BIRTH AS CRITERION by Jure Detela as translated by Raymond Miller
God puts to the test, not I.
I only verify
what has been reported.
In God there is no doubt,
there is no malice.
The starry child
of Lappish legend—
a status symbol.
THEREFORE it is good luck
for me if I
move down the blade.
FULL SMASH!
To transcend being
trapped in perception?
Along
with portents of death?
How the sensuality in me scatters!
There is no more law
for my eyes.
Blood is spilled throughout the world,
but to no end.
Nothing is
consoled by it.
No guilt is washed
away by it.
It lacks a whole speck
of the world.
It seems to be
that I look through it,
though I see nothing,
nothing except for it.
Here I am smaller
than I ever was
in all the history
of the cosmos.
Just one tiny,
tiny happiness
that is not mine at all.
A spark enveloped
by a huge, compact
blackness,
as if by a wrapper.
Which something alien
searches for constantly.
How lovely it is
if you relinquish
the very last defense
of the body.
And to know that
there is no small nook
in the whole cosmos
where hovering and floating
can completely commingle.
And to be condemned to
the duality of
one’s own mind,
which something totally
unknown imagines
for all eternity.
Yes!
To be without
salvation for
all eternity!
And to be a huge
portent of death left
for the sovereign use
of various worlds.
Not like an angel,
who moves and who dances,
but something massive
and immobile.
Even more!
To be the only
incarnation of death.
I am the first to
proclaim its beauty
for all time.
Because I know that for
its birth it wants
only my body,
which is eternal.
And all previous
polarizations
into living and dead
it declares to be wrong.
Just one fate is enough
for all eras to
blaze up in it like
a camera flash.
Nothing is forgotten
in all of history.
God learns from
my example.
– Jure Detela (b. Ljubljana, 1951; d. Ljubljana 1992)
About josephnechvatal
Joseph Nechvatal is an American post-conceptual artist who creates virus-modeled artificial life computer-assisted paintings and animations. Themes he has addressed in his art include the apocalyptic, communication excess, the virus, and gender fluidity.
In 1975, he moved from Chicago to the downtown Tribeca area of New York City. He began studying at Columbia University with the philosopher Arthur Danto while working for the Dia Art Foundation as archivist to the minimalist composer La Monte Young.
In 1980, he moved from Tribeca to the sordid Lower East Side where he found artistic camaraderie and politically inspired creative energy. There he became closely associated with Collaborative Projects (Colab), the influential post-punk artists’ group that included Kiki Smith and Jenny Holzer, among others. Those were glory days for the famous Colab projects, such as Just Another Asshole, The Real Estate Show and The Times Square Show. He also helped establish the non-profit cultural space ABC No Rio, where exhibitions were animated by political purpose.
In the early 1980s, his art consisted of dense post-minimalist gray graphite drawings (that were sometimes photo-mechanically enlarged), of sculpture, of photographs, and of musique concrète audio collages.
In 1983, he co-founded the famous avant-garde art music project Tellus Audio Cassette Magazine.
In 1984, he created an opera called XS: The Opera Opus (1984-6) with the no wave musical composer Rhys Chatham that was presented in Boston and New York.
In 1986, Nechvatal began using computer-robotics to make conceptual paintings. Some were exhibited at Documenta VIII in 1987.
In 1992, when he was artist-in-residence at the Louis Pasteur Atelier in Arbois and at the Saline royale d’Arc-et-Senans, he created computer virus codes that he used as an artistic tool. This work was a reflection on his personal experiences of risk and loss with the AIDS epidemic.
In 1999, he earned his doctorat in the philosophy of aesthetics and technology in England and soon wrote two art theory books: Towards an Immersive Intelligence and Immersion Into Noise.
In 2001, he extended his initial experimentations into the virus as an artistic painterly tool in a series of artificial life works. These works include various series of paintings, animations, and a lengthy audio composition entitled viral symphOny. He has created a series of virus-based themed exhibitions of artificial life paintings and animation projections that explore the fragility and fluidity of the human body.
You can follow him on Twitter at @twinkletwink Homepage: http://www.nechvatal.net
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