tag:blogger.com,1999:blog-7756835447213140812023-11-16T12:08:28.645-06:00The New EnnuiNegativity. Snobbery. Rancour.Tom K.http://www.blogger.com/profile/12018301033066348809noreply@blogger.comBlogger79125tag:blogger.com,1999:blog-775683544721314081.post-75571103861287095932013-03-09T11:34:00.000-06:002013-03-09T11:34:04.119-06:00Some Music<span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;"><span style="font-size: small;">Here are some record<span style="font-size: small;">s that have been close to me th<span style="font-size: small;">e past 13 months or so. <span style="font-size: small;">Some of them are old, some <span style="font-size: small;">were released in 2012. <span style="font-size: small;">The<span style="font-size: small;">y are in no part<span style="font-size: small;">i<span style="font-size: small;">cular order:</span></span></span></span></span></span></span></span></span></span><br />
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<br />Tom K.http://www.blogger.com/profile/12018301033066348809noreply@blogger.com0tag:blogger.com,1999:blog-775683544721314081.post-11257690327331995122013-01-29T17:24:00.002-06:002013-01-29T17:24:38.184-06:00Security, Territory, Population: Hope Peterson's The Night is a Moat
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span style="font-weight: normal;">Foucault,
in his annual lecture series at the Collège de France in 1978 under
the title </span></span><span style="font-size: small;"><i><span style="font-weight: normal;">Security,
Territory, Population</span></i></span><span style="font-size: small;"><span style="font-weight: normal;">,
elaborated the dispositifs of surveillance and subjectification
familiar to readers of </span></span><span style="font-size: small;"><i><span style="font-weight: normal;">Discipline
and Punish</span></i></span><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;">
and </span></span></span><span style="font-size: small;"><i><span style="font-weight: normal;">The
Will to Know</span></i></span><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;">
with a greater emphasis on something that he considered to be
relatively recent: the technologies of security. The disciplinary
regulation of normality and abnormality has, Foucault argued in these
lectures, altered its focus from the production and control of
normalized individuals to the administration of quantifiable
populations in delimited territories based on large-scale analysis
and prediction. </span></span></span></span>
</div>
<div align="LEFT" style="margin-bottom: 0cm;">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;"> The
title of given to this lecture series is important as it serves to
highlight the thematics of Hope Peterson's installation at RAW
Gallery, </span></span></span><span style="font-size: small;"><i><span style="font-weight: normal;">The
Night is a Moat</span></i></span><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;">.
This installation is the latest articulation of an ongoing series of
investigations into security, territory, population, surveillance and
precarity under the title </span></span></span><span style="font-size: small;"><i><span style="font-weight: normal;">Threshold
Economics</span></i></span><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;">
begun in 2009. (Other findings from this artistic project have been
exhibited as part of the </span></span></span><span style="font-size: small;"><i><span style="font-weight: normal;">My
Winnipeg</span></i></span><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;">
show in Paris, Sète, Ottawa and Winnipeg). All of the work in this
series involves hand-held camera footage of the artist's apartment
and its immediate nocturnal winter environs, accompanied by a mélange
of amplified sounds all-too-well-known to any apartment dweller:
steam-radiators clanging and hissing, cars passing by, muffled voices
and footsteps, a constant mechanical pulse/whine. </span></span></span></span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"></span></span></span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"></span></span></span></div>
<div align="LEFT" style="margin-bottom: 0cm;">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;"></span></span></span></span></div>
<br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;">In
the case of </span></span></span><span style="font-size: small;"><i><span style="font-weight: normal;">The
Night is a Moat</span></i></span><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;">,
the sense of enclosure (both protective and claustrophobic) that
pervades the works comprising the </span></span></span><span style="font-size: small;"><i><span style="font-weight: normal;">Threshold
Economics</span></i></span><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;">
project is further augmented by the gallery space itself – a
basement, with its lights turned particularly low which requires
viewers to take a moment to allow their eyes to adjust to the dark. A
large video screen is mounted in a curtained-off area, thereby making
it not immediately visible from the gallery's entry, as the sound
reverberates throughout the bricked room. At first exposure to the
environment produced by Peterson's installation, we are posed a
question, or, rather, exposed to a mystery. </span></span></span><span style="font-size: small;"><i><span style="font-weight: normal;">What
is happening?</span></i></span><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;">
This sense of being involved in the investigation of a mystery is
underlined by the title of the installation, which evokes noir radio
serials of the 1940s – an important source of inspiration to the
artist. It is here that the affect of noir mystery combines with the
thematics of security, territory and population by means of two main
features in this exhibition: the deployment of surveillance and the
police.</span></span></span></span>
<br />
<div align="LEFT" style="margin-bottom: 0cm;">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;"> Peterson's
camera work primarily functions in two imbricated ways: as mimesis of
CCTV and as hand-held personal recordings (as one would record a car
accident or an assault, for example, on one's iPhone). Both of these
modes of surveillance – call them the corporate and the subjective
– are ubiquitous in the contemporary socio-political configuration;
Peterson's usage of both surveillance modes is complex. On the one
hand, we have the personal mode: the “occupant-subject,”
apparently confined to her apartment, peers through security keyholes
to record ominously-lit men standing in corridors or (as we will come
to later) being led away by the Winnipeg police. At other times, the
occupant-subject looks through windows, often with what seems to be
some trepidation; more often than not, the streets are deserted and
we are treated to imagery that are almost sensuous in their treatment
of light, shadow, colour and form. (Trees silhouetted in the night
sky, multi-coloured lights from cars and streetlamps, parking lots
whose cover of snow give them the appearance of planes of pale blue).
I say </span></span></span><span style="font-size: small;"><i><span style="font-weight: normal;">almost</span></i></span><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;">
sensuous; the video image has the graininess that characterizes
footage shot on a cellphone or the like. (This is a deliberate effect
on Peterson's part, as the footage was, in fact, shot in HD). When
the streets are not empty, there are overtones of violence: a woman
walks to her car at speed, as though fleeing someone; a man and woman
have a heated argument that threatens to become physical; policemen
arrest a man, ask questions of a woman, smoke cigarettes as they
wait. Two complementary consequences can be drawn: the
occupant-subject is in a territory that is (or is perceived to be)
threatening to her. However, she is (or perceives herself to be) in a
protective zone; she is not exposed to the violence she records. (It
is in this context that it should be pointed out that the audio
component of the installation is, despite being reminiscent at times
of David Lynch's </span></span></span><span style="font-size: small;"><i><span style="font-weight: normal;">Eraserhead</span></i></span><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;">,
actually becomes soothing and womb-like after sustained listening.)
The night is indeed a moat, that is, a protective apparatus designed
to keep a territory secure. </span></span></span></span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: small;"><br /></span></span></div>
<div align="LEFT" style="margin-bottom: 0cm;">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;"> “...and
always cops.” We have already noted the presence of the police on a
few occasions now: taking a man in the apartment into custody,
standing outside waiting. For Foucault, the development of the idea
that the state should have a police force as distinct from the
diplomatic/military apparatus is essential in securing a territory
internally by constructing a population (a quantifiable entity with
predictable tendencies) out of a group of heterogeneous people. As in
Foucault, the police serve an ambiguous function in </span></span></span><span style="font-size: small;"><i><span style="font-weight: normal;">The
Night is a Moat</span></i></span><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;">.
On the one hand, they are, as one might expect, part of a
disciplinary apparatus; the police lead away a criminal, defined as
“someone who is lead away by police.” They survey the
neighbourhood, standing by their cars with lights flashing. (The
section of the video when the cops are standing in the snow smoking
cigarettes as if waiting for something to happen is one of the more
chilling moments in the work.) On the other hand, the sections when
the police are on screen are actually few and far between, the
majority of the video spent meditating on the landscape. William
Burroughs is reported to have quipped that “a fully functioning
police state needs no police,” and so it is with </span></span></span><span style="font-size: small;"><i><span style="font-weight: normal;">The
Night is a Moat</span></i></span><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;">:
the absence of police is affected by their presence, which is to
say, the disciplinary function of the police is transformed into an
auto-security feature of the landscape itself. The sophistication of
Peterson's analysis of the contemporary structures of surveillance,
security and population-control is all the more remarkable for the
modesty of its means – image, sound, space. Thus we can only hope
to ask her again: </span></span></span><span style="font-size: small;"><i><span style="font-weight: normal;">Watcher,
what of the night?</span></i></span></span></div>
<div style="margin-bottom: 0cm; text-align: left;">
<br /></div>
<div style="margin-bottom: 0cm; text-align: left;">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: small;">Hope
Peterson – </span><span style="font-size: small;"><i>The
Night is a Moat</i></span></span></div>
<div style="margin-bottom: 0cm; text-align: left;">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: small;">RAW
Gallery of Architecture and Design</span></span></div>
<div style="margin-bottom: 0cm; text-align: left;">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: small;">290
McDermot Avenue, Winnipeg, Manitoba</span></span></div>
<div style="margin-bottom: 0cm; text-align: left;">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: small;">18
October – 10 November 2012</span></span></div>
<div style="margin-bottom: 0cm; text-align: left;">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: small;"><br /></span></span></div>
<div style="margin-bottom: 0cm; text-align: left;">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: small;">all images stills from Hope Peterson's <i>Threshold Economics</i> (2011), save the second gallery image which is courtesy of Robert Szkolnicki. </span></span></div>
<div style="margin-bottom: 0cm; text-align: left;">
<br /></div>
Tom K.http://www.blogger.com/profile/12018301033066348809noreply@blogger.com0tag:blogger.com,1999:blog-775683544721314081.post-84911075473896083582012-12-21T13:12:00.001-06:002012-12-21T13:20:24.245-06:0021 Shelters for the Apocalypse That Never Comes<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Begin by reading Giovanni Tiso's piece <a href="http://bat-bean-beam.blogspot.ca/2012/12/37-things-you-should-hoard.html" target="_blank">here</a>, and then choose how you wish to envy the dead:</span><br />
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Und die musik</span></div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/dx6BpUqJIqI?feature=player_embedded' frameborder='0'></iframe></div>
Tom K.http://www.blogger.com/profile/12018301033066348809noreply@blogger.com0tag:blogger.com,1999:blog-775683544721314081.post-42722137451121345672012-10-22T13:24:00.000-05:002012-10-22T13:24:15.470-05:00Lei Cox's Being There: Digital's Hidden Dimension<br />
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<div style="line-height: 100%; margin-bottom: 0cm;">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br /></span></div>
<div style="line-height: 100%; margin-bottom: 0cm;">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">The
importance of the transition from analogue to digital in the realm of
video art cannot be overestimated; new understandings of the status
of the digital video image were seized with a mixture of enthusiasm
and anxiety by artists seeking to explore the seemingly endless
transformative and malleable qualities of the digital image – its
capacity to be altered, its capacity to be transmitted telematically
and its capacity (or lack thereof) for representation.</span></div>
<div style="line-height: 100%; margin-bottom: 0cm;">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br />
</span></div>
<div style="line-height: 100%; margin-bottom: 0cm;">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span style="font-style: normal;">These
are some of the issues to which video artist Lei Cox addresses in his
work. A recent (partial) retrospective of his career, </span><i>Twenty-Six
Years Later (a journey to fiction and back)</i><span style="font-style: normal;"><span style="text-decoration: none;">, presented a selection of Cox's work from 1985 to the
present and included a variety of Cox's single-channel and
installation video work. However, the centrepiece of the exhibition
was a triptych entitled </span></span><i><span style="text-decoration: none;">Being
There</span></i><span style="font-style: normal;"><span style="text-decoration: none;">,
itself a composite of three separately produced but related video
works </span></span><i><span style="text-decoration: none;">Catching
Sight of Sputnik 2009/11</span></i><span style="font-style: normal;"><span style="text-decoration: none;">,
</span></span><i><span style="text-decoration: none;">Race
2010/11</span></i><span style="font-style: normal;"><span style="text-decoration: none;">
and </span></span><i><span style="text-decoration: none;">Auto
Race 2010</span></i><span style="font-style: normal;"><span style="text-decoration: none;">.
