3:AM Magazine

With Gut Text being so focused on its relation to the organism, its attempts at becoming, I needed the text to have this spatial quality. It needed to knowingly exist in the physical world. I never want the reader to forget that they’re holding this corporeal object. Moments like the fattest period (which is fatter than any period that Microsoft would let me make normally) or the layered “text” of ff, felt ritualistic during their construction. Like I was very delicately organizing these ceremonial elements. Or building a stone altar.

Vi Khi Nao interviews Mike Corrao.

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Maybe I’m more attuned to the genre of autofiction. These days, everyone’s writing books about their lives but no one’s reading them. I sometimes think there are more writers now than readers. I barely read books myself, mainly because my attention span has been shot to pieces by a severe Twitter addiction, yet I’m obsessed with writing books, can’t stop thinking about it, in fact. But I find writing very hard work. Why put myself through it? After all, only rich people can truly afford the time and headspace to write books. The rest of us must work, raise kids, or both, and then eke out a few hundred words in the cracks between.

Lee Rourke interviews Simon Sellars about his book Applied Ballardianism: Memoir From a Parallel Universe.

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Paris was really lively and open and it was very easy to meet people, and I talked about the jigsaw puzzle work a lot, but I never told [André] Breton about them. I was much too shy. I didn’t tell any of those guys about my jigsaws. You know, frankly, very few people paid any attention to what I was doing at that time. I was a) young, and b) a woman.

As three sculptures from the 1960s by kinetic art pioneer Liliane Lijn go on display at Tate Britain, Tony White asks her about some tantalising and lesser-known earlier works.

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It’s very traditional to have theories of art. But the account that I give, for example, of cognitive functions of art links it very closely to cognitive functions in science, instead of each having its own little separate realm, its own separate methodologies, its own separate interests. I’m saying there’s a lot more interanimation. In a way it’s not expanding the scope, but it seems that there is more texture in what’s in the scope. There isn’t a nice division of labor. There really isn’t a sharp division between, say, philosophy of literature and literally criticism or even between theoretical physics and philosophy of science. That is what we have learned from the history of philosophy up to now, that the sharp divides that maybe our ancestors hoped we would find just aren’t there. It’s not my fault!

Ariane Tanner interviews Catherine Z Elgin about her philosophy – and working with Nelson Goodman.

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Richey himself was a big thinker in regards to conspiracy theories. For instance, the meaning of “I laughed when Lennon got shot”. It’s s about him knowing it was a CIA thing with Mark Chapman and that’s why in the lyric he laughed. There are notes in which he thinks it’s hilarious no one can see it and they’re thinking he wrote “I laughed” because he somehow thought Lennon getting shot was funny. With regards to esoteric ideas. To the point where all he was left in was his doubt. Someone got in touch and told us that Richey had hired a hitman to kill him and part of the difficulty is that you find yourself questioning the out-there scenarios because the whole narrative is quite out-there.

Guy Mankowski interviews Sara Hawys Roberts about Withdrawn Traces: Searching for the Truth About Richey Manic.

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The role of the artist is to point out what the viewer needs to see. This sometimes can be something disturbing, uncomfortable, thought provoking. The viewer should be left with something deeper to contemplate. I think the contemporary artist should find responsibility in creating a work that resonates with the viewer, be it for educational purposes; or maybe even to escape reality altogether.

Continuing the States of Anxiety series, Jana Astanov interviews Jodie Lyn-Kee-Chow.

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You stay on the outside and become a mirror for the others — and they don’t like what they see. But this is all discrete. You just become the Sonderling, the weirdo. It would be wonderful if we could be thankful for a job, and still see where this job becomes cruel, inhumane, hilarious, idiotic, not well constructed, underpaid, too exhausting, etc. and then speak openly about it.

MH interviews Heike Geissler.

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The constant movement and adaptation has made me a nomadically inclined artist and human. I have become easily adjustable to my circumstances, both in art and life and can be quite inventive in my ability to make something out of nothing. Both accumulative and ephemeral nature of my practice stem from that too, as I know what it’s like to begin anew, owning only your body, memories, and courage and will, as well as found materials and places. My boundaries and personal limits have been pushed and pulled many times throughout my life and I learned to understand fragility of life, broaden my worlds, live large, believe in the present moment, as it could all be gone in a mere instant. On the flip side of it all, I am quite aware of the feeling of not belonging to any one place or culture and alienation is painfully familiar and insistent, transience is palpable.

Continuing the States of Anxiety series, Jana Astanov interviews Katya Grokhovsky.

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Glasshouse took over my apartment and became this domestic museum of performance. We started showing rotating exhibitions that were spread throughout the house, in the kitchen, on the bed, in the bath, and hosting live performances on a monthly basis. We started with a handful of audience, our peak was hosting thousands of visitors on a single day.

Continuing the States of Anxiety series, Jana Astanov interviews Lital Dotan.

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Somebody once told me a uni-seco was used as a background in a 70s Godard film! About the ones we mention, they are very large audience, which shows that prefabs are part of a popular heritage. Especially Foyles War, as it’s the heroine home and she represents a post-war sort of liberated woman work wise – she is Folyes’ chauffeur! – and the wife of a Labour politician. It really goes with the Spirit of 1945, the creation of the NHS etc.

Andrew Stevens interviews Prefabs author and “one of Britain’s dullest women” Elisabeth Blanchet.

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