Sunday, May 29, 2016

My Life Is a Dream Nightmare

I feel like I'm living in storage, as if I were in an airplane in "comfort" coach seating with
lots of not very good films available, good headphones to block out the noise, lots of books I brought in my carry-on luggage ,and some granola bars and water I brought with me, as well as meds if I
need to sleep.  No idea what the destination of the flight is or how long the flight will be. No turbulence on the flight. My wife is traveling with me, and we take frequent trips to the bathroom to have sex. 

On Being Old

Being old is even better than being a child. If you are old and you
behave badly, no one can put you in a time out. People just pretend
you didn't say that, or do that. You get an automatic pass because
old.

The Unbearable Frustration of Unteachable Students

I appear to have some of the dumbest students I've ever taught. Some
really bright ones too. I just met with each student in a conference
to discuss his or her second paper from start to finish. It's really
so dismaying when you feel you can't teach a student anything about
close reading or writing because he or she has not bothered to read
the assignment carefully or listen to you talk about the assignment in
class--several times, using examples students in the class  identified
and elaborating on them. And the students think they wrote good
papers. There is no getting through to them. Maybe I should just stop
assigning papers and give True or False exams instead. Maybe it's time
to retire.

"Student Ignorance Outcomes"

Aren't SLOs (Student Learning Outcomes) unreasonably optimistic about
teaching? I mean language goes into many syllabi now with phrases like
"students will have mastered . . ." Some are truly preposterous, as in
"students will have learned how to live the good life." If the teacher
can use the future perfect tense this way, and the outcome is already
determined, why bother to have SLOs at all? I think SIOs would be
accurate, as in "Student Ignorance Outcomes." Language could include
various future conditional tenses like "For innumerable reasons,
students may have failed to master . . . Students who failed the
course might have wished they learned how to . . . " Can't we get
creative about the future past?

Millennial Establishment Journalism

I would like to know the average age of contributors to The New Yorker in 2004 and in 2016.  Ditto for New York Magazine and all other magazines and newspapers that have consistently supported Hillary Clinton and opposed Trump, equating him with Hitler, and have called on Sanders to drop out of the race.  

Thursday, December 31, 2015

Jean Paul Richter's "Extra-Thoughts" on inkstands and pens

When Fenk came, the _deceased_ Regent made him all he wanted to be: for
it was in this way: When the departed father of his people had become
in the physiological sense a child of the people, _i. e_., had returned
to the age of which he was when they had hung upon him the first
order-ribbon instead of leading-strings, namely, six and a half years,
the eternal signing of his cabinet decrees became much too disagreeable
to the Prince, and at last impossible. As, however, he must after all
still govern, when he could no longer write, the court-engraver cut his
decreeing name so well in stone that he had only to dip the stamp in
ink and press it while moist under the edict: then he had his edict
before him. In this way he governed fifteen per cent. easier; but the
minister one hundred per cent., who, at last, out of gratitude, in
order to relieve the enfeebled Prince even of the heavy handling of the
stamp, dipped, himself, the beautiful seal (which he preferred to
Michael Angelo's) into his own ink-stand; so that the old lord,
several days after his death, had subscribed sundry vocations and
rescripts--but this modeling-stamp of men in general became the
insect's-laying-sting[24] and father of the best government officials,
and at last spawned the Pestilentiary.


                  Extra-Thoughts Upon Regents' Thumbs.

Not the crown but the inkstand oppresses Princes, Grand Masters and
Commanders; not the Sceptre, but the Pen do they find so much
difficulty in wielding, because with the former they merely command,
but with the latter they have to sign what is commanded. A cabinet
councillor would not wonder if a tormented crowned scribe should, like
Roman recruits, amputate his thumb, in order to be freed from the
eternal making of his mark, as _they_ do to escape fighting. But the
reigning and writing heads keep the thumb; they see that the welfare of
the land requires their dipping the pen,--the little illegibleness on
cabinet orders which one calls their name, opens and shuts, like a
magic formula, money-chests, hearts, gates, warehouses, ports; the
black drop of their pen manures and forces or macerates whole fields.
Professor Hoppedizel had, when he was first teacher of morals to the
Scheerau Infante, a good idea, although only in his last month:
might not the princely tutor command the sub-tutor to let the
crown-abecedarian, who of course must one day learn to write, instead
of useless bills of feoffment merely scrawl his name in the middle of
every blank leaf? The child would write his signature without disgust
on as many pages as would be needed in his whole administration--the
sheets might be laid away against the child's coronation--and then (he
continued) when he had bespattered pages enough, as a college would
often require his signature yearly, if, accordingly on New Year's day
the necessary number of signed reams had been distributed among the
colleges to last the whole year--what more would the child need to do
in his whole administration?

