Some Blogs
 Janus Head
11.1&2
Travels Inside the Archive
Robert Gibbons
Edge of Maine Editions
Beyond Time
New & Selected Work
1977 - 2007
Robert Gibbons
 The Age of Briggs & Stratton
Peter Culley
|
July 30, 2010
Funabashi City: Health Center
July 17, 1968
Towards the city
Yutaka Takanashi
Galerie Priska Pasquer
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The shadow cast by writing
Stephen Mitchelmore
This Space
(....)This summer, the one and a half pages of notes became a fetish for me, offering the possibility of a more elemental form of writing, one which dissolves well-attuned habit and reveals an alternative life; not, that is, a different life but the one waiting to be discovered. Why else would a few hundred words scratched out in a brief, forgotten time stir me while all the intricate ideas, elaborate plans and laborious executions leave me blank and disconnected? On what does the appearance of its alternative depend? Chance alone it would seem.
While it would not be presumptuous to dismiss such writing as occasional autobiographical digressions carrying its charge in the singular impact it has on the writer, this would obscure what needs to be isolated as unique to writing. But how can it be maintained or codified into a public form?
I was reminded of these questions as Geoff Dyer and Lee Siegel added to the surge of voices condemning the worldly disappointments of contemporary fiction and instead advocating creative non-fiction. Both arguments rest on the notion of the novel as a means of narrating events in the empirical world and of engaging readers with company, information and meaning. The novel may be the apotheosis of "characterisation, observation and narrative drive" but now it has a more worldly equal. Given the examples offered, it's no wonder the war reportage Dyer celebrates appears more vital, exciting and relevant, while Siegel's call (couched in tabloid sneer) for literary fiction to be more commercial and realistic in order "illumine the ordinary events of ordinary lives" also seems fair if we assume that war and peace are the poles between which real life spins; a roadside bomb and a divorce spraying shrapnel into flesh and spirit. So how can the writing that stirs me – haphazard, unworldly – respond to these rousing condemnations?...(more)
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Photography is Easy - Version 2 (2010)
Leslie Thornton
In the ongoing project Photography is Easy, Thornton continues her investigation of the production of meaning through media such as photography, film and video. Thornton and a companion are seen hiking through a desert, photographing and recording the journey. Shots of desert landscapes are overlaid with the artist's running commentary and text about Thornton's experience of making a photograph. Questioning the value of the rarified image, Thornton investigates the porous boundaries between the still and the moving image.
Nine Films Leslie Thornton UbuWeb Film & Video Refracted through archival material, texts, found footage and dense soundtracks, Leslie Thornton's rigorously experimental film and video work is an investigation into the production of meaning through media. For Thornton, form and content are co-extensive, as exemplified by her epic project Peggy and Fred in Hell, an ongoing cycle of interrelated films, videos and installation environments focusing on two children who have been "raised by television." Heterogeneous and open-ended, the series defies conceptions of masterwork, author, and the strictures of beginning, middle and end.
This resistance to categorization is informed by Thornton's concerns with language and her view of media as a linguistic system that is ideologically coded and subject to the controls of culture and the market. Her works are interventions on contested terrain, in which the stakes are conventions of reading and writing, legibility and transparency. For Thornton, the conventions of narrative and montage must not simply be renounced, but used as tools against themselves. The result is a unique and strangely beautiful syntax, one that poses its critique at the same time that it mesmerizes, confounds and provokes. Thornton writes, "I see myself as writing with media, and I position the viewer as an active reader, not a consumer. The goal is not a product, but shared thought." ...(more
via gmtPlus9 (-15))
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Three Poems
Eric Higgins
conjunctions
For Now
The history you will write of yourself will be a re-telling.
You will narrate your image into power. A position of.
On a mattress you even almost to yourself will appear to sleep royally.
These instructions are swiftly written. Around them vapors flit.
I shiver, continue:
guards at the door bound to protect but
heat and sweat they loosen. The march is nearing, torches
raised on power progress. It will come from one of your own.
On the guards the flickerflame paints a menace but it is cowardice,
fathomless, that braces the abused. The guards dispatched.
Blood pistoning. Eyes red as whitewater.
He will slide his knife through you and grow immediately timid.
In your bedclothes you will fall.
Do not become despised, hated, or stricken—and
Prince: hold your deep dark rose in your chest closed.
