Desire

In his Critique of Judgement Kant describes desire as "a faculty which by means of its representations is the cause of the actuality of the objects of those representations". it is quoted in the first chapter of Deleuze/Guattari's "Anti-OEdipe" as a symptom of the revolution in philozophizing about desire. An inteersting remark can be made about this Kant quotation, as not only from the literature of the subject, but from my own experience I can tell desire is mostly caused even by simply thinking about desire. The "triangular" system described by Rene Girard (ie, in shortest, that we always desire what is already desired by someone else, who is the real cause of our desire) always appealed to me. This idea is actually taken from Lacan, but via French Hegelianism of the 1940s, as it is Jean Hyppolyte, in whom we can find a thoght that 'human desire is always a desire for the desire of an other'. But I could agree more with Deleuze/Guattari actually, who claim, that desire is a more or less universal force, prior to the subject-object distinction, prior to representation and in fact even RESISTANT to representation.

We are bodies subjugated to many various, mostly chaotic modern sensations and experiences - I find it sometimes hard to withdraw enough to feel again the wonderful empowerment of desire. which is good, it brings me back to life, on a more basic and at the same time, profound level. My desire makes me think and long this one specific person, what makes me more focused and realizing what do I want to do in life. My desire makes the world all the more real. Desire is often described in negative terms, as a realization of lacking, but to me this whole concept of lack was rather appealing.
I don't want to be full all the time, my longing makes me more perceptive and more alive.

Traume fur Herbst

October...

What a lousy, wet freshly october day. You can only think about the inevitable passing of time and surrender to melancholy. As I have to finish my MA now, the only thing I can do before going on short hiatus is to quote the very sweet object of my queries, Mr James Schuyler.

Schuyler (1923-1991) was a great American poet, who belonged to so called "New York School of Poetry", including such greats as John Ashbery and Frank O'Hara, but like the "school" never actually existed and was an easy label for the critics, trying to capture the phenomenon of, from the one side, Abstract Expressionist school of painting and accompanying phenomena of the great revival in American arts: literature and especially poetry, Schuyler was not also a typical "member" of this societe des artistes. Being a secretary to mighty W. H. Auden, whose early poetry was the major influence on NYSP, for couple of years, he decided, what kind of poetry he wants to write, or, more importantly, does not want to write.

Schuyler was first of all a great lyricist, an author of numerous lyrical and personal poetry, but more in the style of Whitmanesque-WC Williams-Stevens, than Confessional poetry.

He often wrote about himself, his friends, his sometimes dull and "nothing-has-happened" days, he was autobiographical, with an everlasting desire "to see things as they are, too fierce and yet not too much". he was a weak brave man, struggling with some kind of schizophrenia and nervous breakdowns and then also healt problems, for most of his life. Hosted by his friends, the family of the painter Fairfield Porter, lived in hotels and small rented flats, sometimes supported also financially.

He remained a wise and perspicacious commentator of his and his friends events and accidents, stating once in the "Hymn to Life": Life is hard. Some are strong, some weak, most/Untested. I can hardly believe that there is any line in any poetry that I could more agree with.

Polanski...

Interesting side commentary over Polanski's furore. i recommend reading the whole of it, but here a quotation:

go here

Yet just as Polanski was a victim of alleged Sixties excesses, so he was a rapacious product of those excesses, too. Any sympathy for Polanski quickly dried up following his conviction for unlawful intercourse in 1977. This, too, conservatives argued, was part of the degeneracy of the open-minded, open-trousered culture of the American West Coast in the mid- to late-twentieth century; it sprung from Polanski’s and others’ determination to ‘push back the boundaries of sexual liberation’, as one report said this week (4). Some American law enforcers and right-wing commentators seem to imagine that having Polanski returned to the US will finally bring to an end the odious influence of the 1960s on contemporary society and morality. Under the headline ‘Why we dislike the French’, one conservative American columnist asks how ‘liberal’ Europe can ‘support a child rapist’ (5).

Yet if this attempt to write off 1960s sexual liberation and experimentation (some of which was progressive, some of which was solipsistic) on the back of Polanski’s past is bad, then the defence of Polanski by European government officials and commentators is even worse. They are motivated not by anything remotely related to legal norms or questions of justice, but by a snobbish and opportunistic anti-Americanism in which Polanski (who is probably a bit of a creep) becomes recast as a paragon of European decency against hung-up America. So determined are some liberal observers to use L’Affaire Polanski to get one over on America that they have even forgotten about their normal role of stoking up hysterical panics about paedophiles and have re-depicted Polanski’s encounter with Gailey as just a somewhat over-exuberant heavy-petting session.(...)

For many American and British commentators this is all about Samantha Gailey, whom they have transformed into the archetypal and eternally symbolic victim of the alleged great evil of our time, Child Abuse. ‘Remember: Polanski raped a child’, says a headline in Salon, in an article that provides sordid, misery-memoir-style details of what Polanski did with his penis to Gailey’s vagina and anus (9). For European observers, by contrast, Polanski’s actions can be explained by his own victimised past, especially during the Holocaust. We have to understand his ‘life tragedies’ and how they moulded him, says one filmmaker (10). Anne Applebaum, the American commentator who spends much of her time in Europe, says Polanski fled America in 1978 because of his ‘understandable fear of irrational punishment. Polanski’s mother died in Auschwitz. His father survived in Mauthausen. He himself survived the Krakow ghetto.’ (11) (Applebaum fails to disclose that she is married to the Polish foreign minister, Radoslaw Sikorski, who is actively campaigning against Polanski’s extradition.)

You're not my Wonderwall

Another treasure found (and lost) somewhere between the 60s psychedelia and and fashion/drug culture. Starring the starlette of the day, Jane Birkin. film is about music, colours and atmosphere, not about the plot. Just enjoy your eyes.
from Dangerous Minds website

Wonderwall is probably the ultimate “swinging London” film and what a pedigree it has. The film stars the lovely Jane Birkin and featured Anita Pallenberg and Dutch design collective The Fool (who art directed the film and were well-know for their work with the Beatles) in cameo roles. The soundtrack was by George Harrison and featured Ringo Starr, Eric Clapton, some top classical Indian players in Bombay and an uncredited banjo performance by Monkee Peter Tork. There is one song called Ski-Ing that features one of the single most ferocious guitar riffs that Eric Clapton ever laid down and most of his biggest fans have never even heard it. Made in 1968 by first time director Joe Massot (who would later direct the Led Zeppelin concert film The Song Remains the Same and work on the psychedelic western Zachariah with the Firesign Theatre), Wonderwall was released on DVD in an elaborate package by Rhino in 2004 that now goes for top dollar to collectors.

George Harrison's music in it is great. I resist embedding too much of clips - you can easily found it on the net. And imagine those f***in' tarts Gallagher bros, while releasing their mediocre hit Wonderwall, ekhm, tried to channel the Beatles. I'm no a die hard fan of the Fab Four now, as I know tons of the equally (at least) great bands from the 60s, but this should really be prohibited. And George did say "um..no" to Gallaghers.

And I'm looking for some other spectacular films of this era, like, Who are you, Polly Magoo? check this one out.

Un peu des rhythmes diverses

Just a bunch of links, since I have to do some serious work now. While looking for some, excusez le mot, non-european idiom and thank to my friend, DJ and a versatile person at all accounts, Jacek Staniszewski, I come across some rap from RPA from a collective called Die Antwoord. Not only the arfikaner language makes it completely unusual and sorta alien to our own Western idiom. of course, you can syill recognize some common, mutual rhthms and articulations. but as a combination totale it is a new sonic and cultural experience to me. ie it's actually great:

"Die Antwoord is a zef rap-rave crew from Cape Town, South Africa.

Die Antwoord is a lovable, mongrel-like entity made in South Africa, the love-child of many diverse cultures, black, white, coloured and alien, all pumped into one wild and crazy journey down the crooked path to enlightenment.

All DIE ANTWOORD's next-level rap-rave tjoons are downloable FOR FREE off: www.DieAntwoord.com"




http://www.dieantwoord.com/

and here some other treasure from Africa, Duda dj Txiga, actually I don't know anything about them apart from what can be heard & seen on the clips I found on YT. here some more familiar african rhythms, but having in mind of how tremendous significance african rhythms were to the development of western popular music, we may say that they are now familiar, we internalized it, but did we also appropriate it?



and here an example of the appropriation totale, but at least done by one of the most legendary french rappers MC Solaar, appropriating also some Eastern influences. Even though I can't imagine anything more commercialized than this, at the same time Solaar inscribes into a very long tradition of mixing. So Inch'allah, indeed.

Free Roman

and the Genesis P-Orridge text goes:

Are You Free? Are You Really Free?
Is It You? Is It Me? Or Is it Simply History?
Is It You Or Is It Me Or Is It Simply Jealousy?
Sharon lies on a Hollywood beach
Sharon sees all her hopes are in reach...
Sharon knows all the Hollywood names
Sharon plays all the Hollywood games
Sharon walks alone as your wife
Sharon gives her life for a knife
Sharon floating high up above
Sighing, crying, dying for "LOVE"

Oh Oh Roman, Oh Roman, Roman P

Are You Free? Are You Really Free?
As You Hide Away In Gay Paris?
Life of money, life of sex
Life of honey, life of hex... Więcej...
Little girls drinking and eating cupcake
Little girls cause you
your grestest mistake
Flesh of the flesh of insidious flesh
Little girls wearing their Hollywood dress
Corrupter you are, corrupter you be
Corrupter you are, the corrupter you see

Oh Oh Roman, Oh Roman, Roman P

Roman you are, Roman you be, Roman
you are in your history
Roman in your victory
Roman in your destiny

Are You Free? Are You Really Free?
Is It You? Is It Me? Or Is it Simply History?
As You Try To Keep Your Liberty?
Are You Really Free?
Or Are You Simply Roman P......

rage



and sentimentality