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The tough love of Etta James

The tough love of Etta James | Quad @ Tokyo | Scoop.it

Etta James’s death at 73 on January 20th was not a surprise. Her leukemia had been declared incurable in December; her dementia was ongoing; her kidneys were bad. The gastric bypass surgery that put the 400-pound singer back on her feet in 2002 had long since proven more dangerous than promised. And though none of the many laudatory obits mentioned it, there was also her liver, which, having soldiered through decades of heroin, alcohol, cocaine and painkiller addiction, must have been ready for a rest.

 

Prepared by these hard facts for the inevitable sales uptick — James even appeared briefly in the Top 10 of the Rhapsody streaming site after she died, though never as high as Adele, who has said James inspired her to become a singer — Universal asked ace compiler Andy McKaie to prepare a four-CD set to supplant or supplement 2000′s excellent three-CD “The Chess Box.” This he achieved by adding nine tracks from 1954-58 and 22 from 1977-2007 while subtracting 19 from James’s Chess/Argo/Cadet years, 1960-76. Because this arrangement respects James’s extraordinary longevity, “Heart & Soul: A Retrospective” would appear to be where to catch up with this essential artist you may well have ignored. But it’s not like those omitted Chess tracks would waste your time. Even before she died, they kept sounding better, just like the five years we’d always thought Aretha Franklin threw away at Columbia. Great voices get more precious with the years.

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André Gregory and Louis Malle’s ‘Vanya on 42nd Street’

André Gregory and Louis Malle’s ‘Vanya on 42nd Street’ | Quad @ Tokyo | Scoop.it

IT’S probably not a good idea to open a conversation with a theater director by telling him that your immediate reaction to seeing actors onstage is always “Oh, come off it.”

 

Yet when I confessed this to André Gregory, he said: “That’s my problem too. It’s why I go to the theater so rarely.” Which makes sense. Nothing in Mr. Gregory’s work, from the productions that dissolve the boundary created by the footlights to the practice of rehearsing plays for years — allowing actors to live in the roles before performing them for small invited audiences — suggests a director satisfied with the artificiality of the view through the proscenium arch.

 

In “Vanya on 42nd Street,” Louis Malle’s 1994 film of Mr. Gregory’s Chekhov production, featuring Wallace Shawn and Julianne Moore, Mr. Gregory’s determination to get his actors not to act but simply to be resulted in performances that are both naturalistic and lyrical. And “Vanya,” being released in a restored DVD and Blu-ray by Criterion on Tuesday, is perhaps the most relaxed film version of any great theater work. “A groundbreaking element of it being filmed,” Mr. Gregory, 77, said in a recent interview in his Manhattan home, “was to show that Chekhov cannot be performed for a large audience because then it’s being performed.” The real drama in Chekhov, Mr. Gregory said, comes from seeing “what it feels like to live a life.” He compares the plot to Hitchcock’s MacGuffins. One of the main threads is whether Yelena (Ms. Moore), the beautiful young wife of the overbearing professor Serebryakov (George Gaynes) will give into the seductions of Astrov (Larry Pine), the doctor who longs for her. “The plot is a MacGuffin for making you think you’re in a play,” he said. “But it’s not a play. I think that’s what’s so radical about it. It’s all about being there, the nature of being there.”

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Joseph Paris, à propos de Kassandre. | Kassandre

Joseph Paris, à propos de Kassandre. | Kassandre | Quad @ Tokyo | Scoop.it

Extrait du podcast de Silicon Maniacs. (DR, peut-être)

http://www.siliconmaniacs.org/du-bon-usage-des-licences-libres-les-podcasts/

 

Intervention de Joseph Paris à la soirée de présentation du livre "Option Libre de Benjamin Jean.

http://kassandre.org/profils/joseph

http://framabook.org/option-libre-du-bon-usage-des-licences-libres%22

 

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The Atemporality of “Ruin Porn” – Part I: The Carcass » Cyborgology

The Atemporality of “Ruin Porn” – Part I: The Carcass » Cyborgology | Quad @ Tokyo | Scoop.it

All of these pieces are, to a greater or lesser extent, oriented around a singular idea: atemporality – that the intermeshing and interweaving of the physical and digital causes us not only to experience both of those categories differently, but to perceive time itself differently; that for most of us, time is no longer a linear experience (assuming it ever was). Technology changes our remembrance of the past, our experience of the present, and our imagination of the future by blurring the lines between the three categories, and introducing different forms of understanding and meaning-making to all three – We remember the future, imagine the present, and experience the past. The phenomenon of “ruin porn” is uniquely suited to call attention to our increasingly atemporal existence, and to outline some of the specific ways in which it manifests itself.