...(more)
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Invincible Cities
Camilo José Vergara via Junk for Code
1 2
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New Media Critical Homologies
Brian Lennon
pmc
The computer is one of those swerves in the history of built things that bring whole ways of life to an end -- and seldom with the drama with which the first to sense a change often pronounce it. Real change is painfully slow, building to crisis well off the range of dailiness-numbed sense: a pattern of sun and shadow filtering into a room, here illuminating a particular object for no particular reason, there, with precisely the same absence of portent, shrouding another. There are regressions, and some habits and routines left precisely as they were or are, while others vanish or metastasize. Newness covers the old with a creeping patina, in which what will be and what no longer is exchange places and seem to intermingle, at the same time.
New media studies, we might say, has discovered temporality. After fifteen years in which its cultural dominant was presentist prognostication, even --often enough --a kind of bullying, the field has folded on itself with such new guiding concepts as the "residuality," the "deep time" or "prehistory," and the "forensic imagination" of a new media now understood as after all always already new. This is a more absorbent fold, perhaps, than that embedded in one of the field's originary figures, "remediation" --a determinedly modern progressive figure, though one whose conceptual plasticity always suggested the possibility, beyond linear reframings, of non-modern medial cycles or folds (see Bolter and Grusin). Without a doubt, it is that depth that sends us searching, now, for a reading of the temporal turn that seems all at once to discard and even undermine the prime rhetoric of a field of study settled in self-establishment. Read symptomatically, there is perhaps more to all of this than the usual need for professional distinction in the field itself, which like any mode of absorption of surplus, needs a manufactured boom and bust, on a regular cycle. To the shaming of the slow, the skeptical, and the self-respecting who refuse the unfunded mandates of technocratic reactivity, in the New Economic home-classroom-office pod of unrelievedly public life online, new media studies now adds to its figural repertoire a synchronic complement, in the reflection of what the Jameson of the 1970s, writing Marxism and Form, calls the "commodity structure of academic intellectual life"
Were it not for the institutional dynamic of critical desire through which one is forced to embrace what one declines, in order to scale the heights from which to renounce it again, one might have begun there. But what is done is done. With the swap-file virtualities of an endless present suffering stain, again, we might suspect this anachronic return to time, in a new media studies that seems never to have known it at all, of being sensitive, registrative, or even merely, vulgarly reflective of the sociotemporal order-as-disorder of U.S. imperial and global capitalist crisis, as an apparent crisis of progress. To materialist critiques of the disembodiment of information, which corrected the intellective disposition of an early euphoria without doing much to blunt its complacent productivity, one can certainly imagine being attached, now, a materialist critique of the conditions of the critique of disembodiment, itself, in a resource- intensive field of inquiry into disproportionately resource- intensive social behaviors whose future is inseparable from the future of U.S. consumerism-above all, the consumption of energy. Our appetite for the materiality, as much as for the virtuality of new media, is also a form of systems maintenance. One might say that the specter haunting new media studies today is the late imperial "peak energy" spectacle of middle-class U.S. Americans in sweaters, riding their bicycles to work....(more)
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Sweet Kingdom Annex
Chene and Superior Streets
Detroit, 1993
Camilo José Vergara
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Spaces of Identity: Global Media, Electronic Landscapes, and Cultural Boundaries
David Morley and Kevin Robins
ifile pdf via aaaaarg
The book has a double focus throughout. At a theoretical level the prime concern is with the question of identity under the conditions of a postmodern geography—specifically with the complex and contradictory nature of cultural identities and with the role of communications technologies in the reconfiguration of contemporary cultural (and often diasporic) identities. These issues are addressed in the context of the contemporary politics of the relations between Europe and its most significant Others—America, Islam and the Orient—against whom Europe’s own identity has been and is now being defined. The key questions have become those of power, boundarymarking and exclusion processes, both nationally and internationally. If identity is crucially about difference, the politics of identity necessarily raises questions of authenticity, of roots, tradition and heritage which, in turn, lead into questions of race and ethnicity.
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WikiLeaks or WikiLedes?
Tom Matrullo
Well, as a reporter, you're very rarely confronted with this amount of information, and so it's almost - it's the reverse of the situation you're normally in, which is too little information. Here, we are confronted with such a volume of information that it's hard to make sense of it and it's hard to know how to - which parts to emphasize and which parts not to.
- Mark Mazzetti
(....)
What Mr. Mazzetti points to as exceptional is in fact the normal case: the actual data out there for any story are potentially infinite. Newsmen deal with digested digests, rarely with the raw. But they forget they are dealing with pre-digested regurgiatives, and think they possess mastery over a certain genuine terrain. They do not.
