diff options
| -rw-r--r-- | age_of_oil.otx | 42 |
1 files changed, 25 insertions, 17 deletions
diff --git a/age_of_oil.otx b/age_of_oil.otx index 52e553e..aa47ef4 100644 --- a/age_of_oil.otx +++ b/age_of_oil.otx @@ -1,6 +1,6 @@ % ---- init -\sdef{_pgs:fold}{(8.5,5.5)mm} -\margins/2 a5 (1,0.65,0.65,1)in +\sdef{_pgs:fold}{(5.5,8.5)in} +\margins/2 fold (1,0.65,0.65,1)in \nonfrenchspacing\raggedbottom \baselineskip=15pt @@ -21,11 +21,10 @@ \long\def\Q#1{{\leftskip=1in\parindent=0pt #1\par}} \def\cbrk#1{\vskip 1em \hfil #1 \hfil\vskip 0.5em} \def\dinkus{\cbrk{* * *}} -\def\ld{…} \def\textsuperscript#1{{\typosize[8/]$^{\textstyle\rm #1}$}} -\def\ae{æ} \def\term#1{\e{\dq{#1}}} \def\turn#1{\raise 1.5ex \rotbox{180}{#1}} +\def\ld{…}\def\ae{æ} %---design \_def\_chapfont{\_scalemain\_typoscale[\_magstep3/]\it} @@ -35,9 +34,7 @@ \_abovetitle{\_penalty-151}\_bigskip {\_secfont \_noindent \hfil\hskip 1em \romannumeral\_the\_secnum\hfil\_nbpar}\_insertmark{#1}% \_nobreak \_belowtitle{\_bigskip}% - \_firstnoindent -} - + \_firstnoindent} \def\afterchapskip{\_bigskip\_bigskip} \def\chapglue{\_medskipamount} @@ -48,8 +45,7 @@ \_noindent \_raggedright #1\_nbpar}\_mark{}% \_smallskip\hrule\_smallskip% \_nobreak \_belowtitle{\afterchapskip}% - \_firstnoindent -} + \_firstnoindent} %---go @@ -60,8 +56,6 @@ of \hfil Contemporary \hfil Art \nl New York \hfil ------ \hfil THE AGE OF OIL \nl \null\hfil Duncan Smith \nl -To \hfil David Ebony \hfil and \hfil Peter Zabelskis \hfil\nl -\null\hfil for their \hfil loyalty \hfil and \hfil support \nl © 1982 and 1987 \hfil Duncan Smith \hfil All rights reserved \nl First edition 1987 \hfil Printed in the United States of America \nl @@ -80,20 +74,34 @@ New York, N.Y. 10276 \break -{\tt\parindent=0pt\parskip=1em +{ +\null\vfill + +To David Ebony and Peter Zabelskis \hfil\nl +for their loyalty and support \nl + +\vfill\vfill +} + +\break + +\null\vfill + +{\parindent=0pt\parskip=1em + \essaytitle{Memoirs of an Occupation} is a version of an essay which appeared in \journaltitle{Semiotext(e)}, Vol. IV, No. 1. 1981. Versions of \essaytitle{Australis} and \essaytitle{On Wit} were read on a WBAI radio broadcast, New York, September 16. 1980. -A version of \essaytitle{On the Current Symbolic Status of Oil} constituted the voice-over in a program of the same title in the series \journaltitle{Communications Update} on Manhattan Cable Teleprompter, Channel D, March 3 \& 5, 1980; a portion of the text also appeared in File, Vol. 4, -No. 4, 1980. +A version of \essaytitle{On the Current Symbolic Status of Oil} constituted the voice-over in a program of the same title in the series \dq{Communications Update} on \journaltitle{Manhattan Cable Teleprompter}, Channel D, March 3 \& 5, 1980; a portion of the text also appeared in \journaltitle{File}, Vol. 4, No. 4, 1980. -\essaytitle{Why Diamonds Are a Girl's Best Friend} is a version of an essay which appeared in \journaltitle{Bomb}, No. 1, May 1981; a portion of this essay also appeared in \journaltitle{The Pledge of Allegiance} by Rene Ricard, Artforum, Vol. 21, No. 3, November 1982. +\essaytitle{Why Diamonds Are a Girl's Best Friend} is a version of an essay which appeared in \journaltitle{Bomb}, No. 1, May 1981; a portion of this essay also appeared in \essaytitle{The Pledge of Allegiance} by Rene Ricard, \journaltitle{Artforum}, Vol. 21, No. 3, November 1982. A version of \essaytitle{Everybody