Slag simpered
Slag simpered slag saw ,dump ,flight creep ,mist ,flung gland ,pole ,feet curtain ,dies ,mile gusher ,rat ,temp gnul ,pmuh ,joke bladder ,file ,pawn nodding ,peel drip and grin show your buddy like a sandwich crup of gniloof all the mantis shawl fond murmur in the white hard throne or thrown the tablet down the stairs shit and chin slopping ,battered ,undered ,simpered ,itching ,toweling ,soldered ,flabbered ,gnilwarps ,gniduolc ,gnillenuf ,gnihtoot ,gleaming ,blabbing ,foundered ,simpered John M. Bennett __ Dr. John M. Bennett Curator, Avant Writing Collection Rare Books Manuscripts Library The Ohio State University Libraries 1858 Neil Av Mall Columbus, OH 43210 USA (614) 292-3029 [EMAIL PROTECTED] www.johnmbennett.net ___
like
like
Re: like
At 08:26 AM 10/18/2005, you wrote: like lick loot lather, flopping __ Dr. John M. Bennett Curator, Avant Writing Collection Rare Books Manuscripts Library The Ohio State University Libraries 1858 Neil Av Mall Columbus, OH 43210 USA (614) 292-3029 [EMAIL PROTECTED] www.johnmbennett.net ___
Re: like
On Oct 18, 2005, at 8:26 AM, Dan Waber wrote: like Ike HalIf the brain were so simple we could understand it, we would be so simple we couldn't. --Lyall Watson Halvard Johnson email: [EMAIL PROTECTED] [EMAIL PROTECTED] website: http://home.earthlink.net/~halvard blogs: http://entropyandme.blogspot.com http://imageswithoutwords.blogspot.com
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FW: Films of the Situationist International starts Monday/Stalin
Hello Al meant to post this yesterday-- never thought i would have a chance to see them-- as if anyone has, i wd like to correspond regarding them-- the films last night were shown with a question/comment period between them--so that debord canhave the final word as Keith Sanborn (see blow) said-- as the second film is a rebuttal of critics of the first --SOCIETY OF THE SPECTACLE it is very interseting to see the films as in a sense the spectacle of guy debord-- he has an immense fascination with stalin which is interesting as the films become in a way the intellectual autobiography of the development of a cult of personality-- i.e. m. debord's i am looking fwd to the others in relation with visual poetry-- i lived in france 1967-8, 69, 70 wondered if any of you did also? Education is a weapon whose effects depend on who holds it in his hands and at whom it is aimed. Josef STALIN quote found in Hallmarks' Great Quotes of the 20th Century 2 if anyone is interested or has seen these--send a bc letter to david-bc From: Union Cinema-Theatre [EMAIL PROTECTED] To: Union Cinema-Theatre [EMAIL PROTECTED] Subject: Films of the Situationist International starts Monday The UWM Union Theatre presents a unique retrospective of the rebellious and highly influential filmmaking of the Situationist International! The event begins Monday, October 17th and runs until Thursday, October 20th. Here is the complete list of programming with descriptions for your consideration. ALL SCREENINGS ARE FREE TO ALL! Writer, filmmaker, translator and SI archeologist Keith Sanborn will be in attendance on Monday, October 17 to introduce the evening and provide a talk-back session after the film. Monday, October 17 - 7pm The Society of the Spectacle (La société du spectacle) Situationist founder Guy Debord's own 1973 adaptation of his 1967 book by the same name. Enormously influential in France, the film is an astonishingly sophisticated and coherent response to the experience of May 1968. A filmic essay, based primarily on detourned, that is pre-existing and recontextualized, images, including: sequences from Hollywood features, East Block features, news footage, documentary footage, tv commercials, pornography, and a vast number of stills, some of which seem to have been shot explicitly for this film. The film also makes use of intertitles which include both acknowledged and unacknowledged detourned quotations from Dante, Hegel, Marx, Meister Eckhart, Shakespeare, Cieszkowski, von Clausewitz, Pouget and others. While this film is a considerable achievement in the domain of cinema, it is not just a film; it is a conscious attempt to change the world. English subtitles by Keith Sanborn. (Guy Debord, France, 90 min., French w/ Eng. St., Film on Video, 1973) preceded by: Refutation Of All Judgments Which Have Up To Now Been Brought Whether In Praise Or Hostile To The Film Called Society Of The Spectacle Debord's response in film to the written critiques which greeted his film The Society of the Spectacle. (Guy Debord, France, 20 min., French w/ Eng. St., Film on Video, 1975) Tuesday, October 18 - 7pm Venom Eternity (Traité de bauve et d'éternité) Poet and founder of the Lettrist Movement, Jean Isidore Isou wrote, scored, photographed, directed and starred in Venom Eternity - a self-described revolt against cinema. In the film Isou attempts to discuss what was wrong with the cinema and goes on to show examples of what he thinks it should consist of. Featuring an appearance by Jean