Generous Spirit

I have always been struck by the border between generous comment and irony. Take for example, Northrop Frye in a lecture on Oswald Spengler for CBC radio in the series Architects of Modern Thought

Spengler’s book [The Decline of the West] is a vision rather than a theory or a philosophy, and a vision of haunting imaginative power. Its truth is the truth of poetry or prophecy, not of science. A good deal of Spengler’s mind was second-rate, and he continually misunderstood and misapplied his own thesis. So there are many attacks upon him that miss the real point of his book, but still they’re attacks that Spengler really asked for.
[…]
But I think myself that trying to understand Spengler is a fine exercise in intellectual tolerance.
[…]
There is probably not a statement in Spengler that has not been regarded as scientific absurdity or mystical balderdash by some critic or other. But Spengler has the power to expand and exhilarate the mind as critics of that type usually have not, and he will probably survive them all even if all of them are right.

I like how Frye positions the reader. Initially we are asked to indulge in “a fine exercise in intellectual tolerance” which although it might strike a note of condescension is an invitation to be a good critic. In the end we are implicitly asked to concur with the remark about survival which builds a lasting estimation. Frye wants us to be on the side of the critics with power.

And so for day 550
15.06.2008

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Teaching Tip

An entry in a small notebook dated September 96. Jill Scott was teaching a course at Carleton on postmodern theory and wrapping up her thesis.

Jill asked for advice for the 1st time teacher. Told her not to be afraid of silence. Pauses permit cogitation.

Of course one learns to judge the quality of silences. Some of them signal befuddlement. Others, attuned audience.

And so (pause) for day 549
14.06.2008

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Touch, Vision and Re-vision

A not very generous assessment from 1996 (though I’m struck by that the concessive “mind you” apostrophe to the reader) …

Read Richard Shiff’s piece in Public 13. Interesting take on Benjamin’s notion of aura being implicated in touch and vision. Lots of restatement and little analysis. I did like the use of De Anima. Fun to find two texts that I used in my thesis used here also but somewhat different[ly]. Shiff seems to be totally unaware of Adorno’s critique of Benjamin. In particular the stuff on the dialectical image. This I believe would not allow [him] to place Benjamin as an unquestioned authority at the head of an essay that essentially develops a typology. I’m not opposed to typologies per se but would love to know how & why a particular one operated. There is something a bit imperialistic about a typology that starts out from a collapse of touch & vision. Mind you I’m the one who argues for narrativity as the abstract level necessary for translation between all sensory modalities. I don’t fetischize physicality & materiality which at some level Shiff does.

Makes me want to reread the piece to see if my mini-critique holds up.

And so for day 548
13.06.2008

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From the Little Red Book

On your own but not alone…

Each of us, grown-ups and young people, often get so overwhelmed with our own problems that we often think we’re alone, that no one wants to help or even cares. It’s important to remember two things about that: that we all need to offer help when we think it’s wanted, and that none of us be afraid to ask when we need it. […] so we all know a little of each other’s problems. We are not alone.

Wallace Roberts, the American edition editor of The Little Red Schoolbook by Soren Hansen and Jesper Jensen with Wallace Roberts trans. from Danish by Berit Thronberry (New York: Pocket Books in association with Lawrence Handel Books, 1971).

And so for day 547
12.06.2008

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Semantic Field: schema, figura, habitus

M.A. Screech Ecstasy and the Praise of Folly

In the Annotations on the New Testament he [Erasmus] points out that the original Greek word, schema, may be translated by habitus (state, condition) or by figura (fashion, structure).

I find this conjunction of terms very suggestive. The annotation is to a verse concerning the world and what passes away.

I Corinthians 7: 31: praeterit enim figura hujus mundi: ‘For the fashion of this world passeth away.’ He himself preferred to render the Greek not by figura but habitus.

Apart from the theme of what passes away, I am intrigued by the relations between figura and habitus as they may pertain to descriptions of acts of perception.