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Rick Poynor: On My Shelf: Jean-Luc Godard Anthologized: Observers Room: Design Observer

Rick Poynor: On My Shelf: Jean-Luc Godard Anthologized: Observers Room: Design Observer | Quad @ Tokyo | Scoop.it

Godard is a favorite director and I wanted the book as a reference. The cover was an added delight. I once wrote an essay in praise of imperfection in design — a quality I still value highly — and this design by Lawrence Ratzkin is a great example of what I was getting at. The modernist sans serif type is typical of its era, but picking out Godard’s initials in yellow to form a monogram is not just non-doctrinaire (if we want to get all Swiss about it) but peculiar. Still, I think it works. Running the rest of the type up the edge, including the hapless editor’s name jammed into the top-left corner, in hard-to-read blue on black, is not so easy to justify. Toby Mussman was a tolerant man, or more likely he didn’t have a say.

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Juilliard’s ‘Focus!’ Festival Celebrates John Cage’s Centenary

Juilliard’s ‘Focus!’ Festival Celebrates John Cage’s Centenary | Quad @ Tokyo | Scoop.it

John Cage is an anomaly among contemporary composers for a great many reasons, not the least of which is that his name and some of his conceptual notions are more widely known than his music. His most famous score is silent — or at least people think it is. Actually, that work — “4’33” ” — was composed for Maverick Concerts, a summer festival near Woodstock, N.Y., held in an open shed, and Cage’s hope was that listeners would focus on the natural sounds that filtered into the concert space as the piece was performed. Obviously, the piece works in indoor halls as well, once you understand how to approach it.

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Histoire du mensonge

Histoire du mensonge | Quad @ Tokyo | Scoop.it

Par Jacques Derrida

 

Histoire du mensonge

Prolégomènes

Parution le 19 janvier 2012

 

PRÉSENTATION

 

« À supposer que nous disposions, dans notre tradition dite occidentale (juive, grecque, romaine, chrétienne, islamique), d’un concept unifié, stabilisé, donc fiable du mensonge, il ne suffirait pas de lui reconnaître une historicité intrinsèquement théorique, à savoir ce qui le distinguerait d’autres concepts dans d’autres histoires et d’autes cultures. Il faudrait aussi examiner l’hypothèse d’une historicité pratique, sociale, politique, juridique, technique qui l’aurait transformé, voire marqué de ruptures à l’intérieur de notre tradition.

 

C’est à cette dernière hypothèse que je voudrais accorder ici, provisoirement, quelque privilège. Mais pourra-t-on jamais distinguer entre ces trois choses, à savoir 1) une histoire (Historie) du concept de mensonge, 2) une histoire (Geschichte) du mensonge, faite de tous les événements qui sont arrivés au mensonge ou par le mensonge, et, d’autre part, enfin, 3) une histoire vraie qui ordonne le récit (Historie, historia rerum gestarum) de ces mensonges ou du mensonge en général ? Comment dissocier ou alterner ces trois tâches ? »

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Eric Hobsbawm's 'exciting' 2011

Eric Hobsbawm's 'exciting' 2011 | Quad @ Tokyo | Scoop.it

"It was an enormous joy to discover once again that it's possible for people to get down in the streets, to demonstrate, to overthrow governments," says EJ Hobsbawm at the close of a year of revolutionary upheaval in the Arab world.

 

He has lived his life in the shadow, or the glow, of revolutions.

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Metropolis ou l’architecture de Fritz Lang

Metropolis ou l’architecture de Fritz Lang | Quad @ Tokyo | Scoop.it

Le mot metropolis (métropole en français), est formé de deux mots grecs, metron, la mère, la mesure, et polis la ville. En traduction littérale, la métropole est la cité mère, au sens propre comme au sens figuré. Par exemple, metropolis (en anglais) au début du XXe siècle fait explicitement référence à la ville de Londres, capitale de l’Empire britannique et « mère » de toutes les cités (de toutes les colonies). Mais la « cité mère » n’est pas seulement celle qui engendre d’autres cités, c’est aussi celle qui dicte les lois, qui oriente la société, c’est la « mère » au sens figuré. La Metropolis de Fritz Lang remplit parfaitement ces deux conditions ; ville verticale de tous les pouvoirs, elle abrite une société hiérarchisée et forme un ensemble spatial cohérent et construit, un monde à part entière.

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Iranian art and the U.S. Iran embargo - artnet Magazine

Iranian art and the U.S. Iran embargo - artnet Magazine | Quad @ Tokyo | Scoop.it

In March 2011, the Leila Heller Gallery in New York City held an exhibition of 38-year-old artist Shirin Fakhim’s provocative found-object sculptures of Tehran streetwalkers, her first solo show in Manhattan. A number of works were sold, for around $10,000 apiece.

