Many of my Chinese students have asked me to get a QQ account. At first I found this puzzling, as I had never heard of QQ, nor did I know how it would help me stay in touch with my students.
So I did a google search and found this on Wikipedia -
Tencent QQ, generally referred to as QQ, is the most popular free instant messaging computer program in mainland China. As of July 11, 2011, the active QQ users accounts for QQ IM totaled 812.3 million
My mind is pleasantly disabled by the rhythms of autistic poet Christopher Knowles’ libretto for Einstein on the Beach. There is an amusing scene in Errol Morris’Fast, Cheap & Out of Control in which an animal trainer demonstrates how a lion stalking him is mentally overwhelmed and pacified when a chair is put in front of his face; the lion cannot focus on the four legs of the chair and immediately loses track of what he’s doing, sitting down happily on the floor.
Perhaps the combination of iterations and permutations in Glass’ music -additive rhythms, threes and fours and fives, subtractive rhythms!- and in Knowles’ words overwhelm and pacify my mind. It’s like having a migraine without the pain. This transcription is in error in some places, but it’s interesting nevertheless.
The unspoken is not merely what is deprived of sound; rather, it is
the unsaid, what is not yet shown, what has not yet appeared on the
scene… [what is not spoken] will linger in what is concealed as
something unshowable. It is mystery. The addressed speaks as a
pronouncement, in the sense of something allotted; its speech need not make a sound.
Since I don’t happen to be much interested in the ways that intellectuals inflate their reputations, gain privilege and prestige, and disengage themselves from actual participation in popular struggle, I don’t spend any time on it.
So take Derrida, one of the grand old men. I thought I ought to at least be able to understand his Grammatology, so tried to read it. I could make out some of it, for example, the critical analysis of classical texts that I knew very well and had written about years before. I found the scholarship appalling, based on pathetic misreading; and the argument, such as it was, failed to come close to the kinds of standards I’ve been familiar with since virtually childhood. Well, maybe I missed something: could be, but suspicions remain, as noted. Again, sorry to make unsupported comments, but I was asked, and therefore am answering.
Some of the people in these cults (which is what they look like to me) I’ve met: Foucault (we even have a several-hour discussion, which is in print, and spent quite a few hours in very pleasant conversation, on real issues, and using language that was perfectly comprehensible —- he speaking French, me English); Lacan (who I met several times and considered an amusing and perfectly self-conscious charlatan, though his earlier work, pre-cult, was sensible and I’ve discussed it in print); Kristeva (who I met only briefly during the period when she was a fervent Maoist); and others. Many of them I haven’t met, because I am very remote from from these circles, by choice, preferring quite different and far broader ones —- the kinds where I give talks, have interviews, take part in activities, write dozens of long letters every week, etc. I’ve dipped into what they write out of curiosity, but not very far, for reasons already mentioned: what I find is extremely pretentious, but on examination, a lot of it is simply illiterate, based on extraordinary misreading of texts that I know well (sometimes, that I have written), argument that is appalling in its casual lack of elementary self-criticism, lots of statements that are trivial (though dressed up in complicated verbiage) or false; and a good deal of plain gibberish. When I proceed as I do in other areas where I do not understand, I run into the problems mentioned in connection with (1) and (2) above. So that’s who I’m referring to, and why I don’t proceed very far. I can list a lot more names if it’s not obvious.
Korine originally intended to follow up Gummo with a short-lived project known as Fight Harm, filmed by illusionist David Blaine. It comprised footage of Korine engaging random people in actual street fights. In these he followed rules of always provoking the fight and continuing until threat of death. Korine, who often said he would die for the cinema, hoped to make a cross between a Buster Keaton vehicle and a snuff film, but after only six fights, he was hospitalized and forced to abandon the project.
Kanye West - We Were Once A Fairy Tale (directed by Spike Jonze)
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Somewhere between a home-video mixtape and a postmodern travelogue, “oops”—a ten-minute art video composed entirely of appropriated YouTube videos, seamlessly stitched together via a motif of camera drops—serves both as transportative adventure and metaphorical elucidation of YouTube itself (i.e. endless related videos), exemplifying the Internet’s infinite repository of “throwaway” social documentation. From suburbia to subterranea, the radically shuffling environs induce a vertiginous yet aesthetically contextual thread—a transcendent, reincarnating POV; our omnipresent Camera—by which, the nature of the ultra-verité videos, eschewing any filmic grounding, plunges the viewer into a relationship of fleeting immediacy w/ its many videographers: a self-portrait at arms length, the digital blur of an obscuring thumb, a disembodied narrating voice. This abstractly voyeuristic portrayal of an ever-filming generation (who won’t let the transcendence of being in A Moment inhibit their document-everything impulse) presages a future where every instant of our existence, from the mundane to the sublime, is preserved and catalogued for all to see.
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John Cage “4’33”
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Hou Hsiao Hsien
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One of the more embarrassing and self-indulgent challenges of our time is the task of relearning how to concentrate. The past decade has seen an unparalleled assault on our capacity to fix our minds steadily on anything. To sit still and think, without succumbing to an anxious reach for a machine, has become almost impossible.
We are continuously challenged to discover new works of culture—and, in the process, we don’t allow any one of them to assume a weight in our minds. We leave a movie theater vowing to reconsider our lives in the light of a film’s values. Yet by the following evening, our experience is well on the way to dissolution, like so much of what once impressed us: the ruins of Ephesus, the view from Mount Sinai, the feelings after finishing Tolstoy’s Death of Ivan Ilyich.
The need to diet, which we know so well in relation to food, and which runs so contrary to our natural impulses, should be brought to bear on what we now have to relearn in relation to knowledge, people, and ideas. Our minds, no less than our bodies, require periods of fasting.