Monthly Archives: August 2012

Lincoln: “Get up, you hussy!”

“It would astonish if not amuse, the older citizens to learn that I (a stranger, friendless, uneducated, penniless boy, working on a flatboat at ten dollars per month) have been put down here as the candidate of pride, wealth, and aristocratic family distinction.”

Lincoln: “Get up, you hussy!”

“It would astonish if not amuse, the older citizens to learn that I (a stranger, friendless, uneducated, penniless boy, working on a flatboat at ten dollars per month) have been put down here as the candidate of pride, wealth, and aristocratic family distinction.”

Morton Feldman: Trio (1980)

Performed by Aki Takahashi, piano, Rohan de Saram, cello and Marc Sabat, violin. from atonality.net   More by and about Feldman on Ubusound

Morton Feldman: Trio (1980)

Performed by Aki Takahashi, piano, Rohan de Saram, cello and Marc Sabat, violin. from atonality.net   More by and about Feldman on Ubusound

Alexander Kluge: Brutalität in Stein

Film stands before a challenge, its material will always remain perceptions; montage allows us, however, to construct concepts. The smallest units of films, the parts called ‘shots,’ correspond to associations. In a film, the attempt by Joyce in Finnegan’s Wake or by Hans G. Helms to decompose words into their associative components and recompose them anew, would not fail because of problems of comprehension; it [film] is in any case assigned the task of producing at every moment new units of meaning by the editing together of perceptions …. Film has methods similar to polyphony of organizing material relationships. Not only can it set movements of speech and image in opposition, film can also produce in the tense spaces between speech and image still another movement in the spectator’s brain (not materialized in the film) which can furthermore stand in contrast to the film’s movements, and so forth.

Alexander Kluge: Brutalität in Stein

Film stands before a challenge, its material will always remain perceptions; montage allows us, however, to construct concepts. The smallest units of films, the parts called ‘shots,’ correspond to associations. In a film, the attempt by Joyce in Finnegan’s Wake or by Hans G. Helms to decompose words into their associative components and recompose them anew, would not fail because of problems of comprehension; it [film] is in any case assigned the task of producing at every moment new units of meaning by the editing together of perceptions …. Film has methods similar to polyphony of organizing material relationships. Not only can it set movements of speech and image in opposition, film can also produce in the tense spaces between speech and image still another movement in the spectator’s brain (not materialized in the film) which can furthermore stand in contrast to the film’s movements, and so forth.

Liberalism and Marx: An interview with Domenico Losurdo

PN: Concerning the radical inspiration for the framework you set up between Toussaint and the French Revolution, the striking thing about the Haitian Revolution is that it caused a division within France. It was not simply Toussaint versus the French liberals; the Haitian Revolution actually caused the French liberals to split and led to disarray. It raised another problem: Insofar as France could militarily continue to defend itself from counterrevolutionary forces in Europe, at this particular moment, it still depended on colonial production. It therefore seems to me that the Haitian Revolution posed the problem of the radicalism of liberalism straightforwardly and there were a number of responses. Is it possible to call Toussaint a liberal because he believed in the promises of liberalism?

Liberalism and Marx: An interview with Domenico Losurdo

PN: Concerning the radical inspiration for the framework you set up between Toussaint and the French Revolution, the striking thing about the Haitian Revolution is that it caused a division within France. It was not simply Toussaint versus the French liberals; the Haitian Revolution actually caused the French liberals to split and led to disarray. It raised another problem: Insofar as France could militarily continue to defend itself from counterrevolutionary forces in Europe, at this particular moment, it still depended on colonial production. It therefore seems to me that the Haitian Revolution posed the problem of the radicalism of liberalism straightforwardly and there were a number of responses. Is it possible to call Toussaint a liberal because he believed in the promises of liberalism?

Two Steps Back

Imagine the composition of the more than twelve hundred member audience, on a March evening in 1950, packed into New York’s Webster Hall to hear a public debate on the subject “Is Russia a socialist community?” The event, organized by the Eugene V. Debs Society, was chaired by the then thirty-three year old sociologist, C. Wright Mills, and pitted Earl Browder, deposed General Secretary of the Communist Party, still a staunch Stalinist, against the leader of the Trotskyist Workers’ Party, Max Shachtman. This event is a fascinating relic of American radical politics and an exemplary one, considering how little interest there is on the Left today in engaging in public debate.

Two Steps Back

Imagine the composition of the more than twelve hundred member audience, on a March evening in 1950, packed into New York’s Webster Hall to hear a public debate on the subject “Is Russia a socialist community?” The event, organized by the Eugene V. Debs Society, was chaired by the then thirty-three year old sociologist, C. Wright Mills, and pitted Earl Browder, deposed General Secretary of the Communist Party, still a staunch Stalinist, against the leader of the Trotskyist Workers’ Party, Max Shachtman. This event is a fascinating relic of American radical politics and an exemplary one, considering how little interest there is on the Left today in engaging in public debate.

Marx after Marxism: An interview with Moishe Postone

MP: I think what Marx is trying to do is delineate a form of social relations that is fundamentally different from that in pre-capitalist societies. He maintains that the social relations that characterize capitalism, that drive capitalism, are historically unique, but don’t appear to be social. So that, for example, although the amazing intrinsic dynamic of capitalist society is historically specific, it is seen as merely a feature of human interaction with nature. I think one of the things that Marx is trying to argue is that what drives the dynamic of capitalist society are these peculiar social forms that become reified.

Marx after Marxism: An interview with Moishe Postone

MP: I think what Marx is trying to do is delineate a form of social relations that is fundamentally different from that in pre-capitalist societies. He maintains that the social relations that characterize capitalism, that drive capitalism, are historically unique, but don’t appear to be social. So that, for example, although the amazing intrinsic dynamic of capitalist society is historically specific, it is seen as merely a feature of human interaction with nature. I think one of the things that Marx is trying to argue is that what drives the dynamic of capitalist society are these peculiar social forms that become reified.

Chavela Vargas, dead at 93

Chavela Vargas, b. April 17, 1919 – d. August 5, 2012 and lover to none other than Frida Kahlo.

Chavela Vargas, dead at 93

Chavela Vargas, b. April 17, 1919 – d. August 5, 2012 and lover to none other than Frida Kahlo.