 

But Fakhim lives in Iran, which has been targeted with a range of economic sanctions by the U.S. and other countries around the world. Most of the Iranian artists Leila Heller represents live and work outside of Iran, but not Fakhim, who resides in Tehran. Getting her artwork out of Iran and paying the artist for sales of her work in New York can be tricky.

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Film Studies For Free: Cambridge Film Studies Videos: Godard, Renoir, Literature and Film, Film and Forgetting, Representation of War in Film

Film Studies For Free: Cambridge Film Studies Videos: Godard, Renoir, Literature and Film, Film and Forgetting, Representation of War in Film | Quad @ Tokyo | Scoop.it

Today, Film Studies For Free joyously tips the wink to its readers about the online availability of video recordings of papers from research events held at the Centre for Research in the Arts, Social Sciences and Humanities (CRASSH) at the University of Cambridge.

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Shining Light on Disaster | TABlog | Tokyo Art Beat

Shining Light on Disaster | TABlog | Tokyo Art Beat | Quad @ Tokyo | Scoop.it

Following the presentation of the “Tragedy, Art, and Peace” talk at the Mori Art Museum in August this year, and the Yokohama Triennale that included her telephone installation, the prolific Yoko Ono has once again captivated Tokyo with new works. In not one but two exhibitions currently being displayed barely a few kilometers apart, Ono looks to address further the experience of trauma and loss, this time focusing on the mechanisms of remembrance and experience. Located in Gallery 360° is a show entitled “I WANT YOU TO REMEMBER ME”, whilst a few train stops west of this the “LIGHT” exhibition is running at Tomio Koyama Gallery. With these two shows there are some superficial as well as thematic similarities, but their approaches to a common subject deviate from each other profoundly.

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Bernard Stiegler "Pourquoi et Comment philosopher, aujourd'hui"

Conférence prononcée par Bernard Stiegler le 26 août 2011 dans le cadre de l'académie d'été d'Ars Industrialis http://www.pharmakon.fr...
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Lars von Trier: the interview

Lars von Trier: the interview | Quad @ Tokyo | Scoop.it

Lars von Trier famously doesn’t take planes – they scare him and so he travels everywhere by road. Which means that the trip back to Copenhagen from the Cannes Film Festival last year must have felt even longer than the 900 miles it was. The festival had booted out Von Trier and declared him persona non grata for making a joke about the Nazis at a press conference. The 55-year-old director drove home to Denmark with one of his sons and was dreading seeing his wife. ‘She was so angry with me,’ he remembers. ‘My son and I kept talking about staying the night in different bits of Denmark just to delay getting back. My wife is very sweet, but she just kept saying to me: “Lars, didn’t you think about the children?” ’

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James Joyce children's story The Cats of Copenhagen gets first publication

James Joyce children's story The Cats of Copenhagen gets first publication | Quad @ Tokyo | Scoop.it

A children's story by James Joyce has been published for the first time ever by a small press in Ireland.

 

Joyce's The Cats of Copenhagen is a "younger twin sister" to his published children's story The Cat and the Devil, which told of how the devil built a bridge over a French river in one night, said Ithys Press. Publisher Anastasia Herbert called it a "little gem" which she said "reflects Joyce's lighter side, his sense of humour – which can fairly be called odd or even somewhat absurdist".

 

Like its predecessor, The Cats of Copenhagen was written in a letter to Joyce's grandchild, Stephen James Joyce, while the author was in Denmark and the four-year-old Stephen was in France. The new tale is "exquisite, surprising, and with a keen, almost anarchic subtext", said Ithys, which has printed a limited run of 200 illustrated copies, ranging in price from €300 (£250) to €1,200.

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BFI | Sight & Sound | Theo Angelopoulos: the sweep of history

BFI | Sight & Sound | Theo Angelopoulos: the sweep of history | Quad @ Tokyo | Scoop.it

The features of Theo Angelopoulos have defined a contemplative style of European filmmaking that’s as instantly recognisable as it has been influential. As the Greek director’s complete back catalogue is issued on DVD, he talks to David Jenkins.

