Citations, and the process of citing, are at the pinnacle as supreme examples of (mechanical) reproduction. They are insatiably appropriated and, in themselves, never improve. They do not improve the user—besides perhaps the ever so fragile aura of being perceived as well-read. It should however be reminded that with digital and digitized resources and applied mechanical searches and recall functionality anyone can be construed as well-read. One can quickly search, find and appropriate the suitable citation creating the customized cloak of literacy.
Citations simply reflect a fire, ones brightly burning and only casting a shadow through the utterance of the one citing them.
They act as unstable magic spells of the information age. On a good day they potentially improve the social (or communal) image of its user (or of the context the citation is used within) on a bad day they might only somewhat improve (or drug by means of authoritarian impressiveness) the receiver or, if over-used as canned-lingo, incite revolt, or at least irritation, in the listener/reader. They are static yet perpetually mobile as they are infinitely recycled and shuffled from one (in)appropriate context to the next across media and across space-time.
They are the museum pieces of the literary. They are recycled with the hope no one realizes how cliché they have become whilst actually already being cliché in the simple nature of the mechanics of citing: lack of original thought.
Nevertheless picking the appropriate citation, albeit a fringe activity seen from an artistic point of view, is a creative process. There are even citations which actually hint of how they might function (substitute “art” with “a citation”):
art never improves, but … the material of art is never quite the same.
The actual referencing to the source of this citation traces back the process of reproduction:
Eliot, T.S. (1984) Tradition and the Individual Talent in Frank Kermode (ed.)
Selected Prose of T. S. Eliot. London: Faber in Sanders, Julie. (2006). Adaptation and appropriation. New York: Routledge. p. 1. … and now in here…
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About jan—animasuri
anima suri (a.k.a animasuri, animasuri, animasuri, animasuri’10, animasuri’11)
animasuri is an ongoing project using technologies as media, text as sound and sometimes visuals as odors. animasuri is trans-media. It is possibly mixed with irony, possibly with salad or coconuts; depending on the gaseous nature of transatlantic chatter.
animasuri is a rational, calculated forecast of the surreal. It comments and reflects on the perceptions of daily experiences while losing all grips with it. It is highbrow on a low hanging belly.
animasuri provides surrealist BrainNnocularZ containing contextual media from teaspoons to nailtrimmings.
Some of animasuri’s forms drink bear, or cuddle beer. Some pick noses, or snooze with pixies. Others tap on keys or rather let them tap on others. Therefor, animasuri is clearly straightshooting vegan.
animasuri is cerebrally monkey-styled.
animasuri browses through the intertwined visual corridors connecting sound art, visual aberrations, appropriationist art, sound poetry and the spoken or written word. As source material visual bits, conceptual queues or soundbites are derived from pre-existing sonic or other materials, artificial creations and digital errors, environmental record-keeping, bio-confabulation and appropriation of context.
animasuri is ex- in the premature sense of the word.
Etymologically, animasuri is a French-like sourir pickpocketing an Anglican feminist Latin soul. animasuri is not French nor English nor American and surely not Spanish or Brazilian; it is homi in a Bhabha-esque swirl. It is balance found in the chaos of established stereotypes while acknowledging male nipples are trans-national and universally misunderstood.
As a reflection of an extrinsically-labeled happily married white Caucasian Judeo-Christian heterosexual Buddha-lover, animasuri finds harmonious solace in Judith Butler’s “Gender Trouble” without any sexual troubling implications.
Politically left-free, animasuri is capitalistically comfy bathing in loyal conservative strands amidst its progressive left libertarian conceptualizations with a-communist socialist twists.
animasuri contradicts therefor is not.