Wants Exposure} appeared in \journaltitle{Bomb}, No. 10, Fall 1984. A version of \essaytitle{Tell Me Why} appeared in Art \& Text, No. 20, February--April 1986. } +\vfill \break @@ -107,7 +115,7 @@ Elvis Aaron Presley's fantasy of physical contact with his mother, Gladys Love S Right away the letters in \e{Glad}ys haunt \e{G}r\e{a}ce\e{l}an\e{d}: both names contain g's, l's, a's, and d's. Garon was privileged with a letter Elvis Aaron lacked, the crucial \e{g} that primordially differentiated Elvis's middle name Aaron from the dead twin \e{G}aron. This \e{g} would then return later in Elvis's life. His last girlfriend, Ginger Alden, had all the letters that Gladys and Graceland had in common. -Elvis's spontaneous gifts of car-giving sprang in part from the hypogrammatic possibilities of \e{Garon}. \e{G} and \e{c} are similar sounds, i.e. velar stops. (The c\slash k sound is voiceless while the g is voiced. The velum, the area near the tonsils, is raised so as to prevent air from entering the nasal cavity, occluding the oral cavity.) Now let us spell \e{G}aron's name: \e{C}aron. The \e{on} is a paronomasia with \e{own}. The buried figure in \e{Garon} now yields: \e{Car own}. Elvis wanted others to \e{own} a \e{car}. The lucky recipients of his generous car-giving could then say, \dq{I own a car.} \e{Garon} is the hypogram or buried signature underneath \dq{\e{own}ing a \e{car}.} +Elvis's spontaneous gifts of car-giving sprang in part from the hypogrammatic possibilities of \e{Garon}. \e{G} and \e{c} are similar sounds, i.e.\ velar stops. (The c\slash k sound is voiceless while the g is voiced. The velum, the area near the tonsils, is raised so as to prevent air from entering the nasal cavity, occluding the oral cavity.) Now let us spell \e{G}aron's name: \e{C}aron. The \e{on} is a paronomasia with \e{own}. The buried figure in \e{Garon} now yields: \e{Car own}. Elvis wanted others to \e{own} a \e{car}. The lucky recipients of his generous car-giving could then say, \dq{I own a car.} \e{Garon} is the hypogram or buried signature underneath \dq{\e{own}ing a \e{car}.} Elvis's first car owes its existence to an account of his mother's. When Gladys Presley was working in a hospital in Memphis, she noticed a \dq{fine lady} drive up to her place of employ in a Cadillac. This very hospital with its doctors and sophisticated medical technology could have relieved her of the death of Jesse Garon. When Elvis received a \$5,000 bonus from Colonel Parker (at the time the Colonel bought Elvis from Sun Records), Elvis purchased a Cadillac. This was similar to the one his mother had related to him when that \dq{fine lady} made her hospital visit, the same kind of hospital visit that could have saved Garon's life. With the crucial gift of a Cadillac to his mother, the car, the \e{one car}, the \e{car} now \e{own}ed, echoes the name Garon whose bereavement would last all the Presleys' lives. @@ -119,7 +127,7 @@ With \e{cad} one is first struck by the association with a cad, a bad boy, a jil With \e{bad I'll lack} the permutation implies that Elvis\slash evils will not be bad, but good. \e{Cad, bad, gad} all connote something negative, unpleasurable, immoral. Compared with what is good, with what is not evil, good or God can now substitute for cad\slash bad\slash gad by virtue of their common phonetic traits as well as their semantic contrarity. \e{Bad