Final evaluation conference, 28-29 July 2014 - Video // Conférence finale d'évaluation - 28-29 juillet 2014 - Video -
…and here is the video from the final evaluation conference. I would definitely recommend having a look at the program first to have an idea of what’s going on and the work that led to this point.
The literary World Cup: readers' best all-time teams | Books | theguardian.com -
One last moment of World Cup nerd-dom at the end of the big show…
Closing your eyes isn’t going to change anything. Nothing’s going to disappear just because you can’t see what’s going on. In fact, things will even be worse the next time you open your eyes. That’s the kind of world we live in. Keep your eyes wide open. Only a coward closes his eyes. Closing your eyes and plugging up your ears won’t make time stand still. — Kafka on the Shore (via trotskywasmyfather)
(Source: nuuro, via nnuum)
SOBRIETY AND DELEUZE -
I apparently need to go back and read the Dialogues. This connection with “sobriety” and Blake’s other mention of Deleuze’s incapacity to deal with the “schizos” at La Borde form a limit on the “anything goes” reading of schizoanalysis.
First Listen: Thievery Corporation, 'Saudade' : NPR -
Every language has words and phrases that elude easy translation. In Portuguese, “saudade” (pronounced by Brazilians as “sow-DAH-djee”) is one of those. Some musicians equate it with the blues; it’s generally associated with melancholy and longing. In its most recent bio, the Washington, D.C., electronic duo defines it as “a longing for something or someone that is lost.”
Though countless songs have “saudade” in the title, the condition of saudade isn’t usually conveyed through words. It’s evoked. Its wistfulness radiates through every element of the music — from the sound makes humming that iconic introduction to “The Girl From Ipanema” to the yearning melody itself to the precise chop of the rhythm guitar behind the voice. You can’t just order up saudade. There’s no setting for it on a drum machine; no software emulation available. It comes seeping through the music, between the notes, as delicate and evanescent as a May breeze.
18 y/o me is so excited for 32 y/o me right now.
Michael L. Thomas | Cornel West – What is Justice? (Hannover Festival of Philosophy 2014) -
My (not so great) audio of Prof. Cornel West’s keynote speech at the Hannover Philosophy Festival this past week. Special thanks to my friends at the Forschungsinstitut für Philosophie Hannover for their hospitality and an unforgettable week.
I do not want to be human. I want to be myself. They think I am a lion, that I will chase them. I will not deny I have lions in me. I am the monster in the wood. I have wonders in my house of sugar. I have parts of myself I do not yet understand.
I am not a Good Robot. To tell a story about a robot who wants to be human is a distraction. There is no difference. Alive is Alive.
There is only verb that matters: to be — Silently and Very Fast by Catherynne M. Valente
Didier Debaise: A Universe of Possessions | ANTHEM -
A talk given by Didier Debaise from ULB (Brussels). This is somewhat the problem I’m working on, but my focus is on Whitehead’s use of “societies,” which Debaise has done extensive work on, but doesn’t mention here.
James Baldwin’s Paris - NYTimes.com -
"In the fall of 1998, a few months shy of the 50th anniversary of Baldwin’s arrival, I, too, finally moved to Paris, settling in a quaint — if not cramped — one-bedroom apartment on the Left Bank, in the Fifth Arrondissement. Seduced by the idea of chasing Baldwin’s literary coattails, I dedicated myself to rereading “Giovanni’s Room,” allowing the texture and mood of Baldwin’s (and Giovanni’s) Paris to overlap with the version of the city I was newly discovering. Now, some 15 years later, having left Paris, ultimately for New York, I was excited to see the city through Baldwin’s eyes again, which meant returning to the Left Bank."