This triptych took up the major part at the end of the gallery, its
centrality signalled by the relative size of the projections (each
segment taking up an entire wall) compared to the other works which
were mounted at a distance from the central installation on much
smaller screens with headphones in order that they not interfere with
the sound of the larger works. The implication here is that the
triptych serves as a kind of summation of Cox's work to date. The
question then becomes what is this summation is being offered here,
and to what future does it point?</span></span></span></div>
<div style="line-height: 100%; margin-bottom: 0cm;">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br />
</span></div>
<div style="line-height: 100%; margin-bottom: 0cm;">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span style="font-style: normal;"><span style="text-decoration: none;">To
begin, descriptions of each of the separate videos. </span></span><i><span style="text-decoration: none;">Catch
Sight of Sputnik 2009/11</span></i><span style="font-style: normal;"><span style="text-decoration: none;">
is a characteristically mordant exploration of space-travel
conspiracy theories (e.g. the moon-landing was staged by Stanley
Kubrick etc.) In this video, Cox performs a series of dance-like
manoeuvres – literally, one small step followed by one giant leap
over and over again – in an apparently lunar landscape under a
fantastic star-filled sky at one point traversed by a
retro-futuristic rocket ship. Gradually, an important transformation
occurs: the lunar landscape gradually reveals itself to be a
terrestrial desert, with an all-too terrestrial blue sky above it.
Throughout this revealed fakery, Cox continues his Neil Armstrong
dance. </span></span>
</span></div>
<div style="line-height: 100%; margin-bottom: 0cm;">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br />
</span></div>
<div style="line-height: 100%; margin-bottom: 0cm;">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><i><span style="text-decoration: none;">Race
2010</span></i><span style="font-style: normal;"><span style="text-decoration: none;">
continues the retro-futurist demystifications of </span></span><i><span style="text-decoration: none;">Catching
Sight of Sputnik</span></i><span style="font-style: normal;"><span style="text-decoration: none;">
in a more deflationary manner. A single, diminutive toy robot
struggles to navigate its way across a desert landscape (as with
</span></span><i><span style="text-decoration: none;">Sputnik</span></i><span style="font-style: normal;"><span style="text-decoration: none;">,
shot along the Salt Lake Flats in Utah). The robot, ill-suited to
movement against so uneven a terrain, frequently falls and must be
restored to verticality by Cox until the robot-toy finally exits the
frame. Such slow, jerky movement is contrasted by the last video in
the triptych – </span></span><i><span style="text-decoration: none;">Auto
Race 2010</span></i><span style="font-style: normal;"><span style="text-decoration: none;">.
In this video, Cox drives at speed in a pick-up truck in the same
desert as the other two works. He described, during his artist talk
at the Gurevich Gallery opening, his activities as a sort of
large-scale tracery – with the movement of the truck scoring
patterns on the earth that followed the patterns of celestial events.</span></span></span></div>
<div style="line-height: 100%; margin-bottom: 0cm;">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br />
</span></div>
<div style="line-height: 100%; margin-bottom: 0cm;">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span style="font-style: normal;"><span style="text-decoration: none;">In
all three of these videos, Cox explores the malleability of digital
and “real” space by emphasizing scale: whether the quotidian
scale of a truck driving helter skelter through a desert plain,
through to the pathos-ridden miniscule scale of a toy robot, to the
astronomic scale of the faked moon-landing of the </span></span><i><span style="text-decoration: none;">Sputnik</span></i><span style="font-style: normal;"><span style="text-decoration: none;">
video. As in all of his work, Cox places himself in each of these
videos, but in different relations to the framing space: he is unseen
in the truck tracing patterns that are only visible from an air-born
view-point (significantly not shown in the </span></span><i><span style="text-decoration: none;">Auto
Race</span></i><span style="font-style: normal;"><span style="text-decoration: none;">
work); he is the giant figure picking up the toy robot (such that
only Cox's arm and leg are seen); he is the miniscule figure leaping
around a deserted planetary surface, gradually increasing in size as
the extra-terrestrial reveals its terrestrial reality until he almost
takes up the entire space of the screen. </span></span>
</span></div>
<div style="font-style: normal; line-height: 100%; margin-bottom: 0cm; text-decoration: none;">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br />
</span></div>
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<div style="font-style: normal; line-height: 100%; margin-bottom: 0cm; text-decoration: none;">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br /></span></div>
<div style="font-style: normal; line-height: 100%; margin-bottom: 0cm; text-decoration: none;">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br /></span></div>
<div style="line-height: 100%; margin-bottom: 0cm;">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span style="font-style: normal;"><span style="text-decoration: none;">What
is the function of these changes of scale? I would suggest that two
things are happening here. On the one hand, the human body –
specifically Cox's body – is digitally endowed with certain
extensions of its ability to manipulate its environment by means of
its malleability, thereby giving an unprecedentedly inventive analogy
to Marshal McLuhan's well-known theorization of the essentially
prosthetic nature of technology. On the other hand, there is a
significant extension of the the nature of the digital image itself.
The alterations of scale do not occur only at the figural level (the
artist's image) but also occur at the level of the ground against
which the figure impresses himself. While it is generally held that
the flatness of the digital image enables its malleability – as
Flusser suggests in his book </span></span><i><span style="text-decoration: none;">Into
the Universe of the Technical Image</span></i><span style="font-style: normal;"><span style="text-decoration: none;">
– Cox, by telescoping both figure </span></span><i><span style="text-decoration: none;">and</span></i><span style="font-style: normal;"><span style="text-decoration: none;">
ground, striates the smoothness of the digital image by compelling it
to reveal, in a suitably sci-fi formulation, </span></span><i><span style="text-decoration: none;">its
hidden dimension</span></i><span style="font-style: normal;"><span style="text-decoration: none;">. </span></span></span>
</div>
Tom K.http://www.blogger.com/profile/12018301033066348809noreply@blogger.com0tag:blogger.com,1999:blog-775683544721314081.post-7552550407454087342012-07-11T17:30:00.000-05:002012-07-11T17:30:28.420-05:00Fourteen Fossils<div class="separator" style="clear: both; text-align: center;">
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<br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">AKA the sex appeal of the inorganic.</span>Tom K.http://www.blogger.com/profile/12018301033066348809noreply@blogger.com0tag:blogger.com,1999:blog-775683544721314081.post-43767062914969248442012-06-28T17:56:00.000-05:002012-06-28T17:56:48.603-05:00The New Ennui Dictionary of Quotes<div class="separator" style="clear: both; font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; text-align: center;">
<span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCJ6cwJwOawXs2Qe3vujp5qg5ycl3oeuiT8ilQ9Fh5I_W2PiOy0rk7DxwC3Rb47SVp3fX5k0TrlUcruzXMUKwNLwvvbBCbxcbwCPcwZ3MvGHREi1SEMn5Mwmu1bC5Fz-uF2Aa3L2gaRE4/s1600/word9_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;">
</a></span></div>
<span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCJ6cwJwOawXs2Qe3vujp5qg5ycl3oeuiT8ilQ9Fh5I_W2PiOy0rk7DxwC3Rb47SVp3fX5k0TrlUcruzXMUKwNLwvvbBCbxcbwCPcwZ3MvGHREi1SEMn5Mwmu1bC5Fz-uF2Aa3L2gaRE4/s1600/word9_2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCJ6cwJwOawXs2Qe3vujp5qg5ycl3oeuiT8ilQ9Fh5I_W2PiOy0rk7DxwC3Rb47SVp3fX5k0TrlUcruzXMUKwNLwvvbBCbxcbwCPcwZ3MvGHREi1SEMn5Mwmu1bC5Fz-uF2Aa3L2gaRE4/s1600/word9_2.jpg" /></a></span><div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin-bottom: 0cm;">
<span style="font-size: small;"><br /></span>
</div>
<div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin-bottom: 0cm;">
<span style="font-size: small;">I depend
on the stars</span></div>
<div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin-bottom: 0cm;">
<span style="font-size: small;">and the
places of night</span></div>
<div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin-bottom: 0cm;">
<span style="font-size: small;"><br /></span>
</div>
<div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin-bottom: 0cm;">
<span style="font-size: small;">That is
what it is</span></div>
<div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin-bottom: 0cm;">
<span style="font-size: small;"><br /></span>
</div>
<div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin-bottom: 0cm;">
<span style="font-size: small;">intent
space, and</span></div>
<div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin-bottom: 0cm;">
<span style="font-size: small;">the
speed which is light, growing</span></div>
<div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin-bottom: 0cm;">
<span style="font-size: small;">past any
shape</span></div>
<div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin-bottom: 0cm;">
<span style="font-size: small;"><br /></span>
</div>
<div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin-bottom: 0cm;">
<span style="font-size: small;">the
half-door or the door </span>
</div>
<div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin-bottom: 0cm;">
<span style="font-size: small;">slightly
open</span></div>
<div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin-bottom: 0cm;">
<span style="font-size: small;"><br /></span>
</div>
<div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin-bottom: 0cm;">
<span style="font-size: small;"> this is
what happens when I move</span></div>
<div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin-bottom: 0cm;">
<span style="font-size: small;"> (or I
see motion, all of it</span></div>
<div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin-bottom: 0cm;">
<span style="font-size: small;"><br /></span>
</div>
<div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin-bottom: 0cm;">
<span style="font-size: small;"> I'm in
it</span></div>
<div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin-bottom: 0cm;">
<span style="font-size: small;"><br /></span>
</div>
<div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin-bottom: 0cm;">
<span style="font-size: small;"> the
world depopulated</span></div>
<div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin-bottom: 0cm;">
<span style="font-size: small;"> those
configurations of spirits</span></div>
<div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin-bottom: 0cm;">
<span style="font-size: small;"><br /></span>
</div>
<div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin-bottom: 0cm;">
<span style="font-size: small;"> scattered
and gone</span></div>
<div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin-bottom: 0cm;">
<span style="font-size: small;"><br /></span>
</div>
<div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin-bottom: 0cm;">
<span style="font-size: small;"> so to
disappear</span></div>
<div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin-bottom: 0cm;">
<span style="font-size: small;"><br /></span>
</div>
<div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin-bottom: 0cm;">
<span style="font-size: small;"> this
side of the road</span></div>
<div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin-bottom: 0cm;">
<span style="font-size: small;"><br /></span>
</div>
<div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin-bottom: 0cm;">
<span style="font-size: small;"> nothing</span></div>
<div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin-bottom: 0cm;">
<span style="font-size: small;"><br /></span>
</div>
<div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin-bottom: 0cm;">
<span style="font-size: small;"> I want
room</span></div>
<div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin-bottom: 0cm;">
<span style="font-size: small;"><br /></span>
</div>
<div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin-bottom: 0cm;">
<span style="font-size: small;"><br /></span>
