WEBVTT 00:00:00.000 --> 00:00:01.490 align:middle line:90% 00:00:01.490 --> 00:00:01.990 align:middle line:90% OK. 00:00:01.990 --> 00:00:04.590 align:middle line:84% So the next group I'm going to read 00:00:04.590 --> 00:00:09.450 align:middle line:84% are from this book called Poses, and they are poems 00:00:09.450 --> 00:00:11.260 align:middle line:90% written in a drawing group. 00:00:11.260 --> 00:00:14.430 align:middle line:90% And here's a tentative cover. 00:00:14.430 --> 00:00:18.640 align:middle line:84% Actually they're both possible covers, it's exciting. 00:00:18.640 --> 00:00:22.110 align:middle line:90% So it's coming out in the fall. 00:00:22.110 --> 00:00:24.060 align:middle line:84% So I just used to go to a drawing room, 00:00:24.060 --> 00:00:26.700 align:middle line:84% and I wanted to use the conventions 00:00:26.700 --> 00:00:31.170 align:middle line:84% of the withdrawing group to get in under too much deliberation, 00:00:31.170 --> 00:00:34.275 align:middle line:84% or overwhelm, or dazzle, and just write. 00:00:34.275 --> 00:00:41.370 align:middle line:84% And just use the time limits of the poses, and the immediacy. 00:00:41.370 --> 00:00:47.040 align:middle line:84% Bringing the model helped me come back into the room. 00:00:47.040 --> 00:00:50.250 align:middle line:84% So I went to this drawing group with Selina Trieff 00:00:50.250 --> 00:00:52.380 align:middle line:84% and Bob Henry in New York mostly, 00:00:52.380 --> 00:00:56.370 align:middle line:84% and then there were some other places too. 00:00:56.370 --> 00:00:57.210 align:middle line:90% So they're short. 00:00:57.210 --> 00:01:00.240 align:middle line:84% Some of them literally they were two minute poses, 00:01:00.240 --> 00:01:03.810 align:middle line:84% or three minute, or five, seven, 10. 00:01:03.810 --> 00:01:07.210 align:middle line:84% And so I'm just going to pause between them. 00:01:07.210 --> 00:01:10.140 align:middle line:84% So what I did was just write continuously 00:01:10.140 --> 00:01:14.430 align:middle line:84% and not on drawing paper with a pencil, which 00:01:14.430 --> 00:01:16.530 align:middle line:84% is another way they're related to carbon-14. 00:01:16.530 --> 00:01:19.300 align:middle line:90% [LAUGHTER] 00:01:19.300 --> 00:01:19.800 align:middle line:90% Yeah. 00:01:19.800 --> 00:01:21.930 align:middle line:84% Actually when I first got here, I 00:01:21.930 --> 00:01:23.992 align:middle line:84% was writing in my journal in bed. 00:01:23.992 --> 00:01:25.950 align:middle line:84% And I was like, "I'd better write with a pencil 00:01:25.950 --> 00:01:29.650 align:middle line:84% so I don't get ink on the sheets which I usually do." 00:01:29.650 --> 00:01:32.075 align:middle line:84% And so the first thing I did when I was here, 00:01:32.075 --> 00:01:33.450 align:middle line:84% was start to write with a pencil. 00:01:33.450 --> 00:01:36.933 align:middle line:84% And it just has been this constant throughout 00:01:36.933 --> 00:01:38.100 align:middle line:90% in all these different ways. 00:01:38.100 --> 00:01:41.230 align:middle line:90% 00:01:41.230 --> 00:01:45.220 align:middle line:84% OK so I'm just going to read a group of these, 00:01:45.220 --> 00:01:47.020 align:middle line:84% and I'll just pause between them, 00:01:47.020 --> 00:01:52.060 align:middle line:84% but I won't stop until I leave the group. 00:01:52.060 --> 00:01:55.540 align:middle line:84% The pose seeks to catch the model somewhere 00:01:55.540 --> 00:01:58.240 align:middle line:84% between where she thought she was supposed to be, 00:01:58.240 --> 00:02:03.040 align:middle line:84% and where she thinks she is supposed to be. 00:02:03.040 --> 00:02:05.680 align:middle line:84% Here we are 12 of us in a semicircle 00:02:05.680 --> 00:02:09.039 align:middle line:84% studying this person naked and kneeling on one knee, 00:02:09.039 --> 00:02:11.740 align:middle line:84% looking off into a spot on the floor. 