Wikileaks exposes the abbreviative power of news media. Faced with something like the complexity of the real, Mr. Mazzetti thought he was dealing with something unusual. He was not. The gap between the NYT accounts of Afghanistan before WikiLeaks, and the density of the documents now available is vast. What Mr. Mazzetti and the NYT are looking at is the abyss that is always there in any bit of actuality, but which their customary defenses have always dealt with deftly and obliviously. They'll need a new set of defenses if the leaks keep coming.
(....)
Wikileaks is lifting two veils: one on the war, the other -- perhaps more significant -- on the unreality of everyday journalism, the fictional, smooth, clear narrative arcs of the Times, NPR, MSNBC, etc.
After cataract surgery, the eyes can be sensitive to light....(more)
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Jason Das
Urban Sketchers
via Sheila Lennon
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A Personal Note on Japanese Poetry, for Hiromi Ito
Jerome Rothenberg
July 28, 2010
Lotte
Max Burchartz
1928
.....................................................
Max Burchartz
b. July 28, 1887 1 2
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Gaps and their Consequences
Rachel Levitsky
Our expressions, the laconic one and the one responsive to things, many things and every thing, did not read as contradictory. The huge spaces or gaps which either contained them or not made it difficult to reach and actually touch or even less, hold onto, and made this world in which we (still) find ourselves nearly impossible to capture-as it is and as it was-in our head, either all at once as unruly multiplicities and their desperately sought-after negations or as a distinct particular, a single absented thing once there and yet not, and not yet.
For a time we continued to flounder in these gaps, trying to get out from under our sea of stuff, reaching for these things neither there nor named. There, in the gaps, we first sensed that something wrong was being done to us. ...(more)
Rachel Levitsky at PennSound
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Some Simple Reflections on the Body
Paul Valéry
Translated by Ralph Manheim
ifile pdf - via aaaaarg
And as a protest arose within me, the Voice of the Absurd added: "Think carefully:
Where do you expect to find answers to these philosophical questions? Your
images, your abstractions, derive only from the properties and experiences of your
Three Bodies. But the first offers you nothing but moments; the second a few visions;
and the third, at the cost of ruthless dissections and complicated preparations, a
mass of figures more indecipherable than Etruscan texts. Your mind, with its language,
pulverizes, mixes and rearranges all this and from it, by the abuse, if you
will, of its habitual questionnaire, evolves its notorious problems; but it can give
them a shadow of meaning only by tacitly presupposing a certain Nonexistence —
of which my Fourth Body is a kind of incarnation."
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John Ashbery
b. July 28, 1927
photo Giovanni Giovannetti
Boundary Issues
John Ashbery
Here in life, they would understand.
How could it be otherwise? We had groped too,
unwise, till the margin began to give way,
at which point all was sullen, or lost, or both.
Now it was time, and there was nothing for it.
We had a good meal, I and my friend,
slurping from the milk pail, grabbing at newer vegetables.
Yet life was a desert. Come home, in good faith.
You can still decide to. But it wanted warmth.
Otherwise ruse and subtlety would become impossible
in the few years or hours left to us. “Yes, but . . .”
The iconic beggars shuffled off too. I told you,
once a breach emerges it will become a chasm
before anyone’s had a chance to waver. A dispute
on the far side of town erupts into a war
in no time at all, and ends as abruptly. The tendency to heal
sweeps all before it, into the arroyo, the mine shaft,
into whatever pocket you were contemplating. And the truly lost
make up for it. It’s always us that has to pay.
I have a suggestion to make: draw the sting out
as probingly as you please. Plaster the windows over
with wood pulp against the noon gloom proposing its enigmas,
its elixirs. Banish truth-telling.
That’s the whole point, as I understand it.
Each new investigation rebuilds the urgency,
like a sand rampart. And further reflection undermines it,
causing its eventual collapse. We could see all that
from a distance, as on a curving abacus, in urgency mode
from day one, but by then dispatches hardly mattered.
It was camaraderie, or something like it, that did,
poring over us like we were papyri, hoping to find one
correct attitude sketched on the gaslit air, night’s friendly takeover.
