graffiti should consist of seditious marks on the walls of the senses
Josephine Clofullia (the so-called "bearded lady of Geneva")
The fundamental principle of reasoning is that there is nothing without a reason; or to explain the matter more distinctly that there is no truth for which reason does not subsist.and here is priest's answer to dispatch PSR, i.e., Leibniz's Principle of Sufficient Reason):
By the PSR we can apply the operator to this to produce a reason for σ. Assuming that nothing can be a reason for itself, this reason cannot be a member of σ (Transcendence). But the cause of σ is exactly one of the things generated by applying the operator into the prescribed fashion. Hence it is in σ (Closure) and hence we have a contradiction at the limit of the iterable.priest thinks he dispatches what he calls "weaker" version of PSR by appealing to quantum mechanics's transitions, as "completely spontaneous." but i don't see why leibniz would have a problem with stochastic events.
Now something’s gone terribly awry with that artistic morphology. An inversion has occurred. In today’s greatly expanded art world and art market, artists making diluted art have the upper hand.what saltz means by "inversion" is that instead of driving new movements (as their counterparts did in the early Twentieth Century), artists now simply seek how to fit within a "global style catalog" --courtesy of the art market. the received notion inherent to postmodernism is that all has already been tried (but all this is blasé).
A large swath of the art being made today is being driven by the market, and specifically by not very sophisticated speculator-collectors who prey on their wealthy friends and their friends’ wealthy friends, getting them to buy the same look-alike art.i'm surprised by saltz' sluggish tempo: contemporary art is precisely the business of "not very sophisticated speculators-collectors." who is naive enough to refrain from investing in trendy artworks just because the prototypes seem cacophonous?
The artists themselves are only part of the problem here. Many of them are acting in good faith, making what they want to make and then selling it. But at least some of them are complicit, catering to a new breed of hungry, high-yield risk-averse buyers, eager to be part of a rapidly widening niche industry.c'mon jerry, artists want recognition & buyers normally buy actual trends. they are both concomitant elements in a market field, but not the cause.
Galleries everywhere are awash in these brand-name reductivist canvases, all more or less handsome, harmless, supposedly metacritical, and just “new” or “dangerous”-looking enough not to violate anyone’s sense of what “new” or “dangerous” really is, all of it impersonal, mimicking a set of pre-approved influences.let's come back to "pre-approved influences," which i call arthoodication.
Was Andreas Lubitz depressed? We don’t know; a torn-up doctor’s note and bottles of pills don’t tell us much. Most people who commit suicide suffer from a mental illness, most commonly depression. But calling his actions suicidal is misleading. Lubitz did not die quietly at home. He maliciously engineered a spectacular plane crash and killed 150 people. Suicidal thoughts can be a hallmark of depression, but mass murder is another beast entirely.skomorowski separates mass murder and depression at the expense of sparing lubitz from depression, which is questionable. though smoking is not sufficient for lung cancer, smokers keep dying from lung cancer. my point: a depressive person can indeed be a mass murderer if he happens to be andreas lubitz.
Depression is a mood disorder that causes a persistent feeling of sadness and loss of interest. Also called major depression, major depressive disorder or clinical depression, it affects how you feel, think and behave and can lead to a variety of emotional and physical problems. You may have trouble doing normal day-to-day activities, and depression may make you feel as if life isn't worth living.the definition seems to mix the symptom with the cause. so, if X is "persistently sad" is X then --necessarily-- depressed? what if a person is depressed without showing sadness? (mental states and behavioral dispositions are often asynchronous).
1. Abuse, past physical, sexual, or emotional abuse can cause depression later in life.major events! (it makes you wonder why psychology is a soft science).
2. Certain medications.
3. Conflict. Depression in someone who has the biological vulnerability to develop depression may result from personal conflicts or disputes with family members or friends.
4. Death or a loss. Sadness or grief from the death or loss of a loved one.
5. Genetics. A family history of depression may increase the risk.
6. Major events. Even good events such as starting a new job, graduating, or getting married can lead to depression. So can moving, losing a job or income, getting divorced, or retiring.
7. Personal problems. Such as social isolation due to other mental illnesses or being cast out of a family or social group can lead to depression.
8. Serious illnesses. Sometimes depression co-exists with a major illness or is a reaction to the illness.
9. Substance abuse. Nearly 30% of people with substance abuse problems also have major or clinical depression.
The aporias of the present is that there really is no aesthetic criticism anymore, and that there are really no standards about art. Anything goes, and anything is good or excellent “in its own kind”.not so much this:
We got here because some aestheticians and philosophers took the avant-garde too seriously, and held that even snow shovels, urinals and soup cans can be works of art. I think that the avant-garde was making all kinds of interesting and valid points; but one it was not making is that these kinds of things are works of art.much less this:
[...] They were not intended to be works of art but, for all kinds of complicated philosophical social and political reasons, works of anti-art.there is a lot being said in these two lines above, but i need more info to understand where beiser is coming from. he definitely looks like a good read.