00:02:11.740 --> 00:02:15.130 align:middle line:84% Fill in the rest, creamy Narcissus 00:02:15.130 --> 00:02:16.990 align:middle line:84% See on the bank of a river watching 00:02:16.990 --> 00:02:20.290 align:middle line:84% one point that is never still under his gaze, 00:02:20.290 --> 00:02:21.970 align:middle line:90% he's the still one. 00:02:21.970 --> 00:02:26.890 align:middle line:84% A river inside him fixed between these two coursing rivers, 00:02:26.890 --> 00:02:28.120 align:middle line:90% his attention. 00:02:28.120 --> 00:02:31.270 align:middle line:84% The only thing he can hope to hold still. 00:02:31.270 --> 00:02:33.520 align:middle line:84% His fingernails and the ocean floor 00:02:33.520 --> 00:02:37.330 align:middle line:84% together advance in their year long inch. 00:02:37.330 --> 00:02:40.360 align:middle line:84% Even a mountain as certain grammars have noticed, 00:02:40.360 --> 00:02:42.370 align:middle line:90% belongs to a category of action. 00:02:42.370 --> 00:02:45.460 align:middle line:90% 00:02:45.460 --> 00:02:49.150 align:middle line:84% Now the model is on hot sand, the crocheted blanket 00:02:49.150 --> 00:02:51.100 align:middle line:90% digs into his knees. 00:02:51.100 --> 00:02:53.980 align:middle line:84% He's captured for these purposes, his weary course 00:02:53.980 --> 00:02:55.390 align:middle line:90% across the desert. 00:02:55.390 --> 00:02:59.890 align:middle line:84% No water in sight, nothing worth turning back for. 00:02:59.890 --> 00:03:03.730 align:middle line:84% He leans into it, face turned in against the sharp wind 00:03:03.730 --> 00:03:06.100 align:middle line:90% that breaks across his skull. 00:03:06.100 --> 00:03:10.960 align:middle line:84% All the weight collecting in his hands, blood of the whole body 00:03:10.960 --> 00:03:12.085 align:middle line:90% held in his hands. 00:03:12.085 --> 00:03:15.040 align:middle line:90% 00:03:15.040 --> 00:03:17.530 align:middle line:84% I can't look at the model, Its cracking me up 00:03:17.530 --> 00:03:21.796 align:middle line:84% that he's moving his lips as he keeps time silently. 00:03:21.796 --> 00:03:23.650 align:middle line:90% [GIGGLES] 00:03:23.650 --> 00:03:26.290 align:middle line:84% A clock in the proctored classroom. 00:03:26.290 --> 00:03:29.470 align:middle line:84% We expect the model's clock to be internalized and perfectly 00:03:29.470 --> 00:03:33.190 align:middle line:84% calibrated, moving from one two minute pose to the next. 00:03:33.190 --> 00:03:35.890 align:middle line:84% Like freesia buds opening one by one 00:03:35.890 --> 00:03:38.140 align:middle line:90% along the curve of the stock. 00:03:38.140 --> 00:03:40.870 align:middle line:84% At least, I no longer feel like laughing. 00:03:40.870 --> 00:03:44.500 align:middle line:84% He's breaking the frame, no illusion that we're 00:03:44.500 --> 00:03:46.480 align:middle line:90% operating out of time. 00:03:46.480 --> 00:03:48.910 align:middle line:84% If the drawing marked off seconds like that, 00:03:48.910 --> 00:03:50.680 align:middle line:90% would anyone want to look at it? 00:03:50.680 --> 00:03:53.990 align:middle line:90% 00:03:53.990 --> 00:03:55.790 align:middle line:90% 10 minute pose. 00:03:55.790 --> 00:03:58.130 align:middle line:84% Some things have been decided for me: 00:03:58.130 --> 00:04:00.470 align:middle line:84% the placement of his palm against the belly 00:04:00.470 --> 00:04:03.830 align:middle line:84% of his hamstring, the forward movement of his leg, 00:04:03.830 --> 00:04:07.970 align:middle line:84% cant of his head, torsion of spine and rib cage, 00:04:07.970 --> 00:04:11.930 align:middle line:84% how much time I've been given to study this arrangement. 