ALT I'm interested in complexity and surface effect, in pleasure and gesture. The contrary of simplification or minimalization. The kinds of subjects we become, the kinds of subjectivity we can experience, are limited by the normalizing of a political economy as aesthetics. By means of stylistic norms, we internalize censorship. The notion of use value, for example, or productivity. We all experience this discursive reduction. I have tried to counter this diminishment through the purposeful development of baroque diversification as a stylistic stance, the inclusion of as much difference as possible. There are no outcomes. When I begin something, a sentence, teaching, I have no idea how it's going to end. I'm entering a problem. I'm trying to stay with the difficulty in as many ways as possible. In this way, style is political. It defies the reduction of subjects to functions. It's where a practice, at a stylistic level within language, can be resistant.