Monday, March 07, 2005


"myrth: the brakish truth perspective of a sometimes trash collector"


hmm. postmodernism totally rips off dada.

"However, there is one difference between the original Dadaists and these particular postmodernists (or “neo-Dadaists”, as Richter would call them). The original Dadaists all believed that modern culture had become empty and insane, and by tuning into this insanity, they themselves might bring about positive change (Richter 1965; Rubin 1967). For many, Dada was characterized as an attempt to transcend “...the world of stale conventions in society to again face the irrational chaos of life and answer to the nothingness of existence” (Rumold 1996: 205). They saw the world as irrational and mad, but believed that this was acceptable, as long as we all realized and accepted this condition (Dachy 1990; Richtor 1965). This may seem arrogant, but at least it was optimistic. Baudrillard and Lyotard do not share such optimism. They believe that something irreplaceable has been lost, and culture has advanced into a state of implosion and/or emptiness from which it cannot escape (Baudrillard 1988; Connor 1989; Lyotard 1984; Kellner 1990; Youngblood 1989). I argue that this pessimism is ultimately rooted in conservatism."

this has always, in my admittedly peripheral contact with the whole issue, kinda driven me insane. i wrote a whole paper on white noise basically complaining about how people insisted on reading at some sort of bleak empty catastrophe scary pomo thingie, which i think totally misses delillo's point, because he recognizes there's no disconnect in history (i mean, think about it for one fucking second--actually, think about that one fucking second. when exactly was it that history ended? how do you actually prove something like that? oh what's the use, i'll probably read something next week that'll totally change my mind...)


it is totally not fair that books cost so much sometimes.


Crisis in the Arts: The History of Dada. Stephen C. Foster, ed.
Circles of Confusion. Hollis Frampton.
Andy Warhol's Interview.

the relative inexpensiveness of certain books makes my wallet leak.

examples. (aka "purchased")
Dada: Art and Anti-Art. Hans Richter.
The Philosophy of Andy Warhol.
Writing on Drugs. Sadie Plant. hardcover. 4 bucks. drugs!
The Writings of Marcel Duchamp. The publisher's website is the only place I could find any info but it was enough to sell me.

And the new Mars Volta because boy do I love me my overblown pomposity in fantastically rocking formats. mars volta, i think, is what hair metal might actually be if it were good.


animation at the harvard film archive was pretty sweet. since this info doesn't seem to be posted online, i run to the rescue:

Masters of Animation: The Dreaming Mind
This evening of masterful animation shorts, curated by VES visiting animator Lorelei Pepi, is pulled from both the Harvard Film Archive and private collections. These films explore one of the prime aesthetics of the animated film: the fantastical imagination that exists beyond conscious reality. Each film goes into a different realm of the unreal yet present, the unseen yet sense, the unconscious yet known, all pulled into a realized manifestation through the animated moment.

La Picolla Russia. Directed by Gianliuigi Toccafondo, Italy 2003, 16mm, color, 17 min.
Pas de Deux. Directed by Norman McLaren, Canada 1967, 35mm, 13 min.
The Trap. Directed by Amy Kravitz, US 1988, 16mm, color, 6 min.
Street of Crocodiles. Directed by the Brothers Quay, UK 1986, color, 20 min.
Rhinoceros. Directed by Jan Lenica, Poland 1963, 35mm, color, 11 min.
Tale of Tales. Directed by Yuri Norstein, USSR 1979, 16mm, color, 29 min.

I will try to be a good boy and write some comments for these later.
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