And so for day 546
11.06.2008

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Waterworks

A meditation upon childhood play with twigs, channels and dams.
Ross Leckie “Breakwaters” in Descant 92/93 (Spring and Summer 1996) Volume 27, Numbers 1 and 2, page 92 … the poem’s final lines:

Currents change and breakwaters erode, slide, suspend,

submerge — the street returns to its routine. It’s time

to turn from this river, this local run-off

and its parish curriculum. I’m late for school.

I like how the word “time” is suspended (and the word “suspend” too) at the end of the line.

And so for day 545
10.06.2008

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A Smile at A Smile in His Lifetime

Joseph Hansen has his lead character visit a home from his past, a home that time has ravaged.

He steps into the room where he slept. Damp trash lies in the corner where his bed was. There are books without covers. They can’t have belonged to him, but he picks one up. It feels at the same time gritty and wet. Even the title page is gone. He reads a phrase, a smile in his lifetime. Something crawls on his hands. He drops the book. Sowbugs have nested in the moist back. He shakes his hands, wipes the crawly feeling off them. He nudges the book with the toe of his clean blue-and-white shoe. So much for the immortality of print.

And the novel where this memento mori is located is called A Smile in His Lifetime.

And so for day 544
09.06.2008

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Translation and of Modals

Take four modal categories

Alethic (possible, impossible, necessary)
Deontic (permitted, prohibited, obligatory)
Axiological (good, bad, indifferent)
Epistemic (known, unknown, believed)

And think about their intersection through the lens of ekphrasis and the consideration of visual-verbal translations. I would like to recast the epistemic in terms of “known, knowable, unknowable”. This seems to align better with questions of iconoclasism.

I am still not clear as to how I got to known-knowable-unknowable from the destruction of images or the ban on images which operates on a valence of shown/unshown. Perhaps it was more so through the notion that there exists a relation between the verbal and visual and that relation is one of translatability: translated, translatable, untranslatable.

If I go back to the July 9, 2003 blog comment http://calamity.wordherders.net/archives/000422.html at Calamity Jane Takes Aim, I find this began as a remark about the status of the object of ekphrasis (exists, doesn’t exist, might exist).

And so for day 543
08.06.2008

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Notes on Improvisation

Entry from a 1996 notebook recording a conversation with Craig Squires.

Risks of Improvisation

know people well     danger of falling into old habits

when you don’t know the people well     you can’t “hear” because you don’t know their vocabulary

for people you know well     touch those buttons you “can’t” touch

Aleatory aspects more present with people you don’t know well

but with people you know the aleatory is mapped onto the emergence of novelty in the relationship

control of adequate redundancy in communication situations

with performance with people you know the third. is there, a sensing of other participants sensing …

— without risk improv doesn’t work.

the punctuation is odd and so is the spacing – familiar and yet disjunctive

And so for day 542
07.06.2008

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The Maternal is not One

A boy body (not subject to reproduction) runs through the blogmire attentive to the rustling ruptures:

She is now famous for the distinction between what she calls the “semiotic” and the “symbolic,” which she develops in her early work including Revolution in Poetic Language, “From One Identity to the Other” in Desire in Language, and Powers of Horror. Kristeva maintains that all signification is composed of these two elements. The semiotic element is the bodily drive as it is discharged in signification. The semiotic is associated with the rhythms, tones, and movement of signifying practices. As the discharge of drives, it is also associated with the maternal body, the first source of rhythms, tones, and movements for every human being since we all have resided in that body.
http://www.cddc.vt.edu/feminism/Kristeva.html
Center for Digital Discourse and Culture @Virginia Tech

Read carefully. Too quick a jump to the maternal association skips over the social & other associations with “rhythms, tones, and movement of signifying practices.” Marking a “first source” is like counting with natural numbers. The set of whole numbers brings to mind an origin beyond the source: the rain that feeds the spring. There is some laughter around the bend.

And so for day 541
06.06.2008

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