Sonic Alchemy (2004) – David N. Howard

Sonic Alchemy: Visionary Music Producers and Their Maverick Recordings (2004) – David N. Howard
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I read the chapter on Lee Perry and King Tubby and liked it. Howard compares Bunny Lee’s ‘flying cymbal’ sound with the ‘Philly Bump’ American soul beat.

From the publisher

You may not have heard of them, but you have certainly heard their songs! From the lo-fidelity origins of early pioneers to today’s dazzling technocrats, the role of the music producer is as murkily undefined as it is wholly essential. Sonic Alchemy: Visionary Music Producers and Their Maverick Recordings is an exploration of the influence of the often colorful, idiosyncratic and visionary music producers through popular music and the fascinatingly crucial role they have played in shaping the way we hear pop music today. Sonic Alchemy is nothing short of the secret history of the music producer.

See also: music production2004

Critical Theory is dead

Peter Sloterdijk‘s texts read as a thriller, his philosophy has the potency of sending shivers down your spine, much like Schopenhauer, Nietzsche and Deleuze before him.

The rationale for this post is Sloterdijk’s audacity of his 1999 declaration that critical theory is dead.

Rules For the Human Zoo is a speech delivered by Peter Sloterdijk on July 20 1999 on the occasion of a symposium dedicated to the philosophy of Heidegger. He had held that same speech two years before but nobody had taken offense. The speech is on biogenetics and its implications (think Gattaca).

I lent the Rules article today at my local library in a Dutch version called Regels voor het Mensenpark, Kroniek van een Debat. The subtitle translates as history of a debate. The debate is between Peter Sloterdijk and Jürgen Habermas. Sloterdijk accuses Habermas of intentionally misreading him and calling upon Assheuer as a proxy to attack Sloterdijk. The attacks basically called Sloterdijk a fascist:

In the eyes of Professor Habermas, a left-wing philosopher, this secret agenda makes his fellow academic a “fascist.” Professor Sloterdijk, also a left-wing philosopher who once travelled to Poona to seek enlightenment from the Bhagwan, thinks his critic is resorting to “fascist” tactics to discredit him. –http://mailman.lbo-talk.org/2000/2000-March/005176.html [Oct 2006]

In the 37th issue of 9 Sept 1999 of Die Zeit, Sloterdijk replied to his adversaries Habermas and Assheuer with Die Kritische Theorie ist tot (EN: Critical Theory is Dead).

From the web:

According to a recent article in The Observer (10 October 1999) the fashionable dinner tables of German society are buzzing with controversy over `the death of critical theory and the future of metaphysics’. The article refers to a debate provoked by a conference address given at Elmau in Bavaria last July by Peter Sloterdijk. His paper, `Regeln fur den Menschenpark : Ein Antwortschreiben zum Brief ber den Humanismus’ (Rules for the Human Theme-Park: A Reply to the Letter on Humanism), was addressed to an international conference on `Philosophy after Heidegger’. Copies of the address began circulating among academics shortly after the conference. Subsequently, two heavily critical articles were published in the national press. Sloterdijk’s bad-tempered response to these articles (Die Zeit, 9 September 1999) has generated an animated quarrel, whose participants have included Manfred Frank, Ernst Tugendhat, Ronald Dworkin and Slavoj Zizek, among others. –http://www.radicalphilosophy.com/print.asp?editorial_id=10101 [Oct 2006]

In [the open letter], Sloterdijk wonders if Assheuer has the same text as he does at all, since they read it so differently – Assheuer thinks he’s a Nietzschean, where he explicitly said that Nietzsche’s concept of the overman can have no meaning for us any more. The press is once again alarming people for alarming’s sake. The second part of his letter is addressed to Habermas, because Sloterdijk has heard that Habermas has spoken about him to many people (!) but not spoken with him. He claims that Habermas has mobilized an international attack against him, making photocopies of his lecture and sending them everywhere. Sloterdijk goes on at length how Habermas has thus reified him – it’s a hilarious read. With Habermas, critical theory has become a sinister Jacobinism that liquidates its opponents through mass media. Its claims are based on the “forceless force of the quicker denunciation (and worse reading)” instead of what Habermas calls the “forceless force of the better argument”. Critical theory was the answer for the children of the Nazi era. With this debate it has shown itself to be unsuitable for our needs: critical theory is dead. –http://mail.architexturez.net/+/Heidegger-L/archive/msg22054.shtml

Heidegger’s Letter on Humanism (1947)