00:04:11.930 --> 00:04:15.860 align:middle line:84% Sometimes, it takes your own hand to move your leg forward. 00:04:15.860 --> 00:04:19.070 align:middle line:84% The lead line wrapped around buttercups back legs, 00:04:19.070 --> 00:04:21.110 align:middle line:90% coaxing her across the paddock. 00:04:21.110 --> 00:04:24.650 align:middle line:84% How she hopped her hooves ahead with the pressure of the lead. 00:04:24.650 --> 00:04:26.930 align:middle line:84% Where is the model trying to go, that he 00:04:26.930 --> 00:04:29.870 align:middle line:84% needs a leather lead lined looped around his leg? 00:04:29.870 --> 00:04:33.740 align:middle line:84% Or trying not to go, where is he trying to stay? 00:04:33.740 --> 00:04:37.850 align:middle line:84% I told Richard, "You were my guide through the underworld." 00:04:37.850 --> 00:04:40.310 align:middle line:90% He said, "Where are we now?" 00:04:40.310 --> 00:04:43.310 align:middle line:90% 00:04:43.310 --> 00:04:47.090 align:middle line:84% That's Richard McCann, he was the most amazing teacher. 00:04:47.090 --> 00:04:50.690 align:middle line:84% And precisely for saying things like that just when you think 00:04:50.690 --> 00:04:51.860 align:middle line:90% you're of the woods. 00:04:51.860 --> 00:04:53.090 align:middle line:90% [LAUGHTER] 00:04:53.090 --> 00:04:54.230 align:middle line:90% Sorry. 00:04:54.230 --> 00:04:57.830 align:middle line:90% It's not over. 00:04:57.830 --> 00:05:01.850 align:middle line:84% The model's head tilts up in profile toward an exhaust fan, 00:05:01.850 --> 00:05:04.160 align:middle line:90% and a fly circles above. 00:05:04.160 --> 00:05:08.510 align:middle line:84% Actually not circles, please forgive my one plain sight 00:05:08.510 --> 00:05:09.680 align:middle line:90% bias. 00:05:09.680 --> 00:05:12.200 align:middle line:84% A fly darts the polyhedral geometry 00:05:12.200 --> 00:05:15.620 align:middle line:84% dictated by the dueled surface of its eyes. 00:05:15.620 --> 00:05:17.480 align:middle line:84% What I can see of her is far less 00:05:17.480 --> 00:05:20.570 align:middle line:84% than the fly, who would view her through facets even 00:05:20.570 --> 00:05:22.160 align:middle line:90% if it were standing still. 00:05:22.160 --> 00:05:26.450 align:middle line:84% Which it is not, which she is not, which I am not. 00:05:26.450 --> 00:05:32.650 align:middle line:84% The fly is long gone, and still I mention it here. 00:05:32.650 --> 00:05:34.010 align:middle line:90% At 2:00. 00:05:34.010 --> 00:05:36.770 align:middle line:84% If I could live my life like a two-minute pose, 00:05:36.770 --> 00:05:40.700 align:middle line:84% look, see the gesture, embody the gesture, 00:05:40.700 --> 00:05:43.610 align:middle line:84% water posits itself over the stone. 00:05:43.610 --> 00:05:47.060 align:middle line:84% It shapes the stone and is shaped, time's up. 00:05:47.060 --> 00:05:51.490 align:middle line:90% 00:05:51.490 --> 00:05:52.810 align:middle line:90% At 5:00. 00:05:52.810 --> 00:05:56.770 align:middle line:84% And the monitor today has a digital timer, no ticking. 00:05:56.770 --> 00:05:59.110 align:middle line:84% I didn't realize there was no ticking, until I heard 00:05:59.110 --> 00:06:01.390 align:middle line:90% other sounds in its absence. 