What is Hollywood, you ask, dear children? A quorum of whores babbling endlessly on about fucking while the bordello is razed for a penny arcade -- Paul Bern

Sunday, November 28, 2010

THE TRAUMA DREAMER



I just watched Dreyer’s Vampyr for the hundreth time and I am ashamed to say that it never occurred to me until now to re-cognize the movie in terms of Dreyer’s sympathetic and lifelong judeophilia.

Let’s, for the sake of argument, “read” David/Allan Grey as a Jew. I know that certain pedantic persons will rush to point out that the Baron de Gunzburg, who plays Grey and who paid for the movie, was in fact a) Jewish and b) Gay. Not so very interesting. But, at least, thoroughly Other.  But for our purposes here, all we must do, as goes the current fashion, is merely THEORIZE David/Allan Grey as The Lone Jew in Vampyr.

Grey, identified as a dreamer, comes to an inn. He knocks on a lighted window, and disconcertingly the light immediately goes out. Continuing the disorientation, a child-woman emerges from an attic window and tells him to go around the other way. We always see Gray, a little forlornly, from the inside looking in. He is always gazing through textures and frames, trying to definitively establish the truth of this mysterious and to him, threatening, world. The Jew as passeur, no less than the ferryman he sees through the window. Through the dangerous 1930s, and eternity.

Now, let’s briefly note the dismal & tainted history of the vampire gothic as a racist genre (vampire as blood-sucking foreign Jew, running in terror from the cross and pogroms by Christian warriors, etc) and let’s see how Dreyer turns the “sucker” on its head. With sublime perversity, Dreyer contrives to REVERSE the central mythic slander against the Jews. Rather than taking blood, Grey is now giving it to save the life of a Christian. With Sybille Schmidt, we stare blankly at the syringes that will be her own future destiny.

Then Gray, with great pathos, becomes weak and translucent, and undertakes a deeper journey, to the kingdom of shadows, through the experience of death itself, to gaze upward at the church, and then back out of the dream to confirm the dreamed truth of the twilight world.

Dreyer curiously splits off the tedious genre work of killing the vampire and his helpers and assigns it to the loyal retainer and the apparition of the old man; Why? To preserve the fundamental innocence of the dreamer, and maintain Grey’s absolute identity with the audience.

Gray’s popped eyes, in the early sequences, which are, along with the utterly chic suit he incongruously wears, perhaps the source of the condescension toward this aristocrat of performance – that is, De Gunzburg as Baron – and his supposed failings as somnambulist, are in fact a poetic device in Dreyer’s weirdly naturalistic phantasy universe: the eyes emphasize Grey’s status as witness and, more trenchantly, pre-figure that transcendent moment when Gray looks at himself dead BUT WITH EYES OPEN.

The crucial moment when the peg-legged soldier places the candle on the coffin-window, and suddenly the Vampire herself appears projected out of hazy nothingness into diegesis. This conveys the random terror of dream experience rather well. But it is only though actual subjective experience as dead that Grey can bear witness to the existence and identity of the vampire. The old retainer is acting based on stories, text, hearsay. Grey confirms the underworld (the hidden side of the town of Courtempierre) through his (and our) filmed experience of it.

Vampyr also bears some vague mirroring and mystical relation to Ordet – in that the orders of the world (priests, theologians, medicine men) prove dangerous and nihilistic, a dreamer-madman proves to be the key to everything, and a resurrection is doubled by a death.

Grey’s function in the story is to witness and recognize as such the secret dark side of the good bourgeois (the wounded veteran soldier and the doctor) who are in fact servants of the vampire.

So, to sum up: at the very least, Vampyr is a prefiguration of the storm of satanic hostilities that would rise up out of the “normal” bourgeois world with its plague of death symbols, an unmasking of the true vampires who would soon inaugurate their death factories in a black mass and parody of capitalist production. I can say, as far as obscene-absence films about the Shoah go, Vampyr scores an honored place along with Night and Fog and Lanzmann’s film.

Vampyr was premiered by UFA in Berlin, hot on the heels of Browning’s Dracula. In this hothouse context, the "inexplicable" censoring change of the name from David to Allan becomes yet another clear spoken absence.  The premiere was a disaster. The film was booed. Perhaps it was the avant-garde spatial theatrics, or the slow naturalist infusion of death and dream rather than expressionist grotesques. 

That could be, I suppose. 

Maybe, giving the audiences more and less credit, when they rejected an identification with David/Allan Grey qua Jew, and qua dead man, the only recourse left to their "good" souls, was to recognize that THEY were the bloodthirsty.

DIGITAL SUICIDE AS ATONEMENT

Take our life from us. We laid it down. We got tired. We didn't commit suicide, we committed an act of revolutionary suicide protesting the conditions of an inhumane world.  -- Jim "Father" Jones
"We're trying to sort of make the remark: 'Why do we care so much about the death of one celebrity as opposed to millions and millions of people dying in the place that we're all from?'"
 hmm...that really makes you think.  Doesn't it, little monsters? Or not.

