100 Titles for a Project

Kristina Felix and S.E. Smith

I had an idea for a project about a thing I had a hard time describing. It had something to do with the collective work created by the Internet, the pool of information that millions author, consume and then absorb into other projects.

Internet production is so vast and varied that it is near-impossible to characterize. My problem was to find a form for the Internet, to visually describe this information pool. If the Internet has a form that describes it, maybe it looks like these collections, of everything you've ever encountered or thought to make:


Installation view of Maurizio Cattelan: All, Solomon R. Guggenheim Museum, November 4, 2011 - January 22, 2012; Photo: David Heald; © Solomon R. Guggenheim Foundation
 


Job Koelewijn, Untitled (Lemniscate), 2006; wood, books; 125 x 780 x 240 cm; photo: Erik van den Boom; image courtesy Galerie Fons Welters.
 

Then I began thinking about this thing's insides. So much of my own life happens in and around the Internet that I wonder how much of myself I leave behind and how much reflects back into my own life, if anything.


A black hole.

As I continued trying to visualize my ideas for Width and Against, I discussed them with Pastelegram editors S.E. Smith and Ariel Evans. Smith suggested she write a hundred titles for this future (now present) project. They are titles with or without underlying meaning. They point to a reality; but maybe what that reality is, isn’t clear.

Here are the titles. A few titles inspired memories of images I've taken or things I've seen that I think about a lot. I think that the process is similar to my process for Artificial Emotional Spectrometer; where I began with a word—“Internet”—or description, and tried to create art out of what might lie below that description.

* * *

100 Titles

Anxiety of Arc

A Pregnancy of Thought

Marriage Austerity

My Basketball Team Is Called Dementia Reflex

America B.C.

Universal Casket

A Gestural Comedy

Idyllic Surface

Harps with It Inside It

Grand Shocks Of

Gem Gutter

Helen Lives in an Ossuary

Blood Nude

Touch Tank

Cerebration Pigs

The Heroes Were Curious

Congratulations

Foundry Butt

Mom Life

Plastic Riddles

The In Between Two Deaths

Placate a Dog

Prairies Under Blond, Shiftless Skies

My Head Is Full of Shit

Jocular Garnish

Hyper Crystal Lake

All the People Who Want To Kiss You in a Room
Talking About Angels Re: Do They Exist?

Son Your Head Is a Bag of Snakes

Idea Anvil

Joad Called

Spring's Insensate Machinery

Glass Idiot Heads

Mutt Stuff

Indelicate Moments

Falling in Love for the First Time

Blue Maples

Matrix Case

J'accuse Tony

Woodworking Tome Left Behind

In an Avid Tone

Men Moved to Contrition

Them What That Did Die Did Die

Master of Universe

The Evilists

Embattled By No Means Cowed

A Little Closer to the Edge, My Love

Lesser Funerals of the Borgias

Frantic Bass

I Want the Thing We Have

Virgin in a Cult

The Child Archipelago

Two Blue Worlds of Roughly Equal Size

Cataleptic Sophie Is a Dragon

Vincit Omnia Veritas

Christ Is Still Talking

The Swedish Army

Duke with a Wound

A Cartesian God

Growth Spurt!

Eulogy for the Beautiful Youths

'Yes,' She Muttered Darkly

Boner Aspect

Romeo for Mayor

What Wondrous Love Is This?

Take Pills for It

Parade After Parade Ends with a Parade

Angle of Jilt

Grease Everywhere Even Inside

Gut Proof Stoner

Berries Grouped in Fours

And Thus the Abject

Sever Festival 2012

Hi Blue Eyes in Your Head

Some Blind Planet

The Evil Old

I'm Not Your Telling Horse

Girl Gets Sucked Into a Tornado While She Says,
'Oh, Wow'

Regarding Apes

Ideal Apes

The Gyre

Swum Down Then the Doubting Sailor

Asked To Swill

Black Jazz

Wind Redolent of Poppies

Farce Apparition

Autobiography of Roe

Vengeance Is Mine Saith All Assembled

Old Song Sung by Many

 

This article is part of  “Width and Against” by Kristina Felix. Other parts of this project include:

Artificial Emotional Spectrometer by Kristina Felix 
An interview with Kristina Felix 
Bodies of water: a lyric circle by Anne Marie Rooney 
And our editor’s statement

 

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