It takes much more than wild courage
I have bullets for sale
Only the deep night knows,
A scarlet ribbon for her braids.
You must have just the right bullets
Your blind and your gloom
The foggy night has already come,
Hark, it's her! The desired one has come,
So I'll keep the wind from your barrel
keep the wind off this lad's shoulder
"I do not want to go around dressed up
You must be careful in the forest
I'll pull you out of the chorus
And the first one's always free
I paid no small price myself,
and without a fiancé!"
Wednesday, October 24, 2012
tetris song
Oh, my crate is so full,
I've got chintz and brocade.
Take pity, oh sweety,
Of this lad's shoulder
I will, I will go out into the tall rye,
I will wait there till the night comes,
Once I see the dark-eyed lass,
I will showcase all my goods.
I paid no small price myself,
So don't bargain or be stingy,
Bring your scarlet lips to me,
Sit closer to this fine lad.
The foggy night has already come,
The daring lad is awaiting,
Hark, it's her! The desired one has come,
The merchant is selling his goods.
Katya is haggling with care,
She is afraid to pay too much,
A lad is kissing his lass,
Asking her to raise the price.
Only the deep night knows,
What they agreed upon.
Straighten up now, oh tall rye,
And keep their secret scrupulously!
Oh, my crate is so light,
The strap is no longer cutting into my shoulders!
And all my lass took
Was one turquoise ring.
I had given her a whole piece of calico,
A scarlet ribbon for her braids.
A little belt -- the white shirt
To strap on while haymaking
The sweet one put everything
back into the box, but for the ring:
"I do not want to go around dressed up
Without a fiancé!"
-- http://en.wikipedia.org/wiki/Korobeiniki
I've got chintz and brocade.
Take pity, oh sweety,
Of this lad's shoulder
I will, I will go out into the tall rye,
I will wait there till the night comes,
Once I see the dark-eyed lass,
I will showcase all my goods.
I paid no small price myself,
So don't bargain or be stingy,
Bring your scarlet lips to me,
Sit closer to this fine lad.
The foggy night has already come,
The daring lad is awaiting,
Hark, it's her! The desired one has come,
The merchant is selling his goods.
Katya is haggling with care,
She is afraid to pay too much,
A lad is kissing his lass,
Asking her to raise the price.
Only the deep night knows,
What they agreed upon.
Straighten up now, oh tall rye,
And keep their secret scrupulously!
Oh, my crate is so light,
The strap is no longer cutting into my shoulders!
And all my lass took
Was one turquoise ring.
I had given her a whole piece of calico,
A scarlet ribbon for her braids.
A little belt -- the white shirt
To strap on while haymaking
The sweet one put everything
back into the box, but for the ring:
"I do not want to go around dressed up
Without a fiancé!"
-- http://en.wikipedia.org/wiki/Korobeiniki
Saturday, October 20, 2012
even once
From Zizek, "The art of the ridiculous sublime":
There are two standard uses of cyberspace narrative: the linear,
single-path maze adventure, and the undetermined, "post-modern"
hypertext form of rhizome fiction. The single-path maze adventure
moves the interactor towards a single solution within the structure of
a win-lose contest (overcoming the enemy, finding the way out,
etc.). With all possible complications and detours,the overall path is
clearly predetermined; all roads lead to one final Goal. In contrast,
the hypertext rhizome does not privilege any order of reading or
interpretation; there is no ultimate overview or "cognitive mapping,"
no possibility to unify the dispersed fragments in a coherent
encompassing narrative framework. One is ineluctably enticed in
conflicting directions; we, the interactors, just have to accept that
we are lost in the inconsistent complexity of multiple referrals and
connections. The paradox is that this ultimately helpless confusion,
this lack of final orientation, far from causing an unbearable
anxiety, is oddly reassuring: the very lack of a final point of
closure serves as a kind of denial which protects us from confronting
the trauma of our finitude, of the fact that our story has to end at
some point. There is no ultimate, irreversible point, since, in this
multiple universe, there are always other paths to explore, alternate
realities in which one can take refuge when one seems to reach a
deadlock. So how are we to escape this false alternative? Janet Murray
refers to the story structure of the "violence-hub," similar to the
famous Rashomon predicament: an account of some violent or otherwise
traumatic incident (a Sunday trip fatality, a suicide, a rape) is
placed at the center of a web of narratives/files that explore it from
multiple points of view (perpetrator, victim, witness, survivor,
investigator).
