In considering the implications of refractive poetics for artists in the margins who address issues of social identity, this week I explore the work of Christine Sun Kim, an artist who was born deaf and whose primary investigation is sound. For Kim, what is most palpably at stake is access to a part of the world she cannot experience the way most others do. “How can I learn the idea of sound and silence from [others’] perspective?” she asks.
Here’s the simple narrative. I was puzzling over some of Shane MacGowan’s lyrics, struck by the viscerality of his fear of ghosts and corpses as well as the frequency with which they appeared in even the songs with the jauntiest melodies.
Rich, gay, habitually solitary and a cross-dresser, or better, simply an inveterate dresser-(upper), Raymond Roussel is, along with Antonin Artaud, by far the most well-known fou, if not necessarily its most beloved, at least not by those who consider themselves serious students of the genre. That honor I would argue goes to Jean-Pierre Brisset, of whom more later.