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Peter Solarz

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@desperatelark
Beyond the Visible: Hilma af Klint (Halina Dyrschka, 2019)
wow a lot of time has passed
Look at his eyes. You can tell he’s gonna take that compliment to heart.
He loves corn oil
“There is no exit from the entanglement. The only responsible option is to deny oneself the ideological misuse of one’s own existence, and as for the rest, to behave in private as modestly, inconspicuously and unpretentiously as required, not for reasons of good upbringing, but because of the shame that when one is in hell, there is still air to breathe.”
—
Theodor Adorno// Minima Moralia
I don't find the internet inspiring anymore
it’s interesting to me how much i disagree with kuhn rereading the structure of scientific revolutions the second time around, as a graduate student, and as a practitioner of science
This cover of ANONHI by Lizzo is some powerful shit
INTERVIEWER: How then, fifty years later, do you assess Adorno’s famous dictum, “No poetry after Auschwitz”?
STEINER:It seemed to me at the time an absolutely natural and crucial thing to say; and it hoped for disproof. That disproof came with Paul Celan’s poetry, which refuted that statement — and Adorno knew it before he died. Let’s take a few steps backward. The obscene question of counting dead heads doesn’t arise, but I group the concentration camps, whether they be in Poland, in Germany or all over the damn place, together: the phenomenon of massive incarceration and elimination of millions of human beings from one end of the world to the other. One of the possible responses is to say our whole culture proved absolutely impotent and defenseless, in fact it adorned much of this stuff. Gieseking was playing the complete Debussy piano music on the nights when one could hear the screams of the people in the sealed railway cars at the station in Munich on the way to Dachau, just outside Munich. They could be heard all the way to the concert hall. That is on record. There’s not the slightest witness that he didn’t play magnificently or that his audience wasn’t wholly responsive and profoundly moved.
So there was a nihilistic critique, which was Adorno’s, or the formulation of Walter Benjamin:“at the base of every major work of art is a pile of barbarism.” You could take that line, as many in the Frankfurt school in a sense did, but take it a step further and say, “Let’s shut up for a while.” I often had a dream of a moratorium on discussing these things at all — for ten years, fifteen, a hundred years — to try not to reduce them to articulate language, which in a curious way was to make them acceptable. That’s what Adorno really meant: Careful! Even the greatest outcry if it is formalized, let’s say, into verse or rhyme or stanzas, adds a mystery of acceptability to the phenomenon.
The second and most difficult step of all was saying, “No, in despite of all this, I can still convey, communicate something of the essential experience.” Out of the whole enormous range of Holocaust literature only three or four writers have pulled this off.
INTERVIEWER: Who are they?
STEINER: Celan above all. Without any doubt, Primo Levi, the Italian-Jewish writer: supreme, supreme, supreme. There isn’t a word out of place; it’s a miracle. One or two far less known East Europeans, some wonderful Latvian short stories. Perhaps half a dozen texts where I would say it has justified this incredibly bold attempt. But at what cost? Celan commits suicide. Primo Levi commits suicide. Jean Améry commits suicide. Long after, as if having borne witness, there was no more meaning to their lives and to the language they were using…
George Steiner// The Art of Criticism No. 2, from The Paris Review, no. 137.
Gödel and Einstein
I walked through this field just the other day with my mother. god bless my mother.
J. W. Waterhouse// Saint Eulalia (1885)
But for most of us, philistine enough to accept the historically contingent nature of evolution, there is nothing specially deep about the number five. Pianists should ponder the challenge that our motor cortexes would have been set had Bach or Scarlatti sported eight deeply and ineffably named fingers per hand.
Jonathan Cooke// On the Stabilization of Pentadactylism
(via desperatelark)
are playlists over?
I haven’t really thought about it much until now but It just made think of when I was in high school i would make playlists for friends and crushes and then you would randomly find them in your car and play them and it would remind of the time the playlist was made or like when you go home and you find that old playlist you made for yourself in your old room and play again and thought of why you chose the song you did. I remember first making playlists by downloading songs individually from lime wire or whatever it was and then putting it together on windows media player ( you know when they had all those crazy skins that would give you a visual representation of your music) or fast forward and making playlists on iTunes and then going to the nearest walgreens to buy a five pack of blank cds for $2.99 or whatever it was and burning the cds.
idk i feel like what ive done lately is made playlists on spotify and have had friends follow it and ask to contribute it to it because I like knowing what other people are listening or like soundcloud playlists but this is a much different experience. its like more transient and fast. I remember like drawing shit on the front of the cd and that sort gave each playlist some sort of personality. i hate to sound like an old man where im like ‘back in the day.....” but seriously, you would think that the trend of trying to market retro shit these days that they would have made a suitable replacement for the “playlists experience” by now but idk is it over?
i miss this side of the internet
Keith Haring’s in front the Spectacolor Billboard showcasing his signature Radiant Baby in Times Square, January 1982.
Keith Haring: Messages to the Public was on view Jan 1, 1982 – Jan 31, 1982.
have you always been in love with haley?
Duh!