The Bed-Sitting Room was an absurdish British comedy film directed by Richard Lester based on Spike Milligan‘s play. Here in a YouTube bricolage accompanied by “Milkshake” by American R&B singer-songwriter Kelis. What I like so much about Youtube bricolages is that they address two senses at once. I used to be somewhat addicted to television, but lots of the time, I used to watch with the sound turned off, and some music playing in the background, finding the combination of visuals and sound found on TV not interesting enough.
I recently acquired the book above: “Art in Theory“. This is not a book you read from cover to cover, I am reading it the way I like reading most, by the index (and aided by Google book search). The introductory essays to each chapter are very good.
A copy from my first impressions posted on the Art and Pop wiki:
“How do you classify a writer like Georges Bataille? Novelist, poet, essayist, economist, philosopher, mystic? The answer is so difficult that the literary manuals generally prefer to forget about Bataille who, in fact, wrote texts, perhaps continuously ‘one single text’.”
“But since Saussure himself, and sometimes independently of him, a whole section of contemporary research has constantly been referred to the problem of meaning: psycho-analysis, structuralism, eidetic psychology, some new types of literary criticism of which Bachelard has given the first examples, are no longer concerned with facts except inasmuch as they are endowed with significance. Now to postulate a signification is to have recourse to semiology. I do not mean that semiology could account for all these aspects of research equally well: they have different contents. But they have a common status: they are all sciences dealing with values. They are not content with meeting the facts: they define and explore them as tokens for something else.”
Bachelard is also mentioned by Yves Klein in a Sorbonne lecture given in 1959.
“I unhappily did not have the pleasure of discovering the writings of Gaston Bachelard till very late, only last year in the month of April 1958. […] will reply by borrowing yet again from Gaston Bachelard that marvelous passage concerning blue from his book Air and Dreams. “This is primarily a Mallarmean document in which the poet, living in ‘contented world-weariness amidst oblivious tarns’, suffers from the irony of blueness. He perceives an excessively hostile blueness which strives with an indefatigable hand to ‘fill the gaping blue holes wickedly made by birds’. […] and that is the dwelling place of Bachelard’s beautiful phrase: ‘First there is nothing, next their is depth of nothingness, then a profundity of blue’.”
These are some of the quotes which make this volume worthwhile. I recommend this book.
The title translates literally as “good as a picture” (as in “pretty as a picture”). I showed the clip to my kids but they thought it was awfully slow and old-fashioned. Evident is the 1980s fascination with the 1950s (record player, polka dots skirt, etc…) which ruled popular fashion at that time (the Gaultier era). The record is a good introduction to the work of francophone Belgian producer, musician and radio personality Marc Moulin, whose early work with Telex is still influential to the electroclash scene; the track below, “Moscow Diskow”, being a staple for DJs Frankie Knuckles and Ron Hardy on the dance floors of late 1980s Chicago clubs that were instrumental in the development of Chicago house music, and house music as such. What is to be appreciated is that Telex had a great sense of humor – for example – one of their compositions was called “Temporary Chicken,” which invariably makes me smile when I think of it.
To this day, “Moskow Diskow” remains of one of my favorite records to dance to, I pronounce it wmc #30. And yes, all this is Belgian.
I couldn’t help by noticing how very similar in feel this 19th century photograph is to Marcel Duchamp’s last work Etant donnés(and btw, I am looking for a precise date of when this work was first presented to the general public)
The first Rita is French, she was an exotic dancer of the generation of previously mentioned Rita Renoir, the tragedienne of strippers. The title of her single reads “Do not touch the animal”.
The second Rita is Brazilian and her song translates as “It’s good for the moral”. It’s an outrageously uplifting Euro-dance song of the same mantle that holds Lou Deprijck, the virtually unknown but at the same time one of the most successful Belgian music producers ever, of whom I’ve given you guilty pleasures #7 and Que Tal America.
What Lou and Rita share is a love of the Brazilian thing, logical for Rita since she is Brazilian, logical for Lou since he loves party music and Brazilians have been very apt at producing party music.