I'll lack} thus justifies \e{good I'll act}, \e{God I'll act}, \e{good will act}, \e{God will act}. A Cadillac is a good, a gift of God's, a gift of the good boy. Yet because \e{good} and \e{bad} oscillate so quickly and simultaneously here, \e{good will lack} or \e{God will lack} throws the permutation again into the negative cad\slash bad\slash gad spectrum. -\e{Cadillac} ultimately signified for Elvis the \e{g} that Aaron lacked, the \e{g} in \e{G}aron, \e{G}raceland, \e{G}ladys, \e{G}inger, \e{g}uitar, etc. A \e{Gadillac} was a \e{g}ift to his mother, a \e{g}ift from a \e{g}ood \e{G}od. Thereby the missing g in Aaron would be restored and G\e{lad}ys would then be \e{g}lad with a \e{lad} who had died, the lad who always already \e{dies} in G\e{lad}-\e{dys}. The \e{gla} at the beginning of \e{Gla}dys ultimately is an echo of car, i.e. an anagrammatic cryptophor of \e{car} with its velar stop c\slash g, common vowel a\slash a, and liquid l\slash r: \e{gla}\slash \e{car}. \e{Gla}dys will be \e{gla}d over a \e{car}, the \e{car} she now \e{owns}, the \e{one car} supplementing her lack of \e{Garon} who also is a near anagram of \e{Gla}dys (\e{Gar}on), according to the substitutions mentioned above. The car was described as pink, baby pink, as pink as a reborn baby Garon, resurrected in the form of a Cadillac, for now she no longer lacks a cad, the son who jilted her of the joys of motherhood. +\e{Cadillac} ultimately signified for Elvis the \e{g} that Aaron lacked, the \e{g} in \e{G}aron, \e{G}raceland, \e{G}ladys, \e{G}inger, \e{g}uitar, etc. A \e{Gadillac} was a \e{g}ift to his mother, a \e{g}ift from a \e{g}ood \e{G}od. Thereby the missing g in Aaron would be restored and G\e{lad}ys would then be \e{g}lad with a \e{lad} who had died, the lad who always already \e{dies} in G\e{lad}-\e{dys}. The \e{gla} at the beginning of \e{Gla}dys ultimately is an echo of car, i.e.\ an anagrammatic cryptophor of \e{car} with its velar stop c\slash g, common vowel a\slash a, and liquid l\slash r: \e{gla}\slash \e{car}. \e{Gla}dys will be \e{gla}d over a \e{car}, the \e{car} she now \e{owns}, the \e{one car} supplementing her lack of \e{Garon} who also is a near anagram of \e{Gla}dys (\e{Gar}on), according to the substitutions mentioned above. The car was described as pink, baby pink, as pink as a reborn baby Garon, resurrected in the form of a Cadillac, for now she no longer lacks a cad, the son who jilted her of the joys of motherhood. This car was made possible by Colonel Parker's deal with RCA, Elvis's new record company. Car and RCA are anagrams. The car\slash Cadillac was also the RCA\slash Cadillac that would be able to buy his mother gifts that filled the lack of Garon. \e{RCA one} or \e{RCA own} meant that Elvis was \e{one} of \e{RCA}'s artists or was \e{won} (as homonym) by \e{RCA}, even \e{own}ed by \e{RCA}. Now owned by RCA, or owning a car, a Cadillac, makes possible Gladys's demand to be relieved from the poverty that killed Garon, the \dq{ill} Garon. Garon's tragic \dq{illness,} his being killed by it, is not forgotten everytime Elvis or Gladys uttered the \e{ill} in Cad\e{ill}ac, or nearly heard \e{kill} echo from its \e{c}: \e{K}(ad)\e{ill}(ac). How could a Cad\e{ill}ac \e{kill} an \e{ill} baby when Gladys saw that \dq{fine lady} drive to the hospital in one? Only the \e{lack} of a Cadil\e{lac} would account for the lack of a healthy baby. |