I spent last Sunday in Paris. Jumbled notes here.
I saw the building above but could not identify it. Anyone?
Update: The building is U.E.I. Murat – Locaux France Telecom, unknown year, unknown architect.
Tomorrow is the birthday of D-Day.
For the occasion, Belgian photographer Stephan Vanfleteren is putting out a book with photos of the Atlantic Wall.
Sometimes it seems I have no opinion of my own. And I’m not even sure if I should mind.
Take the case of Georg Wilhelm Friedrich Hegel (1770 – 1831).
Last week I met with a philosophy professor who said that Hegel marks the dividing line between contemporary philosophy and modern philosophy and in the book I’m currently reading, Short History of the Shadow, Hegel’s Science of Logic is mentioned in the introduction.
So I’m wondering. What is my position vis-à-vis Hegel? Do I have a personal connection with him? I first check Jahsonic.com where, in 2006, I cited Hegel with regards to the other, from a Simone de Beauvoir book.
Speaking of de Beauvoir, have you seen her gorgeous nude photo of Simone de Beauvoir?
Since I like both Nietzsche and Deleuze, must I conclude that I do not like Hegel? Or will have a hard time liking him?
Can I form my opinion based on the opinion of another person?
I should do no such thing of course.
But I could if I wanted to.
And I can trust Nietzsche when he says Plato is boring, can’t I?
The myth is reported by Pliny.
This is the story: a certain Kora (also called Callirhoe), was in love with a boy at Corinth who had to leave the country. Whereupon she drew on the wall the outline of the shadow of his face. From this outline her father Butades modeled a face in clay, and baked the model, thus preserving for his daughter a face in relief of the boy she loved.
My thoughts? Amazing, but, couldn’t Butades just as well have made a death mask of the face of the boy?
Photo (I accidentally mirrored it) of three books by Victor Stoichita. It shows (from left to right) The Pygmalion Effect, Visionary Experience in the Golden Age of Spanish Art and Short History of the Shadow.
The photo was taken against the backdrop of the University of Antwerp library at the Prinsstraat.
I was surprised to find these books in the collection of the Ruusbroec Institute of all places. Not so surprising it would appear the following day after doing my homework, as on February 6th 2014 Stoichita gave a lecture at the UCSIA, on the visionary experience in art. John of Ruysbroeck (after which the Ruusbroec Institute was named) was a Flemish mystic and Stoichita has written on the visionary experience.
A pity I missed that lecture.
Victor Stoichita’s oeuvre very obliquely reminds me of David Toop‘s and especially his last work Sinister Resonance: The Mediumship of the Listener (which I have still to read, or better said, “hold in my hands”, as I’ve researched it already online), in particular the chapter Art of silence. As I’ve noted in a previous post, in that book Toop references Stoichita. Three times, to be exact, I just checked.
closing credits sequence of Dogville
Yesterday, I watched Dogville (2003) on DVD with my daughter, who had to watch it for her final year in high school. Her assignment: searching for Brechtian alienation elements. That wasn’t hard: the whole film is an attack on the suspension of disbelief.
I’d previously seen the von Trier film in the cinema and that time I had missed the importance of the closing credits sequence [above] with images of poverty-stricken Americans taken from Jacob Holdt’s social documentary photography book American Pictures (1977) and accompanied by David Bowie’s song “Young Americans.”
The film is an indictment of the hypocrisy of small town morality. Its most dislikable character is Tom Edison Jr., the wannabe writer, would be philosopher and cowardly lover who abuses Grace’s trust time after time.
The film is a masterpiece. But bleak.
I’ve added it to my film canon: the World Cinema Classics list where it sits next to District 9 and Dr. Pyckle and Mr. Pryde.