00:06:01.390 --> 00:06:03.820 align:middle line:84% I would have noticed it sooner, if I were modeling. 00:06:03.820 --> 00:06:06.220 align:middle line:84% Even if someone else operates the timer, 00:06:06.220 --> 00:06:08.380 align:middle line:90% the model is in charge of time. 00:06:08.380 --> 00:06:11.770 align:middle line:84% We in these five minute oceans can forget about it. 00:06:11.770 --> 00:06:14.380 align:middle line:90% It's being stopped, held for us. 00:06:14.380 --> 00:06:20.950 align:middle line:84% Like every new hack horse, Leon tacked up and held for me 00:06:20.950 --> 00:06:23.140 align:middle line:84% as I pressed my foot into the stirrup 00:06:23.140 --> 00:06:24.910 align:middle line:90% and swung onto its back. 00:06:24.910 --> 00:06:28.570 align:middle line:84% Its haunches collecting underneath, tail switching, 00:06:28.570 --> 00:06:30.475 align:middle line:90% tongue tossing the steel bit. 00:06:30.475 --> 00:06:34.330 align:middle line:90% 00:06:34.330 --> 00:06:37.540 align:middle line:84% She's bending forward as if to pick something up, 00:06:37.540 --> 00:06:40.180 align:middle line:90% but the gesture is held. 00:06:40.180 --> 00:06:43.120 align:middle line:84% What you see is the intention but not the act, 00:06:43.120 --> 00:06:44.860 align:middle line:90% not the thing lifted. 00:06:44.860 --> 00:06:49.060 align:middle line:84% The moment before the action: foreplay, interruption, 00:06:49.060 --> 00:06:54.160 align:middle line:84% afterglow, after life all ascribed primacy to one action 00:06:54.160 --> 00:06:56.260 align:middle line:90% or state over another. 00:06:56.260 --> 00:06:59.140 align:middle line:84% Reaching for something is as real as holding it. 00:06:59.140 --> 00:07:02.670 align:middle line:90% 00:07:02.670 --> 00:07:04.440 align:middle line:90% Seated pose. 00:07:04.440 --> 00:07:09.300 align:middle line:84% Stability of squared shoulders, hips, knees, and feet, 00:07:09.300 --> 00:07:11.910 align:middle line:90% dreamed this diagram. 00:07:11.910 --> 00:07:15.510 align:middle line:84% A line drawing as in a dictionary, of a woman seated 00:07:15.510 --> 00:07:17.520 align:middle line:90% on a straight back chair. 00:07:17.520 --> 00:07:20.460 align:middle line:84% A double dotted line indicating a band, 00:07:20.460 --> 00:07:22.560 align:middle line:90% starts at her pubic mound. 00:07:22.560 --> 00:07:27.570 align:middle line:84% And the word mound is somehow stressed and ends at her mouth. 00:07:27.570 --> 00:07:30.780 align:middle line:84% Alongside it a dotted arrow points up 00:07:30.780 --> 00:07:34.290 align:middle line:84% with an animated instruction, "One firm, 00:07:34.290 --> 00:07:38.160 align:middle line:84% swift lap of the tongue is straight up the dotted line. 00:07:38.160 --> 00:07:41.310 align:middle line:90% All one stroke," it emphasizes. 00:07:41.310 --> 00:07:44.835 align:middle line:84% Under the drawing, this brass label prose. 00:07:44.835 --> 00:07:49.720 align:middle line:90% 00:07:49.720 --> 00:07:53.080 align:middle line:84% We know it's a leg, do you really need two edges 00:07:53.080 --> 00:07:54.580 align:middle line:84% when you're struggling against time? 00:07:54.580 --> 00:07:57.085 align:middle line:90% [FLIPS PAGE] 00:07:57.085 --> 00:07:58.430 align:middle line:90% 00:07:58.430 --> 00:08:01.040 align:middle line:84% What's preoccupying me today is the pressure 00:08:01.040 --> 00:08:04.730 align:middle line:84% at the membrane, where I come in contact with the sensory world. 00:08:04.730 --> 00:08:08.720 align:middle line:84% Formlessness presses form, wants to grind against it. 00:08:08.720 --> 00:08:11.180 align:middle line:84% The materials are so unreliable though: 00:08:11.180 --> 00:08:13.970 align:middle line:90% language, perception, attention. 