On Wednesday, March 11, artist Tania Bruguera revealed the existence of a secret media campaign against her orchestrated by Cuba's Culture Ministry with the aid of the regime's intelligence services. The purpose of this campaign, say the artist and her supporters, is to build an “institutional case" against her and brand her a “counterrevolutionary." A criminal charge akin to treason in the U.S., conviction for this crime in Cuba carries a minimum sentence of three years in jail.is tania freaking out?
The video has been presented on separate occasions at the Ministry of Culture, the University of Arts of Cuba, the country's premiere art school, and the Wifredo Lam Center, the headquarters of the Havana Biennial (see Why Is the Havana Biennial Afraid of Tania Bruguera and Is She the Cuban Ai Weiwei?). Chaired by Ruben del Valle, president of the Havana Biennial organizing committee, and Fernando Rojas, Cuba's vice minister of culture, the meetings are invitation-only. Reportedly, both men appear in the video alongside the logo of the state news channel.what's in the video? nobody knows (which is the point). in the trial, joseph k. never quite understands the nature of the charges imputed against him.
On Wednesday, Bruguera posted a letter on her #YoTambieExijo Facebook page addressed to Vice Minister Rojas asking for access to the video. That access was denied earlier last week when Bruguera visited del Valle's offices, provoking the artist's immediate expulsion from the premises.
I hope to see ... the popular movements and NGOs which fight for nuclear disarmament, ecologists, occupy wall street, los indignados, university students, farmers, syndicates, defenders of immigrants' rights [...]ditto: why would the minister of culture help with the smearing campaign against bruguera, instead of defending her?
It is a mystery to many people why so few contemporary classical composers seem capable of writing "a good tune". Surely, given the number of students who pursue composition in our universities and conservatoires, and the hugely increased access which technologies such as music-notation software give to prospective composers, we should expect to find at least one or two capable of making a popular impact?he connects "good tune" and "popular impact" as if comparing popular against classical music, while keeping the latter in a slightly higher conceptual plateau(?)
Why is it that, with more people than ever engaged in the activity of composing, our culture still seems incapable of fostering a contemporary Verdi or Stravinsky, with the celebrity and popular recognition that such great figures once garnered?well, pharrell williams is as popular as verdi was in his heyday. and daft punk is as célèbre if not more than stravinsky. in fact, the russian composer was not that popular amongst classical music lovers in early and mid 20th century. regardless, rudland wouldn't accept my analogy if he's looking for a "contemporary" verdi, and pharrell williams is no verdi, though he is, ahem, contemporary.
To understand the deficit of successful contemporary classical music, what we need to uncover are the feelings which motivated the artistic instincts of the great composers of the past, but which are now absent in the minds of modern composers...no small endeavor to uncover mental states of composers of the past, but let's proceed, what is next? nationalism, a definitely a potent cultural glue.
To gain a proper and complete understanding of what we call "classical" music is to appreciate that it was all written within the context of societies which were predominantly Christian in nature, and where celebrations of traditional national attributes were not seen as old-fashioned or backward-looking as they often are today. This all changed, however, in the 1960s, with the old moral authority of Christianity and nationalism brought into question by two World Wars which had slain "half the seed of Europe one by one", and the dawning of the sexual revolution.the fragment in red above is as nugacious as tap water. yeah, traditions generally subside compared to, "today." the second paragraph (in yellow) takes us for a sky/diver ride. one feels seized by rudland's bombardment of events: two world wars (and, i imagine, all the lots in between), plus the downing of the sexual revolution(?) why not throwing some cool names like marx, freud and elvis into the mix?
Musical modernism is what was left behind after the feelings which motivated the great classical composers had dissipated.a poetic sentence (the kind i wished i could come up with if it only was true). the aftertaste betrays a sugary nostalgic ethos.
What you are hearing in the dysfunctional harmony... once natural authority and faith resided. This is what "atonal" music really is: a loss of faith, and this is why anyone who counteracts its dominance is quickly condemned as "naive", in just the same manner as those who continue to hold religious convictions in a scientific age.what is "functional" in harmony other than a redundant polyphonic representation within a given music grammar? c'mon, where does western harmony begin? rameau's traité de l'harmonie? the tonary?
I would be the first to acknowledge the dramatic talents of Alban Berg, the brilliant textural instrumentation of György Ligeti or the accomplished musicianship of Thomas Adès, but what all these composers have in common—despite the stylistic differences and time which separate their work—is that lack of inspiration within the musical material itself which began with Schoenberg and persists to this day.i get it. what all the planets in the solar systems have in common (despite their difference in mass, and material composition, etc) is that they rotate around the sun.
Things might be about to change, however, and I think I can suggest a few reasons why this might be: popular music has run out of steam. The young know this (several students of mine have testified to its truth); they admit that even the best that is on offer these days—the chilly sounds of Coldplay or the Arctic Monkeys—cannot compete with the energetic exuberance of, say, Abba, and that so much that is pumped out of the radio is now empty commercialism.can one not say about any time whatsoever that "things might be about to change"?
