Latest Goodies :
by Volker M. WelterFollowing a map for a driving tour along Palm Spring’s mid-twentieth century Modernist homes and buildings, I had just peeked at Richard Neutra’s Kaufmann House, the rebellious sibling from 1947 of Frank Lloyds Wright’s Fallingwater House in Pennsylvania, which was begun for the same client in 1935. Figuring out on the map where to drive to next, a house whose owner was identified as Dr. Franz Alexander caught my attention.
by Albert RollsConsider, for example, the Pynchon anecdotes told by the television producer Deane Rink — who attended Cornell a few years after Pynchon and studied creative writing under Walter Slatoff, with whom Pynchon had also studied. Rink tells his stories as part of an early Web exercise in which he sent emails for publication to the B&R Samizdat Express at the end of 1996, when he was in McMurdo, Antarctica, to work on Live from Antarctica (1997) for PBS productions.
by Cain ToddIn an effort to be interdisciplinary, and to keep up with the current trend for all things neuroscience, I recently attended a conference in Berlin on neuroaesthetics. One of only two philosophers in the room, I found myself on the receiving end of an incredibly hostile attack after asking a question of the founding guru of the discipline, the neuroscientist Professor Semir Zeki of University College London.
by Patricia EmisonI came to John Berger’s Ways of Seeing through the back door. About a decade after the four-part series on the BBC (1972) had excited attention as a scrappy response to Kenneth Clark’s staid Civilisation (1969), I read the book because the title was so often cited. I confess that I was left wondering what all the fuss was about. It was a little, murkily grey book that seemed to make rather obvious points about how the Old Masters had reinforced orthodoxies to which we no longer subscribe.
by Joel GnCertainly for the adherents of Anonymous, possessing the technique to re-write a web-page is similar to achieving autonomy over the ones who created it, even if this form of autonomy exposes itself to the contradiction of working with the same language or code necessary for the construction and subsequent deconstruction of a page. As argued by Emit Snake-Beings, it is precisely such technology that endows us with ‘the means of emancipation, whilst perpetually delaying its arrival through the emergence of new and absorbing social paradigms’.
by Bobbi LurieArtists glorify the imagination. And all people are artists when it comes to creating a “me.” Glorification of the imagination, and the imaginary “me,” is glorification of escape routes taken to avoid The Truth. Most of our energy is put into maintaining a fictitious self, a mask. We do this because we judge and are impacted by the judgments, or imagined judgments, of others.
by Masha TupitsynAs we walk back home, up that same country road we will lie down on minutes later, he says that my bare legs light the road because the moon isn’t full yet. Looking back, I think I interrupted him before he had the chance to fully flirt with me in words.
by Akshay PathakVijaydan Detha, the fabulist, folklorist writer would have been pleased if one were to start talking about him with a chougou – a form of mostly nonsensical rhythm or rhyme he employed in most of his stories much in the oral tradition of storytelling that he found himself most attracted to. That and the language.
by Theodore ZiolkowskiC. G. Jung theorized that our sense of individuality is enhanced by the possession of a secret which the individual is pledged to guard, and that the earliest evidences of social structure reveal the craving for secret organizations. If Jung’s theory accounts for the appeal of organizations promising special insights or powers – whether teams, clubs, gangs, or political parties, and whether clandestine or not – others have conjectured that “agency panic,” or anxiety about the loss of autonomy, accounts conversely for our fear of conspiracies that can control our actions.
by Ron Rosenbaum“What will survive of us is love.” The line is so uncharacteristic of Philip Larkin, one of the most relentlessly downbeat poets in modern literature, that it’s almost shocking in its apparently uncomplicated affirmation. You can barely believe it.
by Nicholas RombesGravity’s Rainbow was published the year CBGB opened, and two years before Metal Machine Music was released. This line, from Richard Locke’s 1973 review in the New York Times, might as well have applied to Metal Machine Music: “The risk that Pynchon’s fiction [Reed's music] runs is boredom, repetition without significant development, elaboration that is no more than compulsiveness.”
by Frank R. StocktonIn the very olden time there lived a semi-barbaric king, whose ideas, though somewhat polished and sharpened by the progressiveness of distant Latin neighbors, were still large, florid, and untrammeled, as became the half of him which was barbaric. He was a man of exuberant fancy, and, withal, of an authority so irresistible that, at his will, he turned his varied fancies into facts. He was greatly given to self-communing, and, when he and himself agreed upon anything, the thing was done.