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The Intellectual Construction of "Social Distance":
Toward a Recovery of Georg Simmel’s Social Geometry
Philip J. Ethington
cybergeo
If wandering, considered as a state of detachment from every given point in space, is the conceptual opposite of attachment to any point, then the sociological form of the ‘stranger’ presents the synthesis, as it were, of both these properties. (This is another indication that spatial relations not only are determining conditions of relationships among men, but are also symbolic of those relationships.) Georg Simmel, "The Stranger" (1908)
The relationship between geometric and metaphoric distance should be among the most urgent of research questions in late-twentieth century human sciences. This essay is an attempt to contribute to the ongoing and increasingly rich discourse on space in social theory, by tracing the life course of a critical concept as it has been constructed intellectually and deployed empirically. That social distance needs to be refashioned is a major conclusion of this essay, but precisely how it must be refashioned is a question that I think we are only beginning to see. Not only Georg Simmel among the founders of social theory will be necessary for this reconstruction. Emile Durkheim’s concept of "social morphology," for example, contains important insights into the relationship between geometric and metaphoric meanings of distance (Durkheim 1992). This essay, however, maintains a focus on Simmel, Park, and Bogardus as shapers of the contemporary notion of "social distance."(....)
Simmel had the brilliance to capture in a single social type, “the stranger” the basic elements of social distance. Metaphoric distance is strangeness: the “unfamiliar” (and we must take note of the etymologies here: familiar and unfamiliar are metaphoric of blood kinship). But geometric distance is the structure of everyday life in space-time that permits or promotes the formation of familiarity: ie, the stranger literally was not here when we developed our familiarity. Reciprocally, “structures of feeling” (Williams 1973) produce “structures of practice” (Bourdieu 1980), and vice-versa. A powerful exploitation of recent sociospatial theory needs to accommodate directly both of these senses of distance....(more)
cybergeo european journal of geometry
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Henri Harpignies
b. June 28, 1819
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Emergence In History
Manuel DeLanda
Introduction to Philosophy and Simulation: The Emergence of Synthetic Reason
courtesy of Lebbeus Woods
Simulations are partly responsible for the restoration of the legitimacy of the concept of emergence because they can stage interactions between virtual entities from which properties, tendencies, and capacities actually emerge. Since this emergence is reproducible in many computers it can be probed and studied by different scientists as if it were a laboratory phenomenon. In other words, simulations can play the role of laboratory experiments in the study of emergence complementing the role of mathematics in deciphering the structure of possibility spaces. And philosophy can be the mechanism through which these insights can be synthesized into an emergent materialist world view that finally does justice to the creative powers of matter and energy....(more)
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Concealing screens: Consent, control and the desiring user / Kirsty Best
Abstract: This article traces the contemporary cultural history of consent to information control. It argues that in order to begin to understand why people consent to the loss of control over their digital devices we need to see users as desiring subjects positioned at a cultural moment where the digital information screen has been enlisted as a central driver of both utility and pleasure, but where its architectural ability for additional functional control remains obscured.
Reconstruction Vol. 10, No. 2, 2010
Expertise as Knowledge _______________________
European Journal of Pragmatism and American Philosophy
Volume 2, Number 1, 2010
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Worker before Machines
Max Burchartz
1928
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‘THE CHILD is father to the man.’
How can he be? The words are wild.
Suck any sense from that who can:
‘The child is father to the man.’
No; what the poet did write ran,
‘The man is father to the child.’
‘The child is father to the man!’
How can he be? The words are wild.
Gerard Manley Hopkins
July 28, 1844 – June 8, 1889
July 27, 2010
The Insect Chorus
1917
Charles Burchfield
(1893-1967)
Heat Waves in a Swamp
The Paintings of Charles Burchfield
June 24–October 17, 2010
Whitney Museum of American Art
via
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Afghanistan: The war logs
The Fog of War, Rediva
John Louis Lucaites
Although it began in the shadow of our occupation in Iraq, our presence in Afghanistan now marks the single longest military expedition in US history—bar none: World War I, World War II, Korea, Vietnam … you name it. Is it a surprise, in this context, that hundreds (if not thousands) of civilians have been killed or wounded under the sign of “collateral damage”? Or that “friendly fire” has taken the lives of both US troops and its allies? Or that there are special black-ops units that operate under “dubious circumstances” with “capture/kill” lists? Or that the microchip technology that was supposed to provide us with a “bloodless victory” has turned out to be less effective than we imagined? Or that drone missions being executed by private contractors sitting safely before computer monitors in remote locations like Nevada are actually putting troops in the field at greater rather than lesser danger when they fail and have to be retrieved before the enemy finds them? Or that the Afghani military is underpaid and unreliable? Or—revelation of revelations—the US military has misled the public regarding the sophistication of the weaponry being employed against us by the Taliban, such as the use of heat seeking missiles to bring down helicopters? Or that Pakistan is not a trustworthy ally? And on and on and on.
