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Abstract
An excerpt from an experimental series, "Grief Aesthetics" is a lyrical essay on intimacy and writing. The essay participates in the double black study of eroding and composing a new sentence, a new sentence sounded in refusal (of the social pact of writing, of grammar), a new sentence forged in friendship (of thinking with, of writing with). On one level, "Grief Aesthetics" is concerned with inherited grief, the remains of stolen life, the residual desire for romance in contemporary black art. The essay considers the loss of romantic love in conversation with Terence Nance's feature and short films An Oversimplification of Her Beauty and Swimming in Your Skin Again, in conversation with a single recurring line from a poem in Taylor Johnson's Inheritance. At another level, "Grief Aesthetics" is a sort of ars poetica on the process of writing and at this level is preoccupied with the poetic line, the sentence (thinking about sentences), the space in writing, the mundane moments in between the emergence of a line or series of lines and declension as it occurs in the gaps. At every turn "Grief Aesthetics" practices creating in "commonsense" (a shared feeling, a shared aesthetics) among contemporary artists whose works evoke a sense of grief, (dis)placement, loss, loneliness, homelessness, desire, tenderness, friendship, bliss.

In this interview, Kalle Lasn, founder and editor-in-chief of Adbusters magazine, discusses his magazine and the future of the Occupy movement.

The Pali canon shows a largely negative view of visual art. In ancient Indian culture, beauty is associated with sexual attraction, and has an erotic overtone. Concern with beauty conflicts with the Buddhist ideal of detachment from worldly pleasures. On the other hand Buddhists have created wonderful works of art, and monks can be painters or dancers. Pictures and performances are made as expressions of devotion, and as means of acquiring merit, and most importantly to convey a Buddhist message.