Camille Paglia & others in Electric Ghost
I recommend David G. Hughes’s interview with Camille Paglia from an online magazine I will be reading more of … when I’ve finished the Cristi Puiu interview… Electric Ghost is here
thirty-third part, called “subjective powers XXXIII,” of a series of ‘letters’ written to you, the reader, towards a book called, theatre | writing
subjective powers
The three subjective powers rely on a surfacing constituting their positivity: only at the surface can they be constituted in their positivity. That is, mobilised. Whether they come from the depths or from the heights, as obedience seems to, on the surface, or at the surface, new passages
thirty-first part, called “the subject XXXI,” of a series of ‘letters’ written to you, the reader, towards a book called, theatre | writing
the subject
That a beginning actor brings to the stage something of which she feels she is about to be dispossessed is why the notion of sacrifice, that runs through Blau’s reports, manifestos and theoretical writing on theatre, still holds true. Where a selfish actor remains intact, identifying the
a musical interlude on the harlem river
day 383 – day 444: forget Thought Police & newspeak – it’s time for the NEW MORAL ARMY – in extreme contrast with Janet Malcolm’s double-secret meta – and the arachnocapitalism of the webwork
“the spiders are taking over the interior, and capitalism—that dirty bitch—is still unstoppable and fucking is all up”
— on Antoine Volodine and post-exotic literature, here
and I don’t know if it is appropriate or not. Whether it is entirely inappropriate … for the missed-aches of Volodine, Bassman, Draeger’
day 320 – Ideonella Sakaiensis – day 382 – Underland
I have just finished Robert Macfarlane’s Underland, subtitled A Deep Time Journey. It ends with the image of a network. The chapter, ‘The Understorey,’ has already dealt with the wood wide web. So it’s not that kind of network. And in a way it is a social network.