The fact of the matter is that we have been shown evidence of virtually every one of these concerns over the past, long, ten years and we have chosen not to see them. Or perhaps the problem is that the reports of such incidents have been fragmented and piecemeal, and thus easily mitigated as “accidents” animated by human or technological error (take your choice), or rationalized as the “necessary and tragic” cost of a war fought to preserve our freedom. Like the soldier in the photograph above, caught in the rotor wash of a MEDEVAC helicopter and thus incapable of seeing the landscape that is directly in front of him, perhaps we have been caught in the swirl of government and mass media reports—too often indistinguishable from one another—to the point of not seeing (or trusting) what is directly before our eyes: a failed war that daily costs us ever more in dollars and human lives with no end or reversal of fortune in sight....(more)
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Batya Halpern
1979
Tenement Museum Online Photo Database
via
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The Derivative World
Caitlin Zaloom
The Hedgehog Review 12.3 (Summer 2010)
Observed through Goffman’s lens, casinos and Wall Street bear dramatic, and dramaturgical, resemblances. First, both are designed to operate as stages. Worlds nestled within worlds, casinos and financial markets heighten the action by regulating space differently from everyday life. Like casinos, Wall Street is a tightly bound site designed to draw in profitable materials from the exterior world while drawing out social distance. Operating remotely from their effects, casinos and financial markets direct their own systems of reward, building action around agonistic contests of calculation. The action also focuses more individual satisfactions, offering access to states of flow, the absorption and exhilaration where all else falls away. In the boom years, finance became its own world, separated from its impact on outsiders, where traders engineered their peak experiences of competition and attention akin to the thrills players seek on Vegas’s casino floors. Let’s call this place Derivative World.
Like casinos, financial markets are explicitly designed to be a world apart. Geographically, though, Wall Street now lacks a single address. Its sites are dispersed across the metropolitan landscape and linked through fiber optic cable, cell signals, cars, and helicopters. Banks and trading floors have mostly moved to midtown Manhattan, clustered together with the high-end law firms that service their needs. Goldman Sachs maintains its downtown location, but now owns a tower in Jersey City. America’s hedge funds cluster in Greenwich. Homes of scale and decadence dot the wealthiest districts of the city, but also New Jersey, Westchester, and Connecticut. Recently, financial firms made massive cutbacks, and investment bankers with big homes and large country club dues suddenly found themselves out of work. But for the survivors, those who disappeared have been quickly forgotten. Two years after financial Armageddon, it’s business as usual once again. Drivers in sleek private cars line the streets outside office buildings and town houses, waiting to shuttle money managers and dealers from site to site among these epicenters of financial profit and payoff. Bankers and traders seek their action within the closed confines of this social world. Consequences—profits and reputations—are rendered within. ...(more)
The Great Mortification: Economists’ Responses to the Crisis of 2007–(and counting)
Philip Mirowski The Hedgehog Review 12.3 (Summer 2010)
The readers may struggle to find it within their own hearts to feel sorry for economists in their plight, and it is not the intention of the current author to stoke pity or even schadenfreude in readers. Rather, the task is to recount these events as a sequence of otherwise avoidable tragedies, the first of which must be conceded to have been the exile of history and philosophy from any place within the contemporary economic orthodoxy.
The Phantom Economyfeature in The Hedgehog Review 12.3 (Summer 2010) Institute for Advanced Studies in Culture
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Road Trip, Eureka
George LeChat
2010
hiding in plain sight
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The Briefcase of Walter Benjamin/Benjamin Walter's Briefcase: An Invent/Story
Julian Yates
rhizomes
[5] Understandably, the news that there had been and perhaps that there remains, still, a manuscript, that this briefcase had been, all along, as it turns out, a thoroughly competent briefcase, a briefcase that could still, perhaps, under the right circumstances, and with a little luck or a lot of archival digging, be opened, and the manuscript retrieved, has caused much excitement. Benjamin's editors have inquired into its whereabouts. All manner of writers have ventured to Port-Bou in search of it or of something. When they get there and find nothing, draw a blank, they set about supplementing its absence with their own texts. Benjamin's briefcase becomes something to write with or on, their blocked mourning becomes instead a botched or partial mimesis that delivers, posthumously, after the fact, the manuscript that is said to have been, and which might still be, but which is not yet—a manuscript which History, so it seems, has rejected, thrown away, and whose rejection Benjamin's readers, all of us, if we got really lucky, might be able to undo.
[6] My aim in this essay is to present what I call an "invent/story" of this manuscript's emergence as a lure or relay in the production of Benjaminiana or Benjamin-themed texts and objects. In what follows, I aim to discern the various lineaments that make up its figural presence as a salvific lure, a manuscript, forever rejected, but by this rejection, funding forever the possibility of its posthumous return, its acceptance, and by that acceptance, some order of recuperation or redemption that will derive a stable meaning from Benjamin's death, from your death, my death, from death itself.