the proliferation of interconnected files is an attempt to answer
the perennial and ultimately unanswerable question of why this
incident happened. . . these violence-hub stories do not have a
single solution like the adventure maze or a refusal of solution
like the post-modern stories; instead, they combine a clear sense of
story structure with a multiplicity of meaningful plots. the
navigation of the labyrinth is like pacing the floor; a physical
manifestation of the effort to come to terms with the trauma, it
represents the mind's repeated efforts to keep returning to a
shocking event in an effort to absorb it and, finally, get past
it. (cf. http://mitpress.mit.edu/books/hamlet-holodeck)
It is easy to perceive the crucial difference between this "retracing
of the situation from different perspectives" and the rhizomatic
hypertext: the endlessly repeated reenactments refer to the trauma of
some impossible Real which forever resists its symbolization (all
these different narratives are ultimately just so many failures to
cope with this trauma, with the contingent abyssal occurrence of some
catastrophic Real, like suicide, apropos of which no "why" can ever
serve as its sufficient explanation). In a later closer elaboration,
Murray even proposes two different versions of presenting a traumatic
suicidal occurrence, apart from such a texture of different
perspectives. The first is to transpose us into the labyrinth of the
subject's mind just prior to his suicide. The structure is here
hypertextual and interactive, we are free to choose different options,
to pursue the subject's ruminations in a multitude of directions, but
whichever direction or link we choose, we sooner or later end up with
the blank screen of the suicide. So, in a way, our very freedom to
pursue different venues imitates the tragic self-closure of the
subject's mind. No matter how desperately we look for a solution, we
are compelled to acknowledge that there is no way out, that the final
outcome will always be the same. The second version is the opposite
one. We, the interactors, are put in the situation of a kind of
"lesser god," having at our disposal a limited power of intervention
into the life-story of the subject doomed to kill himself; for
example, we can "rewrite" the subject's past sothat his girlfriend
would not have left him, or so that he would not have failed the
crucial exam, yet whatever we do, the outcome is the same - even God
himself cannot change Destiny. . .
There are two standard uses of cyberspace narrative: the linear,
single-path maze adventure, and the undetermined, "post-modern"
hypertext form of rhizome fiction. The single-path maze adventure
moves the interactor towards a single solution within the structure of
a win-lose contest (overcoming the enemy, finding the way out,
etc.). With all possible complications and detours,the overall path is
clearly predetermined; all roads lead to one final Goal. In contrast,
the hypertext rhizome does not privilege any order of reading or
interpretation; there is no ultimate overview or "cognitive mapping,"
no possibility to unify the dispersed fragments in a coherent
encompassing narrative framework. One is ineluctably enticed in
conflicting directions; we, the interactors, just have to accept that
we are lost in the inconsistent complexity of multiple referrals and
connections. The paradox is that this ultimately helpless confusion,
this lack of final orientation, far from causing an unbearable
anxiety, is oddly reassuring: the very lack of a final point of
closure serves as a kind of denial which protects us from confronting
the trauma of our finitude, of the fact that our story has to end at
some point. There is no ultimate, irreversible point, since, in this
multiple universe, there are always other paths to explore, alternate
realities in which one can take refuge when one seems to reach a
deadlock. So how are we to escape this false alternative? Janet Murray
refers to the story structure of the "violence-hub," similar to the
famous Rashomon predicament: an account of some violent or otherwise
traumatic incident (a Sunday trip fatality, a suicide, a rape) is
placed at the center of a web of narratives/files that explore it from
multiple points of view (perpetrator, victim, witness, survivor,
investigator).