</div>
<div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin-bottom: 0cm;">
Larry Eigner, "For Sleep"<br /><span style="font-size: small;"><span style="font-style: normal;"></span></span></div>
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<span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCJ6cwJwOawXs2Qe3vujp5qg5ycl3oeuiT8ilQ9Fh5I_W2PiOy0rk7DxwC3Rb47SVp3fX5k0TrlUcruzXMUKwNLwvvbBCbxcbwCPcwZ3MvGHREi1SEMn5Mwmu1bC5Fz-uF2Aa3L2gaRE4/s1600/word9_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></span></div>
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<span style="font-size: small;"><br /></span></div>Tom K.http://www.blogger.com/profile/12018301033066348809noreply@blogger.com0tag:blogger.com,1999:blog-775683544721314081.post-63436083349215629862012-06-05T22:21:00.000-05:002012-06-05T22:21:17.121-05:00Database as Cultural Dominant<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">"Computer assisted technologies have allowed us to look deeper into matter and out into space, to elicit or construct meaningful patterns, rhythms, cycles, correspondences, interrelationships and dependencies at all levels."</span><br />
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"> "Computational systems have led us to an understanding of how the design and construction of our world could constitute an emergent process, replacing the old top-down approach with a bottom-up methodology. Nano science has been particularly suggestive in this, as well as other, even more challenging respects."</span><br />
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">"Telematic systems have enabled is to distribute ourselves over multiple locations, to diversify our identity, to extend our reach over formidable distances with formidable speed."</span><br />
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">"After the novel, and subsequently cinema privileged narrative as he key form of cultural expression of the modern age, the computer age introduces its correlate - database. Many new media objects do not tell stories; they don't have a beginning or end; in fact, they don't have any development, thematically, formally or otherwise which would organize their elements into a sequence. Instead, they are collections of individual items, where every item has the same significance as any other."</span><br />
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">"The data stored in a database is organized for fast search and retrieval by a computer and therefore it is anything but a simple collection of items. Different types of databases - hierarchical, network, relational and object oriented - use different models to organize data."</span><br />
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">"New media objects may or may not employ these highly structured database models; however, from the point of view of user's experience a large proportion of them are databases in a more basic sense. They appear as collections of items on which the user can perform various operations: view, navigate, search."</span><br />
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">"Following art historian Ervin Panofsky's analysis of linear perspective as a 'symbolic form' of the modern age, we may even call the database a new symbolic form of a computer age..., a new way to structure our experience of ourselves and the world. Indeed, after the death of God (Nietzsche), the end of grand narratives of Enlightenment (Lyotard) and the arrival of the Web (Tim Berners-Lee), the world appears to us as an endless and unstructured collection of images, texts and other data records, it is only appropriate that we will be moved to model it as a database."</span><br />
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">"The world is reduced to two kinds of software objects which are complementary to each other: data structures and algorithms. Any process or task is reduced to an algorithm, a final sequence of simple operations which a computer can execute to accomplish a given task. Any any object in the world - be it the population of a city, or the weather over the course of a century, a chair, a human brain - is modeled as a data structure, i.e. data organized in a particular way for efficient search and retrieval."</span><br />
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">"Algorithms and data structures have a symbiotic relationship. The complex the data structure of a computer program, the simpler the algorithm needs to be, and vice versa. Together, data structures and algorithms are two halves of the ontology of the world according to a computer."</span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: x-small;">Texts by Roy Ascott's "Introduction", </span><span style="font-size: x-small;"><i style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">Engineering Nature: Art and Consciousness in the Post-Biological Era</i><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"> and Lev Manovich, </span><i style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">The Language of New Media. </i></span></div>
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"></span>Tom K.http://www.blogger.com/profile/12018301033066348809noreply@blogger.com0tag:blogger.com,1999:blog-775683544721314081.post-41311781149214143152012-05-20T14:48:00.000-05:002012-05-20T14:48:01.782-05:00Images Workbook<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">This blog isn't becoming a found images blog, I can promise you. These are just some hopefully inspirational images for what I'm working on that will help me come up with <a href="http://vpmediaconf.com/conference-speakers/tom-kohut/" target="_blank">this</a>.</span> <span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">So it may not make a lot of sense to casual readers, but trust me, I know what I'm doing. (Ha!)</span>Tom K.http://www.blogger.com/profile/12018301033066348809noreply@blogger.com0tag:blogger.com,1999:blog-775683544721314081.post-7295298536708924632012-05-19T23:40:00.001-05:002012-05-19T23:48:58.660-05:00Thirteen Satellite Dishes<div class="separator" style="clear: both; text-align: center;">
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<br />Tom K.http://www.blogger.com/profile/12018301033066348809noreply@blogger.com0tag:blogger.com,1999:blog-775683544721314081.post-82059729400074359322012-05-10T18:37:00.004-05:002012-05-10T18:37:59.463-05:0023 Corridors<div class="separator" style="clear: both; text-align: center;">
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(<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">With apologies to Dennis Cooper, from whom the idea for this was stolen.)</span>Tom K.http://www.blogger.com/profile/12018301033066348809noreply@blogger.com0tag:blogger.com,1999:blog-775683544721314081.post-69153821086681532612012-03-06T17:28:00.010-06:002012-03-06T17:42:23.251-06:00Zeroing in on McLuhans's Politics<p style="margin-bottom: 0cm"><span >[These are pretty scattered remarks that are more exploratory; they are not a Statement on Marshall McLuhan.]</span></p><p style="margin-bottom: 0cm"><span ><img style="cursor:pointer; cursor:hand;width: 191px; height: 303px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ91j2uio2-U_BorGPrcednFCmPHpjXeoaf7g94fSCtd8JpXkHLTk2_0NrcHbx-YPua74xXNdbJtnPyAph2kf-hoOOhAJRYsW7sJ87SSvP7OBmaXwhGs6RRssbMII-eMx8zfYexzWePUY/s320/mcluhangoespostal.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5716931202295661602" /></span></p><p style="margin-bottom: 0cm"><span ><span>Marshal McLuhan and Walter Benjamin often sound eerily similar, to the point at which it is impossible to evade the feeling that McLuhan is verging on plagiarism. (For example, his note on the influence of newspaper layout on avant-garde poetry seems to ripped out of xxBenjamin`s essay, with Joyce and Eliot standing in for McLuhan where Mallarmé stands for Benjamin.) There is, of course, no evidence as to whether McLuhan, despite his evident erudition, had ever read Benjamin, whose critical stock has only been at its current standard in the last twenty or so years. </span> </span></p> <p style="margin-bottom: 0cm"><span ><span>What are their points of convergence? Clearly, they believe the form of media conveys as much, if not more, significance than the content of the media. Furthermore, they see new media like film or the popular press having social effects in advance of social movements </span><span><i>per se</i></span><span>; change in the dominant media experienced by the general populace/the masses leads inexorably to social change, for better or worse. This is the sense of which both Benjamin and McLuhan speak of their investigation as an analysis of the dream life of the collective.</span></span></p> <p style="margin-bottom: 0cm"><span >Points of difference might be understood at a very basic level of the difference between Benjamin`s Messianic Marxism, to use Derrida`s phrase, and McLuhan`s less definable political leanings. In fact, it is exceedingly difficult to place McLuhan politically. His political divisions, despite the protestations of the immediacy and global village, are typical of that of the Cold War: the U.S. and the Russians; the U.S. and Europe; the U.S., Canada and England; the First World and the Third World (particularly Africa's putatively pre-literate, “tribal” nature). There is little to condemn here; McLuhan is simply, if somewhat uncritically, accepting the terms of how the world was divided in the 1950s and 1960s.</span></p> <p style="margin-bottom: 0cm"><span ><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR1ALAuPrPHv4nMRAi_Y2IPYMw4AdS9xDrf3FwSAZRPmKn2ztq8ismhS6yVCLIOPfTx4XLKHci-o6LoOwCRv1Qn1UMta0cprJ0q5Ki4P62T7i5V53GYhNkCHs_Hif0YQ-qLraCbit1K7s/s1600/image002.jpg"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR1ALAuPrPHv4nMRAi_Y2IPYMw4AdS9xDrf3FwSAZRPmKn2ztq8ismhS6yVCLIOPfTx4XLKHci-o6LoOwCRv1Qn1UMta0cprJ0q5Ki4P62T7i5V53GYhNkCHs_Hif0YQ-qLraCbit1K7s/s320/image002.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5716931680368234642" style="cursor: pointer; width: 271px; height: 320px; " /></a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrQ870VuwCGbPFArIC4gbCyrCyZpTzju1gfnCG6ynhkb26kQWXTSb06cghk_4Cgxl1lZ_2q4AQYfDtoJx_k0FDfok0HPk_NMm8MkeDgbH4-irL_4wCV9bLC2GkDW1_YuyI1KgV1D9kCao/s1600/image004.jpg"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrQ870VuwCGbPFArIC4gbCyrCyZpTzju1gfnCG6ynhkb26kQWXTSb06cghk_4Cgxl1lZ_2q4AQYfDtoJx_k0FDfok0HPk_NMm8MkeDgbH4-irL_4wCV9bLC2GkDW1_YuyI1KgV1D9kCao/s320/image004.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5716932161798075042" style="cursor: pointer; width: 302px; height: 320px; " /></a></span></p> <p style="margin-bottom: 0cm"><span ><span>To be sure, McLuhan is no Marxist. His references to Marx are, as with his references to Freud and psychoanalysis in general, cursory at best, and often dismissive. He notes: “...[w]</span><span>edded as they are to nineteenth-century industrial technology as the basis of class liberation, nothing could be more subversive of the Marxian [sic] dialectic than the idea that linguistic media shape social development, as much as do the means of production” (</span><span><i>Understanding Media</i></span><span>), suggesting that Marx, in his study of nineteenth century industrial forms, erred in his lack of attention to technology as a source of social change without reference to the specific configurations that these technologies might have taken at a particular historical juncture. To put it very roughly: Marx saw economic configurations, as embodied in base and superstructure and in class formations, as the basis for describing a sociopolitical situation as well as predicting its future configurations. McLuhan, on the other hand, asserts that prior to economic configurations come the technological developments that make these configurations possible. Therefore, technology is the base, with the rest as superstructural development. </span> </span></p> <p style="margin-bottom: 0cm"><span ><span>There is, as is a tediously well-known fact, a founding ambivalence to McLuhan's attitude towards technology. Its a bit of a shock to read his early work </span><span><i>The Mechanical Bride: Folklore of Industrial Man</i></span><span> (1951, thirteen years before </span><span><i>Understanding Media</i></span><span>), not the least of which for its surprisingly paternalistic dismissal of popular culture that is part and parcel with the vast tide of contemporary denunciations of comic books, advertisements, “the Great Books” etc.. </span><span><i>The Mechanical Bride</i></span><span>, unlike analogous jeremiads from on high on the people deluded enough to enjoy quizz shows, has the virtue of being hilariously funny – for the :Men of Distinction” section about whiskey ads, we have the question: “Why pick on the arts? Hasn't anyone in science or industry ever distinguished themselves by drinking whiskey?”, or , in an earlier section: “Are you the shy type? Then say it with tanks.” The sense that the mass media technologies have a liberatory potential, despite their current use for control through infantilized consumption, is not yet present in here. One further question to be addressed, then, perhaps in a later post, would be to investigate where the rupture in McLuhan's thinking occurs. </span><span><i>Guttenberg Galaxy</i></span><span>? The widespread availability of televisions that increased exponentially in the 1950s?