Cocteau, who, musing as to the film's future, would ask: Is VENOM a springboard or is it a void? In fifty years we'll know the answer...The day will come, perhaps, when Isou's style will be in fashion. Causing riots and stomp-outs during its initial screenings in France and the US, the film went on to influence a generation of avant-garde filmmakers including, most profoundly, a young Stan Brakhage - declaring Venom Eternity as a portal though which every film artist is going to have to pass. (Jean Isidore Isou, France, 90 min., French w/ Eng. St., 16mm BW, 1951) Wednesday, October 19 - 7pm Can Dialectics Break Bricks? (La Dialectique peut-elle casser des briques?) Annouced as the first entirely détourned film in the history of cinema, Viénet and Cohen transformed a typical kung-fu film into an examination of class and intellectual sectarianism. According to Viénet: The cinema, which is the newest and most serviceable means of expression of our era has been marking time for 3/4 of a century. By way of review, let us say that it has in fact become the '7th art' dear to cinephiles, ciné-clubs, PTA's. Let us state that for our purposes the cycle has come to an end Let us appropriate the stammerings of this new writing; let us appropriate above all its most achieved examples, the most modern ones, those which have escaped artistic ideology even more than American
Physics News Update 750 (fwd)
-- Forwarded message -- Date: Tue, 18 Oct 2005 10:58:52 -0400 From: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: Physics News Update 750 PHYSICS NEWS UPDATE The American Institute of Physics Bulletin of Physics News Number 750 October 19, 2005 by Phillip F. Schewe, Ben Stein THE PHONON HALL EFFECT, the acoustic equivalent of the electrical Hall effect, has been observed by physicists at the Max Planck Institut fur Festkorperforschung (MPI) and the Centre National de la Recherche Scientifique (CNRS) in France. In the electrical Hall effect, when an electrical current (consisting of free electrons moving along a material sample) being driven by an electric field is subjected to an external magnetic field, the charge carriers will feel a force perpendicular to both the original current and the magnetic force, causing the electrical current to be deflected somewhat to the side. Thermal transport is a bit more complicated than electrical transport. A current of heat can consist of free electrons carrying thermal energy or it can consist of phonons, which are vibrations rippling through the lattice of atoms of the sample. Previously, some scientists believed that in the absence of free electrons, a magnetically induced deflection of heat could not be possible. The MPI-CNRS researchers felt, however, that a magnetic deflection of phonons was possible, and have now demonstrated it experimentally in insulating samples of Terbium Gallium Garnet (a material often used for its magneto optical properties) where no free charges are present. The sample was held at a temperature of 5 K and was warmed at one side, creating the thermal equivalent of an applied voltage. Application of a magnetic field of a few Tesla led to an extremely small (smaller than one thousandth of a degree) yet detectable temperature difference. (Strohm et al., Physical Review Letters, 7 October 2005; text at www.aip.org/physnews/select) The same team of MPI-CNRS scientists earlier demonstrated a kind of photon Hall effect (http://www.aip.org/pnu/1997/split/pnu349-2.htm). DETECTING ALZHEIMER'S EARLY WITH NON-INVASIVE OPTICAL TOOLS. Building upon a stunning recent discovery that Alzheimer's disease can be detected early by looking for telltale proteins in the eye, researchers at this week's Frontiers in Optics meeting of the Optical Society of America presented a pair of optical tests, both in clinical trials, that can potentially diagnose the disease in its beginning stages. Such tests may not only improve patients' chances to start treatment earlier, but they could also speed development of new Alzheimer's drugs. Two years ago (Goldstein et al., Lancet, 12 April 2003), Lee Goldstein of Harvard Medical School ([EMAIL PROTECTED]) and his colleagues showed that the exact same amyloid beta proteins which are a hallmark of Alzheimer's disease are also found in the lens and its surrounding fluid. In those portions of the eye, the proteins form amyloid deposits similar to those in the brain. Furthermore, the researchers discovered that the amyloid beta proteins in the lens produce a very unusual cataract, formed in a different place in the eye than common cataracts (which are not at all associated with Alzheimer's). Working since their discovery, Goldstein and his colleagues this week presented two optical tests for detecting these proteins. Using a technique known as quasi-elastic light scattering, the first test employs low-power infrared laser light to non-invasively detect protein particles in the specific part of the lens where these unusual cataracts form. The second test would be applied to those who