11.18.2007

cool disco, but lyrical no-go

mood swings
small sins
boompa records



The Small Sins recently released their second album, Mood Swings as a follow-up from their debut eponymous work from 2006. Based out of Toronto, the quintet rocks out with groovy, contemplative electro-typical songs not unlike a marriage between Death Cab and Grandaddy. In fact, several tracks such as "I Need a Friend" and "On the Run" sound something fresh off a Postally-Serviced musical venture into popular synth mash-ups. This whole album seems to capture that trend, blending together the unlikely wishy-washy complaints of unrequited love and catchy, upbeat synth-pop. In fact, Mood Swings seems to unravel the cool veneer of the aloof, dance-mystique, with lyrics such as "I'm thirsty like a diabetic," showing that altogether draining feeling of ineptitude and personal emotional incompetence. At the same time though, the lyrical component is certainly lacking in Mood Swings - peaking at "On a Mission," the tunes deliver that plurality of emotions in being feeling utterly rejected, but the lyrics don't back it up at with the same integrity. On the whole, this album moves in one direction only - a euphonic but mindless expression of the broken hearted. But maybe that's the point; love reduces the rejected into a droning, monotonous verbal plane. Indeed, just like how frontman Thomas D'arcy lethargically relates, "we're all tired all the time."

- Miné

11.02.2007

you, you're a history in rust...

do make say think
monday october 29
commodore ballroom



By hearing their ambient music, this seemingly nonsensical phrase can only be fully illuminated.

Despite shiny discoballs and incessant smoke machines perforating their otherwise introspective sound, Do Make Say Think delivered some of the most beautiful and transcendental sounds over the hollowed out venue.

Maybe it was the haze from the smoke generator, or perhaps it was the atmospheric red lighting that coated the walls and surfaces, but honestly this was the unlikiest spiritual experience in the middle of Vancouver downtown.

Despite their downtown Toronto urban origins, Do Make Say Think can reduce everything down to a gorgeous organic texture that makes you believe that music is a naturally occuring substance. Although their live shows have evolved into more calculated, tight arrangements and sets, Charles Spearin and Ohad Benchetrit entreated us to godlike euphonic improvisation between classic songs such as "The Landlord is Dead," and "Auberge the Mouton Noir." Indeed, with a concept so abstract, this group defies almost all typical musical conventions by seeming natural and uncalculated, but perfect in all the ways of beauty that are too incomprehensible to articulate. (Even their name reduces all of life in four words...)

Well, I dunno. Maybe I'm just a sucker for vintage Gretsch guitars and strings and saxophones, but when you hear them all in perfect relation and proportion to another like that you've got to appreciate the fact that something far more significant is going on.

I didn't take acid before doing this show, but in all honesty it felt like it. I still don't really know what happened that night, but the new album creates synesthetic euphoria. Tracks like "The Universe!" and "Executionary Blues" point to that unusual, yet mundane beauty in the minute details of life that is often overlooked.

10.28.2007

broken social scene
thursday october 25
@ commodore ballroom



Arts&Crafts veterans Broken Social Scene paid a little visit to Vancouver and played some beautiful music that night.

The last time I had seen them was a couple of years ago, and the two experiences to me proved the total dynamic and originality of sound that only the 19-person Toronto-based group can shape.

Kicking off their North American tour that night, the show was testosterone-charged set which only could have been induced by Kevin Drew setting up a competition for who could go the longest without taking a bath. Well, actually that was a direct stab at Justin Peroff, who was sweaty beyond belief and spraying it around by shaking his beard all over the place.
Playing a set list of their most recent album, Justin Peroff, Brenden Canning and James Shaw from Metric blasted their tunes distortedly charged and ultra-masculine sounding. There was also some fun sampling with a 30 second stab at "Love and Mathematics," but Canning didn't remember the bass part for it so they stopped and played "cause = time" in a way that couldn't be larger or louder. Even Andrew Kenny from The American Analog set tagged along and treated everyone with the soft Texas-indie sounds of "Hard to Find."

I felt bad for Kevin, who was hopped up on Sudafed and suffering from copious amounts of phlegm, but he gave it his all and wailed through a rocked-out version of "Lovers' Spit," and gave a supersexy throaty texture to the highest frequencies of "Superconnected." I also particularly enjoyed James’ frantic gyrations; for some reason he’s the only person I’ve ever seen who can make those range of movements look good.

Actually, I'd venture to make the claim that Broken Social Scene can make anything look good, even influenza. But who am I to say?

10.18.2007

faust arp!


Radiohead
In Rainbows



After a near five-year wait, Radiohead released its groundbreaking album to fans - unsigned by EMI, and free to those who can afford it.

This album is addictive, but also incredibly short. Comparing the lengths of their collective discography is petty and inconsiderate though. This album is but another feather in their caps, and the new holy grail for fellow Radiohead junkies.

The album starts with “15 Step,” a catchy anthem backed by electronic drum loops reminiscient of the Amnesiac and Hail to the Thief eras, and follows through with “Bodysnatchers,” a distorted and rhythmically charged track.
After that point the album takes a much more intimate turn, when Thom Yorke’s sedating voice glosses over the slow jazzier likes of “Nude” and “House of Cards,”
and tender glockenspiel noises in “All I Need.”

On the whole, this album is incongruent with the rest of Radiohead’s discography. Unlike OK Computer and their earlier albums, In Rainbows seems to be missing that metamorphic theme that resonates through each album individually. To me that’s even more impressive for a band to come out with such a cool and detached collection of songs after essentially conquering the whole spectrum of rock. Let’s just hope there isn’t another 5 year wait for the next one.

10.17.2007

Water Closet Etiquette At The University of British Columbia




According to the history of water closet technologies, the modern-day toilet has been nearly perfected after almost 250 years of experimentation with valves, flushy tanks and water jets. One could argue that this kind of scientific development is not only an admittedly fine invention, but has also progressed hand-in-hand with equally compelling social revolutions.

This may seem to be an irrelevant comparison, but I’m going to try to bring it all to a point: 150 years ago, toilets (archaic term, water closet) and women’s rights were pretty crappy. Before the reality universal suffrage and the current pleasures of flushing away all excrement in one fell swoop, things were quite abysmal for oppressed and misrepresented communities.

Think about it: if there were no proper technologies for bathrooms, there wouldn’t have been public bathrooms (imagine the horror!), and if there weren’t public bathrooms, then public washroom graffiti would never have existed. How we would have known that we were only a phone call away from Carole, who would ultimately provide us with a “real good time?” And where else could the broken hearted confess to but a blank wall in a public bathroom?

So I’m not sure exactly how many people are aware of its existence, but the second floor of Buchanan B plays host to the most infamous and notable bathroom stalls: the Stall of Impenetrable Feminist Hurt. You know which one that is, the third from the right hand side, two down from the handicap stall.

I stumbled upon this little treasure about two years ago, and have since then seen many new comments and rants made. I envision these angry, perhaps angsty women with too-short hair and Doc Marten boots, their pants around their ankles, the pen gripped and furiously scribbling away. Although I admire the passion and conviction of some of the arguments made in defense of women’s rights and the plight of the urban, educated female, I don’t quite understand the point of it all, as hard as I try.

Surely, don’t we have better things to do between classes? More importantly, ladies, where does all this anger come from? Are there really grounds for such declarations of socially institutionalized, sexist abuse? Or is this just the influence of the setting; you know, wanting to “get it all out” of your system. It’s just ironic that women go there to shit and have to read shit.

I suppose this sounds a little confused, and to be honest I really don’t know how I feel about the Stall of Impenetrable Feminist Hurt. A part of me wishes it to be wiped off the face of the earth simply for its in-your-face, aesthetically displeasing effects, but at the same time I can’t help but chuckle at it.

I therefore have a proposition to all: either write something intelligent or don’t write anything at all. Clearly this stall isn’t going away, and neither is the hurt behind that angry, mean lettering. Even snappy comebacks and refutations are acceptable, such as one defense on the tin door that “You can still be a feminist and fuck men with zeal + love it.” That’s what I came to university for.

10.04.2007

there can't be a god; another ontological disaster


Although the question of God’s existence is a highly dubious one, J.L Mackie’s criticism of Anselm provides very a convincing counter-argument against the ontological assumptions he makes regarding the nature of existence and the ability to conceive the existence of a being which can or cannot exist.

Similarly to Gaunilo’s complaint that God is something which nothing greater can be conceived (according to Anselm’s argument from Proslogion 3) from its concept, Mackie argues that the existence of a being cannot be argued from the conceptual aspect of that being. Even if the supposition that God exists from a conceptual perspective, it does not follow necessarily that the existence (or existential realization) of such a being applies to the great-making properties which it conceptually possesses. In other words, if the supposition that existence was a greatness-making quality was accepted, the existence of such a being cannot be dually applied to the conception.