Also: WEIRD VOODOO TYPE STUFF PERHAPS RESOLVED
The Bad Romance singer has been accused of copying Lina Morgana who she collaborated with in 2007. However, Lina committed suicide in 2008 and now her mother is claiming that Gaga 'ripped off' her dead daughter's image. Yana Morgana told the New York Post: "I'm doing this because I want to keep her spirit alive. Lady GaGa is holding Lina's soul and I want her soul to be free.

THE COMMUNISM OF CAPITALISM


Yeah, let's build a smarter planet! I'm not sure what that means, exactly, but I feel smarter just thinking it. 

The diffusion of class antagonism into a pneumatic system which must maintain an optimal PSI, as though constrained by some law of statics. This pressure is maintained through the auguries of necromancers, that is, professional economists, and a relentless variety of exhortatory propaganda which is like catnip for the educated classes.

Every citizen in good standing knows in her private marrows that she must consume the widgets produced by others so that those strangers in solidarity, in their turn may purchase the widgets that she produces. Widgets being defined as those rather useless images of currency, icons, transmissible software, what the ancients called dreams -- that were once sluggish, "hard" economic goods.

Their uselessness is in fact their virtue, because economic activity is far more frenzied when it is fundamentally irrational. For example: a maker of chairs in a village, as a rational economic actor, would determine the net amount of chairs needed by his village, allow for attrition and set his prices and rate of production accordingly. In this way, he would have a sustainable livelihood. Now his modern counterpart would have no interest in sustainability or rational economic activity; he would understand that he was trading in images, and that in a system where everyone was compelled (as if by black magic) to consume, he only has to be an excellent marketer. Because, there being no necessity for anything but CONSUMPTION, the object of consumption is accidental. In this limited way, consumption and production are poetic, almost surrealist endeavors. (in parenthesis: the equivalent of the Mad Chair Maker in cultural production would be the theorist, of course)

The neo-capitalist citizen also intuitively realizes that, like the feudal lord of old, the relative increase of one's own wealth requires a positive distribution of that wealth (as a Veblenist potlatch) over the greatest area (in the way of "goods" and "services") that also serve to indicate one's status. In this eternal cold war, the things we buy are the medals and merits we earn for our wounds. Thus a satisfactory sort of community is enacted through masochistic bondage.

We can conceive this modern commune as a series of overlapping feudal kingdoms where all people are simultaneously both lords and serfs in the system of spectacular production. For this reason we can't help but heroize demigods like Berlusconi or Murdoch. They are us, but to a far greater degree, they who must bind themselves over completely in their service to the spectacle. They are the ultimate patriots of the spectacle, as they have the least leisure of any.

HER BACK PAGES


From Strindberg's An Occult Diary. Just prior to these entries, the dear and yet sinister psychic projection of Harriet Bosse (who is to be Strindberg's final wife, but not yet) has been entering Herr S.' room and having, in his words, "telepathic intercourse" with him.

January 3rd, 1901   Have been plagued for a couple of months by a smell of Celery. Everything tastes and smells of Celery. When I take off my shirt at night it smells of Celery. What can it be? My (chastity), my celibacy? 
January 14th, 1901   Passed two ladies on the street; it was 6 degrees below zero and a fresh wind. A smell of celery (lasciviousness). Passed two ladies in the evening, and there was a smell of Celery.

Wednesday, November 24, 2010

LOCOWEED


Les Herbes Folles. First of all -- yes, another fucking masterpiece from Resnais, without a doubt. Line me up more or less with the partisans. Then execute me.

Secondly. It seems to be a sort of wicked "joke" on 3D -- a formalist challenge to make a stereoscopic film without the proper cameronian technology. Sabine's hair; The movement of the (various) grasses; Certain dental jokes. The shots of people in cars that recall rear projection without actually being so. The bloomy diffusion that gives depth to the sound stage world. The multi-planar narrations. The not-quite random violence of the ophulsian paroxysms of the camera, which are perhaps for the sake of exploring the fictional world, rather than merely shoving the narrative forward. The wandering among the crags and the graves.


Thirdly. Allow me to ungallantly and also unfairly point out that when "The Great Resnais" makes a film that approaches the habitual and CASUAL strangeness of the universe of Claude Lelouch, gussied up with primary colors and elegant moves, at likely ten times the cost, such a film is condemned to win awards. Let no one say that the jury at Cannes is immune to property values, even if they are sets!! That is, the film is madly sui generis, but only if you haven't paid any attention to poor (in both senses of the word) Lelouch.

Lastly, the score of autistic & banal cocktail jazz is fantastic.

