Wednesday, March 30, 2011

Treasure Town 04-09-11


Hunted Creatures
Alex Barnett
Pandava
Red Electric Rainbow
Wyoming

at Treasure Town
(below mortville)

Sat. April 9th at 9:30PM

Donations for touring bands

Wednesday, March 9, 2011

Chili's 03-12-11



Outer Space
Moth Cock
Drainolith
Heath Death
Fabric
featuring DJ Dial Up

Saturday, March 12
10PM - - $5

Chili's : 2005 S. Allport

Monday, March 7, 2011

In response...


... to this.


"Criticism as it exists now, as a vehicle which accepts or rejects comics objects, is powerless to create a narrative of its own. It is always the reader of someone else's story. It only exists after the object and therefore it perpetually plays catch-up. It adds footnotes and amendments but never begins a new chapter.

The word "comics" joins the words "scuptures", "paintings", "videos", and "films" in describing categories of objects which can be bought and sold. "Comics" also denotes a medium, a practice, but at the root of this word is a stack of books, pamphlets, and original art, a web archive of jpegs, a folder of pdfs. To be a critic of comics is therefore to be a critic of objects, to be at the very least a consumer, and at the very best a connoisseur. In comics jargon, one might say it is to be a "fan".

This is to say that the comics critic does not feel it is in his or her place to practice criticism as a creator. As creators become more discursive in their work, expanding and projecting outward, critics become more formulaic, conservative, and irrelevant, moving their seats ever further back, insisting they are only capable of playing one role: the spectator.

Yet this role does not resemble the spectator of today, who exists in a fluid matrix of online interaction, but the spectator of sixty years ago, who felt ultimately alienated from sites of production. The object was a link to these sites, a distraction from them, and a shield from them. Like abstract art, like the silver screen, the object was built for projection.

The object ceases to be an object when the spectator cannot see past it, when it envelops his or her entire line of vision, when the creator is hidden behind it.

The only way out of this trap is a bold and intelligent practice of meta-criticism. The critic must turn his or her gaze on his or her environment, and view his or her surroundings not as a parade of critical objects which must be reviewed, catalogued, and responded to, but as the setting of a new work yet to be written. The critic must recognize that creation and criticism lie on a narrative continuum separated only by medium. The object is not a bridge across the two, but a point in a constellation, a prop in a play."

Sunday, March 6, 2011

The Fury

page 2
page 3
page 10
page 11

Saturday, March 5, 2011

I'm a squash

Thursday, March 3, 2011

Story