Sunday, 13 May 2012

For RA and Lyz

Music creates order out of chaos:
for rhythm imposes unanimity upon the divergent,
melody imposes continuity upon the disjointed,
and harmony imposes compatibility upon the incongruous.
– Yehudi Menuhin

we writhe with words a space
within each letter, between each word
a kern to
our ken, an inpouring an
imploding, our voices warp 
and weft of moebius
meaning, a chattered orbit
in which even interstitials 
cave in
our flood-filled mouths

we sink 
together, a tidal
pooling, taste of your
voice in my 
throat, a blood
and salt amalgam, we eat
     of our speech, we 
     swallow our shared 
     tongues, speak
     the same 
     voice, 
walk backwards
into our future

something like
prophecy

Saturday, 29 October 2011

Quotes from The Moon is a Harsh Mistress

“A rational anarchist believes that concepts such as ‘state’ and ‘society’ and ‘government’ have no existence save as physically exemplified in the acts of self-responsible individuals. He believes that it is impossible to shift blame, share blame, distribute blame… as blame, guilt, responsibility are matters taking place inside human beings singly and nowhere else. But being rational, he knows that not all individuals hold his evaluations, so he tries to live perfectly in an imperfect world…aware that his effort will be less than perfect yet undismayed by self-knowledge of self-failure.”

[…]

“My point is that one person is responsible. Always. […] In terms of morals there is no such thing as ‘state.’ Just men. Individuals. Each responsible for his own acts.”

The Moon is a Harsh Mistress by Robert Heinlein pp 84-85

I’m struck at how very existentialist that quote is. Just as I’m struck at how very apropos the following quote is to the #occupy movement.

“A managed democracy is a wonderful thing […] for the managers…and its greatest strength is a ‘free press’ when ‘free’ is defined as ‘responsible’ and the managers define what is ‘irresponsible.'”

The Moon is a Harsh Mistress by Robert Heinlein pg 256

Monday, 26 September 2011

Advertising versus Lyric Poetry

“There are only so many people capable of putting together words that stir and move and sing. When it became possible to earn a very good living in advertising by exercising this capability, lyric poetry was left to untalented screwballs who had to shriek for attention and compete by eccentricity.”

Mitchell Courtenay in Frederick Pohl & C.M. Kornbluth’s The Space Merchants

Wednesday, 18 May 2011

Old and Young and Old

I remember when I was a battalion intelligence officer in World War II, in Northern Italy.

[…]

We were passing through these little old towns. The houses weren’t big, but all the generations were there. The old weren’t put out to pasture. They were our best means of communication. They were what civilization is about: human history, work, generations. Old ones, grandparents, even great-grandparents, talked to the little ones, and fascinated them. It was the oral tradition, generation after generation. Instead of watching television, the child listened to the old one, learning his history of dreams and wonder.

Our young haven’t lost their history, it was taken from them. We’ve stuffed them into a procrustean bed. Remember him? Procrustes? If the guest didn’t fit, he’d cut him or stretch him. That’s what we’re doing to our young, making them fit.

Here is a child, born with a sense of wonder, ready to admire and love what is seen and experienced. We say, “Watch it now, a little bit less, cool it, cool it,” until this extraordinary sense of wonder is reduced to nothing.

[…]

If the old person can’t listen anymore, he perpetuates the errors of his ancestors. You don’t need him. You need to say, “All right, Grandpa, when did you last change your mind about anything? When did you last get a new idea? Can I help you change your mind while you help me change mine?”

David Brower, as quoted by Studs Terkel in his book of oral history, Coming of Age

Tuesday, 1 February 2011

Thursday, 4 November 2010

Duel

I think there is something not right about [psychotherapy]. It doesn’t do any good to anyone. I have a metaphor: If you illuminate your house with strong lights to the very last corner, the house becomes uninhabitable. And it’s the same thing if you try to illuminate a human being to the last crevices of his or her soul – these human beings become uninhabitable. I do not want to deal with it. It’s a little bit like – of the same magnitude as – the Spanish Inquisition. The Inquisition didn’t do much good, and it was a similar quest. It was a quest to search and to illuminate the last little corner and crevice of your faith – scrutinizing all the depth of your faith, whether you were within the doctrine of faith or not. It didn’t do much good. So I think psychoanalysis is a mistake of the same magnitude.

Werner Herzog, “Mad Bavarian Duke: Werner Herzog” STOPSMILING Issue 25

One very basic think that you learn as a psychologist is a respect for science, and always testing out what you think is a conclusion. You never come to a conclusion until you have full evidence for it. When you’re making a documentary, it’s important you don’t come to a judgment on people, but you go through an open-minded discovery process. People always say, “Are you objective? Are you subjective?” Those two extremes come together with empathy and love. It’s not cold scientific reporting, but there’s an objectivity there. At the same time you’re dealing with human emotions that require that the camera person have heart-to-heart contact. I believe that’s possible.

Albert Maysles, “Shooting From the Heart: Albert Maysles” STOPSMILING Issue 25