Perpetual Motion Machine (excerpt from a work in progress).
James Chrome: Psychology as Artwork, the Artwork as Psychology
The Journal of Aberrant Psychology, vol. XXIII (Autumn 2005) 204 - 220
(excerpted from)
During this period, Frankie Zorn, while initiating no other contact with friends or colleagues, began to put together a series of constructs made up of miscellaneous elements. Much study remains to be carried out on these works, not least of which for the fact that, while doubtless each construct holds a variety of meanings for Zorn, the import remains extremely fugitive for any commentator. They represent a rich field of hermeneutic enquiry and the sheer density of association is likely to keep the critics (and psychologists!) busy for some time to come. Zorn is perhaps the most highly allusive artist in any medium since his beloved James Joyce and the critical enquiry into his work is still in its infancy.
The constructs would arrive at irregular intervals, each addressed to and clearly created for, a particular individual.
One such work, entitled Perpetual Motion Machine, delivered to Celia Crescent,consists of the following elements:
A) Pair of scuffed brown brogue shoes, identified as having been worn by James Joyce, Paris 1922-23.
B) Green silk scarf.
C) Sealed clear glass vitrine, apparently empty, bearing label stating: burning leaves, Autumn, 1997.
D) Audio tape, bearing label stating: NASA computer breakdown, the music of the quasars.
E) Strip of 35 mm film, identified as infamous section excised from Zorn's Dallas Impromptu, the so-called pornographic section colloquially known as Monroe's Revenge.
In parenthesis, it should be stated that Ms Crescent herself is clearly in possession of more information than the average Zorn commentator, but insists on playing her cards close to her chest, so to speak. To date she has volunteered little insight to any prospective interpreter. Given her closeness to Zorn, and considering the virulence of his oft-expressed opinions of critics, this is not surprising.
The Journal of Aberrant Psychology, vol. XXIII (Autumn 2005) 204 - 220
(excerpted from)
During this period, Frankie Zorn, while initiating no other contact with friends or colleagues, began to put together a series of constructs made up of miscellaneous elements. Much study remains to be carried out on these works, not least of which for the fact that, while doubtless each construct holds a variety of meanings for Zorn, the import remains extremely fugitive for any commentator. They represent a rich field of hermeneutic enquiry and the sheer density of association is likely to keep the critics (and psychologists!) busy for some time to come. Zorn is perhaps the most highly allusive artist in any medium since his beloved James Joyce and the critical enquiry into his work is still in its infancy.
The constructs would arrive at irregular intervals, each addressed to and clearly created for, a particular individual.
One such work, entitled Perpetual Motion Machine, delivered to Celia Crescent,consists of the following elements:
A) Pair of scuffed brown brogue shoes, identified as having been worn by James Joyce, Paris 1922-23.
B) Green silk scarf.
C) Sealed clear glass vitrine, apparently empty, bearing label stating: burning leaves, Autumn, 1997.
D) Audio tape, bearing label stating: NASA computer breakdown, the music of the quasars.
E) Strip of 35 mm film, identified as infamous section excised from Zorn's Dallas Impromptu, the so-called pornographic section colloquially known as Monroe's Revenge.
In parenthesis, it should be stated that Ms Crescent herself is clearly in possession of more information than the average Zorn commentator, but insists on playing her cards close to her chest, so to speak. To date she has volunteered little insight to any prospective interpreter. Given her closeness to Zorn, and considering the virulence of his oft-expressed opinions of critics, this is not surprising.
posted by St. Anthony at Monday, November 20, 2006
5 Comments:
Nice array of associations and objects, Anthony: '...Scuffed brown brogue shoes - Joyce; Green silk scarf; Sealed clear glass vitrine, apparently empty, bearing label stating: burning leaves, Autumn, 1997; Audio tape, bearing label stating: NASA computer breakdown, the music of the quasars; Strip of 35 mm film, identified as infamous section excised from Zorn's Dallas Impromptu, the so-called pornographic section colloquially known as Monroe's Revenge...'. Nice cheeky title for the porn, too. Hope to see more.
Love Frankie Zorn and Celia Crescent. Read this before...but still enjoying this here. Nice to see it up here.
Frankie Zorn and Ms Crescent are characters I've been playing around with for ages now ... I've put them through film scripts, poems ... they haunt me.
With me, it's Porno Adorno, and a string of others
dear mister b, an e-mail address would be good
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