screen positively for the proteins, in order to confirm an Alzheimer's diagnosis. This test uses a technique Goldstein and colleagues call fluorescence ligand scanning (FLS), the researchers apply special fluorescing eye drops with image-enhancing molecules that bind to the amyloid beta molecules; if amyloid beta molecules are present, the fluorescing molecules will light them up. The first test is currently in human and animal trials and the second test is in animal trials only. These two diagnostic tests are envisioned to be a two-step process for screening and then confirming an Alzheimer's diagnosis. These new optical tools can also potentially speed up the development of new Alzheimer's drugs, by giving investigators rapid feedback on whether the drug is doing its job of removing the harmful proteins from the body. Moreover, the researchers are using the same technologies to develop new tests for rapidly detecting amyloid plaques resulting from prion diseases, including mad cow, scrapie in sheep, and Creutzfeldt-Jacob disease in humans. (http://www.osa.org/meetings/annual/; Paper FTuBB4 at meeting, October 18, 2005.) SUPER LENSING IN THE MID INFRARED. Physicists at the University of Texas have made a super lens, a plane-shaped lens that can image a point source of light down to a focal spot only one-eighth
on having the tenacity to over-reach my margins
benefits glengarry themselves beamward I'm occasionally sliced from corded life so was she ever really there and if now is the anchor how is stippling supposed to decorate the maze of jeer I cannot occupy I cannot bear to wean myself despite the substitute despite impersonating younger self despite no spite with warming feathering my psyche's permanently in-condition strategy innate as perfumed summer when the lake haze modifies exquisite pungent sun upon my already warm to lifelong back where spine meets my beside-ways twin in life each night sheila e. murphy
Re: FW: Films of the Situationist International starts Monday/Stalin
spectacle the woed
Re: on having the tenacity to over-reach my margins
This one really hits the mark for me Sheila...it's simply loaded with little gems! -Peter Ciccariello ARTIST'S BLOG - http://invisiblenotes.blogspot.com/ -Original Message- From: Sheila Murphy [EMAIL PROTECTED] To: WRYTING-L@LISTSERV.UTORONTO.CA Sent: Tue, 18 Oct 2005 09:40:30 -0700 Subject: on having the tenacity to over-reach my margins benefits glengarry themselves beamward I'm occasionally sliced from corded life so was she ever really there and if now is the anchor how is stippling supposed to decorate the maze of jeer I cannot occupy I cannot bear to wean myself despite the substitute despite impersonating younger self despite no spite with warming feathering my psyche's permanently in-condition strategy innate as perfumed summer when the lake haze modifies exquisite pungent sun upon my already warm to lifelong back where spine meets my beside-ways twin in life each night sheila e. murphy
zaulka
he wis wass corek rect harbi re/right correk spillchik czeckt i dit i did hard split spilt cofee coffee on stik-shift surik harbi ther redusing 2bi my ergo id superheroiti sink-indix song-supresting presing advantige mkilroy who barks ha sips tee thew steeped in he brew-brewed hit hot water-water peed in hat allnite thru ter dribl talking inta wast baskit vast teribl void mist and wide foog bi-lite of cafeen redused 2 redux de lux oft demoon shinin on harim whodo spooki charms wit lun-dew mit admit silveri thule ina chana shop bul-bul bonks charps tirns inta apin nto aball peen hammer ham-rung cor a habi sweedish babi maxswell wus oft shtupt with a 6-pac of profalact ic dongling from his hussa whadda dark dic he wis 2 do dis do dat sami-zdat raq-o-lambic pent up tametir stein-rak-its raquets whucked advatage muckalroy bals over fals over semi-arad 2 semitemple 2 teeth gone sudden disappearance of amie semple like fuck a rib off the front offa jawsas hidee-ho 2words 1.lite 2.sint scent of calworri stinkin brigade ata gall-lop to sahara gall-op wadda terk he was laffin off with hishead kryst at the parafin lamp step-lite laf lite like six gofer-farts ffft fft fft etc be4 it gos out blue threw his misin teet absess of lite enscene smok sent and whene spok - o essene o man it got dark but that dont count doesnt not wit the burak i kreyed keeri allelluya all nite outside the caf krowd whena ment ravenesque later in the cock oftda day after sayin ain't prain ain't it tits andis so so we put allegro's theory to the test tuk one black pusulbian tuber choped a dozen sarabian wymin and 2 sticks patchooli alput ina preshur cuker anit was fals but good reminisent remindead me of christmas in vermont wa ok but to the pont de point of it they we're badly abridged men __ Start your day with Yahoo! - Make it your home page! http://www.yahoo.com/r/hs
Re: Films of the Situationist International starts Monday/Stalin
