n+1 releases “Regrets Pamphlet No.2″
n+1 Research Branch Pamphlet No.2, What We Should Have Known: Two Discussions. The authors describe them: “The pamphlets are short books, carefully composed, but with content capturing the spirit of things still happening, in flux, under debate, made for argument.”
“The idea for the discussions was prompted by a desire to give…a directed guide, of some sort, to the world of literature, philosophy, and thought that they might not otherwise receive from the current highly specialized university environment. They were also an attempt to answer the “canon”-based approach to college study in two ways: by identifying canonical books produced by our contemporaries or near-contemporaries—something conservative writers have always refused to do—and, second, by articulating a better reason to read the best books ever written than that they authorize and underwrite a system of brutal economic competition and inequality.”
For those of you who have never heard of (or read about) n+1, it is a twice-yearly print journal of politics, literature, and culture. nplusonmag.com
“They intend nothing less in their periodical than to reimagine and reestablish the world.”—Frankfurter Allgemeine Zeitung
UbuWeb | Summer 2008
UbuWeb is a completely independent resource dedicated to all strains of the avant-garde, ethnopoetics, and outsider arts. UbuWeb posts much of its content without permission: They rip out-of-print LPs into sound files; they scan as many old books as they can get our hands on.
“The pioneers of concrete poetry could only dream of the now-standard tools used to make language move and morph, stream and scream, distributed worldwide instantaneously at little cost.” –UbuWeb’s Editors
Essentially a gift economy, poetry is the perfect space to practice utopian politics. Freed from profit-making constraints or cumbersome fabrication considerations, information can literally “be free”: on UbuWeb, we give it away and have been doing so since 1996. We publish in full color for pennies. We receive submissions Monday morning and publish them Monday afternoon. UbuWeb’s work never goes “out of print.” UbuWeb is a never-ending work in progress: many hands are continually building it on many platforms. –UbuWeb’s Editors
Dziga Vertov’s “Man With A Movie Camera” (1929)
Vertov said that this silent, experimental film was “directed towards the creation of an authentically international absolute language of cinema – ABSOLUTE KINOGRAPHY – on the basis of its complete separation from the language of theatre and literature.”
the intro states:
The film Man with a Movie Camera represents
AN EXPERIMENTATION IN THE CINEMATIC TRANSMISSION
Of visual phenomena
WITHOUT THE USE OF INTERTITLES
WITHOUT THE HELP OF A SCRIPT
WITHOUT THE HELP OF A THEATRE
(a film without actors, without sets, etc.)
“Control” is released in U.S.
the Ian Curtis (of the band Joy Division) biopic is finally released outside the UK
Dossier Journal, Issue I
Dossier is a bi-annual arts and culture journal incorporating fashion, photography, creative writing, art, music and culinary pursuits. Inspired by the French word for file, Dossier has no themes, features or specific guidelines. Dossier is independently published and owned.
www.dossierjournal.com
also, be sure to check out Skye Parrott’s photography online at http://www.skyeparrott.com/. Skye began her career in Paris before becoming a founding editor and the Creative Director at Dossier.
Werner Herzog’s “Stroszek” (1977)
In a Herzog film we have to keep checking what we are hearing against what we’re seeing. They are seldom the same things, but forcing us to reconcile contradictions is one of the ways in which he works. The film is described by Mr. Herzog as a ballad, which is probably as good a way as any to categorize it initially.
“Bruno S. stars as an ex-mental patient who dreams of the so-called promised land of America. He aligns himself with like-minded prostitute Eva Mattes and elderly, near-senile Clemens Scheitz. Upon their arrival in Wisconsin, the three misfits find that they’re just as trapped in Dairy Country as they’d been in Germany–if not more so.”
Bob Dylan film released on DVD
“Cate Blanchet’s performance is a wonder, and not simply because, as Jude Quinn, she inhabits the twitchy, amphetamine-fired Dylan of 1965-66 with unnerving accuracy. Casting a woman in this role reveals a dimension to the acerbic Dylan of this era that has rarely been noted. Even as she perfectly mimics every jitter, sneer, and caustic put-down, Blanchett’s translucent skin, delicate fingers, slight build, and pleading eyes all suggest the previously invisible vulnerability and fear that fueled Dylan’s lacerating anger. It’s hard to imagine that any male actor, or any less-gifted female actor for that matter, could have lent such rich texture to the role.” –Anthony DeCurtis, 6 Characters in Search of an Artist
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