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Anne Wiazemsky et Jean-Luc Godard, récit d'un amour fou

Anne Wiazemsky et Jean-Luc Godard, récit d'un amour fou | Quad @ Tokyo | Scoop.it

Canton de Vaud, 21 juillet 1967. Anne Wiazemsky, 20 ans, petite-fille de François Mauriac, épouse en toute intimité le pape de la Nouvelle Vague, Jean-Luc Godard, "maoïste" à ses heures, de dix-sept ans son aîné. Dès leur retour en France, la rumeur aidant, le couple ne va cesser d'être harcelé par tous les paparazzis d'une presse avide de capter ces mariés "contre-nature". Zoom avant : janvier 2012. Anne Wiazemsky, désormais romancière confirmée, a gardé dans la prunelle des yeux son air effarouché. Car, elle le sait bien, la sortie de son nouveau livre, Une année studieuse, splendide roman sur sa rencontre avec Godard, devrait lui attirer un autre public que celui qui se penche habituellement sur son oeuvre. Alors, telle l'épousée d'hier, elle se tient prête à... esquiver et à s'éclipser.

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le tiers livre : pour une définition du livre numérique

le tiers livre : pour une définition du livre numérique | Quad @ Tokyo | Scoop.it

Non, pas besoin de définir le livre numérique, on laisse ça aux calculateurs de TVA, de prix unique, de prix par rapport à la version imprimée, de marchands de toute sorte.

 

Axiome de départ : on n’a pas besoin de définition du livre numérique pour le lire.

 

La question c’est celle du changement de centre de gravité. Si on utilise l’expression livre numérique on le spécifie par rapport à livre non numérique, donc un objet matériel lié à un contenu précis, qui s’est progressivement constitué (dès avant le codex) en notion de livre, a pris son essor via l’imprimé pour continuer d’évoluer jusqu’à l’époque moderne, mais soudain, en deux ou trois décennies (déjà) s’est laissé dérober que sa nécessité d’objet soit liée à sa nécessité de contenu. Les grandes bases de données scientifiques, médicales ou juridiques, les grands dépôts d’images (anatomie, astronomie, histoire) ont installé les premières ce territoire hors livre, en ce qu’il concerne notre mémoire, notre héritage, notre pratique. On ne met pas assez l’accent sur le fait que le basculement de ce qui reste du livre n’est que la queue de comète du bouleversement de civilisation quant à la forme d’archivage et transmission de ses savoirs.

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Les Yeux de la langue

Les Yeux de la langue | Quad @ Tokyo | Scoop.it

Par Jacques Derrida

 

Les Yeux de la langue

L'abîme et le volcan

Parution le 19 janvier 2012

 

PRÉSENTATION

 

Ce pays est pareil à un volcan où bouillonnerait le langage. On y parle de tout ce qui risque de nous conduire à l’échec, et plus que jamais, des Arabes. Mais il existe un autre danger, bien plus inquiétant que la nation arabe et qui est une conséquence nécessaire de l’entreprise sioniste : qu’en est-il de l’« actualisation » de la langue hébraïque ? Cette langue sacrée dont on nourrit nos enfants ne constitue-t-elle pas un abîme qui ne manquera pas de s’ouvrir un jour ? […] Quant à nous, nous vivons à l’intérieur de notre langue, pareils, pour la plupart d’entre nous, à des aveugles qui marchent au-dessus d’un abîme. Mais lorsque la vue nous sera rendue, à nous ou à nos descendants, ne tomberons-nous pas au fond de cet abîme ? […]Un jour viendra où la langue se retournera contre ceux qui la parlent. […] Ce jour-là, aurons-nous une jeunesse capable de faire face à la révolte d’une langue sacrée ? […]

Lettre de Gershom Scholem à Franz Rosenzweig, 1926.

 

« Cette lettre, cette “Confession au sujet de notre langue”, « n’a pas de caractère testamentaire bien qu’elle ait été retrouvée après la mort de Scholem, dans ses papiers, en 1985. Néanmoins, la voici qui nous arrive, elle nous revient et nous parle après la mort de son signataire ; et dès lors quelque chose en elle résonne comme la voix d’un fantôme.

 

Ce qui donne une sorte de profondeur à cette résonance, c’est encore autre chose : cette voix de revenant qui met en garde, prévient, annonce le pire, le retour ou le renversement, la vengeance et la catastrophe, le ressentiment, la représaille, le châtiment, la voici qui ressurgit à un moment de l’histoire d’Israël qui rend plus sensible que jamais à cette imminence de l’apocalypse. Cette lettre a été écrite bien avant la naissance de l’État d’Israël, en décembre 1926, mais ce qui fait son thème, à savoir la sécularisation de la langue, était déjà entrepris de façon systématique depuis le début du siècle en Palestine.