</span></span></p> <p style="margin-bottom: 0cm"><span ><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC5XESCAiIrqggaKlwnJ42-O_Nqu01hHkinYSERsV44tdhmhwoegfVc4BlN_3jsGi4nBhtCS44-DkWFE21Z5of6e_DOEuO88Q98BJMcDz6_A_RuXxPaEgmgJEtnKI-WOAQiVV6NJDrneg/s1600/wall.jpg"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC5XESCAiIrqggaKlwnJ42-O_Nqu01hHkinYSERsV44tdhmhwoegfVc4BlN_3jsGi4nBhtCS44-DkWFE21Z5of6e_DOEuO88Q98BJMcDz6_A_RuXxPaEgmgJEtnKI-WOAQiVV6NJDrneg/s320/wall.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5716932698215922706" style="cursor: pointer; width: 320px; height: 226px; " /></a> </span></p> <p style="margin-bottom: 0cm"><span ><span>To return to the question of politics, McLuhan certain seems to align himself, at one point anyways, with the cultural conservativism that flourished in North America in the 1950s: suspicion towards pop culture, faith in the inherent, if not </span><span><i>oracular</i></span><span>, nature of high art. This brings McLuhan into frightening proximity with Cold War axiomatics: Richard Elman, in his book </span><span><i>The Aesthetics of the CIA</i></span><span>, notes that: “...the CIA not only engaged in a cultural cold war in the abstract and purely pragmatic way, but that they had very definite aims in view, and they had a very definite aesthetic: the stood for High Culture.”</span><sup><span><a class="sdfootnoteanc" name="sdfootnote1anc" href="http://www.blogger.com/post-create.g?blogID=775683544721314081#sdfootnote1sym"><sup>1</sup></a></span></sup><span> But, despite McLuhan's anti-Marxism, there is still a progressive element to McLuhan's </span><span><i>Understanding Media</i></span><span> in its espousal of what were by that time becoming important sources of the social movements of the 1960s: youth movements, Civil Rights and feminism. While McLuhan does not quite abjure the pose of High Cultural mandarin looking down on the antics of the children below, his views on mass culture have clearly softened up somewhat – </span><span><i>viz.</i></span><span> the references to Bob Dylan and the photo of the Exploding Plastic Inevitable that make up parts of </span><span><i>The Medium is the Massage</i></span><span>. But this will have to wait for a further post.</span></span></p><p style="margin-bottom: 0cm"><span ><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTPLZraJQnVhyphenhyphen-WnEiY_Q7OtW5DakR2RhzoRyKVLuKTKX7oDCdat601RIjlsUELsSKpGMLvs0XhsKRZ8lHivo8TFMOAHmSFoDdEsl11VKVzlz4UuJFienZc9xQ6yvukNMSo4LyXdPRbq0/s1600/2628242.jpg"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTPLZraJQnVhyphenhyphen-WnEiY_Q7OtW5DakR2RhzoRyKVLuKTKX7oDCdat601RIjlsUELsSKpGMLvs0XhsKRZ8lHivo8TFMOAHmSFoDdEsl11VKVzlz4UuJFienZc9xQ6yvukNMSo4LyXdPRbq0/s320/2628242.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5716933237748829218" style="cursor: pointer; width: 320px; height: 220px; " /></a> </span></p> <div id="sdfootnote1"> <p class="sdfootnote"><span ><a class="sdfootnotesym" name="sdfootnote1sym" href="http://www.blogger.com/post-create.g?blogID=775683544721314081#sdfootnote1anc">1</a>Quoted in Faces Stonor Saunders's sobering <i>The Cultural Cold War: The CIA and the World of Arts and Letters</i>. The documentation of the deliberate manipulation of the “non-Communist Left” and almost every seemingly apolitical art movement in the second half of the twentieth century – dodecaphonic music, Abstract Expressionism and <i>Encounter</i> being examples – is extensive, with everyone from Bertrand Russel to Igor Stravisnsky seeming to have accepted CIA coin. As I say, its a sobering read.</span></p> </div><p></p>Tom K.http://www.blogger.com/profile/12018301033066348809noreply@blogger.com0tag:blogger.com,1999:blog-775683544721314081.post-60084698689180935962011-11-10T17:39:00.004-06:002011-11-10T17:48:50.198-06:00The New Ennui Dictionary of Quotes<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRHfDL7NICdhbi7wPE726AFzCE4i9niQhw3LxUy1EXyeHPR3UGj_G25USu4UBqDzVfWuHev0nZVGbsdwUZsCYiQu0g03VS7Pu4M_ukGH0LYU5IYoBYUxsk-8w4G5RtN4w_cu3Z4E2fyZU/s1600/Leaving.jpg"><img style="cursor: pointer; width: 244px; height: 422px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRHfDL7NICdhbi7wPE726AFzCE4i9niQhw3LxUy1EXyeHPR3UGj_G25USu4UBqDzVfWuHev0nZVGbsdwUZsCYiQu0g03VS7Pu4M_ukGH0LYU5IYoBYUxsk-8w4G5RtN4w_cu3Z4E2fyZU/s320/Leaving.jpg" alt="" id="BLOGGER_PHOTO_ID_5673516723662927378" border="0" /></a><br /><br /><span style="font-family:arial;">"Being exhausted is much more than being tired. It's not just tiredness, I'm not just tired, in spite of the climb.' The tired person no longer has any (subjective) possibility at his disposal; he therefore cannot realize the slightest (objective) possibility. But the latter remains, because one can never realize the whole of the possible; in fact, one even creates the possible to the extent that one realizes it. The tired person has merely exhausted the realization, whereas the exhausted person exhausts the whole of the possible. The tired person can no longer realize, but the exhausted person can no longer possibilize. 'That the impossible should be asked of me, good, what else would be asked of me.' There is no longer any possible; a relentless Spinozism. Does he exhaust the possible because he himself is exhausted, or is he exhausted because he has exhausted the possible? He exhausts himself in exhausting the possible, and vice-versa. He exhausts that which, in the possible, <span style="font-style: italic;">is not realized</span>. He has done with the possible, beyond all tiredness, 'for to end yet again.'"<br /><br />Gilles Deleuze, "The Exhausted"<br /></span>Tom K.http://www.blogger.com/profile/12018301033066348809noreply@blogger.com1tag:blogger.com,1999:blog-775683544721314081.post-11705325583970871362011-11-03T12:29:00.004-05:002011-11-03T12:43:51.612-05:00The New Ennui Dictionary of Quotes<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiezcVejf98o0zFiJzOT3QfPp8VfsikYOomm54BUkFiea-pVGHoq1ZDlD3uUSi1hKdosY9ho4S8FCnl65tMzC2hL9_wObx0586U-3KuFgAtU2j1lqjI9G-noqDb-y-T6AYfQ4GzCwZcCA4/s1600/22.jpg"><img style="cursor: pointer; width: 320px; height: 250px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiezcVejf98o0zFiJzOT3QfPp8VfsikYOomm54BUkFiea-pVGHoq1ZDlD3uUSi1hKdosY9ho4S8FCnl65tMzC2hL9_wObx0586U-3KuFgAtU2j1lqjI9G-noqDb-y-T6AYfQ4GzCwZcCA4/s320/22.jpg" alt="" id="BLOGGER_PHOTO_ID_5670823517266419234" border="0" /></a><br /><br /><span style="font-family: arial;">Forever be accursed the star under which I was born, may no sky protect it, let in crumble in space like dust without honour! And let the traitorous moment that cast me among the creatures be forever erased from the lists of Time! My desires can no longer deal with this mixture of life and death in which eternity daily rots. Weary of the future, I have traversed its days, and yet I am tormented by the intemperance of unknown thirsts. Like a frenzied sage, dead to the world and frantic against it, I invalidate my illusions only to irritate them the more. This exasperation in an unforeseeable universe - where nonetheless everything repeats itself - will it ever come to an end? How long must I keep telling myself: "I loathe this life I idolize?" The nullity of our deleriums makes us all so many gods subject to an insipid fatality. Why rebel any longer against the symmetry of this world when Chaos itself can only be a <span style="font-style: italic;">system</span> of disorders? Our fate being to rot with the continents and the stars, we drag on, like resigned sick men, and to the end of time, the curiosity of a denouement that is forseen, frightful and vain.<br /><br /> - E. M. Cioran, <span style="font-style: italic;">A Short History of Decay</span><br /></span>Tom K.http://www.blogger.com/profile/12018301033066348809noreply@blogger.com0tag:blogger.com,1999:blog-775683544721314081.post-63839514239367418472011-11-02T18:54:00.004-05:002011-11-02T19:00:36.736-05:00The New Ennui Dictionary of Quotes<span style=";font-family:arial;font-size:100%;" ><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiSVNBj7ttNVLl0IYuhNSQLGcXzsHkZOYd-r7Hng_AqNYysys3eyo6agBjUofHLQ2CPTyHyHtR4lwbW74LRHMfBvO6fSjF4exJjFf-NxAjdUs66wVx3ndx8ACdS5ZBlAJBT0p0MMkseWE/s1600/snow_storm_blizzards-12412.jpg"><img style="cursor: pointer; width: 342px; height: 256px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiSVNBj7ttNVLl0IYuhNSQLGcXzsHkZOYd-r7Hng_AqNYysys3eyo6agBjUofHLQ2CPTyHyHtR4lwbW74LRHMfBvO6fSjF4exJjFf-NxAjdUs66wVx3ndx8ACdS5ZBlAJBT0p0MMkseWE/s320/snow_storm_blizzards-12412.jpg" alt="" id="BLOGGER_PHOTO_ID_5670551887737136946" border="0" /></a><br /><br /></span> <style>@font-face { font-family: "Times New Roman"; }p.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0in 0in 0.0001pt; font-size: 12pt; font-family: "Times New Roman"; }table.MsoNormalTable { font-size: 10pt; font-family: "Times New Roman"; }div.Section1 { page: Section1; }</style> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:85%;">Life is only science now. The science of the sciences. Now we are suddenly taken up with nature. We have become intimate with the elements. We have put reality to the test. Reality has put <i>us</i></span><span style="font-size:85%;"> to the test. We now know the laws of nature, the infinite High laws of nature, and we an study them in reality and in truth. We no longer have to rely on assumptions. When we look into nature, we no longer see ghosts. We have written the boldest chapters in the book of world history, everyone of us has written it <i>for himself</i></span><span style="font-size:85%;"> in fright and deathly fear and none of us of our own free will, nor according to his own taste, but following the laws of nature, and we have written this chapter behind the backs of our blind fathers and our foolish teachers, behind our own backs; after so much that has been endlessly long and dull, the shortest and most important. </span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:85%;"> </span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:85%;">We are frightened by the clarity <i>out of which our world suddenly is born</i></span><span style="font-size:85%;">, our world of science; we freeze in this clarity; but we wanted this clarity, we evoked it; so we cannot complain now that the cold reigns and we’re freezing. The cold increases with the clarity. This clarity and this cold will now rule us. The science of nature will give us greater clarity and will be far colder than we can imagine.</span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:85%;"> </span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:85%;">Everything will be clear, a clarity that increases and deepens unending, and everything will be cold, a coldness that intensifies ever more horribly. In the future we will have the impression of a day that is endlessly clear and endlessly cold.