going to be led ot the edge or not. living within the frame is living within the experience. art has to be part of one's daily life, or else it's not honest. YOU ARE GOING TO LIVE TOMORROW, unless you die today. me as health teacher looking at tongues I could never make any work of art that would come even close to the immensity of that as an experience. a lot of other things involved with our inner lives are just not being addressed, because they're not the property of any specialized group of people. they exist in each and every one of us. love an dhate and fear, the great themes of birth and death and consciosness are age-old themes, the fascination of understnading them in a historical ocntext, to see how different cultures dealth with them, solved their equations. they're unsovlable and mysterious in the positive sense of the word, and therefore life-giving. something that is not solvable and doesn't have an answer gives life because it propels on to continue the quest. i get somewhat frustrated that more people aren't thinking of the great themes in life as being in the domain of art. one becomes what they behold. for that reason there is a kind of cultural currency with these images, as they are part and parcel of the mass media, there was always teh physical possibility for people to understand my work outside the confines of the specialized issues of the art world. that for me solved a lot of problems i was having at the time with clement greenberg's theories, and with a lot of those approaches that seemed to be about narrowing down and limiting discourse and dialogue to a group of the initiated. that finally turned me around from the time i was in art chool and detested anyhitng i made that my mother would praise, to coming completely full circle and undetstanidn ghat i had to make ork that my mtother could get something out of— not understand, tbecause that is a very tricky workd, but get something out of. the context changes the work, obviously; we know that onot only form comteporary art theorists, but from people like Heisenberg, that the observer and the observed are tehis intereactive systme. i feel forunate that a lot of different backgrounds have been able to , on their own terms, appreciate what i do. that's very important for me.