[7] As inventory, my essay proceeds by counting and listing variously mediatized or backed performances of this story and the way each stages these fragments or anekdota (stories and writing not intended for publication but which, nevertheless, come to light in uncanny places). My hope is to render each fragment with an eye to the specificities of its staging—and so to offer what, along with Richard Burt, I have learned to call a close/d reading, a reading content to trace the surfaces of Walter Benjamin's briefcase, to allow it to remain closed, and thereby resist the narratives of restitution and revelation that it sets in motion. An inventory seems an appropriate genre with which to present this case of reception—a genre specific to the parceling out of a dead person's belongings in a probate settlement or to the experimental aesthetics of the avant garde writer, Georges Perec, who once upon a time, in 1974, kept an inventory of all the things he had "ingurgitated" that year....(more)
rhizomes.20 summer 2010
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Who Visits My Peaceful Garden
1949
Werner Drewes
b. July 27, 1932
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The Most Beloved Paradoxes
Ralph
Mrs. Rooney: I remember once attending a lecture by one of these new mind doctors, I forget what you call them. He spoke ...
Mr. Rooney: A lunatic specialist?
Mrs. Rooney: No no, just the troubled mind, I was hoping he might shed a little light on my lifelong preoccupation with horses' buttocks.
Mr. Rooney: A Neurologist?
Mrs. Rooney: No no, just mental distress, the name will come back to me in the night. I remember his telling us the story of a little girl, very strange and unhappy in her ways, and how he treated her unsuccessfully over a period of years and was finally obliged to give up the case. He could find nothing wrong with her, he said. The only thing wrong with her as far as he could see was that she was dying. And she did in fact die, shortly after he washed his hands of her.
Mr. Rooney: Well? What is there so wonderful about that?
Mrs. Rooney: No, it was just something he said, and the way he said it, that has haunted me ever since. When he had done with the little girl he stood there motionless for some time, quite two minutes I should say, looking down at his table. Then he suddenly raised his head and exclaimed, as if he had had a revelation, "The trouble with her was she had never really been born!" [Pause] He spoke throughout without notes. [Pause] I left before the end ... [Sobs] There's nothing to be done for those people!
Mr. Rooney: For which is there?
- From All That Fall, Samuel Beckett
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Calm Morning
Werner Drewes
1959
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The Symptom 11 » Spring 2010
In as much as The Symptom 11 addresses Lacan's theory from years ago, such as with Jacques-Alain Miller's "Symptom and Fantasm" from the 1983 Conferencias Porteñas, this same author's "The Non-Existent Seminar" from 1991, Slavoj Zizek's "Deleuze and the Lacanian Real" from early 2008, and Alain Badiou's "The Formulas of l'Étourdit" from Spring 2006, it may as yet alternate with their very actual input - Alain Badiou's "The Courage of the Present/Contemporary Obscurantism" published in Le Monde in February 2010, and Slavoj Zizek's "The Neighbor in Burka" from April 2010. Eric Laurent investigates the status of love in both its modern and contemporary sense, especially what this means for psychoanalysis, in "Of Disparity in Love," which was given at a conference at Tours in 1999. Pierre Gilles Guéguen in "On Women and the Phallus" from April 2010 deals with semblance as applied to the relation between man and woman. Mario Goldenberg's "Paranoid Park and the Secret" was inspired by Gus Van Sant's film that won the 60th Anniversary Prize at the 2007 Cannes Film Festival. François Régnault's "Psychoanalysis and Music," from March 2002, is very unique in that he explores the involvement of music as both an unconscious exercise and an exercise of the unconscious. The ladies walk forth with "A Very Natural Woman" by Marina Lusa and "Oscura Estampa" by Julia Goldenberg", both from 2010. Albert Herter's video clip emerges from his experience in analysis. Richard Kostelanetz seals up the issue with a 2010 political protest entitled, "Obama as Dubya in Disguise".
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Gregory Colbert
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Throughout July Richard Hoffman has been posting some poems from Without Paradise at Mnemosyne's Memes
Lining-Off The Field
Richard Hoffman
(....)
Suppose the lines go on beyond the flags,
embracing houses, trees,
so many men and women, strangers
turning into friends or enemies, so many lovers,
towns, forests, lakes, rivers, stories
told and heard, forgotten or remembered,
understood or not. suppose the lines go on
because they do; imaginary, real.