Monday, November 22, 2010

ON THE ART PRACTICE OF OLD MEN


Whatever I had imagined – despite my direct experience contradicting those visions – simply did not exist.  The camera stayed in the trunk of the car as we meandered from Messina to Milazzo to Enna, to Cefalu, and Palermo.  Yes, I took a lot of stills – competent images of no creative import at all – but the video camera, except for a few desultory shots, stayed unused.  With each passing day it became clearer that whatever it was I had intended to make, the actual material in images did not exist, and not being Hollywood, I could not pay to construct them to exist.  Instead what existed was a floundering and confusion, and a hard-nosed acknowledgment of a kind of defeat.
In such a world, it seems that another image, however well crafted, however deep in intended meaning or however well “artistically” conceived, becomes merely another instantly discardable commodity – as at a festival, where “serious” film aficionados flit quickly from one film to another, rushing to cram as many difficult-to-see films in a day or week as they can.  To feed this frenzy seems to me an increasingly dubious matter pointing to a logic in which perhaps the proper response is renunciation – to simply stop, to withdraw, to be silent.  Perhaps though, these are merely the thoughts of an older man who is soon to be made permanently silent, like it or not.  Or perhaps the ruminations of an experienced soul that finally, as the closing comes, must acknowledge that it’s all really for nothing, a way to bide the time before the extinction of one’s self, or in the longer view, one’s entire culture, and finally universe.
- Jon Jost, 2010

And if until now my films have been different from those of other directors, in that they were an expression of my inner worlds, were counterworlds to the world as it exists and to the world as it is ordinarily portrayed on movie screens and theater stages, then what I was presently creating would also be different.

BC: How so? What's different about it?

HJS: Well, I abandoned the character from Parsifal, called Kundry by Wagner, and played by Edith Clever, who at the beginning and the end defined the limits of my film's cosmos, who contained it in herself, and yet who, when everything is over, will still be what she had been before it began. I chose instead a single human being to embody all the possibilities of expression, to express that for which in my films I needed design, music, words, and sound effects. In this human being, herself a different score for each of several texts, worlds were originated and expressed that contained those texts, on stage as on film.

This was more realistic than any reality, but it was realism of the inner sort, expressed through the face and through movement, whose various manifestations represent the coordinates of the spiritual realm; through light changes, through the eyes, and through the props and gestures otherwise necessary to the performance. Everything in one human being: cutting and close-ups and long shots of landscapes; ubiquity of place and simultaneity of time; stairways and doorways; chases on land and chases on sea; heroes and beasts; nightmares and fantasies: all the images and the figures that populate the arts and with which we fill our films and plays. The same goes for rivers and walls, stones and trees, clothes and the elements, for everything from a storm to deadly silence: it was all able to be encompassed in a single human being.

Hans-Jurgen Syberberg, 2010

Sunday, November 21, 2010

THE DZIGA VERTOV SOFTWARE GROUP


a brief ramble about video games:

Their nature as timeholes is underexplored. There is something curiously subversive about an activity that allows a person to spend 50 hours a week in UNPRODUCTIVE TIME. We could even say that this is religious sacrifice in the Bataillean sense. It's unclear how much longer this pure & golden era can endure -- at some point, gamers will be put to WORK in some way.

I suspect that it will be in virtual surveillance of others.

The magic ingredient always missing in the classical Vertovian Surveillance State was a ludic component. If you can attach a scoring system to maintain Citizen Engagement along with the bread and circuses offered in the multi-player quantum universe a whole wealth of human behavior, complete with data mining is offered up to the State for its delectation.

Virtual serfdom is a pleasant way to disrupt revolutionary energy, offering everything! that the ever-increasing attrition of real qualities and wealth, so masterfully denied-in-the-world, as people are boiled alive and pauperized in risk bearing schemes for the sake of the very real masters of the universe.

Thursday, November 18, 2010

THE COOL, WILLING SERFDOM OF THE YOUNG


Mumblecore in a nutshell: The stylization of bourgeois entropy. Minus snorkels.

Pasolini: For a young person of today things are different: for him it is much more difficult to look at the bourgeoisie objectively through the eyes of another social class. Because the bourgeoisie is triumphing, it is transforming both the workers and the ex-colonial peasants into bourgeois. In short, through neo-capitalism, the bourgeoisie are becoming the human condition. Those who are born into this entropy cannot in any way, metaphysically, be outside of it.

It's over. 

For this I provoke the young. They are, presumably, the last generation which sees workers and peasants; the next generation will only see bourgeois entropy around itself.
And sigh in mild approval...

Wednesday, November 17, 2010

CIELO DRIVE


(another one on spectacular grief, and its uses)

A publicist is murdered. First thought...it must be Oscar season in the City of Nets.

When it becomes clear that this is no ordinary publicist, but the St. Bernadette of publicists -- the anti-Sidney Falco -- the "community", such as any polity of thieves
and sex-soul-murderers can be, is struck with a rare, unfamiliar emotion: Awe.

Because these are the people who usually think that driving a Prius (and wearing ribbons and uttering protective slogans, making spectacular good works, and mostly just having money,) can protect them from the systemic violence that their, uh, creative labors work so hard to hide. And a genuine tragedy in the hollywood (multiple gunshots, like they say on CSI, and in BEVERLY HILLS, dear God...) is more than the usual bourgeois rupture that rocks a small town when bad news hits the evening news. It's the twilight of the gods. For just a moment.