The Letter on Humanism, written in 1947 in response to questions circulating about the relationship of Heidegger’s philosophy of Being to humanism, Christianity, Marxism, and the new “philosophy of existence” expounded by Sartre, Jaspers, and others, has been called Heidegger’s “greatest effort.” It was written at a time of great personal struggle for Heidegger: he had just been indefinitely banned from teaching following the Nazi war-crimes hearings, and he had undergone a kind of emotional breakdown as a result. Nevertheless, the Letter on Humanism virtually catalogues the most important strands of Heidegger’s entire later philosophy – the meaning of the history of Being, the way Heidegger sees to the re-awakening of that history, its relation to the philosophical tradition, the meaning of action, the role of technology, art, and language in the historical destiny of Being, and above all the need of a new thinking to prepare that destiny. The essay contains some of Heidegger’s most memorable language. In it, we can see especially clearly the role of reflection about language in preparing a new consideration of Being that will make the leap outside the tradition of metaphysics, which has hitherto determined all of our language. The quest for a new language will be so important to Heidegger that he will even spell important words, like Being, in antiquated and strange ways, to show that he uses them outside the closure of metaphysics. –http://www07.homepage.villanova.edu/paul.livingston/martin_heidegger%20-%20letter%20on%20humanism.htm [Oct 2006]

See also: 1999 – German philosophy – Peter Sloterdijk – Critical Theory

8 Women (2002) – François Ozon

8 Women (2002) – François Ozon
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I saw this on Belgian TV yesterday evening, for about 20 minutes before I fell asleep (not out of boredom). I liked what I saw (but I like nearly everything by Ozon) and it reminded me of Agatha Christie (see quote below) and Todd Haynes’s Far From Heaven (the clothes and general fifties styling).

As for the influences of the movie, they are numerous. Of course, this film is an adaptation from a play that evokes the Agatha Christie universe but Ozon felt like scattering his movie with all kinds of allusions: Vincente Minelli, Douglas Sirk (the deer in the garden). These allusions are especially linked to French culture: the French TV program “au théâtre ce soir” but also Jacques Demy (the bright colors, the songs) and French cinema before the “new wave”. More than allusions, they are tributes from a director who once said “I don’t care about new-wave”. –dbdumonteil via http://www.imdb.com/title/tt0283832/usercomments [Oct 2006]

Wikipedia: http://en.wikipedia.org/wiki/8_femmes

See also: Ozonfilm2002 filmsFrench cinema

Sympathy for Mr. Vengeance (2002) – Chan-wook Park

Sympathy for Mr. Vengeance (2002) – Chan-wook Park
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I saw this on MTV Europe (an Asian cinema feature) yesterday evening. Impressive, but not as good as for example Alex van Warmerdam. All in all a surreal, film noirish, arty affair.

The previous Korean film I had seen was the 1999 Lies, which I had chosen because of its subject matter (although the respresentation of which disappointed me). What I liked best about Lies was its breaking of the fourth wall: excerpts from interviews with the author and cast are sometimes inserted between scenes and we see a girl filmed after the ‘cut’ signal of a particularly emotional scene (she continues crying).

After having seen these two films it appears to me that these two Korean filmmakers take the art of art film as seriously as European filmmakers did in the sixties.

Wikipedia: Sympathy for Mr. Vengeance

See also: revengefilm2002Korea

New Science (1725) – Giambattista Vico

New Science: Principles of the New Science Concerning the Common Nature of Nations (1725) – Giambattista Vico [Amazon.com] [FR] [DE] [UK]

James Joyce was influenced by Giambattista Vico (1668-1744), an Italian philosopher who proposed a theory of cyclical history in his major work, New Science. Joyce puns on his name many times in Finnegans Wake, including the “first” sentence: “by a commodius vicus of recirculation”. Vico’s theory involves the recurrence of three stages of history: the age of gods, the age of heroes, and the age of humans—after which the cycle repeats itself. Finnegans Wake begins in mid-sentence, with the continuation of the book’s unfinished final sentence, creating a circle whereby the novel has no true beginning or end. —http://en.wikipedia.org/wiki/Eternal_return [Oct 2006]

See also Giambattista Vico

The Cannibal (1949) – John Hawkes

In search of plotlessness

The Cannibal (1949) – John Hawkes
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“I began to write fiction on the assumption that the true enemies of the novel were plot, character, setting and theme, and having once abandoned these familiar ways of thinking about fiction, totality of vision or structure was really all that remained.”

John Hawkes (born John Clendennin Talbot Burne Hawkes, Jr., August 17, 1925 – May 15, 1998). Born in Stamford, Connecticut he was an avant garde American novelist and a postmodernist, known for the intensity of his work, which suspended the traditional constraints of the narrative.

Educated at Harvard, Hawkes taught at Brown University for thirty years. Though he published his first novel, The Cannibal, in 1949, it was The Lime Twig (1961) that first won him acclaim.

Hawkes died in Providence, Rhode Island. —http://en.wikipedia.org/wiki/John_Hawkes

See also: American literatureexperimental literaturepostmodern literatureplotlessness

The Nonesuch Guide to Electronic Music (1968) – Beaver and Krause

The Nonesuch Guide to Electronic Music (1968) – Beaver and Krause
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Part of the enjoyment of the web is tracking down stuff you know absolutely nothing about. Of course it helps having good guides, and I stumbled on this via Simon Reynolds blissblog who refers to an excellent survey on this scene by the stupendous woebot.

Discogs says:

Variously called electronic music, modern classical, contemporary classical or experimental music this collection was originally released as a 2-LP boxed set as in introduction to and survey of electronic music, circa late 1960s. All work realised on the Moog Series III Synthesiser.

Wikipedia on Nonesuch:

Nonesuch Records is currently allied with Warner Bros. Records even though it is an Elektra Records subsidiary. Jac Holzman, founder of Elektra Records in 1950, founded Nonesuch in 1964 to license European classical music. He sold Elektra and Nonesuch to Kinney National Company in 1970. —http://en.wikipedia.org/wiki/Nonesuch_Records

Nonesuch also released Silver Apples of the Moon.

See also: art musicexperimental music

In search of cinematic realism

While Kracauer and Bazin located cinematic realism in distraction and plotlessness, which they saw as structurally analogous to the unscripted, indeterminate, ‘underplotted’ nature of reality, many recent films dilute even further the modality or intensity of narrative, spatializing time into disconnected and, through editing, treated as parallel narrative strands. This kind of indeterminacy proceeds from overplotting, from an excess of disconnected, reversible (i.e. meaningless) phenomena, events, and characters which acquire a minimal, purely formal kind of significance by virtue of being placed alongside one another: their only ‘meaning’ consists in their allegedly simultaneous existence with other phenomena, events and characters. –Realism in European Film Theory and Cinema (3/1/06; collection) by Trifonova, Temenuga via http://cfp.english.upenn.edu/archive/2006-02/0017.html [Oct 2006]

Theories of Film (1974) – Andrew Tudor
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The next chapter [of Theories of Film, Andrew Tudor.(NY: Viking, Cinema One Series, 1974)] is called “The Aesthetics of Realism: Bazin and Kracauer.” Tudor is sympathetic to Kracauer’s desire to formulate a consistent aesthetic system, but argues that Kracauer is hopelessly confused and in any case perpetually hedging his bets (seesawing on the question of whether “realism” involves being real in a certain sense or only appearing real). Among Kracauer’s assumptions which Tudor cannot accept is one that Kracauer shares with Bazin. An essentialist approach posits that a medium has a “nature”—in film’s case, a photographic nature which determines its “natural affinity” with recording and revealing reality. Tudor cannot accept this non-social aesthetic of the “real.” He sees in both Kracauer and Bazin a combination of positivism and romantic faith in nature, which is in any case ultimately anti-cinematic. –William Rothman via http://www.ejumpcut.org/archive/onlinessays/JC09folder/TheoriesofFilm.html [Oct 2006]

I must mention a final slender point of disagreement. By including Murnau and Dreyer as realists Bazin is falling into the same trap that Siegfried Kracauer does when he accepts certain fantastical/formalistic scenes when they are in the proper “realist” context, such as a dream or a specific point of view (Tudor 94). Bazin is on shaky ground when he removes Nosferatu and The Passion of Joan of Arc from the expressionistic mode on the frail basis of Nosferatu‘s on-location photography and Dreyer’s refrain from the use of make-up for his actors (Bazin, What is Cinema Vol.1 109-110). What then becomes of Nosferatu‘s sinister shadows, fast motion and negative photography, and expressionistic acting, and The Passion of Joan of Arc‘s abstraction of space and extreme reliance on close-ups? In neither case do the slim realist tendencies compensate for the overwhelming artistic intervention, as does Welles’ spatial realism for example. Both films fail to completely qualify for either of Bazin’s realistic camps –the documentary- like “pure” realism or the spatial realism. Although one can argue that Nosferatu is ‘more realist’ than other expressionist films of the time, and that The Passion of Joan of Arc is so unique and iconoclastic in style, that the affect on the spectator is one of realism. –Donato Totaro via http://www.horschamp.qc.ca/new_offscreen/bazin_intro.html [Oct 2006]

Boredom (1924) – Siegfried Kracauer

The Mass Ornament: Weimar Essays (1995) – Siegfried Kracauer
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The Mass Ornament is a collection of essays by Siegfried Kracauer first anthologized in 1995. It features a 1924 essay entitled Boredom. Kracauer is most famous for his film criticism book From Caligari to Hitler.

“People today who still have time for boredom and yet are not bored are certainly just as boring as those who never get around to being bored.”

“Boredom becomes the the only proper occupation, since it provides a kind of guarantee that one is, so to speak, still in control of one’s existence… [O]ne flirts with ideas that even become quite respectable in the process, and one considers various projects that, for no reason, pretend to be serious. Eventually one becomes content to do nothing more than be with oneself, without knowing what one actually should be doing… And in ecstasy you name what you have always lacked: the great passion.”

Purse lip square jaw writes:

Kracauer writes about boredom as a way of resisting constant distraction or, in other words, defying Debord’s spectacle and Lefebvre’s colonisation of everyday life by the commodity. But [Ben] Highmore suggests that Kracauer also shares an affinity with 1970s punk: “to declare yourself bored is not a mark of failure but the necessary precondition for the possibility of generating the authentically new (rather than the old dressed up as the new).” —http://www.purselipsquarejaw.org/2005/02/in-favour-of-boredom.php [Oct 2006]

See also: Siegfried Kracauer1924