the proliferation of interconnected files is an attempt to answer
the perennial and ultimately unanswerable question of why this
incident happened. . . these violence-hub stories do not have a
single solution like the adventure maze or a refusal of solution
like the post-modern stories; instead, they combine a clear sense of
story structure with a multiplicity of meaningful plots. the
navigation of the labyrinth is like pacing the floor; a physical
manifestation of the effort to come to terms with the trauma, it
represents the mind's repeated efforts to keep returning to a
shocking event in an effort to absorb it and, finally, get past
it. (cf. http://mitpress.mit.edu/books/hamlet-holodeck)
It is easy to perceive the crucial difference between this "retracing
of the situation from different perspectives" and the rhizomatic
hypertext: the endlessly repeated reenactments refer to the trauma of
some impossible Real which forever resists its symbolization (all
these different narratives are ultimately just so many failures to
cope with this trauma, with the contingent abyssal occurrence of some
catastrophic Real, like suicide, apropos of which no "why" can ever
serve as its sufficient explanation). In a later closer elaboration,
Murray even proposes two different versions of presenting a traumatic
suicidal occurrence, apart from such a texture of different
perspectives. The first is to transpose us into the labyrinth of the
subject's mind just prior to his suicide. The structure is here
hypertextual and interactive, we are free to choose different options,
to pursue the subject's ruminations in a multitude of directions, but
whichever direction or link we choose, we sooner or later end up with
the blank screen of the suicide. So, in a way, our very freedom to
pursue different venues imitates the tragic self-closure of the
subject's mind. No matter how desperately we look for a solution, we
are compelled to acknowledge that there is no way out, that the final
outcome will always be the same. The second version is the opposite
one. We, the interactors, are put in the situation of a kind of
"lesser god," having at our disposal a limited power of intervention
into the life-story of the subject doomed to kill himself; for
example, we can "rewrite" the subject's past sothat his girlfriend
would not have left him, or so that he would not have failed the
crucial exam, yet whatever we do, the outcome is the same - even God
himself cannot change Destiny. . .
Friday, October 19, 2012
Tuesday, October 16, 2012
transvaluation
«It is a self-deception on the part of philosophers and moralists if
they believe that they are extricating themselves from decadence by
waging war against it. Extrication lies beyond their strength: what
they choose as a means, as salvation, is itself but another expression
of decadence; they change the form of decadence, but they do not get
rid of decadence itself. Socrates was a misunderstanding; any
improvement morality, including Christianity, is a misunderstanding.
The most blinding daylight; rationality at any price; life, bright,
cold, cautious, conscious, without instinct, in opposition to the
instincts — all this was a kind of disease, merely a disease, and by
no means a return to "virtue," to "health," to happiness. To have to
fight the instincts — that is the definition of decadence: as long as
life is ascending, happiness equals instinct.» --
http://www.handprint.com/SC/NIE/GotDamer.html
This quote from Baudrillard's "mentor" is exceptionally reminiscent of
J.B.'s writings on seduction. Well played!
they believe that they are extricating themselves from decadence by
waging war against it. Extrication lies beyond their strength: what
they choose as a means, as salvation, is itself but another expression
of decadence; they change the form of decadence, but they do not get
rid of decadence itself. Socrates was a misunderstanding; any
improvement morality, including Christianity, is a misunderstanding.
The most blinding daylight; rationality at any price; life, bright,
cold, cautious, conscious, without instinct, in opposition to the
instincts — all this was a kind of disease, merely a disease, and by
no means a return to "virtue," to "health," to happiness. To have to
fight the instincts — that is the definition of decadence: as long as
life is ascending, happiness equals instinct.» --
http://www.handprint.com/SC/NIE/GotDamer.html
This quote from Baudrillard's "mentor" is exceptionally reminiscent of
J.B.'s writings on seduction. Well played!
Sunday, October 14, 2012
writing seminars decrypted
Dear M-:
I noticed that the PDF of writing seminars was encrypted using a
simple cypher. In other words, when I copied and pasted the text into
my text editor, it came out as gobbledygook, but I was able to see the
pattern, because it just required simple letter-replacements to
restore order! Accordingly, I decided to make the replacements with
a tiny computer program, to give you something you could do keyword
searches on.
I also figured it would be useful to create a "wordle" diagram (word
cloud); this is attached as well. Using the word cloud you can see
the popularity of various keywords. So for example, "poetry" isn't
anywhere near as popular as "essays". Not all of the keywords make
it onto this list, however!
[...]
Friday, October 5, 2012
something added
Freud observed that not just any unfamiliar experience will constitute
a meaning threat and arouse a sense of the uncanny. Rather,
uncanniness is the feeling aroused by unfamiliar experiences in
familiar situations. It is only the unfamiliar familiar (unheimliche
heimliche) that threatens meaning frameworks and arouses a feeling of
uncanniness. In wholly unfamiliar settings, there are fewer
expectations to violate, and moreover, one may expect unexpected
experiences. Accordingly, the presence of unusual events confirms,
rather than violates, one's current meaning framework. For example,
tourists visiting exotic locales expect to encounter events that are
new and unfamiliar and therefore may not view these experiences as
meaning threats. By contrast, incongruous experiences in familiar
settings constitute an unexpected unexpected and therefore provoke
that unique sense of the uncanny.