00:08:13.970 --> 00:08:15.650 align:middle line:84% "If any one of those are more exact, 00:08:15.650 --> 00:08:19.190 align:middle line:84% it might not feel so exquisitely confounding." 00:08:19.190 --> 00:08:23.090 align:middle line:84% I declared all this to S. He held up his palm 00:08:23.090 --> 00:08:26.420 align:middle line:90% and said, "Here, push. 00:08:26.420 --> 00:08:30.380 align:middle line:84% The relief resistance brings, the proof someone's there. 00:08:30.380 --> 00:08:32.809 align:middle line:90% What I want is to fuck the poem. 00:08:32.809 --> 00:08:35.797 align:middle line:90% [FLIPS PAGE] 00:08:35.797 --> 00:08:40.280 align:middle line:90% 00:08:40.280 --> 00:08:43.100 align:middle line:90% And today, Ellie." 00:08:43.100 --> 00:08:47.120 align:middle line:84% Ellie, p-town showgirl, 73 years young as her sign 00:08:47.120 --> 00:08:50.090 align:middle line:84% reads on the stereo system she pulls through town 00:08:50.090 --> 00:08:52.850 align:middle line:90% in a radio flyer wagon. 00:08:52.850 --> 00:08:56.270 align:middle line:84% "I'll keep my own time," she tells the monitor. 00:08:56.270 --> 00:09:00.470 align:middle line:84% Here, Ellie wears not her camisole and miniskirt, just 00:09:00.470 --> 00:09:03.320 align:middle line:90% elegant drop pearl earrings. 00:09:03.320 --> 00:09:06.680 align:middle line:84% Riding down commercial street, I hear her before I see her. 00:09:06.680 --> 00:09:11.060 align:middle line:84% Frank Sinatra or Judy Garland in her generous baritone offered 00:09:11.060 --> 00:09:13.940 align:middle line:90% as if to each person directly. 00:09:13.940 --> 00:09:17.090 align:middle line:84% Patrons drop their dollars into her white bathroom trash 00:09:17.090 --> 00:09:20.840 align:middle line:84% can with its sharpie marker, thank you. 00:09:20.840 --> 00:09:24.080 align:middle line:84% Or they pick up a copy of her Xerox life story held down 00:09:24.080 --> 00:09:26.540 align:middle line:90% by a rock for $3. 00:09:26.540 --> 00:09:29.180 align:middle line:90% Here we are at the shoreline. 00:09:29.180 --> 00:09:33.050 align:middle line:84% Breasts nudging at a presence, penis receding from one 00:09:33.050 --> 00:09:36.050 align:middle line:84% tucked between her crossed thighs. 00:09:36.050 --> 00:09:38.990 align:middle line:84% "There you are with yours, and here I am with mine. 00:09:38.990 --> 00:09:41.540 align:middle line:84% So I guess we'll just be leaving it at this." 00:09:41.540 --> 00:09:44.090 align:middle line:90% She sings as we draw. 00:09:44.090 --> 00:09:48.260 align:middle line:84% Ellie for 60 some years held a long pose 00:09:48.260 --> 00:09:51.470 align:middle line:90% as Elliot holding still. 00:09:51.470 --> 00:09:54.800 align:middle line:90% I love you, I honestly love you. 00:09:54.800 --> 00:09:58.760 align:middle line:84% Her timer rings and Sal marks the pose with chalk and masking 00:09:58.760 --> 00:09:59.730 align:middle line:90% tape. 00:09:59.730 --> 00:10:04.010 align:middle line:84% Ellie gathers her legs under her and rises out of the outline 00:10:04.010 --> 00:10:04.880 align:middle line:90% her body leaves. 00:10:04.880 --> 00:10:12.850 align:middle line:90% 00:10:12.850 --> 00:10:14.800 align:middle line:84% During the break, Ellie sands facing 00:10:14.800 --> 00:10:18.040 align:middle line:84% the wall reading the banner wearing only her rabbit fur 00:10:18.040 --> 00:10:19.480 align:middle line:90% jacket. 00:10:19.480 --> 00:10:21.460 align:middle line:84% There's something about the nudity continuing 00:10:21.460 --> 00:10:23.500 align:middle line:84% through the break, that exhausts people. 