Curdling gurgles of perception’s attrition: Interview with a meretricious movement analyst.
Up to her shoulder in the crevas – taut sinew squeezing skin against craggy rock – fingers straining isometric craving for the trusted texture. She sat down across from me on the sofa – stretching a commodifying lycra aesthetic over this itchy, rashed response to dissonance: Podcast crackling a dry scratchy voice void of upper register moisture: “…drawing is the only discipline i’ve established for increasing awareness of my response to visual stimulus.” A treacly prepared response spills prematurely from the host’s flapping face with a physiologic reactive and self-correcting twitch, “It’s not surgery – design involves the excision of the ego, art, la langue, will and signification.” “Your hem-hawing deviation from the original yarn loosens the armature meant to assist your construction of this thing, er…your audience’s understanding.”
By excoriating the residue of the procedure of experience, this patent perceives the sloughing away of labels (including all the sticky glue backing that usually requires an overnight soak) – precipitating the condition of non-reciprocal cathecting dissonance that displaces “a mundane singularly” experienced through observational drawing.
Sarong interjects the sputtering blurt: “curdles of cuddly abjection – mud cakes make me shudder…( ? )”
Twisting of the illicit, insipid and the inane elicit reason-abrupting conflict. Less resolution than fidelity is Sarong’s goal. His whispering couples “coping” with “the will as anti-representation.”
Pulling the davenport away from the wall to allow for her rhetorical distension of mimesis. Good luck with the insurgent catalepsy of empathy floundering in it’s nascent ambiguously conditional foreshortening.
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