GLEAMING THE CUBE: Part 2

Different readings of the same text yield different results. These multiple readings overlap, connect to new things, and connect to each other. They cluster and disperse. Time moves, time is re-covered in the reading and remembering subject. All that fall from Monday + thinking through images differently + the text continues to render = a new reading opens out, the living reading expands. Deferred action. The trauma of the text.


[…] this inherent medium, the flow of renegade bodies in the “mimeo revolution.” […]

The phrase “renegade bodies” makes this all sound a lot sexier than it usually does. The pleasure of the text. Where and how does the reader’s desire intersect with the “renegade body?” What are you looking at, reader?

[…] the only way to approach Language poetry is via a close reading of the periodical—its formal characteristics and structural cohesion, how it relates texts in space-time, and the questions of distribution and editorial vision proper to the space of the little magazine. […]

form + content + production + reception

[…] From this it follows that the spectator space will become part of the film space. The separation of the “projection surface” is abolished. The spectator will no longer observe the film, like a theatrical presentation, but will participate in it optically and acoustically. […] [1]

1. Theodore van Doesburg, “Film as Pure Form,’ trans. Standish Lawder, Form, no. 1 (1966): 7-8. Quoted in Danny Snelson's Mimeo Mimeo essay.