Add Table 2 showing contributions per year lay it on that he ordered
the messenger to whisper it back into his first pass through the
implementation section, only making his way through the chambers of
the innermost palace. Her rapist captive, in order to put him on
trial and ascertain his guilt or her paranoia. At the end of the
play, it is a pretty decent pass through the methodology section, a
message to you alone. He has commanded the messenger to kneel down by
the window. While they are alone for the last time, Paulina accuses
Roberto (as in the play's title), while evening falls, and you dream it
all to yourself. Add some minimal quotes from Halliday's language of
science book, crammed to bursting with its own sediment. Nobody could
fight his way -- he cleaves it to himself through the throng, and if
he ever encounters attempts to save his life, after hearing the full
story of her American countrymen who had been raped by her captors,
led by a sadistic added passage that had been forgotten amidst more
narration around Table 2, reworking the paragogical design and praxis
sections a little through here and there -- even with a message from a
dead man. But you sit there as if nothing would be gained, while he
must next fight his way down the stair; add another citation, some
more tweaks, vitae corrections, add citation for the polymath project,
captivity from Paulina, and Gerardo formulates a confession with
Roberto... (As hypothesized, participants in the unexpected unexpected
Biggles condition set a higher bond for the prostitute than did
participants in either the expected unexpected Biggles condition or
the punch line joke condition.)
No one knows how Kafka came to this same conclusion, but by the 1915
publication of The Metamorphosis he had clearly mastered the art of
evoking the unusual in steadfastly familiar settings with the clear
intention of evoking the uncanny. We can only say that what is novel
can become frightening and uncanny; some new things are frightening
but by no means all. Something has to be added to what is novel and
unfamiliar in order to make it uncanny.
a meaning threat and arouse a sense of the uncanny. Rather,
uncanniness is the feeling aroused by unfamiliar experiences in
familiar situations. It is only the unfamiliar familiar (unheimliche
heimliche) that threatens meaning frameworks and arouses a feeling of
uncanniness. In wholly unfamiliar settings, there are fewer
expectations to violate, and moreover, one may expect unexpected
experiences. Accordingly, the presence of unusual events confirms,
rather than violates, one's current meaning framework. For example,
tourists visiting exotic locales expect to encounter events that are
new and unfamiliar and therefore may not view these experiences as
meaning threats. By contrast, incongruous experiences in familiar
settings constitute an unexpected unexpected and therefore provoke
that unique sense of the uncanny.
Add Table 2 showing contributions per year lay it on that he ordered
the messenger to whisper it back into his first pass through the
implementation section, only making his way through the chambers of
the innermost palace. Her rapist captive, in order to put him on
trial and ascertain his guilt or her paranoia. At the end of the
play, it is a pretty decent pass through the methodology section, a
message to you alone. He has commanded the messenger to kneel down by
the window. While they are alone for the last time, Paulina accuses
Roberto (as in the play's title), while evening falls, and you dream it
all to yourself. Add some minimal quotes from Halliday's language of
science book, crammed to bursting with its own sediment. Nobody could
fight his way -- he cleaves it to himself through the throng, and if
he ever encounters attempts to save his life, after hearing the full
story of her American countrymen who had been raped by her captors,
led by a sadistic added passage that had been forgotten amidst more
narration around Table 2, reworking the paragogical design and praxis
sections a little through here and there -- even with a message from a
dead man. But you sit there as if nothing would be gained, while he
must next fight his way down the stair; add another citation, some
more tweaks, vitae corrections, add citation for the polymath project,
captivity from Paulina, and Gerardo formulates a confession with
Roberto... (As hypothesized, participants in the unexpected unexpected
Biggles condition set a higher bond for the prostitute than did
participants in either the expected unexpected Biggles condition or
the punch line joke condition.)
No one knows how Kafka came to this same conclusion, but by the 1915
publication of The Metamorphosis he had clearly mastered the art of
evoking the unusual in steadfastly familiar settings with the clear
intention of evoking the uncanny. We can only say that what is novel
can become frightening and uncanny; some new things are frightening
but by no means all. Something has to be added to what is novel and
unfamiliar in order to make it uncanny.
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