                     _End of the Extras-thoughts_.
http://www.gutenberg.org/files/36353/36353.txt

Saturday, December 26, 2015

In Memoriam

This post is in memory of a thought I had--a one-liner--that was pretty good, as I recall--but then couldn't for the life of me remember once I got all the way to this page where I am now writing my post that has now become a kind of gravestone for the forgotten but possibly reanimated thought I have forgotten.  I've been letting a lot of my stray thoughts back into the wild lately, but this one seems to have strayed away all on its own.  

Wednesday, December 23, 2015

PROVOCATIONS TRANSCRIPT OF A LOST STAND-UP MONOLOGUE DECEMBER 23, 2015 LARB BLOG By Richard Burt

http://blog.lareviewofbooks.org/provocations/transcript-lost-stand-monologue/

Saturday, December 12, 2015

Dear NRA Members


There can be gun control and
You can keep your guns. 
There can be gun control and
You don’t to have wait to buy a gun or have a background check run on you either.  
 Please bear with me.
Gun owners often compare car deaths and gun deaths.  OK. Think of a gun like a car.  They are both potentially lethal weapons.  
Cars have to be registered when we buy them, right?  And you need a driver’s license to operate a car.  To get a license, you have to know how to operate your vehicle safely.  And driving is policed primarily to reduce the risk of injury and death.  So why not do the same things for guns?  Why not require that anyone who buys a gun has to register it?  Why not require a gun owner to get a license to shoot it by passing a test showing that the owner knows the basics of gun safety?  Why not penalize people who have not registered their guns or gotten a license the same way we penalize people who break driving laws?  What do you have to fear, responsible gun owners?  If the government hasn’t come for your registered cars, why do you think it will come for your registered guns? 

This review is from: The One I Love (Amazon Instant Video)


Although  _The One I Love_ does not have a strong ending, the film itself is an inventive combination, or doubling, of two genres about the double, the horror film and the screwball comedy. In the horror genre, the doubles always become enemies, as in the Villeneuve film Enemy [Blu-ray], and one of them ends up dead. (See also the Jessie Eisenberg film The Double.) The earliest version is The Student of Prague. In the screwball comedy version, and The Lady Eve (The Criterion Collection) is a perfect example, a couple who is engaged or already married separates and then meets up again, only this time one of them doesn't know that the other is impersonating someone else. In The Lady Eve, Henry Fonda thinks that Barbara Stanwyck is really two different people in the film. "Positively the same dame" is the last line of the film, and Fonda never realizes that the woman he marries is the same woman he refused to marry mid-way through the film. It's on youtube for free, btw. Fonda falls in love with the double. The film can end as a comedy, however, because one of the two characters disappears, dies, in effect and displaced by the other, newer double. _The One I Love_ at first seems to be a kind of David Lynch horror film about a married couple who have a terrible relationship (think Lost Highway There are even scenes with iphones.) But then  _The One I Love_ becomes very talkie and the couple seem to get happier and able to renew their marriage, like in a screwball comedy. The interest of _The One I Love_ is that it keeps you wondering which of the two genre it belongs to. And the achievement of the film is that it manages to be, turns, funny, frightening, disturbing, heart-warming, and sad. Perhaps the ending is strong, if you consider that the film combines but never reconciles or synthesizes the two genres. The ending seems open-ended: it is perhaps horribly happy, or happily horrible.  There are only three characters, and the one played by Ted Danson disappears early on in the film. It's a very original film, and for that reason some people will dislike it, as the negative reviews here make clear. My wife and I only watched the film because I read it about it in an article about underrated films on Netflix. We were glad we did. You have to pay close attention to the film in order to follow and appreciate it. Even if you don't like my review, you may still like _The One I Love_.​