But it is only right that the fearmongers should feel fear once in a while.

In fact one should ask if the perpetual manufactured sunshine, the fine ideological project of a dazzling cinematic Potemkin Culture, of "good examples" and "happy endings", that these Woodlanders specialize in, actually gives rise in perpetuity to the suppressed shadow (THAT WHICH CANNOT BE SHOWN, ONLY LIVED) and sticks them perpetually on the bloody other side of the coin, which is the mechanism that feeds the primal fear that is the true currency of show business.

The Quaids will certainly NOT be refused lunacy asylum in Canada now.

Monday, November 15, 2010

THE GREAT LAURENTIIS IS DEAD

(incidentally) Fonda: Her hands are always her weapon. She has invented her own neapolitan gestural language, which is the key to her formal intelligence as an actor.

As for Dino, maybe it's gone a little too unremarked that, despite his weakness for the occasional art movie, he's the mother and midwife of much of Today's Popular Cinema. His taste is ours now. What he saw in Barbarella, which had to be approached THEN, by Terry Southern et al, with the powdered white gloves of irony, we now bow before with pretentious solemnity.

Also: though Cooper and Schoedsack's King Kong is sublime, silencing -- one of the eternal verities, etc. I love Laurentiis' re-make just as much. Maybe more, sometimes.

Thursday, November 11, 2010

TWITTER, OR THE LANGUAGE OF THE BIRDS



Part I. Susie Sunday’s Adventures in Hegemonic Moral Tourism. 

"I am generally interested in the ‘other’." -- JLG, in a joking mood. 
 
The strange desire of the gringos to connect, spiritually -- somehow -- with their Enemies of Color is remarkable. As is their need to use exotic others to act out their really complex psychomachias of self-division. Of course Tacitus is interested in the Germans and the Britons, too, but the melancholic tone of envy, of Civilization and its Discontents, is missing; he’s comfortable and confident in the Roman structure -- they are always resolutely Other; if they should at some point become Roman subjects, Great! Bitchen! then they will also be utterly transformed, and better for it. 

Yes, the key to the western soul – to conquistador psychology – is self division, alienation. Exhibit A:

I always notice, and it is a fact, that for the most part when we have something valuable in our hands, and deal with it without hindrance, we do not value or prize it as highly as if we understood how much we would miss it after we had lost it, and the longer we continue to have it the less we value it; but after we have lost it and miss the advantages of it, we have a great pain in the heart, and we are all the time imagining and trying to find ways and means by which to get back again. It seems to me that this has happened to all or most of those who went on the expedition which, in the year of our Savior Jesus Christ 1540, Francisco Vazquez de Coronado led in search of the Seven Cities.

Granted that they did not find the riches of which they had been told, they found a place in which to search for them and the beginning of a good country to settle in, so as to go on farther from there. Since they came back from the country which they conquered and abandoned, time has given them a chance to understand the direction and locality in which they were, and the borders of the good country they had in their hands, and their hearts weep for having lost so favorable an opportunity. Just as men see more at the bullfight when they are upon the seats than when they are around in the ring, now when they know and understand the direction and situation in which they were, and see, indeed, that they can not enjoy it nor recover it, now when it is too late they enjoy telling about what they saw, and even of what they realize that they lost, especially those who are now as poor as when they went there. They have never ceased their labors and have spent their time to no advantage. I say this because I have known several of those who came back from there who amuse themselves now by talking of how it would be to go back and proceed to recover that which is lost, while others enjoy trying to find the reason why it was discovered at all.  
-- Pedro de Castañeda, Chronicler of the Coronado Expedition.

The Coronado Entrada was an operatic clusterfuck of a disaster. Whence the allure? These conquistador gentlemen had become citizen-hostages of that fairy-land known as possibility. They live in one place, hard and provincial, but their hearts and their allegiance are elsewhere. Cervantes, too lived his alienated dream of being the conquistador, a little mockingly, through the Quijote.

In 1968, as it was all going down in the Joli Mai Apocalypse & Free Festival in France, and long before any movie stars or Godard (who, laudably for his carbon footprint, always undertakes his moral tourism a priori, at his moviola) Sontag actually WENT to Vietnam. It was a dubious paradise, the Coronado Entrada in reverse, a little trip to Hanoi to undo the Conquest – which of course, triggered a fit of expressive Western alienation. For all her “edgy” modernist folderol, her aspirant iconoclasm, Sontag is always breathlessly, dangerously close to middlebrow, and nowhere so much as her trip to Hanoi. But she also has some very good insights into her sad condition, too. Which is ours, too.