From this perspective it can be seen that Mackie is quite convincing. He illustrates the ontological weakness of Anselm’s argumentation: it cannot escape its own futility because it depends on “the impossibility of establishing some concrete reality on the basis of a mere definition or concept.” There is no such thing that falls under the concept of a not-really-existing being than which nothing greater can be conceived, because the existence of this concept is not realized. Even if the ‘fool’ can accept the greatness premise which is ingrained in the argument, it still fails because it is logically incoherent to claim that a being does not exist, while it still can be conceived in a conceptual fashion as a being which no greater can exist.

Lastly, it would be useful in mentioning that Anselm’s argument would be improved if the claim that God’s existence as a being which no greater being exists was not considered a self-evident one. Alternatively, the premise of greatness could be replaced with a stronger statement that the necessary existence of such a being would contribute to its perfection or greatness.

10.01.2007

how much for a little new radiohead?


Much to my surprise, I discovered this morning that Radiohead's seventh album (which will be downloadable or purchasable come October 10) doesn't have a price tag attached to it.

Thom Yorke and the rest of the band have decided that it is "up to the fans," and that they ultimately will decide how much to pay for the new album.

This is Radiohead's first album unbound by any record label. They terminated their contract with EMI after their smash hit record Hail To The Theif, which sold millions of copies on either side of the Atlantic.

Just looking back on Radiohead's discography and past critical acclaim, In Rainbows has big musical expectations to fulfill.
As a music fanatic myself, I have dedicated hours to my daily worship to Radiohead. One of the greatest joys of this group is their mastery of the cornocopia of musical genres and political themes that they have explored.

In the beginning, Radiohead had the archetypical "grungey" noise that many bands of the early 90's also explored, with several iconic and timeless hits such as "High and Dry," "Just" and "Creep."

But Radiohead shocked their fans with their progression to jazzier, more technical albums such as Amnesiac, evolving to a sophicated hybrid of electronica and totalitarian political undertones between the OK Computer and Hail To The Theif eras. For the last 16 years, Radiohead has been astonishing the auricular caverns of Western ears by defying musical boundaries and maintaining critical acclaim.

My biggest question right now is, what is the new album going to sound like?

9.26.2007

Shit

I just found out that a 20-year old male died at the Smashing Pumpkins show. He was carried out after being found unconcious, and there is no information on what exactly was the cause of his death.
Shit.

9.25.2007

Neverlost: The Smashing Pumpkins Blaze the PNE Forum



After a close friend described the current state of the Smashing Pumpkins as "washed out," I was ready to defend the quartet despite their ostensibly lengthy, experimental, and not always well-received musical ventures.

Why does everyone always make fun of Billy Corgan? Outside of his mass of supporters, I've heard people describe him as "that awkward bald guy", with his "whiny sad voice," who takes himself way too seriously. But let's face it, there's a reason why the Pumpkins have been around since they formed in Chicago 1988. Aside from his musical talent, Billy Corgan represents the most unlikeliest celebrity in the same spirit as Trent Reznor defiles the machine of commercialized music; he may be a musical God, but at least he tries to overcome it by staying humble.

The show ultimately proved that - the set was a well-balanced blend of all the best aspects of their career. Starting off with an explosively energized performance of "Doomsday Clock," the debut track from their latest album Zeitgeist, the band rocked out with "Zero" and "Bullet With Butterfly Wings," among other quintessential Pumpkins tunes. It was the best of the past and the present, from "Down" and other Rotten Apples songs, and surprisingly enough, "To Sheila" and "Ava Adore" from their most radically experimental album Adore. While Corgan was missing his iconic Zero shirt, his long-sleeved stripes made us all remember the heavy psychadelic roots of the band. In humble appreciation, the band dedicated "1979" to Canada for being the world's #1 fan - a sweet touch indeed. I also particarly liked the fact that James Iha and D'arcy were replaced by but another female bassist and asian guitarist. Did he think nobody would notice?