</span></p><p class="MsoNormal" style="font-family:arial;"><span style="font-size:85%;"><br /></span></p><p class="MsoNormal"><span style="font-family:Helvetica;"><span style=";font-family:arial;font-size:85%;" >Thomas Bernhard, Speech at the Award Ceremony for the Literature Prize of the Free Hanseatic City of Bremen</span><br /></span></p>Tom K.http://www.blogger.com/profile/12018301033066348809noreply@blogger.com0tag:blogger.com,1999:blog-775683544721314081.post-35493840326420449682011-06-20T23:31:00.003-05:002011-06-21T00:00:11.235-05:00The New Ennui Dictionary of Quotes<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD_8yGDyDnpGF5Ub12yuISt4pWnODQQUh5bPhfaucWduXAViBRs8wpSXioVfSUrud5fHgsjhHSvgVelCjLIJ_26aWHKlCbjUJlFAW6A1w_xLK6G5uLpnwtjqR_mHXweVyABnsGhBPe8Hw/s1600/ps342975_l.jpg"><img style="cursor:pointer; cursor:hand;width: 255px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD_8yGDyDnpGF5Ub12yuISt4pWnODQQUh5bPhfaucWduXAViBRs8wpSXioVfSUrud5fHgsjhHSvgVelCjLIJ_26aWHKlCbjUJlFAW6A1w_xLK6G5uLpnwtjqR_mHXweVyABnsGhBPe8Hw/s320/ps342975_l.jpg" alt="" id="BLOGGER_PHOTO_ID_5620533326108718322" border="0" /></a><br /><span style="font-family:arial;"><br />"There is nothing innocuous left. The little pleasures, expressions of life that seemed exempt from the responsibility of thought, not only have an element of defiant silliness, of callous refusal to see, but directly serve their dialectical opposite. Even the blossoming tree lies the moment is bloom is seen without the shade of terror; even the innocent 'How lovely!' becomes an excuse for an existence outrageously unlovely, and there is no beauty or consolation except in the gaze falling on horror, withstanding it, and in the unalleviated consciousness of negativity holding fast to the possibility of what is better. Mistrust is called for in the space of all spontaneity, impetuosity, all letting oneself go, for it implies pliancy towards the superior might of the existent. The malignant deeper meaning of ease, once confined to toasts of conviviality, has long since spread to more appealing impulses. The chance conversation on a train, when, to avoid dispute, one consents to a few statements that one knows ultimately to implicate murder, is already a betrayal; no thought is immune against communication, and to utter it in the wrong place and in wrong agreement is enough to undermine its truth. Every visit to the cinema leaves me, against all my vigilance, stupider and worse. Sociability itself connives at injustice by pretending that in this chill world we can still talk to each other, and the casual amiable remark contributes to perpetuating silence, that concessions made to the interlocutor debase him once more in the person of speaker. The evil principle that was always latent in affability unfurls its bestiality in the egalitarian spirit. Condescension, and thinking oneself no better, are the same. To adapt to the weakness of the oppressed is to affirm in it the pre-condition of power, and to develop in oneself the coarseness, insensibility and violence needed to exert domination.... For the intellectual, inviolable isolation is now the only way of showing some measure of solidarity. All collaboration, all the human worth of social mixing and participation, merely masks a tacit acceptance of inhumanity. It is the sufferings of men [sic] that should be shared: the smallest step towards their pleasures is one towards the hardening of their pains."<br /> - Theodore Adorno, <span style="font-style: italic;">Minima Moralia</span><br /></span>Tom K.http://www.blogger.com/profile/12018301033066348809noreply@blogger.com0tag:blogger.com,1999:blog-775683544721314081.post-50300452621875438202010-12-29T12:50:00.004-06:002010-12-29T12:57:41.077-06:00A New Ennui Happy Holiday Message<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWBkjg_SqRfEoM6r_GflmDTXwoTjGjNTdlPUNfBu6BdvgER0tC2eYjbthkOkBIY_P9j8EY_KsrbTtmB4NY_en02tbot-XCL_G_wCSiJ2-o3NNAtmbvQCm54TjAojWCttlmZDd8k09x8Yk/s1600/untitled.bmp"><img id="BLOGGER_PHOTO_ID_5556179854891568402" style="WIDTH: 320px; CURSOR: hand; HEIGHT: 298px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWBkjg_SqRfEoM6r_GflmDTXwoTjGjNTdlPUNfBu6BdvgER0tC2eYjbthkOkBIY_P9j8EY_KsrbTtmB4NY_en02tbot-XCL_G_wCSiJ2-o3NNAtmbvQCm54TjAojWCttlmZDd8k09x8Yk/s320/untitled.bmp" border="0" /></a><br /><div><span style="font-family:arial;"></span></div><div><span style="font-family:arial;"></span></div><div><span style="font-family:arial;"></span></div><div><span style="font-family:arial;">"Anyways, these ideas or feelings or ramblings had their satisfactions. They turned the pain of others into memories of one's own. They turned pain, which is natural, enduring and eternally triumphant, into personal memory, which is human, brief and eternally elusive. They turned a brutal story of injustice and abuse, an incoherent howl with no beginning or end, into a neatly structured story in which suicide was always held out as a possibility. They turned flight into freedom, even if freedom meant no more than the perpetuation of flight. They turned chaos into order, even if it was at the cost of what is commonly known as sanity."</span></div><br /><div><span style="font-family:Arial;">- Roberto Bolano, <em>2666</em></span></div><br /><div><em><span style="font-family:Arial;"></span></em></div><br /><div></div><br /><div></div>Tom K.http://www.blogger.com/profile/12018301033066348809noreply@blogger.com1tag:blogger.com,1999:blog-775683544721314081.post-80310240978204553142010-11-12T13:12:00.004-06:002010-11-12T13:18:55.468-06:00Now You Know<span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size: small;">Cleaning up the spam in revealed this little gem: </span></span><div><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size: small;"><br /></span></span><div><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size: small;"> </span></span></div><div><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="border-collapse: collapse; color: rgb(51, 51, 51); line-height: 18px; -webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family:'trebuchet ms';"><span class="Apple-style-span" style="font-size: small;">I love coming here and reading about all the intresting things on this site everyday. There is nothing better than learning how to make money online and coming here re</span><span class="Apple-style-span" style="border-collapse: separate; color: rgb(0, 0, 0); line-height: normal; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; font-family:Georgia;"><span class="Apple-style-span" style="border-collapse: collapse; color: rgb(51, 51, 51); line-height: 18px; -webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family:'trebuchet ms';"><span class="Apple-style-span" style="font-size: small;">ally helps.</span></span></span></span></span></div><div><br /></div><div><br /></div><div><span class="Apple-style-span" style="border-collapse: collapse; color: rgb(51, 51, 51); line-height: 18px; -webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px;font-family:'trebuchet ms';font-size:15px;"><span class="Apple-style-span" style="border-collapse: separate; color: rgb(0, 0, 0); line-height: normal; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; font-family:Georgia;font-size:16px;"><img style="cursor:pointer; cursor:hand;width: 238px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjch8M_Qd457Rcv6gxg8Iqb_4mQ4wJkOIVWmdOjAqKYsHr65kMTUugbCnGn3GzbPmExQGYAWWepcnJxsIkk8cfdzTd0VTqgzVdwABiQWJ51RwDL8jekXfLJwo9ml1QInBnCAw-QZaTPSIQ/s320/sluggo+ennui.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5538744080001143522" /></span><br /></span></div><div><span class="Apple-style-span" style="font-family:arial;"><br /></span></div><div><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size: small;">Anything I can do to help!</span></span></div><div><span class="Apple-style-span" style="font-family:arial;"> </span></div><div><span class="Apple-style-span" style="font-family:arial;"> </span></div></div>Tom K.http://www.blogger.com/profile/12018301033066348809noreply@blogger.com0tag:blogger.com,1999:blog-775683544721314081.post-90703364121080787672010-11-12T13:02:00.004-06:002010-11-12T13:05:39.058-06:00send + receive v. 12<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXZ2GFMBivLXq-7g8zncBSC41dIgG2bAYf5gcATqfIhn6Xwo_FcvUaA-9A4fwyHnOweRD09y-RhK6_6I7Y_TWIzkCtenZQXwy-Ax8L2Chjes-om1Eqqnc7sFOvMD8TKIElkfjaV83A-7k/s1600/v12-poster-lo.jpg"><img style="cursor:pointer; cursor:hand;width: 207px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXZ2GFMBivLXq-7g8zncBSC41dIgG2bAYf5gcATqfIhn6Xwo_FcvUaA-9A4fwyHnOweRD09y-RhK6_6I7Y_TWIzkCtenZQXwy-Ax8L2Chjes-om1Eqqnc7sFOvMD8TKIElkfjaV83A-7k/s320/v12-poster-lo.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5538740957660978274" /></a><br /><div><br /></div><div><span class="Apple-style-span" style="font-family: Arial; font-size: 14px; "><p class="MsoNormal"><strong>For the 12</strong><sup><strong>th</strong></sup><strong> edition of send + receive, we are tying together threads of approaches with a loose </strong><em><strong>string and wire</strong></em><strong> theme…</strong></p><p class="MsoNormal">Where wires are a constant at send + receive, simply by the nature of electronics and electricity, this year’s focus is unique in its extension from wires to strings and their uses in sonic exploration. We will see stringed instruments played in unorthodox ways by eminent and singular prepared guitarist <strong><span style="color: rgb(217, 47, 58); ">Keith Rowe</span></strong> (UK), multi-faceted experimental violinist <strong><span style="color: rgb(220, 54, 91); ">C </span></strong><strong><span style="color: rgb(217, 47, 58); ">Spencer Yeh</span></strong> (US), earth-shaking drone violinist <strong><span style="color: rgb(217, 47, 58); ">Anju Singh</span></strong> (VAN), and riveting tonal guitarist <strong><span style="color: rgb(217, 47, 58); ">Oren Ambarchi</span></strong><span style="color: rgb(217, 47, 58); "> </span>(AU).</p><p class="MsoNormal">We will see piano wire used as a conducting instrument in a play on the historic minimalist work ‘music on a long thin wire’ by Alvin Lucier, in our Friday daytime installation <em>Alvin Lucifer</em> by Ontario artists living abroad,<strong><span style="color: rgb(217, 47, 58); ">Brian Joseph Davis</span></strong><strong> </strong>and<strong> </strong><strong><span style="color: rgb(217, 47, 58); ">Steven Kado</span></strong>.</p><p class="MsoNormal">Wires and electric currents are quintessential to the above mentioned artists as well as to performers like <strong><span style="color: rgb(217, 47, 58); ">Erin Sexton</span></strong> (MTL), with her hand built oscillators, Montreal group <strong><span style="color: rgb(217, 47, 58); ">Artificiel</span></strong><span style="color: rgb(217, 47, 58); "> </span>with their sonic and visual illustration of electricity through their hand-built Tesla coil, and to the distorted resonances of <strong><span style="color: rgb(217, 47, 58); ">Michel Germain</span></strong>’s (WPG) cymbal tones.</p><p class="MsoNormal">For more information, click <a href="http://www.sendandreceive.org/sr-v12.html">here</a>! I'll be there every night, and so should you.</p></span></div>Tom K.http://www.blogger.com/profile/12018301033066348809noreply@blogger.com0tag:blogger.com,1999:blog-775683544721314081.post-20318082647958208982010-09-06T17:31:00.004-05:002010-09-06T17:39:00.427-05:00Put the Book Back on the Shelf 3: The Kindly Ones, Jonathan Littell<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVM_s80yv1ux2IfPiSdPWY7GmlXS5Bse6uFPXMOKoPyH1phh8-iflXZNauCvEVH3vuzC52vW2l2Q_Xv-r82B-hywAhez8DVs_IWJfB_Sm49nzsriTq3H2q7R_m5chUeI3byNr1wNacPE4/s1600/the+kindly+ones.jpg"><img style="cursor: pointer; width: 210px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVM_s80yv1ux2IfPiSdPWY7GmlXS5Bse6uFPXMOKoPyH1phh8-iflXZNauCvEVH3vuzC52vW2l2Q_Xv-r82B-hywAhez8DVs_IWJfB_Sm49nzsriTq3H2q7R_m5chUeI3byNr1wNacPE4/s320/the+kindly+ones.jpg" alt="" id="BLOGGER_PHOTO_ID_5513932783446709378" border="0" /></a><br /><span style="font-family:arial;"><br />[These are really brief notes on an enormous book that was sparked by Douglas Murphy's <a href="http://youyouidiot.blogspot.com/2010/08/end-of-world-unique-each-time.html">post</a>.]<br /><br />For a book that deals with some of the worst moments in human history, the most surprising thing to me about <span style="font-style: italic;">The Kindly Ones</span> was how difficult it was to put down. Douglas Murphy supplies a few reasons – the mythological underpinnings, the Forrest Gumpery. The latter is particularly effective, for although Maximillian Au is no ingénue, there is something of the Good Soldier Schwejk (with admittedly less beer drinking and farting and more Mozart and gay cruising) about him. He is the very idea of the bureaucrat (although Murphy notes the family tragedy which lifts him from the banality of evil stereotype, more on which later) whose insistence of his lack of personal responsibility seems almost genuine; while he is in the middle of (in)famous historic events, they don’t particularly effect him as much as<span style="font-style: italic;"> stress him out.