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8 months of brooding and monologuing.
2 weeks of the scribbles gaining formal integrity (and economy!)
longstoryshort;YES i know that this is not professional and that i couldn’t fake my own death. In addition to the affinity for the esoteric being sincere as fuck and not a cop-out, I grew comfortable with the statement “i don’t have the time or expertise to do this shit pro/faked’death, and i’m directing this ensemble, so i’m gonna get the job done”
it is going up in 20 days.
Anyone wanna see an 80 page PDF?
Christianity, in refusing to cover up this abyss with a determinate fantasmatic scenario (articulated in the obscene initiatory myth), confronts us, for the first time, with the paradox of human freedom. There is no freedom outside the traumatic encounter with the opacity of the Other’s desire. … Freedom does not mean that I simply get rid of the Other’s desire I am, as it were, thrown into my freedom when I confront this opacity as such, deprived of the fantasmatic cover which tells me what the Other wants from me. In this difficult predicament, full of anxiety, when I know that the Other wants something from me, without knowing what this desire is, I am thrown back into myself, compelled to assume the risk of freely determining the co-ordinates of my desire
we should risk a much more radical than usual reading of Christ’s “Father, why hast thou forsaken me?” than the usual one: since we are dealing here not with the gap between man and God, but with the split in God Himself, the solution cannot be for God to (re)appear in all His majesty, revealing to Christ the deeper meaning of his suffering (that he was the Innocent sacrificed to redeem humanity). Christ’s “Father, why hast thou forsaken me?” is not a complaint to the omnipotent capricious God-Father whose ways are indecipherable to us mortal humans, but a complaint which hints at an impotent God
It is not that the potential of self-education has yet to demonstrated, but that its success has to be suppressed in the service of compulsory education’s true purpose: The cultivation of thoughtless acquiescence and conspicuous consumption defines our culture and fuels the economy. Thus, the education system’s ultimate goal isn’t to impart knowledge or to inspire love thereof, but to train young people not to think much at all, because that’s what makes them good employees and good consumers.
like a child who, having believed in his father’s powerfulness, discovers with horror that his father cannot help him. (To evoke an example from recent history: at the moment of Christ’s crucifixion, God the Father is in a position somewhat similar to that of the Bosnian father made to witness the gang rape of his own daughter, and to endure the ultimate trauma of her compassionate-reproachful gaze: “Father, why did you forsake me?” … 74) In short, with this “Father. why hast thou forsaken me?”, it is God the Father who actually dies, revealing His utter impotence
In ancient Greek and Roman religions, the public text was always supplemented by secret initiation rituals and orgies; … what is revealed in Christianity is not just the entire content but, more specifically, the fact that there is nothing - no secret - behind it to be revealed. To paraphrase Hegel’s famous formula from his Phenomenology: behind the curtain of the public text, there is only what we put there. Or - to formulate it even more pointedly, in more pathetic terms- what God reveals is not His hidden power, only His impotence as such
the disavowed Jewish spectral narrative does not tell the obscene story of God’s impenetrable omnipotence, but its exact opposite: the story of His impotence concealed by the standard pagan obscene supplements. The secret to which the Jews remain faithful is the horror of Divine impotence - and it is this secret which is “revealed” in Christianity. This is why Christianity can occur only after Judaism: it reveals the horror first confronted by the Jews. It is therefore only through taking this line of separation between paganism and Judaism into account that we can properly grasp the Christian breakthrough itself
ineteresting joke/problem with my play
we all know that when you read flowers of st. francis, when you search for francis of assisi quotes, you’re guaranteed one thing: the syntax of bumper stickers on the vans of catholic housewives.
it has been said, i mean, ever since canticle of nonsense i was polemic about looking at suburban-catholic’s monopoly on the Francis body of work (legends, teachings, etc.) and bringing decay to that monopoly.
so yaknow using those forms of the text in a play that is clamorous and messy, a music that is clamorous and messy rather, is like, yaknow it’s that joke about the way we think of theology and religion. like you’re trying to talk with your bumper sticker watered down bullshit but this is a very clamorous environment yaknow.
but then like.
i dunno.
i did find this translation of the fioretti that doesn’t sound like that.
and.
the apoliticized gaze at the Francis works…
can come out.
when i use that translation.
and delineate from the ‘joke’.
because the joke is a politic.
about religion.
but the apolitic is about the real angle.
i mean an overall form that’s into the real angle has a certain kernel, a certain material, in the joke, because you have to overcome the political to get to the real angle so yeah we should totally include a joke about the political.
but.
hm..
look i’m delivering this score in 4 hours. can you help. heheh.
the way the NYC contemporary classical scene became this (partially through an inventive sidestep of the millenium’s economic woes in classical music) medieval commune of troubadours is of course very very magical and impressive but i’m curious, (consider oberlin scooping up eric wubbels for a teaching position): are we about to see a swell in institutions reaching/stewing toward this approach that that scene found? institutions besides columbia and msm of course. i mean like from juilliard to harvard it’s so much “we’ll deal with those economics, but performer/composer is an impossible barrier, and it is not necessary to be friends with your collaborators or your audience” yaknow whereas the medieval commune of troubadours could totally permeate because look at Columbia.
the other topic is the place a columbia dma has in that scene is so interesting to me. it’s so shrugged off and universal. like you don’t spend more than five seconds digging the people making notated music in the city without getting your dma from columbia. i mean it’s not like i haven’t seen shrugged off doctorate degrees but this is a whole nother thing.
Just told an ableton guy the whole ‘max is for capitalists PD4ev’ thing. And then I was like, he’s an ableton guy, he already bought ableton.
you haven’t LIVED until you’ve put 3 dozen hours into straight lines with a bent ruler
100% poetry, from SCHINICHI MOCHIZUKI
§
I3. Basepoints and Inter-universality
As discussed in
§
I2, the present series of papers is concerned with considering
“deformations of the arithmetic holomorphic structure”
of a number field — i.e., so
to speak, with performing
“surgery on the number field”
. At a more concrete
level, this means that one must consider situations in which
two distinct “theaters”
for conventional ring/scheme theory
— i.e., two distinct Θ
±
ell
NF-Hodge theaters
— are related to one another by means of a
“correspondence”
,or
“filter”
,that
fails
to be compatible with the respective
ring structures
. In the discussion so far of
the portion of the theory developed in the present paper, the main example of such
a “filter” is given by the Θ
-link
(.source)
