Lexicon-Cetus is a dictionary that compiles and defines every single unique word from Melville’s Moby-Dick; or, The Whale. There are approximately 16,000 “unique” words in Moby-Dick; about 5,000 of them are a mixture of common given names, plurals, infinitives, gerunds, and/or adjectival/adverbial forms of root words. If the root word is already defined in the lexicon, then any derivations thereof are for the most part excluded.
Is this mental/intellectual/psychological focus within Conceptualism ableist? At the very least it seems to be one-dimensional: the body marks a caesura, and it is a product of Conceptualism’s relationship with the body and its positioning of itself in relation to it. There’s so much of a focus on the idea, on how the work strikes the mind — it’s rife with duality. Indeed, Conceptualist scion Sol LeWitt’s “Paragraphs on Conceptual Art” can be surprisingly Cartesian at times.
I talk about meaning all day long. I don’t feel that language comes out of my body, but rather that I observe and recycle it. Maybe my voice originates in my body, but language is a visitor that changes form all the time. I use my body all day long. I don’t feel that I am my body, but that embodiment is an idea that I observe and recycle. Maybe I originate in my body, but I am a visitor that changes form all the time. Is the idea that emerges from this line of thinking a concept? I think about what I want to do with poetry all day long.
“Dossier on the Site of a Shooting,” published by GaussPDF in March 2015, presents pieces of evidence I gathered in an attempt to better understand the Trayvon Martin murder, the George Zimmerman acquittal, the lack of protest in Sanford emphasized in the news: notes from the site visit, silent iPhone video recording of the site, written site description, interviews with residents of Sanford, Google Maps screen shots, and other web media such as news accounts.
1. Hysterically Real (United States: Internet, 2009) makes Conceptual artworks and performances. By applying a poetic and often metaphorical language, Real wants to amplify the astonishment of the spectator by creating compositions or settings that generate tranquil poetic images that leave traces and balances on the edge of recognition and alienation.