Sontag: I’m overcome by how exotic the Vietnamese are – impossible for us to understand them, clearly impossible for them to understand us. No, I’m hedging here. The truth is: I feel I can in fact understand them (if not relate to them, except on their simplistic terms). But it seems to me that while my consciousness does include theirs, or could, theirs could never include mine. They may be nobler, more heroic, more generous than I am, but I have more on my mind than they do – probably what precludes my ever being that virtuous. Despite my admiration for the Vietnamese and my shame over the deeds of my country, I still feel like someone from a “big” culture visiting a “little” culture. My consciousness reared in that “big” culture, is a creature with many organs, accustomed to being fed by a stream of cultural goods and infected by irony. While I don’t think I’m lacking in moral seriousness, I shrink from having my seriousness ironed out; I know I’d feel reduced if there was no place for its contradictions and paradoxes, not to mention its diversions and distractions. Thus, the gluttonous habits of my consciousness prevent me from being at home with what I most admire, and for all my raging against America – firmly unite me to what I condemn. “American Friend”, indeed.

Of course, I could live in Vietnam or an ethical society like this one – but not without the loss of a big part of myself. Though I believe that incorporation into such a society will greatly improve the lives of most people in the world (and therefore support the advent of such societies), I imagine that it will in many ways impoverish mine. I live in an unethical society that coarsens the sensibilities and thwarts the capacity for goodness of most people but makes available for minority consumption an astonishing array of intellectual and aesthetic pleasures. Those who don’t enjoy (in both senses) my pleasures have every right, from their side to regard my consciousness as spoiled, corrupt, decadent. I, from my side, can’t deny the immense richness of these pleasures or my addiction to them. What came to mind this afternoon was the sentence of Talleyrand that Bertolucci used as his motto for his sad, beautiful film: “He who has not lived before the revolution has never known the sweetness of life.”

Et in Arcadia ego. Go on, laugh, it is funny. Give me the advent of those societies, but not yet, Lord. There is nothing that fills me with more admiration than the spectacle of a good bourgeois willing to equivocate unto death his naughty, ironic, decadent consciousness; ah, the sadean roster of crimes they might commit, y’know, between cocktail parties. This is puritanism with gums. It’s baffling, really.  Why won’t anyone in the spectacular class just defend the obvious: it’s not a bad life, rather pleasant, in fact. What’s really disquieting about it – is that the membership must perform this fake dance of mortification, so the peasants do it too.

But I could renounce, at least imaginatively, my conviction of the inevitability of irony, the Vietnamese suddenly looked far less undecipherable. Their language didn’t seem quite so imprisoning and simplistic, either. (For the development of ironic truths, one needs lots of words. Without irony, not so many words are required.) The Vietnamese operate by another notion of civility than the one we’re accustomed to, and that implies a shift in the meaning of honesty and sincerity. Honesty as it is understood in Vietnam bears little resemblance to the sense of honesty that has been elevated by secular western culture virtually above all other values. In Vietnam, honesty and sincerity are functions of the dignity of the individual. A Vietnamese, by being sincere, reinforces and enhances his personal dignity. In this society, being sincere often means precisely forfeiting one’s claim to dignity, to an attractive appearance; it means the willingness to be shameless. The difference is acute. This culture subscribes to an empirical or descriptive notion of sincerity, which measures whether a man is sincere by how fully and accurately his words mirror his hidden thoughts and feelings. The Vietnamese have a normative or prescriptive notion of sincerity. While our aim is to make the right alignment – correspondence between one’s words and behavior and one’s inner life (on the assumption that the truth voiced by the speaker is ethically neutral, or rather is rendered ethically neutral or praiseworthy by the speaker’s willingness to avow it) theirs is to construct an appropriate relation between the speaker’s words and his behavior and his social identity. Sincerity, in Vietnam means behaving in a manner worthy of one’s role; Sincerity is a mode of ethical aspiration.

The insincere, inauthentic, & ironic westerner, because of a fundamental mistrust of themselves, is always vulnerable to apparent sincerity. Vulnerable is not quite the word – they are sincerity junkies. But it’s good that Sontag makes for us the connection between excessive, baroque language, alienation, richness, and self-consciousness. Expressive language, for the westerner, is the picture and reality of the self, and it is only natural that it should eternally double back on itself or play a masquerade.

In our society, talk is perhaps the most intricately developed expression of private individuality. Conducted at this high-pitch of development, talking becomes a double-edged activity: both an aggressive act and an attempted embrace. Thus talk often testifies to the poverty or inhibition of our feelings; it flourishes as a substitute for more organic connections between people. (When people really love, or are genuinely in touch with themselves, they shut up.) But Vietnam is a culture in which people have not gotten the final devastating point about talking, have not gauged the subtle ambivalent resources of language – because they don’t experience as we do the isolation of a “private self”. Talk is still a rather plain instrumentality for them, a less important means of being connected with their environment than direct feeling, love.
……………………………………………