This decline, I suspect, relates back to the ongoing liberalisation of societies which began in the 1960s. The overthrowing of Christian chastity and discrediting of nationalism went hand in hand with the rights revolutions, which improved the freedoms of non-white races, homosexuals and women, and these causes were also reflected in popular music: hence, "[It doesn't matter if you're] Black or White" by Michael Jackson, "I want to break free" by Queen, or "Eleanor Rigby" by the Beatles.rudland haphazard thesis doesn't make me lose faith in modern --or contemporary-- music. what he makes me lose faith is in people's inductive competence. is this a generalized trend? i don't rule out the possibility that he's a smart lad who just wrote this piece while listening to schoenberg's moses und aron. in fact, i'm curious to listen to his compositions.
Being signifies on the basis of the one-for-the-other of substitution of the same for the other.*why not apply this result to the dictyopteran entity in the photo above?
The cockroach, with its dangling white matter, kept looking at me, but I do not know if it really saw me (I do not know how a cockroach sees). But she and I looked at each other (and I do not know how a woman sees).in lispector's metaphysical comparison (human) mental-states are as intractable a problem as the cockroach's hypothetical gaze.
... in the eyes of the cockroach I could see my own existence. In the world we were meeting there are several ways of looking: you look the other without seeing it; one has the other; one eats the other; one is just in the corner and the other is there too. The cockroach was not looking at me with its eyes but with its body.cockroaches have 360º vision, which make up for the flatness of their bodies. each eye contains about 2,000 lenses, which means that their reality is not static. they assimilate a dizzying multiplicity at any given time. lispector's conclusion is quite advanced. in the phenomenology of merleau ponty the gaze has fundamental properties. why? seeing means being drawn into a particular dimension of being, let's say, a slice of being to which the perceiving body is not foreign. is that why lispector concludes the cockroach sees with its body?
What I saw was life looking back at me. How to name that horrible, raw matter, that dry plasma. While I recoiled inward, I felt a dry nausea, I was falling into the very roots of my identity. Centuries and centuries in the mud --wet mud, filled with life; moving with excruciating slowness.a shared fate with insects (in the permian primordial mud).
What then is this encounter...? Neither representation, nor limitation, nor conceptual relation to the same. The ego and the other do not permit themselves to be dominated or made into totalities by a concept of relationship.derrida doesn't have a non-human being in mind. a face-to-face encounter is always a human encounter. yet lispector's analysis addresses the insect's otherness via its face.
We may regard the present state of the Universe as the effect of its past and the cause of its future. An intellect which at a certain moment would know all forces that set nature in motion, and all positions of all items of which nature is composed, if this intellect were also vast enough to submit these data to analysis, it would embrace in a single formula the movements of the greatest bodies of the Universe and those of the tiniest atom; for such an intellect nothing would be uncertain and the future just like the past would be present before its eyes.let's suggest it as: ∀s ∈U, η su
... the mathematicians only are dealing with the structure of the reasoning and they don't care what they're talking of (0.23) ... they don't even need to know what they're talking about...what?
... if you state the axioms ... if you say such and such are so, and such and such are so, what then? (0.38) then the logic can be carried out without knowing what the words such and such mean... (0:45)what words is he referring to?
... mathematicians prepare abstract reasoning that's ready to be used if you only had a set of axioms about the real world... (1:26)without axiomatics you would not have mathematics. are we not in agreement that math is deductive? is so, where do you expect math to mine from?
... you have to have a sense of the connection of the words (he definitely means symbols) with the real world (1:51) ... into english??what about quantum mechanics? i don't believe one needs to translate schröedinger's equation into into --never mind english-- any language. math's symbolic language is universal.
... and later on always turns out that the poor physicist has to come by, excuse me, when you wanted to tell me about the four dimensions ... (audience laughs).i love feynman.
The wife of photographer Jean-François Bauret has accused Jeff Koons of copying one of her husband's works for the sculpture Naked (1988). Bauret died in January 2014 and was particularly known for his nudes. The sculpture is an edition of three and part of Koons's "Banality" series. It is included in the catalogue for his current retrospective at the Centre Pompidou in Paris. However, according to the museum, it was not placed on view in the show due to slight damage it experienced during transport.koons' naked (1988):
i don't get it. what's the big deal? i only appropriately appropriate! i mean, there are few similarities, but look at all the differences: the NAF NAF ad has the girl wearing a jacket in the snow; in my piece it's summertime, the girl lies in the sand and has goggles on her head. and the pig wears a festive floral wreath, and there's a penguin sidekick, who looks pretty shocked with whatever is going on. don't you get it? i'm punning man, i'm punning!
when an artwork is oversimplified to fit a particular framework (the mass media) the artwork suffers the very kind of populist "dumbing down" that I have spent my entire career fighting. Through my artwork ... I have consistently endeavoured to promote knowledge and expertise over ignorance. *(point taken. luc is more articulated than jeff).
"Of course they will now say it’s a parody, since that is the only way to escape judgement," said Van Giel’s lawyer, Dieter Delarue. "To my knowledge, Luc Tuymans is not really best known for his humorous works. This defense is more of a parody than the work itself."not so fast: