“…capital operates through the production of subjectivities and thrives on extracting surplus value from the generation of social difference and individualization, not to mention the important ideological role played by self-actualization over and against collective identifications.”

Rory Rowan, “SO NOW!: On Normcore,” e-flux journal #58, October 2, 2014.

Tyler Akers: What is the function of using separate names Peter Lamborn Wilson and Hakim Bey?

Peter Lamborn Wilson: I call it ambulatory schizophrenia. You know, foolish consistency is the hobgoblin of etcetera etcetera. I just needed several identities, and those aren’t the only ones.


“…you can’t use violence because violence is completely monopolized by the state. We live in a police state, in communities that are occupied by armed forces…and we have welcomed them into our communities and it’s okay to have these guys going around with guns and guard dogs because we’ve accepted it. So. where’s the revolutiorion?”

Art and mediation:

“I think that every artwork is striving to break down mediation. That was the problem for me with traditional theater, and why I was interested in the avant-garde theater was the whole question of proscenium, the division between the audience and the performer. I’ve always said that the only solution is to get rid of the audience all together.”

“So after years of working on the radio and using lots of recorded music, I decided to take the step of eliminating it from my own house so that when I hear live music it really goes right to my heart and I pay full attention.”

In conversation with Peter Lamborn Wilson, The Brooklyn Rail, Octer 4, 2012

“Adorno writes in Negative Dialectics that the concept of origin signifies the “seigniorial, the confirmation of him who stands first because he was there first; of the autochthon against the immigrant, of the settled against the migrant.” To evoke the concept of origin is to assert a demand for first rights. In speaking for origin, the primacy of history is claimed, but it is the unquestioned sovereignty of who is speaking that matters. It is as clear as it is cruel: he who speaks on behalf of origin proclaims dominion over the which follows him.”

Paul Chan, “Progression as Regression,” e-flux journal #22, January 1, 2011

On originality. Kill your father.

“All bad poetry springs from genuine feeling. To be natural is to be obvious, and to be obvious is to be inartistic.”

Oscar Wilde

I do think that there’s some truth in this statement especially when we consider it in relation to what drives and motivates an artistic practice. I am not sure how a practice can be entirely ‘pure’ or ‘sincere’ when in some ways or another we are inevitably part of a larger ecosystem and within its mechanism are at times complicit, in others, rebellious. There is a modality of expression through irony, there is an honesty in radically projecting your dishonesty. We have thoughts that we aren’t supposed to think about but are thinking about it anyways. That’s an aspect of radical vulnerability, that we are spectacular in all our miscomings.

All I am trying to say is that we have certain ideas and conception of what being ‘genuine’ or ‘sincere’ means. We romanticise these ideas and shame anyone who doesn’t feed into these categories. But these moments of ‘insincerity’ can point to some forms of lack in a person (whether it’s childhood repression, insecurities, etc.) and we’re all trying to navigate all that.

What defines what is ‘authentic’ and what is not?

“I believe that every artist means everything they’re doing, that no one is making art just to make money or pull the wool over people’s eyes. All artists may want to make money and be loved, but at base they are still serious about their art.”

Jerry Saltz, “My Life As a Failed Artist,” Vulture, April 18, 2017, accessed April 19, 2017, http://www.vulture.com/2013/03/saltz-on-the-death-of-art-gallery-shows.html.

“Being an artist also made me realize that I wasn’t built for the type of loneliness that comes from art. Art is slow, physical, resistant, material-based, and involves an ongoing commitment to doing the same thing differently over and over again in the studio. As my wife, Roberta Smith, the co–chief art critic at the New York Times, has said many times, “Being a weekly critic is like performing live onstage.” Every week. I love and live for that jolt. Criticism involves constant change, drama, information coming in from the outside, processing it in the moment in front of everyone, always being in the here and now while also trying to access history and experience. H. L. Mencken is quoted, describing his own work, as saying it’s best when “it’s written in heat and printed at once.” That’s what I want, what I need, who I am. I have a tropism toward reaction.

I can’t only dance naked in private. I have to dance naked in public. A lot.”

“Wilde also wrote that “the vague is always repellent.” My work was “generic” and “impersonal” because of the 1970s post-minimal ways I was working. I wanted to transcend memories, achieve accessible complexity, and enter history from the side. Instead, my art might be able to produce flashes of beauty but couldn’t gain emotional traction; create depth, mystery; impart its secrets, ironies, drama, or cross the threshold of history. I was blinded by the rules I made.”

Jerry Saltz, “My Life As a Failed Artist,” Vulture, April 18, 2017, accessed April 19, 2017, http://www.vulture.com/2013/03/saltz-on-the-death-of-art-gallery-shows.html.

“As Deleuze and Guattari had it, the problem with capitalism is not that it breaks up reality; the problem with capitalism is that it isn’t schizophrenic and proliferating enough. In other words, it frees desire from traditional libidinal patterns (of family and religion and so on), but it will always want to recapture these energies through profit.

According to this conclusion, one way to circumnavigate capitalism would be to encourage its semiotic excess and its speculation in affect. Capitalism is not a totalitarian or tyrannical form of domination. It primarily spreads its effects through indifference (that can be compared to the zombie’s essential lack of protagonism). It is not what capital does, but what it doesn’t do or have: it does not have a concept of society; it does not counteract the depletion of nature; it has no concept of citizenship or culture; and so on. Thus it is a slave morality that makes us cling to capital as though it were our salvation–capitalism is, in fact, what we bring to it. Dramatization of capital through exacerbation and excess can perhaps help distill this state of affairs.”

Lars Bang Larsen, “Zombies of Immaterial Labour: The Modern Monster and the Death of Death,” e-flux journal, Are You Working Too Much, 2011


“…growing role of the visual – and its relation to spatiality – in modern capitalism, and thus the complicit role of art in systems of exploitation.”

Martha Rosler, “Culture Class: Art, Creativity, Urbanism, Part I,” e-flux journal #21, December 14, 2011.