They’ve made a number of Situationist films available for download at UBUWEB. I must say that my response to these works is not positive. Can you argue in favor of anybody seeing them, aside from the historical perspective they provide? Debord’s fims in particular are tedious to watch, I find. If I want a dose of Debord, I’d much rather read his essays in book form, so that I may skip all the silly appropriated imagery of pirates and such that one has to endure in his films. I’ve always been unconvinced by detournement as a radical critique, to be honest, and none of these films changes my mind on that count. m On Oct 18, 2005, at 9:01 AM, David-Baptiste Chirot wrote: Hello Al meant to post this yesterday-- never thought i would have a chance to see them-- as if anyone has, i wd like to correspond regarding them-- the films last night were shown with a question/comment period between them--so that debord canhave the final word as Keith Sanborn (see blow) said-- as the second film is a rebuttal of critics of the first --SOCIETY OF THE SPECTACLE it is very interseting to see the films as in a sense the spectacle of guy debord-- he has an immense fascination with stalin which is interesting as the films become in a way the intellectual autobiography of the development of a cult of personality-- i.e. m. debord's i am looking fwd to the others in relation with visual poetry-- i lived in france 1967-8, 69, 70 wondered if any of you did also? Education is a weapon whose effects depend on who holds it in his hands and at whom it is aimed. Josef STALIN quote found in Hallmarks' Great Quotes of the 20th Century 2 if anyone is interested or has seen these--send a bc letter to david-bc From: Union Cinema-Theatre [EMAIL PROTECTED] To: Union Cinema-Theatre [EMAIL PROTECTED] Subject: Films of the Situationist International starts Monday The UWM Union Theatre presents a unique retrospective of the rebellious and highly influential filmmaking of the Situationist International! The event begins Monday, October 17th and runs until Thursday, October 20th. Here is the complete list of programming with descriptions for your consideration. ALL SCREENINGS ARE FREE TO ALL! Writer, filmmaker, translator and SI archeologist Keith Sanborn will be in attendance on Monday, October 17 to introduce the evening and provide a talk-back session after the film. Monday, October 17 - 7pm The Society of the Spectacle (La société du spectacle) Situationist founder Guy Debord's own 1973 adaptation of his 1967 book by the same name. Enormously influential in France, the film is an astonishingly sophisticated and coherent response to the experience of May 1968. A filmic essay, based primarily on detourned, that is pre-existing and recontextualized, images, including: sequences from Hollywood features, East Block features, news footage, documentary footage, tv commercials, pornography, and a vast number of stills, some of which seem to have been shot explicitly for this film. The film also makes use of intertitles which include both acknowledged and unacknowledged detourned quotations from Dante, Hegel, Marx, Meister Eckhart, Shakespeare, Cieszkowski, von Clausewitz, Pouget and others. While this film is a considerable achievement in the domain of cinema, it is not just a film; it is a conscious attempt to change the world. English subtitles by Keith Sanborn. (Guy Debord, France, 90 min., French w/ Eng. St., Film on Video, 1973) preceded by: Refutation Of All Judgments Which Have Up To Now Been Brought Whether In Praise Or Hostile To The Film Called Society Of The Spectacle Debord's response in film to the written critiques which greeted his film The Society of the Spectacle. (Guy Debord, France, 20 min., French w/ Eng. St., Film on Video, 1975) Tuesday, October 18 - 7pm Venom Eternity (Traité de bauve et d'éternité) Poet and founder of the Lettrist Movement, Jean Isidore Isou wrote, scored, photographed, directed and starred in Venom Eternity - a self-described revolt against cinema. In the film Isou attempts to discuss what was wrong with the cinema and goes on to show examples of what he thinks it should consist of. Featuring an appearance by Jean Cocteau, who, musing as to the film's future, would ask: Is VENOM a springboard or is it a void? In fifty years we'll know the answer...The day will come, perhaps, when Isou's style will be in fashion. Causing riots and stomp-outs during its initial screenings in France and the US, the film went on to influence a generation of avant-garde filmmakers including, most profoundly, a young Stan Brakhage - declaring Venom Eternity as a portal though which every film artist is going to have to pass. (Jean Isidore Isou, France, 90 min., French w/ Eng. St., 16mm BW, 1951) Wednesday, October 19 - 7pm Can Dialectics Break Bricks? (La Dialectique
new secret what happened to me
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Movie: Good Night, And Good Luck (fwd)