Thus it’s off the point to speculate whether the warmth of Pham Van Dong during the hour of conversation Bob, Andy and I had with him in the late afternoon of May 16th was sincere in our sense, or whether the Prime Minister “really” wanted to embrace us as we left his office, before walking us out the front door and out the gravel driveway to our waiting cars. He was sincere in the Vietnamese sense: his behavior was attractive, it was becoming, it intended good. Nor is it quite right to ask if the Vietnamese “really” hate the Americans, even though they say don’t; or to wonder why they don’t hate Americans, if indeed they do not. One basic unit of Vietnamese culture is the extraordinary, beautiful gesture. But gesture mustn’t be interpreted in our sense – something put on, theatrical. The gestures a Vietnamese makes aren’t a performance external to his real personality. By means of gestures, those acts brought off according to whatever standards he affirms, his self is constituted. And in certain cases personality can be wholly redefined by a single, unique gesture: for a person to do something finer than he has ever done may promote him without residue to a new level on which such acts are regularly possible. (In Vietnam moral ambition is a truth – an already confirmed reality – in a way it isn’t among us, because of our psychological criteria of “the typical” and “the consistent”. This contrast sheds light on the quite different role political and moral exhortation plays in a society like Vietnam. Much of the discourse we would dismiss as propagandistic or manipulative possesses a depth for the Vietnamese to which we are insensitive.
……………………….

We stopped briefly somewhere in the countryside to visit the grave of an American pilot. As we got out of our cars and walked off the road about fifty yards through the high grass, Oanh told us that it was the pilot of an F-105 brought down with a rifle (cynical italics mine) about a year ago. The pilot had failed to eject and crashed with his plane on this very spot; some villagers recovered his body from the wreckage. Coming into a clearing we saw not a simple grave but an elevated mound decorated with chunks from the plane’s engine and a crumpled piece of wing, like a Chamberlain sculpture, and with flowers and topped by a wooden marker on which was written the pilot’s name and the date of his death. I stood there some minutes feeling haunted, barely able to comprehend that initial act of burial, astonished by the look of the site and the evidence that it was still being looked after. And afterwards when the vice-chairman of the provinces administrative council who was traveling in my car explained that the pilot had been buried in “a coffin of good wood” so that his family in America could come after the war and take his body home, I felt almost undone. What is one to make of this amazing act?  How could these people, who have had spouses and parents and children murdered by this pilot and his comrades (the load of one F-105, four canisters of CBU’s, kills every unsheltered living creature within an area of one square kilometer), quietly take up their shovels and tastefully arrange his grave? What did they feel? Did they realize that whatever his objective guilt, he, just as much as their dead, was a precious irreplaceable human being who should not have died? Could they pity him? Did they forgive him? But maybe these questions are misleading. What’s likely is that the villagers thought burying the pilot was a beautiful (they would probably say “humane”) thing to do – a standard that both overrides and transforms their personal feelings, so far as these might enter the matter.

For all its tortured and “understanding” condescension, amid the righteousness and rage, (I am disarmed because I am more in touch with your “rage” than you are…) this is unbelievably, unbearably naïve. This is exactly like the john who really desires or imagines a secret emotional engagement from his prostitute. He seeks mutual abjection, a violation of the roles, a momentary displacement of the erotic power relations. But that’s impossible, see, because the encounter with the Other that is so lovingly desired is just a symptom and manifestation of the conqueror’s self-division.

This is what enrages the sub-altern, the post-colonial: ultimately the trip to Hanoi cannot be other than a journey more deeply into solipsism. That grave is just a piece of Sontag’s atavism, a bit of her lost patriotic soul, she just can’t really talk about it in those chauvinistic terms. “We are patriots,” a Vietnamese poet tells her, “but in a happy way. You have more suffering in your patriotism.” The desire for conquest (even in reverse) is just a lamentable by-product of the need to actually encounter an other, when the primal, religious search for the otherness that is God has proved elusive.

Conquest, western or otherwise, is a symptom of a spiritual crisis.

Part II. Privates on Parade

 

"Our town, our town do love a stampede..."  Scott Walker, Tilt


For the westerner, one’s private consciousness is a sort of ultimate wealth and so sharing it is difficult, only possible as a form of (perhaps) humiliating potlatch. Augustine’s Confessions, etc. That contrasting generosity is what the sophisticate, with his half-measure of everything, always admires and idealizes in the primitive, especially in the vampiric unity of the sex tourist’s encounter with the Other. 

Pasolini: “Certainly the entire bourgeoisie including the "haute bourgeoisie" has always been badly disposed toward confession, sincerity, lack of pretextuality, violence, and verbal inappropriateness; and its ideal of behavior and therefore of language has always been strictly conformistic.”  
See you in Phuket, dude! (Makes high-five gesture)

The issue here is not conformity or freedom, (self-divided ideas, after all) but of a deeper submersion into oral-tribal-culture that renders the very idea of consciousness, and therefore of conformity superfluous. It’s no coincidence that Bin Laden is so articulate in expressing the traditional self-critiques of the west: he’s one of us. The classic alienated type, who needs to prove that he can be more “primitive” but with style and satellite phones, than the natives. And all this stuff about restoring the caliphate, the beautiful world of Al-Andalus reclaimed – this is, like Sontag’s Tribeca version, just so much islamic pastoralism.