Monday, June 10, 2013

The Autocracy of University Administration

Even post-research universities cling to the trappings of democracy.  Post-research universities have a number of institutions that are supposed to give the faculty platforms to contribute to decision-making by higher administrators.  One platform is the faculty senate.  The senate itself is organized as a representative democracy. The members of the senate are elected.  The faculty union is another.  Faculty are free to join or not.  These administrators of the faculty are elected by the senate.  It may come as no surprise that the administrators pay lip service to so-called shared governance.  I have already posted on the contempt administrators have for faculty.  What may be more surprising that even the seemingly democratic faculty organization of a department is actually just as autocratic as the university is.  Department Chairs are autocrats.  To be sure, Chairs are elected by the department members and Deans usually go along with the wishes of the department.  And there are committees dealing with merit pay, graduate admissions, and tenure and promotion, among other concerns.  These committees are entirely powerless, however.  They are, to use the rhetoric of a person in my department, "entirely advisory to the Chair."  So the Chair will of course she herself or himself as always doing the right thing whether the department likes it or not while faculty will see, like any group will, the Chair's rewarding of some faculty members and not others as arbitrary, unethical, unjust.  The admin is just a garden variety species of croneyism.  The longer the same admin is power, the more illegitimate the Chair will become in the eyes of most department members.  The sad result of autocracy is that morale plummets lower and lower and even the most highly distinguished members of the department finds themselves subjected to the sado-masochism of everyday academic life.  The even sadder thing is that things could be otherwise.

Game of Thrones, end of season three

Here are some thoughts on the series I wrote to a friend who said I should post them.  So I have.
Many of these stories involve matching a national political struggleto a romance (think Robin Hood and Maid Marion leading the Saxonrebellion against the Normans).  So far, GOT has refused to do this.Redhaired witch is not in love with king she manipulates.  Bastard whoescapes hangs out with burn victim girl--or is that deformed skin?Guy who lets him escape is childless and a widower. Starks are dead.Theon is castrated. One hand brother is incestuous.  Dwarf is in atriangle.  Bran is a little boy.  His sister is a little girl (didlove the scene where she and he field the guys claiming to have cutthe wolf's head off). Blondie is like Queen Elizabeth, a virginmother.  Funny that the hunky guy she seemed to like dropped out ofthe finale. it's like all out sado-masochistic death drive hasoverpowered any heteronormative plot development.  Maybe the finale isa symptom of that death drive and the stasis, the sense of waste thatcomes with it--you don't get a story; you just get sensationalizedscenes that go nowhere.  Even the escape scene with theboat--presented as funny--has no direction--just follow that star and keep the coast in view, the old guy says.Only Theon's sister lays out a rescue plot.  And there's the vaguecollective threat of the wild walkers in the oath.  But even thatthreat was staged as a scene--the opening of the first scene--thatended as a story when Stark beheaded the deserter.  It's as if bits ofstories were offered up here and there only as a ways of buildingplatforms on which horrific or sexy scenes can then be staged,sometimes the sexy becoming violent or "perverted."  The death drivemay also explain the plot holes since the multiple plots are all ineffect empty, ruses of linearity that actually stall out in staticscenes, quasi-tableaux vivant or tableaux morte.  The stalls are placed
effectively.  you expect development and then it is cutshort--literally when Stark is beheaded.  Have you noticed that therehave been very few battle scenes?  Usually we see a battle about tobegin, the battle is skipped, and we go to the aftermath.  The dwarfbeing knocked out during the battle is a good example.  

Sunday, March 31, 2013

Recommended Books, Recordings, and DVDs

Ludwig Van (2008) Joseph Beuys (Actor), Carlos Feller (Actor), Mauricio Kagel (Director) | Rated: NR | Format: DVD

http://www.amazon.com/gp/product/B000Y9LYY8/

Peter Szendy discusses

Ludwig Van (2008)

 at the end of his wonderful book

Listen: A History of Our Ears.  I just finished it.  Wow.  It is really, really good.


http://www.amazon.com/Listen-History-Ears-Peter-Szendy/dp/0823228002/


No Medium [Hardcover]

Craig Dworkin 
http://www.amazon.com/gp/product/0262018705/

George Dudamel's incredible conducting of

Mahler 9 [+digital booklet]

Los Angeles Philharmonic
http://www.amazon.com/Mahler-9-digital-booklet/dp/B00BDVVC4S/

I have listened to it over and over again.


Summa Technologiae (Electronic Mediations) [Hardcover]

Stanis aw Lem Joanna Zylinska 
http://www.amazon.com/gp/product/0816675767/

We watched this amazingly good film noir last night:

The Locket (1946)

Laraine Day Brian Aherne John Brahm  
http://www.amazon.com/gp/product/B003YY2886/

Julia Fischer is something to watch in  

Saint-Saens: Violin Concerto No 3 / Greig: Piano (2010)

http://www.amazon.com/gp/product/B003L0VJF6/

Recently saw this fascinating Rene Clair film for the first time:
Prix De Beaute (1930)
Louise Brooks, et al
http://www.amazon.com/gp/product/B000E0OBL0

Bought but have not yet read this new translation of The Wild Ass's Skin (Oxford World's Classics)
Honoré de Balzac 
http://www.amazon.com/gp/product/0199579504/

Post on Derrida's The Post Card and Poe

Derrida and Poe both use the phrase "in the dark."