00:10:23.500 --> 00:10:26.320 align:middle line:84% Like falling asleep with the light on. 00:10:26.320 --> 00:10:28.360 align:middle line:84% When the model puts on her robe for the break, 00:10:28.360 --> 00:10:31.630 align:middle line:84% it is not only for the model's sake. 00:10:31.630 --> 00:10:34.690 align:middle line:84% The fur jacket ending just above the tan lines from her string 00:10:34.690 --> 00:10:37.120 align:middle line:84% bikini, creates a zone of attention 00:10:37.120 --> 00:10:40.090 align:middle line:84% that peripherally pulls people from their conversations 00:10:40.090 --> 00:10:41.470 align:middle line:90% they're trying to have. 00:10:41.470 --> 00:10:44.650 align:middle line:84% And causes them to look into their beverages as they talk, 00:10:44.650 --> 00:10:48.850 align:middle line:84% rather than take the chance of looking in Ellie's direction. 00:10:48.850 --> 00:10:51.850 align:middle line:84% She takes off her jacket and resumes the pose. 00:10:51.850 --> 00:10:55.390 align:middle line:84% It is as if a hot fan has been turned off, 00:10:55.390 --> 00:10:58.615 align:middle line:84% everyone resumes drawing and Ellie starts to sing. 00:10:58.615 --> 00:11:02.960 align:middle line:90% 00:11:02.960 --> 00:11:05.330 align:middle line:84% Covering the paper in charcoal and drawing 00:11:05.330 --> 00:11:09.290 align:middle line:84% by erasing, in conflict scour your sense 00:11:09.290 --> 00:11:10.910 align:middle line:90% of your own accountability. 00:11:10.910 --> 00:11:13.790 align:middle line:84% And if still there's something left in the other when 00:11:13.790 --> 00:11:15.740 align:middle line:90% you're through , address that. 00:11:15.740 --> 00:11:18.740 align:middle line:90% 00:11:18.740 --> 00:11:21.270 align:middle line:84% His fist pushes against his thigh, 00:11:21.270 --> 00:11:22.910 align:middle line:90% he's working at something. 00:11:22.910 --> 00:11:25.610 align:middle line:84% From the wood shop next door hammering, 00:11:25.610 --> 00:11:29.670 align:middle line:84% and Selina's grandsons hamsters stir in their cage. 00:11:29.670 --> 00:11:33.140 align:middle line:84% I want a white stripe down my chest, like Orble. 00:11:33.140 --> 00:11:35.330 align:middle line:90% Which means, I want fur. 00:11:35.330 --> 00:11:36.800 align:middle line:90% Which I do. 00:11:36.800 --> 00:11:39.440 align:middle line:84% And to walk on four legs, especially when 00:11:39.440 --> 00:11:40.250 align:middle line:90% going up the hill. 00:11:40.250 --> 00:11:45.310 align:middle line:90% 00:11:45.310 --> 00:11:49.060 align:middle line:84% The models bearing in which no degree of expectation rests, 00:11:49.060 --> 00:11:52.120 align:middle line:84% makes the weighting in my own body fluoresce. 00:11:52.120 --> 00:11:54.370 align:middle line:90% The three second delay. 00:11:54.370 --> 00:11:56.500 align:middle line:84% Last night I played pool at vixen 00:11:56.500 --> 00:11:59.380 align:middle line:84% for a while with an Irish snookerer. 00:11:59.380 --> 00:12:02.410 align:middle line:84% He wasn't playing his best, he said. 00:12:02.410 --> 00:12:06.700 align:middle line:84% But he still had lots of fancy angles, or fancy English. 