The real tribalist experiences no contradiction between the collectivity, the external, and the self which is also “out there” among its people – the wealth, if one is to speak of it like that, resides in a collective possession that vibrates a sort of harmony; an increase of meaning in the system. It is communism, yes, but not materialist & not historical-dialectical, a praxis of the soul. A system that, nonetheless, is mute, meaningless outside of itself. Tolle, Lege – in oral culture there is nothing to take up, nothing to read. Simpler, isn’t it? From outside, they are literally pod people. A flock of birds, a terrifying mindless unison.

One cannot SPEAK the language of the birds, Sontag.
Get the fuck over it.

You can only LIVE it. Oral-Tribality is instinctual re-action as the message of itself, the message being “Enjoying Fear Together”– it belongs to animality rather than thought. Expressiveness, that inefficient noise that signals conscientia (that is, a selfish complicity with one’s self; inner carnal knowledge) and personhood, tends to zero, and communicatio (making common the things of the tribe) tends to infinity. And the bird’s tweety, externalizing, presentational language, in turn, looks vapid and limited as an expression of consciousness, LOL! but less so if its function is ex-tegrating, or ex-gratiating to a super-body, or a defensive throwing off of a bit of narrative chaff.

It turns out that Engels’ quaint choice of Socialism or Barbarism was a false one. Socialism is Barbarism, or rather Barbarism is Socialism, but only if you throw out the literate/visual culture, that is, the possibility of private consciousness. Because if socialism really means anything, it means wearing your psychic underwear on the outside, so that your neighbors can see it and enjoy it, like L’altra Madonna, the Ciccone. And attempts to force the tribalism of socio-economic justice by means of private consciousness are doomed by self contradiction. In other words, the problem is how to share goods ethically, when one is so stingy and secretive in one’s inner life. The medium (private expression reckoned as private property) in this case is the message.

Old World: “You have to be somebody before you can share yourself.”

New (Old) World: “Sharing your choices with everybody (and doing what they do) is being somebody.” 

Yes – this is getting closer to bird-life, at least the electronic version thereof.

Italian researchers have gone a step further in this explanation by taking many pictures from starling flocks flying over the city of Rome. Then, they reconstructed on the computer the 3D position of each individual inside the flock, and studied how the flight of a given bird was shaped by its neighbors. They discovered that birds aren’t affected by the position of all neighbors within a certain distance (lineal distance), but only by those six closest neighbors (topographic distance). Implementing this rule as an algorithm into a simulation model, they showed that this individual behavior enhanced the compactness of flocks when attacked by a predator. In this way, starlings evade the attack of the falcon, leaving him hypnotized by their self-organized magic.

A noted author, a representative of the ancien regime of Text and a noted ethno-humorist, as well as an aspiring Sontag, is perplexed about this new locale for “collective consciousness-lite”: 

I’ve noticed—and been ashamed of noticing—that when a teenager is murdered, at least in Britain, her Facebook wall will often fill with messages that seem to not quite comprehend the gravity of what has occurred. You know the type of thing: Sorry babes! Missin’ you!!! Hopin’ u iz with the Angles. I remember the jokes we used to have LOL! PEACE XXXXX...

This isn’t one individual mourning another, this is the eternal chatter of the network, the song of the conduits, along with, just faintly (and perhaps this is my imagination, the example provided being a fiction) a certain coded presentational stance, a mild bravado before a common, systemically hostile and stupid Nature of which one remains an inevitably hostile and stupid part.

      

Polyphony, along with all other products of the west, is the tenderest shoot of alienation, and its best hope. Products of the west are all manifestations of our beloved alienation. Naturally, it is easy to believe this to be a liability, a crippling condition to be overcome. Technological warfare reflects this self-division, too. We create weapons, that to use them, even in the last ditch, would destroy first and foremost our cherished and characteristic illusions about ourselves, enacting a sort of spiritual suicide. These are weapons of the super-ego.

The Jewish people have an unenviable symbolic content -- the rootless cosmopolitans, the conscience of the world, the tribe sophisticated by personalist hellenism, but they are, through some obscure arrangement with the deity the details of which no one remembers, also the poster children for persecuted tribalist essentialism, “the chosen people”. Christianity, in its wholistic, Anti-Tribal, Anti-Honor, “catholic” aspirations, tries to neutralize the dilemma, by extending the benefits of “the special relationship” with God to all, making it not so special after all, while maximizing personalist spiritual and moral activity. 

And let’s remember, please, that for much of its history, Christianity was a highly effective counter-hegemonic Al-Qaeda, and will no doubt return to its special energy of opposition, as the strong forces of fundamentalist tribalisms duke it out with the weak force of anemic secular culture, i.e. ideological supermaketing. Personalism, inherently unstable, needs a tradition and structure. For a thousand years, Christianity was that structure. It’s gone. To ward off the reconquista of tribalism in the new technological frontiers of possibility, you’d need a Khmer Rouge in reverse, a Pol Pot of alienated, private literacy and secular humanism. Where is that eagle scout? Salman Rushdie? Eddie Vedder? Bill Maher? 