</span> </span> <span style="font-family:arial;"> <br /><br />Or so it seems. By making Au the main vessel of consciousness, Littell compels us to at least provisionally identify with him, at least if you want to get further than 50 pages into the book. Which is especially odd given what a neither/nor character Au actually is. On the one hand, we have a character right out of Visconti’s <span style="font-style: italic;">The Damned</span> – a cruisy queer Nazi with incestuous feelings with his sister and homicidal feelings towards his mother. (Is there not something slightly clichéd about this? It seems as though Littell avoided the Eichmann-bureaucrat stereotype but fell right into another. Perhaps we should declare a moratorium on Queer Nazis; there weren’t that many to begin with, and by the 1940s there were a lot fewer.) On the other, there is the sentimental murderer, feeling sorrow over the possibility that he might never hear Bach again, or talk to someone about Tertullan. </span> <span style="font-family:arial;"> <br /><br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixAjilZc-z7U9CTThTbF_c1oEaVFP1QMneSnNccHPRQP6AuMKKU0RHAOJyCjwncq8GkrcuHsljdcR7DuZCWeycYVpgH0iUCZmm7m0u1tosbROalbjgv18Z4tXdZnL2NCRzaudFLw_yA3I/s1600/6a00d8341ca28753ef00e54f47faaa8834-640wi.jpg"><img style="cursor: pointer; width: 320px; height: 191px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixAjilZc-z7U9CTThTbF_c1oEaVFP1QMneSnNccHPRQP6AuMKKU0RHAOJyCjwncq8GkrcuHsljdcR7DuZCWeycYVpgH0iUCZmm7m0u1tosbROalbjgv18Z4tXdZnL2NCRzaudFLw_yA3I/s320/6a00d8341ca28753ef00e54f47faaa8834-640wi.jpg" alt="" id="BLOGGER_PHOTO_ID_5513933445575757538" border="0" /></a><br /><span style="font-family:arial;"><br />What Au signally lacks is mediation between the private fact of his psychopathology and the larger pathologies of History. The mediators haven’t vanished in a Weberian sense; they have been withdrawn. Try as one might, its hard to avoid the Zizek point about “the totalitarian personality”, for want of a better term): the inner detachment and cynically distance from power, the “I personally have nothing against the Jews, but the if that’s the Law, then that’s the Law” syndrome that manifests itself in his revulsion by the more virulent anti-Semites in the SS, the tactical withdrawal into the rhythms of personal <span style="font-style: italic;">gemuchlikeit</span> (tea, decent food, musical scores, privacy). </span> <span style="font-family:arial;"> <br /><br />This purposed withdrawal of any affect mediating between personal and social might be linked to Au’s mental disintegration, as Murphy points out. (Confession: I thought that the sexual fantasies that take up part of the last third of the book were real.) What, for example, to make of the murder of his mother and step-father. Like the two detectives, we the readers are certain that Au probably did kill them, but there is nevertheless absolutely no textual evidence to support this, and Au retains not even a traumatic gap in his memory regarding what must have been a very bloody moment.</span> <span style="font-family:arial;"> <br /><br />This apparent absence of trauma is one of the things that is interesting about Au’s character. But at the same time, he is not the typically sociopath that one would expect him to be; if anything, he often resembles his erstwhile opposite number: Leopold Bloom, in his desire to make his way in the world with as little fuss as possible. In what sense, then, is Au’s psyche broken-down? Or more specifically, what is the cause of this breakdown? The fact that he finds himself present at most of the major atrocities of WWII doesn’t seem quite enough. My sense is that it is his toggling back and forth between creaturely comfort and survival and the weight of History (e.g. when Hess makes his speech to the SS, making everyone complicit in the Holocaust) without a mediating affect that makes the link between an already pathological consciousness and the density of the Final Solution is the source of his mental collapse; the transitions between parallax are too traumatic as such.</span>Tom K.http://www.blogger.com/profile/12018301033066348809noreply@blogger.com0tag:blogger.com,1999:blog-775683544721314081.post-18721549396029965052010-08-28T18:21:00.003-05:002010-08-28T18:25:30.082-05:00Frued after Derrida Conference at University of Manitoba<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPIr4IUqQJHWIib_f_ehl7CEeTey_5ddBPqd2A3yDxcN87IaD3JxhP-UVO3YmuzBGsUTx_opspuw1YGQ6kyeUSLGOCeB-1bzoGKIBSFQ-dTV8XZnlt5RlALVQERebRtV3uqL0PvUoLbwU/s1600/freud_website.jpg"><img style="cursor: pointer; width: 226px; height: 174px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPIr4IUqQJHWIib_f_ehl7CEeTey_5ddBPqd2A3yDxcN87IaD3JxhP-UVO3YmuzBGsUTx_opspuw1YGQ6kyeUSLGOCeB-1bzoGKIBSFQ-dTV8XZnlt5RlALVQERebRtV3uqL0PvUoLbwU/s320/freud_website.jpg" alt="" id="BLOGGER_PHOTO_ID_5510605046918206162" border="0" /></a><br /><br /><span style="font-size:100%;"><span style="font-family: arial;">Engaging Freud’s work as it continues to inform and provoke research and discussion across the disciplines (e.g., architecture, film, history, literature, philosophy, religion, science), and particularly, as it opens through and “after Derrida.” Topics to be considered include: psychoanalysis and the literary text, temporality, space, technics, responsibility, animality, embodiment, memory, dream, writing, the uncanny, life, death, desire, repetition, law, sovereignty, sexuality, silence, mourning, testimony, the unconscious, repression, identity, family.</span><br /><br /><span style="font-family: arial;">Further information </span><a style="font-family: arial;" href="http://umanitoba.ca/publications/mosaic/events/freud/">here</a><span style="font-family: arial;">. </span></span>Tom K.http://www.blogger.com/profile/12018301033066348809noreply@blogger.com0tag:blogger.com,1999:blog-775683544721314081.post-2157770477488904242010-06-08T11:21:00.004-05:002010-06-08T12:04:39.180-05:00What's up Vienna! What's Up Montreal! What's Up Winnipeg!<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQUPQtrlo1uCYyq5kjr6jOmOFWpEzulacjjbYBY76kAA9vbsDAlagE4KG0nlQLlZXIhDO2tfTQRkIGjWiDGnq34k5Yjhbk7vZVFk8pHAIyIoGxC597EhQpAjL89yalTXXbFLYPYC3eocI/s1600/tumblr_l2lr45QLbk1qbmsb7o1_400.jpg"><img style="cursor: pointer; width: 400px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQUPQtrlo1uCYyq5kjr6jOmOFWpEzulacjjbYBY76kAA9vbsDAlagE4KG0nlQLlZXIhDO2tfTQRkIGjWiDGnq34k5Yjhbk7vZVFk8pHAIyIoGxC597EhQpAjL89yalTXXbFLYPYC3eocI/s400/tumblr_l2lr45QLbk1qbmsb7o1_400.jpg" alt="" id="BLOGGER_PHOTO_ID_5480447444548121026" border="0" /></a><br /><h1 style="font-family: arial;">WHAT'S UP VIENNA! WHAT'S UP WINNIPEG!</h1> <!--StartFragment--> <div face="arial"><strong>A two-part, two-city encounter of sound, film and video</strong></div> <div face="arial"><strong>Curated by Michaela Grill, Christof Kurzmann and Steve Bates</strong></div> <p class="MsoNormal" style="font-family:arial;"><strong><span lang="FR"><span style="text-decoration: underline;">FRIDAY, JUNE 11, 2010</span></span></strong></p> <p class="MsoNormal" style="font-family:arial;"><span lang="FR">CKUW 95.9 fm, the West End Cultural Centre and send + receive present :</span></p> <p class="MsoNormal" style="font-family:arial;"><strong><span style="color: rgb(0, 128, 0);">RADIAN</span></strong><span style="color: rgb(0, 128, 0);"><strong></strong></span></p> <p class="MsoNormal" style="font-family:arial;"><strong><span style="color: rgb(0, 128, 0);">TIM HECKER with MICHAELA GRILL and BILLY ROISZ</span></strong><span style="color: rgb(0, 128, 0);"><strong></strong></span></p> <p class="MsoNormal" style="font-family:arial;"><strong><span style="color: rgb(0, 128, 0);">DIDI BRUCKMAYR</span></strong></p><p class="MsoNormal" style="font-family:arial;"><strong><span style="color: rgb(0, 128, 0);"></span></strong><strong><span style="color: rgb(0, 128, 0);">+</span></strong></p><p class="MsoNormal" style="font-family:arial;"><strong><span style="color: rgb(0, 128, 0);">Film and video work by </span></strong><strong><span style="color: rgb(0, 128, 0);">Ernst Schmidt Jr., Albert Sackl, Jan Machacek, VALIE EXPORT, Kurt Kren, Didi Bruckmayr and Michael Strohmann</span></strong></p> <div face="arial">West End Cultural Centre</div> <div face="arial">586 Ellice Avenue </div> <div face="arial">Doors 7:15 pm Film/video: 7:30 pm, music to follow</div> <div style="font-family: arial;">Tickets $12 in advance/ $15 at the door available at Ticketmaster, Music Trader and the West End.<br /></div> <p class="MsoNormal" style="font-family:arial;"><strong><span lang="FR"><span style="text-decoration: underline;">SATURDAY, JUNE 12, 2010</span></span></strong></p> <p class="MsoNormal" style="font-family:arial;"><span lang="FR">CKUW 95.9 fm, and send + receive present :</span></p> <p class="MsoNormal" style="font-family:arial;"><strong><span style="color: rgb(0, 128, 0);">CHRISTOF KURZMANN and MICHAELA GRILL</span></strong></p> <div style="font-family: arial;"><strong><span style="color: rgb(0, 128, 0);">NTSC</span></strong></div> <div style="font-family: arial;"><strong><span style="color: rgb(0, 128, 0);"><br /></span></strong></div> <div style="font-family: arial;"><strong><span style="color: rgb(0, 128, 0);">CHRISTOF KURZMANN and crys cole </span></strong></div> <div style="font-family: arial;"><strong><span style="color: rgb(0, 128, 0);"><br /></span></strong></div> <div style="font-family: arial;"><strong><span style="color: rgb(0, 128, 0);">dieb 13 and MICHEL GERMAIN and MARTIN BRANDLMAYR (Radian)<br /></span></strong><strong><span style="color: rgb(0, 128, 0);">+<br /></span></strong><strong><span style="color: rgb(0, 128, 0);">Film and video work by Tina Frank, Martin Arnold, Peter Tscherkassky, Billy Roisz, Michaela Grill and Martin Siewert, [n:ja], Peter Kubelka, Gustav Deutsch</span></strong></div> <strong style="font-family:arial;"><span style="color: rgb(0, 128, 0);"> </span></strong><span style="color: rgb(0, 128, 0);font-family:arial;" > </span> <div style="font-family: arial;">Urban Shaman</div> <div style="font-family: arial;">203-290 McDermot Avenue</div> <div style="font-family: arial;">Doors: 7:30 pm Film/video: 8:00 pm, music to follow</div> <div style="font-family: arial;">Tickets $10 at the door</div> <p class="MsoNormal" style="font-family:arial;"><strong><span lang="FR">What’s Up Vienna! What’s Up Montréal!</span></strong></p> <div style="font-family: arial;">A two-part, two-city encounter of sound, film and video</div> <div style="font-family: arial;">Curated by Michaela Grill, Christof Kurzmann and Steve Bates</div> <p style="font-family: arial;" class="MsoNormal"><em>What’s Up Vienna! What’s Up Montréal!</em> is both a celebratory championing of exciting work emerging from the two cities as well as a challenge to keep innovating. It is a coming together of the experimental music, video, and film communities active in each city played in and off the other. It is a look and listen to the work that exists just under the radar, perhaps happily so, but destined to make reverberations later in the larger culture they come from.</p> <p style="font-family: arial;" class="MsoNormal">The artists involved in <em>What’s Up Vienna! What’s Up Montréal!</em> come together for two intense periods, once in Montréal (and Winnipeg) and again in Vienna. They will perform their own works and instigate new collaborations through this encounter.</p> <p style="font-family: arial;" class="MsoNormal">Winnipeg is also included in this first edition as the initial connections between </p> <p style="font-family: arial;" class="MsoNormal">the curators came about when Steve Bates, (then living in Winnipeg) presented the work of the Viennese quartet, My Kingdom for a Lullaby, at Send + Receive: A Festival of Sound in 2003, of which Michaela Grill and Christof Kurtzmann, co-curators for What’s Up Vienna! What’s Up Montréal! are members.</p> <p style="font-family: arial;" class="MsoNormal">For the Winnipeg edition of the exhibition, Tim Hecker will be on hand from Montréal while two local artists, long associated with experimental sonic forms, Michel Germain, long –time technical director of Send + Receive, and crys cole, the current Artistic Director of the festival, are included in the line up. </p> <p style="font-family: arial;" class="MsoNormal">Artists selected for the program cover a wide breadth of technique but all possess a singular approach to their artistic practice.