-- Forwarded message -- Date: Tue, 18 Oct 2005 23:42:09 -0400 (EDT) From: [EMAIL PROTECTED] Reply-To: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: Movie: Good Night, And Good Luck Good Night, And Good Luck David Strathairn, George Clooney, Patricia Clarkson, Robert Downey Jr., Jeff Daniels Directed by George Clooney http://www.rollingstone.com/reviews/movie/_/id/7488220 Does George Clooney have a box-office death wish? You have to wonder why the star of Ocean's Eleven would risk his standing as a pinup for ka-ching to direct, co-write and co-star in a movie set in the 1950s, shot in black- and-white and focused on a fifty-year-old battle between TV newsman Edward R. Murrow, indelibly played by David Strathairn, and the Commie-hunting Sen. Joseph McCarthy. Wonder no more. Clooney knows exactly what he's doing: blowing the dust off ancient TV history to expose today's fat, complacent news media as even more ready to bow to networks, sponsors and the White House. As Murrow said in a 1958 speech, which frames Clooney's dynamite film, the powers that be much prefer TV as an instrument to distract, delude, amuse and insulate. Challenge is a loser's game. Not in this movie. In ninety-three tight, terrifically exciting minutes, Clooney makes integrity look mighty sexy. With the help of cinematographer Robert Elswit and editor Stephen Mirrione, Clooney turns the CBS newsroom into a hothouse of journalistic risk-taking. It's exhilarating to watch as Murrow decides to use his CBS news show See It Now (it ran from 1951 to 1958) to call McCarthy's bluff. Murrow persuades network boss Bill Paley (Frank Langella is a marvel of scary, seductive command) to hold the sponsors at bay while he and producer Fred Friendly (a subtly forceful Clooney) lay out a battle plan. As a director, Clooney moves with admirable speed and economy. He sometimes tripped over his ambitions in Confessions of a Dangerous Mind, his 2002 debut behind the camera. But here his hand is assured, his wit focused, his target never in doubt. This self-confessed big old liberal, raised in the heat of media debate as the son of TV journalist Nick Clooney, is a born muckraker. With Good Night, and Good Luck -- the words used by Murrow to sign off his broadcasts -- Clooney emerges as a powerhouse filmmaker. The film only rarely leaves the CBS studios, but Clooney establishes the furtive atmosphere of the time. Reporter Joe Wershba (an avid Robert Downey Jr.) must hide his marriage to a fellow staff member (the reliably superb Patricia Clarkson) because of network rules. News anchor Don Hollenbeck (a deeply touching Ray Wise) is driven to suicide by a red-baiting columnist. Clooney has taken some flak for using singer Diane Reeves as a bridge between scenes, but her bold jazz stylings -- in the manner of George's aunt Rosemary Clooney -- fit right in with the film's insistence on upturning the standard version of history. These aren't white guys in suits flexing their muscles to win ratings. These are newspeople flying by the seat of their pants for something they believe in, even if it costs them big time. At the center of the storm is Murrow, standing firm against the push for compromise. It's a bitch -- not to mention a bore -- to play a noble monument. Strathairn dodges that pitfall by making Murrow fallible, funny and human. Chain-smoking off the air and on, he mines the humor in the deft script by Clooney and producer Grant Heslov. Murrow wasn't so lofty that he refused to interview celebs for the CBS show Person to Person. Clooney includes a hilarious clip of gay pianist Liberace being asked by Murrow if he's ready to settle down with the right girl. Helping to spawn celeb journalism on the tube is a sin Murrow never lived down. His distinction came in picking his battles. Strathairn lets us see the war in Murrow's eyes as he takes on McCarthy not just for confusing dissent with disloyalty but for deciding to smear Murrow himself when the senator makes an appearance on See It Now. A spark of rage burns in Murrow, and Strathairn shows us the flame. Best known for his work in the films of his Williams College friend John Sayles (check out Passion Fish right now if you haven't seen it), Strathairn comes into his own with this career role, to which he brings three decades of acting expertise. It's a performance of ferocity and feeling that you won't soon forget. A word here about the guy who plays McCarthy. You have to forgive the way he overdoes the sweaty, manipulative monster aspects of the role, because, thanks to Clooney's judicious use of actual film footage, McCarthy plays himself. The studio is pushing for a posthumous Oscar nomination. I think not. More Oscar justice would be done in the name of the live ones. For a paltry $8 million, Clooney has crafted a period piece that speaks potently to a here-and-now when constitutional rights are being threatened in the name of the Patriot Act, and the American media trade in
light
light flows both ways as particle wave dust sailing out the wind/ ow flight 2 floating people gone on organ eyesd trplet ocoo whaaaco/palabra wor(l)ds loco past this fewd re(a)d light / some night ohla olah ola this cave is animal shaped preferring out lemon
