The future will be boring

J. G. Ballard. Autopsy of the new millennium by you.

John Coulthart announces[1] J. G. Ballard. Autopsy of the new millennium, an exhibition on the work of British writer and cult favorite J. G. Ballard at the Centre de Cultura Contemporània de Barcelona curated by Jordi Costa.

The exhibition runs from from 22 July to 2 November 2008.

Its poster features an abandoned and rusty car wreck in desert Tunisia, Chott el Jerid (a location used for filming Star Wars) by Sami Sarkis.

I am not a bibliophile

On intertextuality and litblogging


[Amazon.com]
[FR] [DE] [UK]

When I wrote a couple of months ago, echoing Grillet, that I am not a cinephile[2], I meant that I am interested in more than films, but more on the lookout for certain sensibilities which also steer my publication bias. By the same token, I am not a bibliophile. But I love books, and books is mainly what I’ve bought the last couple of years. By books I do not necessarily mean fiction (have you ever noticed how reading has come to equal reading fiction?), I only read fiction when on holiday. When I do read fiction, I love metafiction, which can consist of a number of varieties. One particular variety is fiction steeped in the history of literature. The first one I consciously read of this type was probably Erica Jong‘s Fear of Flying in the summer of 2006.

A book of pure intertextuality has recently been brought to my attention: Montano’s Malady by Spanish novelist Enrique Vila-Matas. On the book’s intertextuality Scott Esposito at Conversational Reading notes that Enrique Vila-Matas is a writer “who entertains the notion that contemporary literature amounts to scribbling in the margins of the great works.”[3] and Melissa McClements in the Financial Times adds:

“Some of the other writers and literary thinkers referred to in just the first 25 pages [of Montano’s Malady by Enrique Vila-Matas] include Spanish poet Justo Navarro, Argentine novelist Ricardo Piglia, Mexican writer Sergio Pitol, French surrealist Jacques Vaché, Italian humorist Achille Campanile, Marxist literary critic Walter Benjamin, New York literary critic Harold Bloom, Chilean poet Gonzalo Rojas, French poet Arthur Rimbaud, Czech writer Franz Kafka, American poet Ezra Pound and, most tellingly, Jorge Luis Borges, the giant of 20th-century Latin American literature, famous for his self-reflexive, labyrinthine fiction.” —Melissa McClements in the Financial Times via This Space[4]

Books such as Montano’s Malady teach you about literature (what I usually expect of non-fiction) while still manage to entertain.

A great way to learn about literature today is to read litblogs (please note how the list of litblogs[5] has defied Wikipedia’s notability criteria). The first litblog I started to frequent was The Reading Experience in May 2006 (when I was researching literary realism).

Other litblogs friendly to Jahsonic (or vice versa) are The Existence Machine [6], This Space[7], The Reading Experience[8], Tales from the Reading Room[9], and the Spanish Portuguese and Spanish language blogs Livros de Areia [10], Pimenta negra[11] and Moleskine Literario[12].

But the blog which informs me most consistently of literature, and in my own tongue, is De Papieren Man[13].

Please forgive me if I’ve left out fellow-traveling litblogs.

Stanley Kubrick @ 80

Kubrick For Look

Stanley Kubrick would have been 80 today if he hadn’t died in 1999, aged 70. So today marks the 10th anniversary of his death.

[Youtube=http://www.youtube.com/watch?v=jBT__4ldjAs&]

The dark tower monolith scene, sound: Requiem by György Ligeti

I’ve previously mentioned[1] my disenchantment with Kubrick and “modernist film” in general (an exception needs to be made for its deviant siblings). His work is of course incontournable, as the French say, but 2001 is one of the most boring films I’ve ever seen and only comes close in tediousness to Citizen Kane.

Nevertheless, as all flawed products, 2001 has one or two redeeming elements:

2001′s soundtrack did much to introduce the modern classical composer György Ligeti to a wider public, using extracts from his Requiem (the Kyrie), Atmosphères, Lux Aeterna and (in an altered form) Aventures (though without his permission).

To conclude: a good YouTumentary the significance of 2001[4] by Collective Learning by Rob Ager

One can’t argue with popular

Internet nostalgia.

Around 2002 I discovered Tom Ewing‘s I Love Music (ILM). The forum featured posts by bloggers and writers such as Simon Reynolds, Philip Sherburne, Mark Fisher, Scott Plagenhoef, Momus, Stevie Nixed and Sasha Frere-Jones. ILM represented the first batch of serious music writing in the blogosphere, and was notable because of its non-rockist approach.

I stayed around for a year or two, lurked more than I contributed and moved on, starting my own domain in that same year.

The reason I go back to these days is a blog I found by Tom Ewing on popular music[1] over at Freaky Trigger, a site/blog he has as a follow-up to NYLPM [2]. Tom means popular music in the literal sense, reviewing every UK number one single since 1952[3]. As of now, he has arrived in 1978.

The reviews are funny and well-informed. Consider this recent entry on Kate Bush‘s Wuthering Heights[4]:

“I’ve never read Wuthering Heights, though I like to imagine its heroine does a pushy-arm dance at some point. Looking it up on Wikipedia, however, I was shocked to realise that Kate Bush is singing this song as a ghost, but really that’s just another oddness on a teetering pile of them: in a really excellent article on Bush for the late Stylus magazine[5], Marcello Carlin (hi dere!) points out that she is “the last musician to be allowed to do what she likes, as and when she likes”, and the precocious, precious “Wuthering Heights” is both evidence and justification for this indulgence.” —Tom Ewing at Freaky Trigger[6]

After viewing the list of 1977 number one hits one must come to the conclusion that a lot of interesting things can be said about what I like to call guilty pleasures[7], and secondly, that one can’t argue with popular.

