1. Judith Butler reviews Jacques Derrida’s On the Death Penalty, Vol. I

     

  2. I’ve come to believe that Godard is the only actual film poet, which is to say that he is the only filmmaker to address the audience in the sense described by Wallace Stevens in his essay “The Noble Rider and the Sound of Words”: the poet’s measure of himself as a poet, “in spite of all the passions of all the lovers of the truth, is the measure of his power to abstract himself, and to withdraw with him into his abstraction the reality on which the lovers of truth insist. He must be able to abstract himself and also to abstract reality, which he does by placing it in his imagination.” The “pressure of reality,” as Stevens calls it—the oppressively dull bottom line on which we must all supposedly agree in order to keep the machinery of society in good working order—is nullified by the poet, who takes responsibility for his or her own freedom and in so doing offers a model to the reader. Or, in this case, the viewer.

    Godard was ostensibly attracted to 3-D because it remains unencumbered by any rules to speak of, but he eventually breaks its one implicit rule by drawing attention to the separation between the right-eye and left-eye images, most spectacularly in a mind-bending shot that I have yet to fully comprehend on a technical level (believe me: you’ll know it when you see it) and that actually drew a round of applause mid-screening in Cannes.

     

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  6. In moving away from a representational model of the everyday—that is, from a direct mimetic mapping of lived experience onto literary works—Sayeau aims to examine the manner in which this temporal quality expresses itself withinliterature, as an immanent principle, organizing and orienting narrative logic. On this reading, then, modernist novels do not merely contain representations of everyday life; more importantly, they seek solutions to the specifically “formal challenges” posed by modernity’s “empty time.” According to this formulation, the everyday manifests itself in fiction as a force that threatens to stall the narrative production of meaning. At a formal level, Sayeau shows how his chosen modernist—and proto-modernist—texts “share a particular dilemma: how to maintain the coherence of the text, a rhythm of meaningful experiences, in a world in which time itself seems to be flattening out, softening into circularity, reiteration, and stasis.” In this way, the everyday emerges as an internal element of the economy of the novel, pulling against plot progression, towards entropic dissolution.

     

  7. This is the best Jason Molina tribute I’ve heard.

    (Source: Spotify)

     

  8. A lengthy two-part interview with Jean-Luc Godard at Cannes last month and the trailer for his Adieu au language due out later this year.

     
  9. thenearsightedmonkey:

    Dear Students,

    Regard the notebooks of Paul Klee

    Sincerely,

    Professor Chewbacca

    design-is-fine:

    Paul Klee, Beiträge zur bildnerischen Formlehre, 1922. Bauhaus Weimar.

    (Source: elisavafreb.wordpress.com)

     

  10. "In melancholia the ego … identifies with the abandoned object. The ego becomes the poor substitute for the object.

    Freud indicates that the self’s relation to the lost object before the time of incorporation ‘is complicated by the conflict of ambivalence’.

    Incorporating the lost object exacerbates this ambivalence in the form of negation and lack because of the self’s initial inability to articulate or externalize the loss.

    The incorporation of the lost object becomes not only a preservation of the loss but also an idealization of loss in the form of an ego-ideal.

    The ego-ideal becomes the measuring stick against which the ego is judged by the super-ego. The ego can never live up to its ego-ideal."
    — 

     http://books.google.co.uk/books?id=JkNoeXNopDQC&lpg=PA233

    The Politics Of Mourning - Remains To Be Seen - Susette Min

    (via alterities)

    (via alterities)