</p> <p class="MsoNormal"><span style="font-family:arial;">This program, consisting of live music, film and video art, features </span><strong face="arial">Radian</strong><span style="font-family:arial;">, an electroacoustic band that combines microscopic sonic detail into its rock dynamic. Emotional and cerebral in the same song, the group expands the rock palette to new extremes. </span><strong style="font-family: arial;">Didi Bruckmayr</strong><span style="font-family:arial;"> has a doctoral degree in economics, is a performance artist, a musician and extreme vocalist. </span><strong style="font-family: arial;">Christof Kurzmann</strong><span style="font-family:arial;"> is interested in improvised music and electropop songs. He is an internationally respected improvisor of electroacoustic music, conscientious objector, and concert organizer/label owner. </span><strong style="font-family: arial;">Michaela Grill</strong><span style="font-family:arial;"> is a video artist who frequently collaborates with improvising musicians. She was recently the recipient of a major award in Austrian film and video making. </span><strong style="font-family: arial;">dieb 13</strong><span style="font-family:arial;"> renders cassette players, vinyl, cd's and harddisks into instruments. He has composed music for theatre, opera, video productions, and installations. He directs the internet platform klingt.org. </span><strong style="font-family: arial;">Billy Roisz</strong><span style="font-family:arial;"> specializes in feedback video and video/sound interaction using monitors, cameras, video mixing desks, a selfbuilt videosynth, computer and turntables for video and sound generating. </span><strong style="font-family: arial;">NTSC </strong><span style="font-family:arial;">is the duo of dieb 13 and Billy Roisz. NTSC is a continously developing project about interactions between sound and video off the well beaten paths of computer analysis and synthesis in a live context. The New York Times has described </span><strong style="font-family: arial;"><span lang="DE">Tim Hecker’s</span></strong><span style="font-family:arial;"> work as “foreboding, abstract pieces in which static and sub-bass rumbles open up around slow moving notes and chords, like fissures in the earth waiting to swallow them whole”. His Harmony in Ultraviolet received critical acclaim, including being recognized by Pitchfork as a top recording of 2006. Radio Amor was also recognized as a key recording of 2003 by Wire magazine. His latest full-length, An Imaginary Country, was released by Chicago-based kranky records. </span><strong style="font-family: arial;">crys cole </strong><span style="font-family:arial;">has worked and performed extensively as a solo artist and in free improvisation settings across Canada, and has toured Germany, France, Italy and Belgium. She works predominantly with contact microphones, minimal signal processing and no-input mixing board. </span><strong style="font-family: arial;">Mike Germain</strong><span style="font-family:arial;"> is a musician, audio artist, and technician whose work explores frequencies in all their forms. His work ranges from using improvised techniques in electronics to sound design for film as well as installation projects. Germain has exhibited at the</span><strong style="font-family: arial;"> </strong><em style="font-family: arial;">Winnipeg Art Gallery</em><span style="font-family:arial;">, whereby he developed custom-built software to sonify brain-wave data. He is the former Technical Coordinator for the </span><em><span style="font-family:arial;">send + receive festival of sound</span></em><span style="font-family:arial;"> and currently a </span><em style="font-family: arial;">Video Pool Media Arts Centre</em><span style="font-family:arial;"> technician based in Winnipeg.</span></p><p class="MsoNormal"><span style="font-family:arial;">For more information, see the send+receive <a href="http://www.sendandreceive.org/archive/items/whats-up-vienna-whats-up-winnipeg.html">website</a> or the What's Up Vienna! What's Up Montreal <a href="http://whatsupviennawhatsupmontreal.net/">site</a>.</span></p><p class="MsoNormal"><span style="font-family:arial;">Of course, all of you overwhelmed by ennui new or old will find this evening full of exquisite delights and even more exquisite sorrows to satisfy even the most jaded of Des Esseintes among you.</span></p><p class="MsoNormal"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigtUGfx_dKr4nF2PCJDVAcZSnZbqhEiqDPwP8OIXbdHf-Tjxn96ko708KOTenygeeUwoyxIPls_LJYJYk5mtOiQb0NNNa18dSQJXz8FATi1tcjx33BXbyDUpJytWEuyxY3mtqOP_JdxtU/s1600/desesseintes.jpg"><img style="cursor: pointer; width: 226px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigtUGfx_dKr4nF2PCJDVAcZSnZbqhEiqDPwP8OIXbdHf-Tjxn96ko708KOTenygeeUwoyxIPls_LJYJYk5mtOiQb0NNNa18dSQJXz8FATi1tcjx33BXbyDUpJytWEuyxY3mtqOP_JdxtU/s320/desesseintes.jpg" alt="" id="BLOGGER_PHOTO_ID_5480449668616260818" border="0" /></a></p><p class="MsoNormal"><br /><span style="font-family:arial;"></span></p>Tom K.http://www.blogger.com/profile/12018301033066348809noreply@blogger.com0tag:blogger.com,1999:blog-775683544721314081.post-55826566791669360122010-03-03T14:00:00.005-06:002010-03-03T15:39:58.981-06:00Deeper Into Movies 7<span style="font-weight: bold;font-family:arial;" ><span style="font-style: italic;">Pickpocket</span> - Robert Bresson </span> <span style="font-family:arial;"><br /><br />My first Bresson film, which is frankly a little embarrassing. </span><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipdPZyP_bQ4dImCYNXMsery3pc9vVp29hUGBTNLFhWg60mbq65lBwde49DBf5JHabocejfZbiRStQ3SchkJpBnbW6mhdnDa2C0wJLGDagzkBUXbZQlrfOqrVyu9xXVcPdVQ5z5aoRGCAA/s1600-h/pickpocket1.jpg"><img style="cursor: pointer; width: 200px; height: 134px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipdPZyP_bQ4dImCYNXMsery3pc9vVp29hUGBTNLFhWg60mbq65lBwde49DBf5JHabocejfZbiRStQ3SchkJpBnbW6mhdnDa2C0wJLGDagzkBUXbZQlrfOqrVyu9xXVcPdVQ5z5aoRGCAA/s200/pickpocket1.jpg" alt="" id="BLOGGER_PHOTO_ID_5444525312067406722" border="0" /></a><br /><span style="font-family:arial;"><br />First remark - this isn’t a completely anti-psychological film. At the very beginning, Michel does seem to be getting some sort of sexual release when he opens the woman’s purse and removes her money. Similarly, the remarks he makes to Jeanne about his alcoholic father and disinterested mother get uncomfortably close to a banal sociology of the “anti-social personality” that Bresson goes out of his way, in the opening statement, to avoid. But, as with the sexually compulsiveness suggested at the beginning, this is some pretty attenuated characterization. Michel, Jacques, Jeanne and the police chief/Grand Inquisitor all speculate as to his motives, but it is as thought we the audience were only getting a mere fraction of the conversation. For example, Michel’s self-imposed isolation from the world on which both Jacques and Jeanne remark is never really explained. It is treated as a <span style="font-style: italic;">donnée</span>, just something Michel does to the perplexity of his friends. In fact, there is a decided famine of motivation in general - a couple of pseudo-causes as to Michel’s kleptomania, if that’s what it is - but nothing to explain the relentlessness of his decision to take on the role of criminal.</span> <span style="font-family:arial;"><br /><br />Second remark - obviously, Michel is a Raskolnikov in palimpsest, but the difference between the luridness of Dostoevsky’s novel and Bresson’s film is worth noting. The pleasure of Dostoevsky in general is this luridness, of too-muchedness: pedophiles and prostitutes and bone-crunching poverty collaged with lengthy disquisitions on God, morality and politics. While he may be a little too worthy, its hard not to see Doestoevsky as a kind of pulp-modernist in the way that Lovecraft and P.K. Dick are. </span> <span style="font-family:arial;"><br /><br />Bresson, on the other hand, seems to operate in a more unstable terrain. Michel does not finally confess in order for resurrection to occur. The love affair, if that’s what it is, between Michel and Jeanne seems to be little more than a narrative device with little to do other than provide a means by which the film can continue. In this sense, it is little different from the vaudeville routines that Vladimir and Estragon use to pass the time in <span style="font-style: italic;">Waiting for Godot</span>. The action is not where the action is in this case. Which leads us to… </span> <span style="font-family:arial;"><br /><br />Third remark - purely at the level of sheer visual pleasure, the ballet of hands, arms, wallets, pockets, newspapers and overcoats was astonishing. This is where the interest lies, and why it is easy to appreciate the enthusiasm that a Godard or a Truffaut would have had for Bresson. Pure cinema, without extraneous content. Its concepts visible in movement and time.</span><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI9xYjG1SkiAukrmC20WemRcH1LwX057fP4nzwFhoRKfGJm8BW6ZxluOw6hBdFMKY9gSvEy2t1us7qSKc5Qbz0BC9rAKpHQbl1iHyMc2zvnsm1GIrtSgEH8GkZwJyUJI9BtkEK8fg89oA/s1600-h/purse"><img style="cursor: pointer; width: 200px; height: 150px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI9xYjG1SkiAukrmC20WemRcH1LwX057fP4nzwFhoRKfGJm8BW6ZxluOw6hBdFMKY9gSvEy2t1us7qSKc5Qbz0BC9rAKpHQbl1iHyMc2zvnsm1GIrtSgEH8GkZwJyUJI9BtkEK8fg89oA/s200/purse" alt="" id="BLOGGER_PHOTO_ID_5444504246528777378" border="0" /></a><br /><br /><span style="font-family:arial;">I have a feeling I have a new hobby-horse.</span>Tom K.http://www.blogger.com/profile/12018301033066348809noreply@blogger.com0tag:blogger.com,1999:blog-775683544721314081.post-572906595352455772009-12-28T18:42:00.004-06:002009-12-28T22:22:55.348-06:00Happy Holidays from the New Ennui<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMkS1HuQqIuBwqw7NAyAJtd4QRaW00j00ur1D-mM5mgmEYZ1bxkHWalRcVqYDmtNsbFyz6Sayc_6kw4i8Ti0fhlxxNPMxTAsUrnefiqFp9KiN2yzjqeDk5W4UUQtoO_UeJcS4SG83tOJY/s1600-h/tB7EEUNlLnhu406lDEIdzJN7o1_500.jpg"><img id="BLOGGER_PHOTO_ID_5420508852942524962" style="WIDTH: 200px; CURSOR: hand; HEIGHT: 151px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMkS1HuQqIuBwqw7NAyAJtd4QRaW00j00ur1D-mM5mgmEYZ1bxkHWalRcVqYDmtNsbFyz6Sayc_6kw4i8Ti0fhlxxNPMxTAsUrnefiqFp9KiN2yzjqeDk5W4UUQtoO_UeJcS4SG83tOJY/s200/tB7EEUNlLnhu406lDEIdzJN7o1_500.jpg" border="0" /></a><br /><div><span style="font-family:arial;"></span></div><br /><div><span style="font-family:arial;"></span></div><br /><div><span style="font-family:arial;">Something to tide everyone over until some new posts, soon to be coming thick and fast. In the meantime, I <a href="http://ubu.com/film/marker_junkopia.html">heart </a>Chris Marker, and so should you.</span></div>Tom K.http://www.blogger.com/profile/12018301033066348809noreply@blogger.com0tag:blogger.com,1999:blog-775683544721314081.post-55656419223671514792009-06-15T12:10:00.005-05:002009-07-15T10:13:22.281-05:00And the rest is cinema - 4<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic7u86rS8QXHOeYcZGocMGQJHKGSqLz8852lM5Iy_gpNEdjIsBaDEIwDaZn22jMDmV1atYBvTp7KBDU2oe_hKPkPxoGFyCTfLsRHl0ewbNe-pqaUEEaIwkEiYNSSMnMw8UkdwFjXmPp_4/s1600-h/Godard_UFM1.jpg"><img id="BLOGGER_PHOTO_ID_5347605839595734242" style="WIDTH: 320px; CURSOR: hand; HEIGHT: 246px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic7u86rS8QXHOeYcZGocMGQJHKGSqLz8852lM5Iy_gpNEdjIsBaDEIwDaZn22jMDmV1atYBvTp7KBDU2oe_hKPkPxoGFyCTfLsRHl0ewbNe-pqaUEEaIwkEiYNSSMnMw8UkdwFjXmPp_4/s320/Godard_UFM1.jpg" border="0" /></a><br /><div><div><div><div><span style="font-family:arial;"></span></div><br /><div><span style="font-family:arial;">Enter Structuralism. It is my firmly held conviction that Structuralism, after Freudianism and Marxism, was the last great intellectual adventure of the twentieth century, and so I sometimes get touchy when it is taken in vain. However, not having seen <em>A Married Woman</em> (the context of Godard’s first overt use of structuralist-inspired film work), I’m reticent about discussing Brody’s analysis. Is this, for example, true?<br /><br />A Married Woman<em> firmly established Godard as a politically and socially engaged artist. It placed him fully within his times and put the times firmly on his side. It also established the tonality of his work to come, both in its forthright assertion of the cinema as an analytical instrument and in its unique permeability to the events, moods and ideas of its day. Yet the specific view of the contemporary work that Godard offered was not favourable. Instead, he further developed the moralizing and puritanical critique of a modern life… - in other words, a critique of the world in which it was plausible for Anna Karina to leave him [as had happened at this time.] Godard’s intellectual and documentary engagement with his times would converge upon the burning point of his romantic agony, which it would reveal and salve, and to which it would offer the prospect - or dream - of a favourable resolution, literally a conservative revolution [I.e. the abandonment of adulterous passion for conjugal bliss.]</em></span><br /><span style="font-family:arial;"><br /><em>If Godard’s social outlook was conservative, his filmmaking was frenetically radical. The film’s startling fragmentation and abstraction reflect the modern philosophy [I.e. structuralism] that was on Godard’s mind - and his loss of faith in familiar Hollywood styles. Paradoxically, the frustrating uncertainty behind its conception lent</em> The Married Woman <em>an air of desperate urgency that seemed not merely the filmmaker’s but the era’s. (190-1)</em><br /><br />There is a certain obfuscation at work here, or, perhaps, a core ambiguity around the term “conservative”. Cultural conservatives, as Brody understands it, implies the tradition of the old High/Low distinction in the art: that there is a Tradition of Great Works that cohere - important elision here - into a moral unity. Thus Brody can play on a received idea of aesthetic morality/moral aesthetics and contrast it to the hedonism ascribed to mass culture. There are three points that should be made here:<br /><br />1. The assertion of an aesthetic-moral Tradition was, I think, as much tactical as anything else for Godard, who never ceased making the claim that the inheritor of this Tradition was Cinema as such. This legitimizes Cinema as an art form and also allows Godard to postulate it as Other to mass culture.<br />2. I personally find it somewhat touching, even a little charming, that these aesthetic conflicts, clearly felt very deeply by Godard, had a human-all-too-human source: “Godard could only assume that, were [Anna] Karina authentically free, liberated from the false consciousness of media propaganda, she would discover within herself her authentic nature, her true desire, her natural virtue and would come back to him”(199).