our emissions' stench unnoticed now but for a novel trail
this climacteric age, it's called, the passing of decades the half-century turning signal turning yellow yellow not green or red approached passed ignored with our voices, nightmare in our guts deceit in our eyes Hey everything is cool
clashing aches squabbling joints the colors of the pills, like seasons' imprints shift. Sizes, like our swellings, alter, fade, then gush to a leak just damp
Ninth in a monthly series of excerpts from The Book of All Cities.
Jouiselle-aux-Chantes is the city of erotic forgetting.
The spores of a certain mushroom produce dementia in those who find themselves in Jouiselle-aux-Chantes in the spring. Those who have grown up there are somewhat resistant: they treat the spring as a time to be very careful doing business, a time when everyone is slightly drunk. But visitors to Jouiselle-aux-Chantes in the spring display all the symptoms of senility: they do not recognize their own wives and husbands; they forget their names, professions, and histories.
The wise city fathers of Jouiselle-aux-Chantes, rather than treating the spores as a calamity, have marketed their city as an erotic paradise. Couples coming to Jouiselle-aux-Chantes forget their rivalries and resentments, and frolic and cuddle as if meeting again for the first time. Businesswomen's hearts race like schoolgirls'; sailors blush; kisses are clumsy but full of promise. If a debutante propositions the gardener working in her parents' garden, it can produce no scandal; if a priest forgets his vows, it is no sin.
In the fall, the mushrooms die, and the cool air clears everyone's head. Most of the tourists go home -- confused, but treasuring snatches of memory of the high life they lived in Jouiselle-aux-Chantes. But there are always those for whom the season of forgetfulness is their undoing, for whom the return of memory is cruel.
In the fall, the grave diggers always have plenty to do.
“Totems” consists of three 3D printed forms reminiscent of impossible sex toys, along with three flat representations of the same forms printed on photography paper.
The forms in “Totem” were developed by analyzing online pornography
viewing habits. Time was represented by the vertical axis, with each model symbolizing
a single day. Individual bands generally represented time spent on a single
site: the thicker the band, the more time spent. The radius
of an individual band was logarithmically determined by the amount of
data downloaded from the corresponding site.
Models were examined individually and metaphors applied to what were
determined to be interesting forms. “Quickie” was so named because
there was only a brief concentration of pornographic Web viewing over
the course of one day. In “Work Safe?” it appeared as though large
concentrations of pornographic Web viewing took place at the beginning
and end of the day, bookending brief blips between 9 AM and 5 PM. The
name “Vacation” was chosen for what appeared to be a full day of
pornographic Web viewing. Further, the form was inverted manually as a
reflection of the introverted nature of such activity.
Chosen forms were then lathed, hollowed, and printed.