Tribalism is a natural remedy to the pleasant buzzing psychosis unearthed by the utopia of the internet, and it grafts itself more comfortably in that non-realm than private consciousness ever will.

Wednesday, November 10, 2010

CALL YOUR AGENT


Culture Workers must be constantly aware that spectacular (as opposed to secret) production will inevitably amplify certain aspects of a work, beneficial to the spectacle, and create an ugly Image-in-the-World that might take a whole series of lifetimes of contravision and traduction to undo.

Monday, November 8, 2010

V-EFFEKT TECHNIQUE FOR THE EARNEST


A line might be as simple as “Where is everyone in Charlie Company?”... 

Terry may ask that you say it again as if you are staring at a strange canoe. Upon trying to visualize a strange canoe, the actor says the line again. 

Terry then says, “no… that wasn’t it… say it again, but this time say it as if you are staring at a strange totem pole.” 

Upon commencing the lines, your eyes might tend to veer upwards in applying this direction, in which case Terry might shout “BUT DON'T LOOK UP!” 

This actually happened to Adrien Brody.

Saturday, November 6, 2010

PALACE COUP



The people have spoken.

& MSNBC goes ever more meta, replaces self described "Angry Weatherman" with cute, loveable puppy, Bong Cha, who also holds the rank of Colonel in the North Korean Air Force. Puppy to be voiced by gringo humorist, Roberto Smigel.

American leftists overwhelmingly feel the move better reflects their need for a televised political mascot & champion.

Thursday, November 4, 2010

THE PERPETUAL COMPANY OF THE INDIES


Capital-Image needs a master image to inspire circulation. It is best if such master images -- those obsessional phantasies -- reside in some faraway and slightly poetic place, like Mississippi, El Dorado, China, or Louisiana.

Mais la vassalité de ce système à l'État français, en lui demandant de prendre à sa charge les dettes des finances françaises, et la spéculation qui se joue sur les actions de la compagnie de Law vont finalement en ruiner le système.

John Law, the great poetic genius of modern finance, to help the wise and progressive Regent renegotiate an onerous war debt, bypasses and camouflages the paltry capital-image of the Sovereign and creates this incredible fiction, an economic machine infernale, based on a shiny future that never could be -- that stupefies nearly everyone. For a brief moment, in this frenzy of credit and new liquidity, Law is master of France. He simply didn't have the time to buy everyone off, and tie it all into Le Système.  No one ever does. Its economic viability notwithstanding, Law's system served a defining purpose in the spectacular realm, when it became the visible and enigmatic "soul" to the vanishing body of the Sovereign (which was undoubtedly strengthened after its' collapse, and Law's exile...) a lesson in diffusion and legerdemain, that all states now have internalized without question.
Price manipulation is not out of character for Law. His writings from during and after the System are replete with justifications of coercion in the better interest of people, such as the statement that "it was necessary to use authority and induce the people to contribute to their own welfare" and a commentary on John 5:6 to the effect that "some sick men refuse to heal". Although he is commenting on the coercive measures taken in early 1720 against gold and silver, he probably saw price manipulation as a way of helping people help themselves in spite of themselves.
The question, when there are angry mobs on the streets, is inevitably what to burn. The answer, then and now, is always: oneself.

Tuesday, November 2, 2010

TECHNO-DANDYISM or the hipster

Born with steel reins on the heart of the Sun
Gypsy explorer of the New Jersey Heights, etc...


The internet is looking like the perfect non-site for neo-dandyism (if it ever went anywhere):

"No profession other than elegance ...
No other status, but that of cultivating the idea of beauty
in their own persons ...
The dandy must aspire to be sublime without interruption; 
he must live and sleep before a mirror."



THE MOTHER OF THE GAME


That rather pleasant & dense pastiche of Bava offered as a mini-movie made of modest peccorino in the middle of the dead space that is Silent Hill points up the slo-mo schemata which the film's promotional business must dutifully undertake: the exploration of the different game set/locations, exposition of the incoherent, opaque trauma mythology, broken and twisted by the moments of "action", the pronouncing of stilted dialogue purchased at discount from some fairyland subaltern christianity, the off-sound design, etc.

It all reveals what the genre is at pains to conceal...that the laughing spirit behind the game movie is the anti-cinema of Marguerite Duras. 

Next from Konami, India Song: Monsoon of Blood... The lepers outside, drawn by the melancholy strains of India Song, storm the Residence de France. When they erupt in the languid heat, the flesh of the guests starts sloughing off when touched by the Other. The Vice-Consul drags Anne-Marie Stretter through the mirror to a bedroom where they finally make love for what seems like 30 years. Using her name of Venice, (which is, somehow, the key to everything) The Vice-Consul calls up a platoon of dead paratroopers from Dien Bien Phu to assist him in the fight against the lepers to take back the mansion, level by level, howling with profoundest melancholy the whole time.