The flattening of specificity to make way for a verticalized generic.
A compressed and pure present.
The flattening of specificity to make way for a verticalized generic.
A compressed and pure present.
‘Then all the screens around me started throwing footballs in unison, and it started to make sense. The future screen, the future TV, is not about cinema but about simulating presence, a carnal ultrafidelity that’s good for sports, and reality TV, and porn. I must have had low blood sugar or something—box stores do this to me—but a vague apocalyptic dread descended upon me, as I imagined these home theaters invading millions of homes and literally sucking the life out of them, like phantasmic vampires, or digitally remastered portraits of Dorian Grey. Screens that grow more lifelike in exact proportion to the ontological exhaustion of the world outside, a world flattened and set groaning under the weight of us, our distractions, our hunger for figments. A verse from the book of Ezekiel welled up from the depths: “Son of man, hast thou seen what the ancients of the house of Israel do in the dark, every man in the chambers of his imagery? for they say, the Lord seeth us not; the Lord hath forsaken the earth.”‘
“Today psychopathology reveals itself ever more clearly as a social epidemic and, more precisely, to be a socio-communicational one. If you want to survive you have to be competitive, and if you want to be competitive you must be connected, receive and process continuously an immense and growing amount of data. This provokes a constant attentive stress, a reduction of the time available for affectivity … If we bring this analysis to the internet we see two movements — the expansion of storage and the compression of time — making online work so stressful.”
Each is a strategy for propagating information forward through time—meaning, Flack adds, “individuality is about temporal uncertainty reduction.” Replication here emerges as just one of many strategies for individuals to order information in their future. To Flack, this “leaves us free to ask what role replication plays in temporal uncertainty reduction through the creation of individuals,” a question close to asking why we find life in the first place.
The eulogists of work. Behind the glorification of ‘work’ and the tireless talk of the ‘blessings of work’ I find the same thought as behind the praise of impersonal activity for the public benefit: the fear of everything individual. At bottom, one now feels when confronted with work – and what is invariably meant is relentless industry from early till late – that such work is the best police, that it keeps everybody in harness and powerfully obstructs the development of reason, of covetousness, of the desire for independence. For it uses up a tremendous amount of nervous energy and takes it away from reflection, brooding, dreaming, worry, love, and hatred; it always sets a small goal before one’s eyes and permits easy and regular satisfactions. In that way a society in which the members continually work hard will have more security: and security is now adored as the supreme goddess…”
— Friedrich Nietzsche, The Dawn, p. 173
The great seasonal festivals, as done in traditional primitive cultures, also balance out the male and female in each person. This is very important for preventing the difficult anima and animus battles between the unconscious of men and women. As described by C.G. Jung, the animus is the male aspect inside a woman and the anima is the female aspect inside a man. In our culture these other aspects are seldom given a chance to develop fully so that when the person reaches middle age there is a real crisis. “When a man is possessed by the anima he is drawn into a dark mood, and tends to become sulky, overly sensitive, and withdrawn.” In a woman, the animus (her male aspect) “typically expresses himself in judgments, generalizations, critical statements.” [24]
自由 [Freedom] has a relatively stronger Western connotation, related to the idea
of democracy. 自在 [spontaneous, or self existing] is more associated with the image of
a Taoist who wanders across worlds— “[flying] like Kun-Peng thousands of miles up in the air… carefree like little birds easing down to the field,” “being perfectly one with heaven and earth,” and “being heaven and earth” (Shang 131). These two images of Kun and Peng come from a story told by one of the earliest Taoist thinkers Zhuangzi in 逍遥
游 [Wondering Beyond]:
In the northern darkness there is a fish and his name is Kun. The Kun is so huge I don’t know how many thousand miles he measures. He changes and becomes a bird whose name is Peng. The back of the Peng measures I don’t know how many thousand miles across and, when he rises up and flies off, his wings are like clouds all over the sky.
One has to cultivate one’s ability to transmute in order to be free, to be 逍遥 [wondering beyond].
…
Deleuze and Guattari write that creating art is “always a question of freeing life wherever it is imprisoned, or of tempting it into an uncertain combat”
…
the late 1980s and early 1990s, people like Wang Fan, Yan Jun, Yangyang, and Li Zenghui were called Bei Piao. Bei means north, specifically referring to Beijing; Piao means floating or drifting. Bei Piao is an identity used to describe people who work or live in Beijing without a permanent residential permit or registered residence. These Bei Piao artists and musicians constitute lines of drift, improvising with the city and the world.
…
“music is only a means, freedom is the purpose.”
…
Utopia is a state of being.
State of being just exists. It is simple.
If the state of utopia has existed for one minute, does it still exist?
Its existence is eternal. If it was once there, it exists.
Many people deny its existence, because they didn’t catch this one-minute. We do not expect it to exist forever. One minute is enough.
We are quite satisfied with that.
…
A: What is music to you, especially to your 真我 (a true/authentic self)?
Y: Many bands treat music as a profession, but it is a part of my life. People often ask me “What do you want to express?” I do not want to express anything. I present myself. You hear it. That’s enough.
…
One launches forth, hazards an improvisation. But to improvise is to join with the World, or meld with it. One ventures from home on the thread of a tune.
…
Listen. Transform. Exist.
excerpts (from ://oemmndcbldboiebfnladdacbdfmadadm/https://etd.ohiolink.edu/apexprod/rws_etd/send_file/send?accession=ohiou1336097506&disposition=attachment)
“What came first, the music or the misery? People worry about kids playing with guns, or watching violent videos, that some sort of culture of violence will take them over. Nobody worries about kids listening to thousands, literally thousands of songs about heartbreak, rejection, pain, misery and loss. Did I listen to pop music because I was miserable? Or was I miserable because I listened to pop music?”
‘I‘ve written about love before. I’m not going to write about love again. Maybe this is selfish, maybe it is foolish. But I hope it will lead to nuance.
I’ll write about not-love-yet, maybe, about into-love. I want to write through it, to remain porous.
Or: “I’ll write about the process of becoming other: vibration, selection, recombination, recomposition” (Franco “Bifo” Berardi). Maybe then I can return to love.
…
“Possibility is content, potency is energy, and power is form”
…
“But now you are talking as if love were a consolation. Simone Weil warned otherwise. ‘Love is not consolation,’ she wrote. ‘It is light.’”
…
“like planting a flag on the moon after forty countries have landed there before you, or on a moon whose sole purpose is to host flags” (Maggie Nelson, 2011).
…
“I call power the selections (and the exclusions) that are implied in the structure of the present as a prescription: power is the selection and enforcement of one possibility among many, and simultaneously it is the exclusion (and invisibilization) of many other possibilities.”
…
“Sometimes you lie in a strange room, in a strange person’s home, and you feel yourself bending out of shape. Melting, touching something hot, something that warps you in drastic and probably irreversible ways you won’t get to take stock of until it’s too late.”
Excerpts (from https://www.tinymixtapes.com/features/lips-in-the-streetlights-pop-future-pop-bops)