Machine Ghost

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Book stuff

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I’m back on the book project horse. Thankfully. So many preps, so little time for research. But, finally, it looks like I’m pressing ahead with the memory book.

Written by kimlacey

June 5, 2015 at 8:47 am

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It’s a question of passion

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This weekend, I’ve spent a bunch of time thinking about passion–what that means, what it takes, the possibility of sustaining it. What happens when you realize that what you thought was passion for something is merely convenience? Is being passionate about something synonymous with passion itself? Can you be passionate w/o having passion? I know this all sounds messy (which is all it is in my head) and little more than semantics, but I swear there’s something behind this thinking. I know what I need to do, but I don’t know how the hell to start… 

Written by kimlacey

September 30, 2013 at 10:26 am

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Where Do Deleted Files Go? | ScienceDump

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Written by kimlacey

July 27, 2013 at 1:30 pm

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Dear Photograph is killing me

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(Ok, maybe a tad bit overdramatic.)

I’ve had a chapter accepted for inclusion in what looks to be a really great collection called Rhetorical Ontologies. I’m writing on the “Dear Photograph” project, but every time I go to study the images I break down. I’m not typically the sentimental type, but these photos and their accompanying text are just getting to me. I’m not sure how to keep approaching this subject. I want to desensitize myself, yet at the same time I don’t. How can we analyze something we’re becoming more close to? (Is that what’s going on here?) I’m trying to view it from a material memory/temporal/pastiche aspect, but no dice so far. I’ll keep working.

Written by kimlacey

July 22, 2013 at 3:08 pm

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The contemporary vs. the postmodern

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I’m currently reading Osborne’s Anywhere or Not at All in which he has a fascinating discussion about the differences between what literary theorists (or critical theory, more generally, and Jameson more specifically) call “the postmodern” and what art historians and art critics (two groups at odds, but that’s a different post all together) call the “the contemporary.” Is there a way to negotiate these differences, Osborne asks? Is there a difference at all? Where I’m at in the book (~20 pgs in) Osborne has identified 3 periodizations of contemporary art. It is the second with with I’m most obsessed with right now:

This is a periodization that conceives contemporary art as beginning some time in the early 1960s, in that ontological break with prevailing object-based and meduim-specific new-avant-garde practices carried out by a range of new types of work, of which performance, minimalism and conceptual art appear, retrospective, as the most decisive. From this point of view, contemporary art is post-conceptual art” (19).

 

 

 

Written by kimlacey

July 12, 2013 at 12:07 pm

another test

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another test

Written by kimlacey

July 6, 2013 at 9:38 am

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Didn’t think I’d be back here

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I’ve been spending most of my time the past few years on other sites, mostly shorter messages on Twitter and Facebook. It’s hit me that blogging, or at least longwinded thinking out loud, was always beneficial. I met people, could think though ideas without (much) consequence, and get practice writing (which is always a great thing). So, I’m back. And this is linked to my website so there’s some accountability. Or something.

Written by kimlacey

July 6, 2013 at 8:40 am

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