00:12:06.700 --> 00:12:09.250 align:middle line:84% "In every ball score, you stay down on the shot 00:12:09.250 --> 00:12:12.340 align:middle line:84% until you're done," he told me, "Miss, you're 00:12:12.340 --> 00:12:14.080 align:middle line:90% holding the cue too high. 00:12:14.080 --> 00:12:17.800 align:middle line:84% See if you can sight lower on the cue." 00:12:17.800 --> 00:12:20.590 align:middle line:84% "Sure," I thought, "Sight lower on the cue," that 00:12:20.590 --> 00:12:22.550 align:middle line:90% sounds really good. 00:12:22.550 --> 00:12:25.750 align:middle line:84% And I stored his sincere suggestion just off 00:12:25.750 --> 00:12:27.430 align:middle line:90% to the side of my body. 00:12:27.430 --> 00:12:31.840 align:middle line:84% In the delta just inside the misregistered police outline, 00:12:31.840 --> 00:12:36.055 align:middle line:84% where I stash everything I'll do when my actual life begins. 00:12:36.055 --> 00:12:40.738 align:middle line:90% 00:12:40.738 --> 00:12:44.042 align:middle line:90% [CLEARS THROAT] 00:12:44.042 --> 00:12:46.740 align:middle line:90% And one more read. 00:12:46.740 --> 00:12:48.990 align:middle line:84% The model is lying on her back with her legs 00:12:48.990 --> 00:12:52.140 align:middle line:84% slung over to the right, and her head turned to the left. 00:12:52.140 --> 00:12:53.820 align:middle line:90% I can feel the release of it. 00:12:53.820 --> 00:12:56.910 align:middle line:84% The opening of the chest, the twist of the spine, 00:12:56.910 --> 00:13:00.360 align:middle line:84% stretch along the side, haptic knowledge. 00:13:00.360 --> 00:13:02.580 align:middle line:84% How does the drawing record that knowledge? 00:13:02.580 --> 00:13:05.670 align:middle line:84% What are the traces of subjective experience? 00:13:05.670 --> 00:13:09.000 align:middle line:84% Yesterday when we did handstands against the wall in yoga 00:13:09.000 --> 00:13:13.560 align:middle line:84% I'd love pitching forward onto my hands, the feel of my legs 00:13:13.560 --> 00:13:16.560 align:middle line:84% balancing above my hips, the exchange of weight 00:13:16.560 --> 00:13:20.280 align:middle line:84% inverting the usual traffic of blood and gravity. 00:13:20.280 --> 00:13:23.400 align:middle line:84% All day I kept replaying that action in my mind, 00:13:23.400 --> 00:13:27.000 align:middle line:84% all that was left was actually to do the handstand right there 00:13:27.000 --> 00:13:28.830 align:middle line:90% on Fifth Avenue. 00:13:28.830 --> 00:13:33.960 align:middle line:84% Now my hand is on Louie's head, dog of miraculous comebacks. 00:13:33.960 --> 00:13:36.090 align:middle line:84% In my hand, all the dogs heads I've 00:13:36.090 --> 00:13:39.360 align:middle line:90% held sweet tilt to his face. 00:13:39.360 --> 00:13:41.250 align:middle line:84% Maybe Selina can tell the neighbors, 00:13:41.250 --> 00:13:45.150 align:middle line:84% he would have fewer problems if he weren't so good at living. 00:13:45.150 --> 00:13:47.820 align:middle line:84% Now he's pushing the full weight of his will 00:13:47.820 --> 00:13:52.680 align:middle line:84% into me, right under my hand what keeps him alive. 00:13:52.680 --> 00:13:54.705 align:middle line:84% Petting Louie has become my drawing. 00:13:54.705 --> 00:14:00.020 align:middle line:90% 00:14:00.020 --> 00:14:04.150 align:middle line:84% So that book will be coming out with this press called 00:14:04.150 --> 00:14:05.350 align:middle line:90% Kelly's Cove Press. 00:14:05.350 --> 00:14:08.380 align:middle line:84% It's a small press in San Francisco, 00:14:08.380 --> 00:14:13.210 align:middle line:84% and the publisher is a poet and writer named Bart Schneider. 00:14:13.210 --> 00:14:16.143 align:middle line:84% And he used to work with the loft in Minnesota 00:14:16.143 --> 00:14:17.560 align:middle line:84% and then he moved to San Francisco 00:14:17.560 --> 00:14:19.000 align:middle line:90% and started his press. 00:14:19.000 --> 00:14:24.240 align:middle line:84% And so it should be like October or something.