‘Sumptuary moments’ are revolutionary in themselves

Unidentified gold toilet

This is my third post on Georges Bataille‘s general economy. The first was here[1], the second here[2].

This post consists of a quote by the designer Nic Hughes I believe, author of the blog Haunted Geographies.[3]. Yes. Haunted. As in hauntology.

“In ‘The notion of expenditureGeorges Bataille concentrates on the more destructive expressions of potlatch, specifically ‘non-productive expenditure’- the type of ‘Killing wealth’ only rarely experienced these days. For instance, the KLF’s burning of a million pounds[4] or Ryoei Saito’s cremation[5] of 160 million dollars of fine art. For Bataille, sumptuary moments’ are revolutionary in themselves, purely because they are the antithesis of use. Games, war, spectacle, art, non-reproductive sex, all challenge the tyranny of utility. They ‘represent activities which, at least in primitive circumstances, have no end beyond themselves’ (Bataille, 2004, p118). Later he spins off on a more Nietzschean tact, extending the metaphor to genocide and the destruction of a whole class- the power elite potlatch.” –Nic Hughes at Haunted Geographies [6]

Gratuitous nudity #8

Lest I be accused of too much theory, it is time for some gratuitous nudity, number 8 in our series[1].

Love in the year 2000, in Paris Tabou

Source: [Bxzzines]

This picture, taken from an unknown issue of Paris-Tabou, comes our way via Bxzzines[2], the blog on French obscure magazines.

This particular photo depicts a nude female embraced by a robot. The title is “L’amour en l’an 2000”, love in the year 2000. If we consider the robot as dressed, we can categorize this picture as belonging to the nude female/dressed male trope, should this notion to be far-fetched, it can still qualify to shed light on the sex and science fiction trope.

Paris Tabou was a French pin-up magazine published from September 1949 until 1953. Possibly taking its name from the Tabou Club, it published pin-up girls and stories by such authors as Boris Vian, who contributed L’Amour est aveugle, published in its first issue in 1949). Illustrators included the Italian Gino Boccasile.

Do not be surprised if it turns up at the excellent blog PonyXpress[3], the author of which has just favorited it at my Flickr stream[4].

It must be spent, willingly or not, gloriously or catastrophically

Furthering my research on Georges Bataille‘s general economy[1], helped by Valter‘s kind comment, it occured to me that the Marxian notion of surplus product is very similar to Bataille’s excess. The two notions and can only lead to wasteful spending such as luxury or war.

Thus, we read on page 21 of volume 1 of The Accursed Share:

“The living organism, in a situation determined by the play of energy on the surface of the globe, ordinarily receives more energy than is necessary for maintaining life; the excess energy (wealth) can be used for the growth of a system (e.g., an organism); if the system can no longer grow, or if the excess cannot be completely absorbed in its growth, it must necessarily be lost without profit; it must be spent, willingly or not, gloriously or catastrophically” (v. 1 p. 21).

If the “excess energy” or “surplus product” is spent “gloriously”, we call it luxury, if spent “catastrophically”, it is war. Notions that connect are pure war by French philosopher Paul Virilio and the military-industrial complex.

While researching The Accursed Share, I also happened on the blog with the same name[3] by Nick Srnicek and Kieran Aarons, which features two astounding photos, a shot of Cairo with the Pyramids as backdrop [4] by unknown (credits anyone?) and a photo[5] by German-born photographer Michael Wolf belonging to his “densities” project.

Happy b’day, Steve Albini

Don’t Call Me a Producer (posted to YouTube by TheShippingYard

Steve Albini  (°1962) turns 46 today. In my book he is best-known as the producer and member of Big Black. He is also the writer of a hilarious pamphlet on the music industry: “The problem with music”.

Above is an excellent documentary by The Shipping Yard, a pseudonym of Travis Campbell.

Message on the general economy to Tony

The trial of Gilles de Rais

The Trial of Gilles de Rais

Radical Passivity

Radical Passivity

Message to Tony:

Hi Tony, sorry, I lost your email address. And while I am not interested in your offer, I was very much interested by your questions regarding the general economy of Georges Bataille and the link you provided to Complementarity: Anti-Epistemology after Bohr and Derrida.

While I am familiar with Bataille’s thought, I cannot claim to be an expert on him, my infatuation with him is purely instinctual. The current blogosphere expert is Valter from Surreal Documents. He’s helped me many times regarding Bataille, the last time when I had questions regarding Against Architecture[1].

I did decide to check up on Bataille’s general economy, and found that the theory is propounded most systematically in The Accursed Share.

While I was checking, I came across Radical Passivity, both a book by Thomas Carl Wall and a colloquium by Benda Hofmeyr, as well as some interesting looking work by Dutch academic Joost de Bloois, author of the doctoral thesis L’economie generale: Derrida sur les traces de Bataille (Utrecht, 2003).

Also, while researching, I found some appealing visuals.

  • Exhibit A: a rather nice and understated but at the same time menacing cover[2] of The Trial of Gilles de Rais, the blotches of blood stains are very Rorschach.
  • Exhibit B is the poster to the colloquium[3], which depicts a pixelated version of Death by a Thousand Cuts, the image Bataille is most readily associated with. The only image I can think of outside of the gruesome three of the blogosphere, of which I am also glad I see it censored [4] for obvious reasons.
  • Exhibit C: A nice cover of a work by Joost de Bloois[5].

Valter, if you are reading this, and if you find the time to comment, what is the most current interpretation of Bataille general economy?