Brian Macaskill’s most recent and most intermedial work—essays that are themselves self-consciously graphic and / or musical in character—pursues as contrapuntal set of relationships points of contact among literary, pictorial, musical, architectural, mathematical, and ethical imbrications. Sometimes the pursuit is driven by consideration of intermediality in and around William Kentridge and J.M. Coetzee, both of whom perform what Kentridge calls a political art that is not political: “that is to say, ” using Kentridge’s words, “an art of ambiguity, contradiction, uncompleted gestures and uncertain endings.” Sometimes the pursuit or hunt—lodged in the derivation of fuga or “fugue” from fugere and fugare (to flee and to pursue)—is conducted through the compositional medium of an unorthodox writing that resembles fugal composition in music: JS Bach; yes, yes.
“Reading, Writing, and Shooting—Slowly: Friedrich Nietzsche, J.M. Coetzee, and Béla Tarr’s Turin Horse.” (Work in progress.)