Here I am asking questions in the dark.  Or in a penumbra, rather, the penumbra in which we keep ourselves when Freud’s unanalyzed reaches out its phosphorescent antennae.
--Jacques Derrida, "To Speculate--On 'Freud'," The Post Card, trans. Alan Bass, 278


We had been sitting in the dark, and Dupin now arose for the purpose of lighting a lamp, but sat down again, without doing so, upon G.’s saying that he had called to consult us, or rather to ask the opinion of my friend, about some official business which had occasioned a great deal of trouble.  

“If it is any point requiring reflection,” observed Dupin, as he forbore to enkindle the wick, “we shall examine it to better purpose in the dark.”

--Edgar Allan Poe, "THE PURLOINED LETTER" (first page)

And here is the first sentence of Poe's story:


At Paris, just after dark one gusty evening in the autumn of 18—, I was enjoying the twofold luxury of meditation and a meerschaum, in company with my friend C. Auguste Dupin, in his little back library, or book-closet, au troisieme, No. 33, Rue Dunot, Faubourg St. Germain

  

Coincidence? Derrida does not use the phrase"in the dark" in his chapter on Lacan's reading of Poe's story, entitled "Le facteur de la verite." (not translated from French into English by Alan Bass, but meaning "The Purveyor / Postman of Truth").   Did Derrida post Poe back to Freud?

Saturday, March 30, 2013

Shakespeare reference in Holy Motors

 I noticed a perfect one for your conference in the film Holy Motors when I watched in  last night.  In a scene set in Père Lachaise, a gravestone says "Visit my site. ToBeOrNotToBe.Com."  I laughed. It's just part of the mise-en-scene.  There are other "visit my site " gravestone markers with nothing else.  http://www.amazon.com/Holy-Motors-Blu-ray-Denis-Lavant/dp/B00A4W3AJC

Spring Breakers Fo-ev-ah, Bisquits

I just saw Spring Breakers this afternoon. Yes, it is a good film, one big, long music video. The most interesting thing about the way it tells its linear narrative in a  on-linear way (the editing frequently and unpredictably returns us to footage we've seen earlier and sometimes unpredictably skips ahead) is that the dialogue is almost all non-deigetic and also on a kind of "press replay" loop.  I'd guess that at least half of the few moments with diegetic dialogue also have loud extra-diegetic music.  The soundtrack is composed in by Skrillex and Cliff Martinez (Drive).  The repeated sound of a shotgun locking was rather excessive, however.  Btw, I have no idea who the actresses in the film are, but I thought all were good playing not that bad, bad, badder, and baddest "girls."  Weird and rather disquieting that the villains are all black people, however.   They all die, while all the white b*****es live.  (OK, one does get shot in the arm and then goes home.)  

http://en.wikipedia.org/wiki/Spring_Breakers

The film tells a sad (supposed to be sentimental?) story about (bad) grrrl (that is the correct spelling of "grrrl," btw) power and white trash Gangstas.  The trailer makes the film seem salacious.  I didn't think the film was, not that I would have minded if it had been.  (Yes, there is nudity and man, many shots of lots and lots scantily clad people, some of whom are engaging in activities in which today's hard partying college youth may or not not actually engage.  You can always drive to Daytona and find out for yourselves, I guess.  Me, I have no idea.)

Lots of inventive camera work and equally inventive uses of different film stocks and video (or digital simulations of same.).
This is the lead track, which I find hilarious.Keep listening for the vocal.

http://www.youtube.com/watch?v=WSeNSzJ2-Jw

My second fave track:
http://lights.elliegoulding.com/

To cite one of the lines that gets looped many times, "Spring Break Fo-Ev-Ah, Bisquits."  ("Biscuits" is not the actual word used in the film; that word, the word in the film, rhymes with biscuits, begins with a "b" and sends with an "s.")   This message has been rated B, for Burt.

Sunday, March 24, 2013

burt hurts with out posts, outburts, and various and sundry tele-communiques, etc. etc.

I want to add to my blog title

burthurts, with out posts, outburts, and various and sundry tele-communiques, etc. etc.

 However, I cannot apparently change the title of my blog.