...(more)
July 26, 2010
Ignacio Zuloaga
b. July 26, 1870
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Contextualizing Gerardo Diego's Handbook of Foams
Francisco Aragón
With ten poems from Handbook of Foams
translated from the Spanish by Francisco Aragón
jacket
Hotel
Gerardo Diego
(1896-1987)
translated by Francisco Aragón
for Alfonso Reyes
His head without a wreath or hat
and his heart’s the color in vogue
With every new dance
the clock loses a beat
showing the wrong hour
The wind blows from your cloak
caressing
the tango’s plucked fruit
Harvest of crushed clouds
and beloved modes of music
And the rhythm of sighs
makes the couples twirl
luring the lobby closer
Tightly shutting my eyes
I picture voyages
hotels anchoring the old keel
They’re islands like ocean liners
growing masts
abundant with winter fruit
where consumptives breathe
the tender oxygen
Upon hoisting the flag aromas
of wood are dispersed in the air
with the feathers of hunted birds
Autumn shrivels ties and hats
and from the carpet blooms spring
Roulette of chance and the seasons
Fashion’s jockeys raffle their colors
And whoever loses the bet
gets to waltz with a new lover
I love hotels and good weather
and I’ve seen women with roasted curls
The waves spraying them with cocktail foam _______________________
Eclipse of Sun
1926
George Grosz
b. July 26, 1893
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Dishonest clerks and the culture of capitalism
What's old is new again
Brian P. Luskey
common-place
It is banal to assert that capitalism benefits capitalists—elites have long been able to accumulate wealth in good times and weather economic storms in greater comfort than those who are less fortunate. Such banal assertions bear repeating, however, because elites obtain power through a culture of capitalism that shapes our assumptions about the legitimacy of economic conduct and our hopes and dreams for economic and social advancement. Nineteenth-century clerks—the copyists, bookkeepers, and salesmen whom I examine in On the Make—played various roles in the making of this culture. Some exhibited disdain for poor people who "scraped by" and insisted that their own economic pursuits were morally pure by comparison; dishonest embezzlers imperiled the economy, serving as contemptible figures who helped to justify capitalism; downtrodden clerks found themselves threatened by the economy and struggled to make ends meet. In On the Make, I show simultaneously that clerkships appeared to offer opportunities for upward mobility and that the young men who pursued them were clearly considered subordinate laborers. The debates about clerks and clerkships in nineteenth-century America are indeed relevant to our own times: as contests over the meanings of important keywords such as ambition, character, and class, they show the ways in which capitalism's opportunities and inequalities became the unquestioned organizing principles of American society and culture.
It is not enough for capitalists to have wealth; they feel that they must justify their access to and possession of capital. The pithy phrase "too big to fail" not only validates firms' impressive capital accumulation, but also privileges their economic survival over that of others without means. Many nineteenth-century clerks shared this condescending attitude toward the challenges ordinary folks faced during times of economic uncertainty....(more)
Common-Place
Vol. 10 · No. 04 · July 2010
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Broadway on a rainy day
Anthony's Instantaneous Views
ca. 1860
Anthony's Broadway on a Rainy Day
The stereograph comes to America
David Jaffee
common-place
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Course in General Linguistics
Jaswinder Bolina
agni
If I’m going to be attacked, let it be by a rare pathogen
not some yokel hurling
sand nigger at me
from a beat-up Cutlass Sierra at seven a.m.
If I’m going to be attacked,
let it be by asteroid or metastasis
not the toothless yahoo of my expectations.
What I can’t understand is
who has the energy to be a xenophobe at seven in the morning.
Not me anyway, though I have energy enough to think of language.
...(more)
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The Mutilated
1942-3
Jankel Adler
(July 26, 1895 – April 25, 1949)
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Schorr was musical, reflective; Cronkite, theatrical, sensational. Cronkite introduced the Beatles in 1963; Schorr delivered a eulogy on Frank Zappa in 1993.
Cronkite dispensed bulletins of News - the Official Version sanctioned by the ("that's the way it is") State. Schorr evoked events steeped in experiences - the burden of the storyteller.
Cronkite retired from CBS with dignified ceremonial auto-monumentality. Cronkite begat ingrate Rather, weepy witness of news as Melodrama. Schorr, fired by CBS for putting journalistic integrity above corporate interest, may have no worthy professional heirs.
- Tom Matrullo
July 25, 2010
John Wolf
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Ports
Paul Farley
(....)
IV
Ports rise and fall. The stars climb from the eastern sea.
The balance sheets all even out. The sand wipes clean.