</span><a title="" style="mso-footnote-id: ftn1" href="http://www.blogger.com/post-edit.g?blogID=775683544721314081&postID=5565641922367151479#_ftn1" name="_ftnref1"><span style="font-family:arial;">[1]</span></a><span style="font-family:arial;"> I think that part of the power of the films that Godard and Karina made together does to some degree depend on the evident pleasure on Godard takes in filming her, as Rossellini did Ingrid Bergman, and Ingmar Bergman did Liv Ullmann, as Pasolini did Ninetto Davolia. Obviously, there is a less pleasant side to this: men framing their beloved-as-art-object, as well as the manner in which Godard figures pop and mass culture as the province of a deceptive femininity <em>a la</em> Madame Bovary. These are very serious issues (not really dealt with by Brody), but I am inclined to forgive Godard’s framing of Karina (not his abusive behaviour to her, even though the may, or indeed probably are, be related) as it seems so heartfelt that it seems churlish to condemn.<br />3. The postulation of a vantage point from which to engage in critique of capitalist mass culture is not solely a technique used by aesthetic/moral conservatives. Adorno’s <em>Aesthetic Thoery</em> argues, in fact, that such a vantage point (embodied there in Beckett, Kafka and Schoenberg and, ironically, definitely not film) is necessary for a critique of capitalism and its attendant culture industry. In order for Brody to make his point persuasive, he would need to show how Godard mobilizes this vantage point to specifically conservative effect (beyond banal sentiments like “people who are married should stay together”) either morally, aesthetically, or socially.<br /></span></div><span style="font-family:arial;"></span></div><br /><span style="font-family:arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeXABV6GR0O9UUgQc0zo4gO-pE8YaXjrOzLVRmLdVMH7pGuMBSePxLeh41rWH8YGGDmnFKBX3mvJHWcSBTmZialj4jcvVrQtZG0XhR-3IcmCU54zBAEuew-dtsFEXTreHzjNIMMj60aNw/s1600-h/untitled.bmp"><img id="BLOGGER_PHOTO_ID_5347606444910312610" style="WIDTH: 320px; CURSOR: hand; HEIGHT: 198px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeXABV6GR0O9UUgQc0zo4gO-pE8YaXjrOzLVRmLdVMH7pGuMBSePxLeh41rWH8YGGDmnFKBX3mvJHWcSBTmZialj4jcvVrQtZG0XhR-3IcmCU54zBAEuew-dtsFEXTreHzjNIMMj60aNw/s320/untitled.bmp" border="0" /></a><br /><br /><p>And, as Brody notes, there was plenty of social conservativism about, both in France and the US. <em>The Married Woman</em> sustained extensive “recommendations” (down to the level of the grammar of the title) from the censor board still reeling from the shock of <em>Le Petit Soldat</em>, while Godard moved further to the Left, and vice versa:<br /><br /><em>If Godard had found a home in the left, it was because the left had changed; it had become a matter of form and style, of tone and mood, instead of simply an ideology, and had, as such, redefined its criteria and realigned its spectrum to include him - even realigned itself to accord with him. (205)<br /></em><br />Again, a deflationary move is taking place - from “simple ideology” to “form” (as in Marxsm and Form) and “style” (as in Revolt into Style), and then to “tone and mood (as in lifestyle accessory). Here, as elsewhere, one wonders as to the political stance of Brody’s work and how it relates to his sense of Godard’s trajectory, as in this sweeping judgment:<br /><br /><em>At the apogee of Godard’s public renown, at the moment of his triumph as a cultural hero to the young and a new classic to his elders, he was increasingly lost as a filmmaker. He continued to make brilliant, personal films, even epochal films, and he did so at a furious pace that left his acolytes breathless</em> [ahem]. <em>And yet he would work with an increasing despair. Precisely as Godard’s engagement with “life” - political, social, intellectual - and with the new complexities and incipient crises of the times was intensifying, he was in doubt regarding the cinematic form with which to represent it. As his films became ever more permeable with regard to the explosive tensions and wild energies of the day, they also became increasingly formless. The summit of Godard’s fame and his esteem as an artist and a cultural touchstone of the age was also the moment of his cinematic breakdown, which he displayed on-screen in real time. (209).</em><br /><br />Sez you, one might respond. “Formlessness”, however, is a loaded term; if by “formless” one means “other than classic cinematic beginning-middle-end narration”, than Brody’s claim is mostly true. And in fact it is this attempt by Godard to find new forms AKA displaying his “cinematic breakdown” that leads us to the most exciting films of his career: <em>Alphaville</em>, <em>Pierrot le Fou</em>, <em>Les Chinoise</em> and <em>Weekend</em>. </p><br /><p></span><a title="" style="mso-footnote-id: ftn1" href="http://www.blogger.com/post-edit.g?blogID=775683544721314081&postID=5565641922367151479#_ftnref1" name="_ftn1"><span style="font-family:arial;">[1]</span></a><span style="font-family:arial;"> Note the unremarked shift from existentialist vocabulary - “authentic freedom”, “authentic nature” - to a more ur-Situ “false consciousness” “true desire” - to an eighteenth century, quasi-Rousseau “natural virtue”. Brody’s skill as a writer is in his ability to make these conceptual shifts almost subliminally.</span></p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilEleJ6tlfljg4uYk37eGeHk5rZYktnMfrDfsbhj52f5t8yDw4GTDKbJV2jgMsJyHRa0bTc-yVD-Pyv8TkSo-4z_5K5u7sevilHYP4R07AUZlxRM9MpP7DCsdsskzTV-zSBUSDfFt528U/s1600-h/untitled2.bmp"><img id="BLOGGER_PHOTO_ID_5347606935727368530" style="WIDTH: 320px; CURSOR: hand; HEIGHT: 224px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilEleJ6tlfljg4uYk37eGeHk5rZYktnMfrDfsbhj52f5t8yDw4GTDKbJV2jgMsJyHRa0bTc-yVD-Pyv8TkSo-4z_5K5u7sevilHYP4R07AUZlxRM9MpP7DCsdsskzTV-zSBUSDfFt528U/s320/untitled2.bmp" border="0" /></a></div></div>Tom K.http://www.blogger.com/profile/12018301033066348809noreply@blogger.com0tag:blogger.com,1999:blog-775683544721314081.post-22264436658266973352009-06-15T11:37:00.005-05:002009-06-24T10:56:39.585-05:00Deeper Into Movies 6<span style="font-family:arial;"><em>Blue</em> - Derek Jarman </span><br /><br /><br /><div><div><p><span style="font-family:arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-Uvq2J1Xu38riEYAcg598-Ulyov5RECYuJGj9JSv-hRSZjwxU5akK8b15BfWu1bDuxsrHEI9GwZONUnCqMGhiueUORDHgtgjaoUBnKuWRQX_CA8ohY79YS8ggj9AsErSbmB9w-qrcvMQ/s1600-h/jarman.jpg"><img id="BLOGGER_PHOTO_ID_5347601956168045346" style="WIDTH: 320px; CURSOR: hand; HEIGHT: 227px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-Uvq2J1Xu38riEYAcg598-Ulyov5RECYuJGj9JSv-hRSZjwxU5akK8b15BfWu1bDuxsrHEI9GwZONUnCqMGhiueUORDHgtgjaoUBnKuWRQX_CA8ohY79YS8ggj9AsErSbmB9w-qrcvMQ/s320/jarman.jpg" border="0" /></a><br /><em></em></span></p><br /><br /><p><span style="font-family:arial;"><em>I caught myself looking at shoes in a shop window. I thought of going in and buying a pair, but stopped myself. The shoes I am wearing at the moment should be sufficient to walk me out of life.</em></span><br /><span style="font-family:arial;"></span><br /><span style="font-family:arial;">Cezanne: “Things are looking bad. You have to hurry if you want to see anything. Everything is disappearing.”<br /><br />The Mediterranean blue is fading on the 35mm film, so badly spooled that it took three tries before the chimes would ring. Scratches that appeared like boils and sores on a retina, black starlings flocking and dispersing. At times, the blue seemed washed out altogether, fading. But if there is one thing that we are sure of by the end of the movie, everything fades eventually. Sometimes in the time it takes to boil a kettle or break a heart. Or to watch a film.<br /><br />I seem to recall a white screen the first time I saw it, at the beginning.<br /><br />Proust: “…the memory of a certain image is only regret for a certain moment”<br /><br />Jarman’s blindness was as monstrous as Baudelaire’s aphasia or the madness of philosophers. Do we lose the vital things first, leaving the juddering, wracked body to trail in its wake? Until there is only a spasm of lucidity, longing for its own annihilation?<br /><br />But the origin of “monstrous” is the same as “to demonstrate.” In response to blindness, Jarman bathes our eyes in lush blues in what is in some ways his most straightforwardly narrative work. We leave the hospital and end in a reverie of blue skies, soft breezes, lapping water. <em>Slender cool fingers reach to touch an antique smile</em>. This is a demonstration of Jarman’s generosity, as is his installation of compassion and courage at the heart of the infinity he allows us to glimpse at 24 frames per second.<br /><br />And there is righteous indignation. <em>The virus rages fierce. I have no friends who are not dead or dying.</em> The flashes of rage, protest (a demonstration), sorrow are mixed with the blue of bliss, the impatient youths of the sun dancing amid emerald lasers and coral amphora. A life lived with eyes open.<br /><br />Blanchot: “The quick of life would be the burn of a wound - a hurt so lively, a flame so avid that it is not content to live and be present, but consumes all that is present till presence is precisely what is exempt from the present. The quick of life is the exemplarity, in the absence of any example, of un-presence, of un-life; absence in its vivacity always coming back without ever coming.” </span></p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQwWkaUUM7md-zZ27wBU44us6QdcCihbKMF5x7qSxXbtkhPdBSi120tnlmEGGHOuTi_5QR6crUO00oXVb3VvZFHHOVW1fRhyphenhyphenjJWjRGcCNU-T2-sKNWIcj3jBc4uh9BQIinJdqZQHloe5U/s1600-h/Blue.jpg"><img id="BLOGGER_PHOTO_ID_5347602449544617314" style="WIDTH: 320px; CURSOR: hand; HEIGHT: 213px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQwWkaUUM7md-zZ27wBU44us6QdcCihbKMF5x7qSxXbtkhPdBSi120tnlmEGGHOuTi_5QR6crUO00oXVb3VvZFHHOVW1fRhyphenhyphenjJWjRGcCNU-T2-sKNWIcj3jBc4uh9BQIinJdqZQHloe5U/s320/Blue.jpg" border="0" /></a><br /><span style="font-family:arial;"><br /><p><br /><em>My ghostly eye.</em><br /><br />In <em>Blue</em>, Jarman creates the ultimate film, a film which exists only as film, spirit in matter (as he used to say). The point of minimal difference between not-film and Film. In this, he is a fellow traveller with Malevich, Cage and Beckett, other artists who marked the barely necessary condition for the work of art (film, painting, music, literature) to exist. An interstitial zone prior to recognition, where ghosts reside. Jarman hears their voices, and they flicker at the edge of the screen, made bold by the rising forth of Blue. The voices of dead friends:<em> David, Terry, Graham, Howard, Paul</em>. Of dead possibilities, stranding us in an agonized world (Sarajevo, the woman in the taxi crying before the helpless Jarman). <em>The world is dying, but we do not know it.</em> Filling up with spectres, ghosts.<br /><br />Derrida: “The spectre, as its name indicates, is the frequency of a certain visibility. But the visibility of the invisible. And visibility, by its essence, is not seen…. The spectre is also, among other things, what one imagines, what one thinks one sees and which one projects - on an imaginary screen where there is nothing to see. Not even the screen sometimes, and a screen always has, at bottom, in the bottom or background that it is, a structure of disappearing apparition.”<br /><br />The ghosts appear and disappear on the cinema screen - there is a sense in which watching this film on a dvd (however large the projection) is not to watch it. Blue is a film - the film stock bears the lesions of having been viewed, having been seen. And will eventually deteriorate, as Jarman wished. Art becomes its own death-mask. And behind the mask, the imperceptible becoming of the artist, this artist, this Derek Jarman, one with the ghosts that welcome him.<br /><br />Chateaubriand: “This is how everything in my story vanishes, how I am left with only images of what happened so quickly. I will go down to the Elysian Fields with more shadows than any man ever brought along.”</p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGKhoENRZcxobyQEMt7APWgmwJ8wPiMBeTPl-gRM4bC0fTWTj4i0R95C8DfFAjgnM3NTHvvnJupx_qCr45bQQQITXlaNQsS72QOoAvvAJ_Yc-hK5Nuuud_e9SAiu_fup4DMgp2mRCc_2c/s1600-h/9797660_119065889982.jpg"><img id="BLOGGER_PHOTO_ID_5347602600208022978" style="WIDTH: 225px; CURSOR: hand; HEIGHT: 320px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGKhoENRZcxobyQEMt7APWgmwJ8wPiMBeTPl-gRM4bC0fTWTj4i0R95C8DfFAjgnM3NTHvvnJupx_qCr45bQQQITXlaNQsS72QOoAvvAJ_Yc-hK5Nuuud_e9SAiu_fup4DMgp2mRCc_2c/s320/9797660_119065889982.jpg" border="0" /></a><br /><p></span></p></div></div>Tom K.http://www.blogger.com/profile/12018301033066348809noreply@blogger.com0