 

On a parfois l’impression qu’un revenant nous annonce le terrifiant retour d’un fantôme. »

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Nietzsche verdankte alles einem Amerikaner

Nietzsche verdankte alles einem Amerikaner | Quad @ Tokyo | Scoop.it

Friedrich Nietzsche und Amerika, wie geht das zusammen? Auf den ersten Blick überhaupt nicht. Es scheint keinen Philosophen zu geben, der weniger in die Neue Welt passen würde als der große Einsame aus Deutschland. Nietzsche hat bekanntlich die Massen verachtet und auf die Demokratie gespuckt.

 

Auf die berühmte Formel aus der amerikanischen Unabhängigkeitserklärung, dass alle Menschen gleich geschaffen und von ihrem Schöpfer mit unveräußerlichen Rechten ausgestattet worden seien, hätte er vermutlich nur mit verächtlichem Schnauben reagiert. „Die Schwachen und Missratnen sollen zugrunde gehen: erster Satz unsrer Menschenliebe. Und man soll ihnen noch dazu helfen“, heißt es im „Antichrist“.

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Le regard médusé : pratiques & valeurs de l’effroi à travers les mises en scène contemporaines de Titus Andronicus

Isabelle Blanchet-Beucher, Les Mises en scène de l’effroi, Titus Andronicus (France et Angleterre), Paris : Éditions Classiques Garnier, collection « Lire le xviie siècle », 2010, 498 p., EAN 9782812401688.

 

Comptant quatorze meurtres (dont neuf commis sur scène), un viol, six amputations, et une scène d’anthropophagie, la première pièce de Shakespeare, Titus Andronicus, s’est imposée comme l’un des parangons des œuvres dramatiques effroyables. Accusé d’être mal écrit et mal construit, coupable de développer une horreur de mauvais goût, jugé indigne du génie dramatique de son auteur (au point que la paternité shakespearienne fut remise en cause), ce monstre dramatique a suscité l’embarras de la critique anglaise. La pièce connut une réception non moins contemptrice en France, tant l’œuvre shakespearienne contrevenait au « bon goût » français. Le rejet de l’œuvre — ou du moins son incompréhension — perdure le long du xixe siècle : chez les romantiques, qui reconnurent pleinement le génie shakespearien, le caractère insoutenable de Titus Andronicus suscite encore la gêne.

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Cyborg philosophie - Information - France Culture

Cyborg philosophie - Information - France Culture | Quad @ Tokyo | Scoop.it

Nous parlerons philosophie avec Thierry Hoquet, qui est maître de conférences à Paris-Ouest Nanterre La Défense et qui vient de publier aux éditions du Seuil « Cyborg philosophie », sous-titré Penser contre les dualismes.

 

Ce livre ne pouvait que nous intéresser ici dans Place de la toile, tant la figure du Cyborg traverse régulièrement cette émission. Parce qu’elle met en jeu bien des questions que nous abordons ici : le rapport de la technologie au corps, la place de l’imaginaire dans la pensée de la technologie, notre devenir dans sa relation aux machines, pour n'en citer que trois.

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Umberto Eco on Lists and Making Infinity Comprehensible

Umberto Eco on Lists and Making Infinity Comprehensible | Quad @ Tokyo | Scoop.it

The list is the origin of culture. It’s part of the history of art and literature. What does culture want? To make infinity comprehensible. It also wants to create order — not always, but often. And how, as a human being, does one face infinity? How does one attempt to grasp the incomprehensible? Through lists, through catalogs, through collections in museums and through encyclopedias and dictionaries. There is an allure to enumerating how many women Don Giovanni slept with: It was 2,063, at least according to Mozart’s librettist, Lorenzo da Ponte. We also have completely practical lists — the shopping list, the will, the menu — that are also cultural achievements in their own right.

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de Kooning’s Women « Escape Into Life

de Kooning’s Women « Escape Into Life | Quad @ Tokyo | Scoop.it

Linnea West

 

Many articles have been written about “de Kooning: A Retrospective” at MoMA, as you would expect for such a huge survey of this Modern and prolific master who has held a rather awkward place in art history. Seeing many of his works for the first time and seeing them as a woman, I was particularly struck by the violence to the female form in his series of Woman portraits from the 1950s.

 

Not that violence was mentioned on any of the wall plaques at MoMA, where the chronological exhibition methodically shows de Kooning moving away from realism and toward abstraction. His style shifts from early works to the women, to big, bold thickly painted abstractions to light spirals of colored abstractions, spanning the course of his career. His colors are garish, lush, putrid even. You can see throughout his work how he substitutes color for line and form. Each is bigger and bolder than the next, and his figurative women are an alternative narrative that do not fit into the overall progression. His woman paintings remained notoriously and controversially too realistic for many contemporary critics who preferred his cutting edge abstraction to these figurative works.

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