Nobody comes here now except to dig deep down.
The nights are still and dark. There is no sound
Beyond the constant waves’ profit and loss sheets.
I was Carthage, tall and handsome as any city,
but the world has passed me by. The maps have been redrawn
and you can see how it might have been for Dido,
left standing while her life shipped out, moved on for home;
which sailors know lies off ahead and elsewhere.
The earth seems scorching to their feet. This will last forever,
Or as long as there are seas and men to sail them.
But I was Carthage, tall and handsome. Remember my name.
...(more)
Paul Farley at Poetry International Web
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Saying grace before the barbecue
Pie Town, New Mexico Fair
Russell Lee
October 1940
At the Fair (I): Pie Town
Tom Clark
(....)
There are men whose words are as natural sounds without location, lost,
but the natural sounds of the women and their children
are the sounds of the places they have found.
So you found one another, or were found, with nothing left to speak of as your own you were welcomed and accepted, he says. There was something to eat and drink for everyone at the fair.
Those who have been here a while, though, lingering, seem to wear expressions of concern. Perhaps it's that they fear nothing has actually been promised us. We might not be able to stay on here after all.
Still they walk the roads in the evening, bare headed, hands now and then touching, saying little to one another, as the clouds gather, with the sun going down.
...(more)
At the Fair (II): Reality
At the Fair (III): Jockey Street/Juke Joint
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Daniel Schorr
August 31, 1916 – July 23, 2010
J. Scott Applewhite/Associated Press
2005Staying Tuned: A Life in Journalism
Daniel Schorr
google books
Daniel Schorr's Legacy: Speaking Truth To Power
David Folkenflik
‘We owe it to history to publish it.’
Daniel Schorr remembered
Kathy Olmsted
The Edge of the American West
I’m familiar with one small slice of this story: I did an intensive study of his coverage of the intelligence beat for CBS News from 1974 to 1976 – coverage that ultimately cost him his job. I came away from my research and from my interview with Schorr profoundly impressed by his commitment to disclosure and democracy. Schorr was true believer in the public’s right to know, and the historical record is richer for it.
To evaluate CBS’s coverage of the intelligence scandals, I watched every story that aired from 1974 to 1976 that mentioned the FBI or CIA. It added up to eight hours of stories, most of them by Schorr. Standing out amid the blandness of television journalism, Schorr was known for his literate pieces (he had begun his career as a print journalist) and for his rumpled appearance (a magazine profile described him as “gray, grouchy, and pouchy, looking like a refugee from an Alka-Seltzer ad”).
As I watched the clips, I became impressed by two points. First, Schorr’s stories were many times better than anything on the television news in the 1990s: he was smart, he made connections between events, he understood history, and he wasn’t afraid to challenge government claims of secrecy. Second, his stories were also much better than the ones by his colleagues at CBS in the 1970s. It wasn’t that a golden age in television news had come and gone: he was unique, even for the time....(more)
Challenging the secret government: the post-Watergate investigations of the CIA and FBIKathryn S. Olmsted google books
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A new study in the International Journal of Environmental Studies and Public Health conducted by British researchers has found a startling increase in the number of infant mortality and cancer cases in the Iraqi city of Fallujah since the 2004 U.S.-led bombardment of the area. The Independent reports that the cases “exceed those reported by survivors of the atomic bombs that were dropped on Hiroshima and Nagasaki”
- Think Progress
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Event of Oneself
52 ghazals
Nicola Masciandaro
mediafire pdf
(....)
Nameless desire, new epic longing for home,
Hurts my heart to think it, embers every bone.
Is there a way to sing, to speak so deep within,
Beneath it, out from under oceanic stone?
Where is the impasse, mountain, or immortal foe?
Where is the impossible it to face alone?
One foot there and one foot here, I walk all moments
Within it, across the chasm where I am thrown.
Light quilts the jagged, self-cutting city, healing,
Wholing it, sewing wounds for which we will atone.
So many portals, fractals. Each face a monster
And hero hunting it down a hole all its own.
Nicola girds himself in flesh and words and thoughts
About it, ready for what will be always known.
via aaaaarg
Nicola Masciandaro blogs at The Whim_______________________
John Wolf
via Notes
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Video Clips From Talon’s 2010 Cross-Canada Poetry Tour: Vancouver
video clips
Frank Davey
Stephen Collis
George Bowering
Ken Norris
derek beaulieu
Ken Belford
Weyman Chan
Garry Thomas Morse
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Setting the Net
Gloucester, New Jersey
1881
Thomas Eakins
b. July 25, 1844
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