Now for something a little more substantial. Zeitgeist as an album explores many conceptions of nationality - particularly in reference to the band's good old homeland, the United States, and the alienation that surrounds an individual when being attached to certain values and meanings simply based on their locality. It's for this reason that the album in and of itself is so monumental: at all points in history there is indeed a "spirit of the time." Hegel described this as a single historical figure who represents all aspects and values of that time, and eventually when such meanings are overturned, another Zeitgeist comes to be. Tracks such as "For God and Country" look at this phenomenological dialectic and describes how everything - including music is a subject to this temporality. At the end of the set, Corgan came out by himself and quite candidly laid bare his appreciation for the fans in Canada, who kept the Pumpkins at #1 on the charts when they were #2 in their own country. This is all making sense.

For more information on the Zeitgeist tour, check out the official Smashing Pumpkins website at http://www.smashingpumpkins.com

9.09.2007

the brian jonestown massacre: you look great when i'm high




I am deeply apologetic to everyone who couldn't make it to see the Brian Jonestown Massacre show at the Commodore Ballroom on September 8th. Even if you aren't a fan, or have ever heard of their music, that night will forever go down in history as possibly the last group's venture above the border.

For those who haven't heard of the BJM, they are the lesser-known musical rivals and lovers of the Dandy Warhols, who altogether pick apart social mores and fashion bubble-gum tunes to reflect modern-day trendy, social indoctrination. Being an existential pessimist I was hyped up on seeing the quintet rock out only two months after seeing the Dandy Warhols in the flesh.

Needless to say, the set was doomed from the very beginning. I have to say a word or two about how Icaught the end tail of the second opening band, The Hugs, only to find them to be a group of 18 year-old boys with peach fuzz and shitty guitars (never buy an Epiphone) that wouldn't hold a tune. To be honest their set was a cacophony of angsty unsophisticated, and technically defunct tunes.

At that point I wasn't too upset though, considering that the BJM was finally going to come on. But no. Those arrogant, but brilliant agents of musical genius didn't come on until nearly half past 11, at this point causing mutinous stirrings in the crowd. One guy behind me yelled obscenities at the band, causing me to spill my beer all over another girl's ankles. Shit. They finally started playing, opening up with a transcendent, psychedelic jam which bled into "Who?" from their album Take It From The Man! Even though the music started flowing gorgeously, lead singer Anton's back to the audience was an ominous foreshadowing of the aggression soon to come.

Contrary to what you, dear readers, may imagine to mediate the crowd's tension, the music only exacerbated the feeling of getting ripped off at this show. Anton kept stepping backstage,leaving the rest of the band to hold down the situation by playing the same bleeding four chords for ten minute intervals. Anton, I love you, but why do you love the heroin so much? Anton comes back onstage and declares what a beautiful place Vancouver is, clearly getting increasingly fucked up as the night goes on.

At about ten minutes to one, some guy in the crowd threw a beer bottle at Anton's back, causing him to scream death threats into the microphone, his middle fingers flying around. At this point the band left the stage, most likely the last time to present themselves on the Canadian concert scene indefinitely. But shit, you could taste the hatred and Anton's wounded ego, who screamed at us all that we should all "humble ourselves." Don't misconstrue this, but this show was so bad that it paradoxically was so good; just don't do heroin, OK kids?

7.18.2007

katrina dunn presents julius caesar



My third venture to this year's Bard on the Beach at Vanier Park was a much different experience from the last two. Not to slag off the creative and innovative world of directorial interpretation, but The Shrew's Western reality still captures that awful taste in my mouth. In other words, Julius Caesar is minimalist, Roman attitude with no modern interpretive angles - Caesar (Allan Morgan) is old, and raging (just the way he's supposed to be). Fuck, I thought his ghostly white hallucinating stare was going to make my eyes bleed. So bitingly cold...

The best part is Dunn's slight Elizabethan, Renaissance undertones - making the story of betrayal and political injustice imparted as a shared value between the Elizabethans and the classical era of the Roman Republic. In fact, this bears more significance as Brutus (Scott Bellis) spirals into despair and self-perpetuated guilt over his betrayal, which is a classical tenet of Shakespeare's tragic heroes. Ultimately, Brutus' hamartia of excessive ambition has a more lasting effect, that paradox of something being so good that it eventually defeats itself and turns to damage that otherwise perfect world. Some may call it shit disturbing, but this kind of stuff is really what makes Shakespeare worth reading or seeing in the flesh. It's that delicate boundary where potency becomes decadent, and then unstable to implosive. I ate muffins in the audience and soaked this all in while Brutus suffered in soliloquial turmoil.



Overall, this play was the most impressive thus far, despite the fact that nearly three-quarters of the cast was made up of balding men, their cul-de-sacs more distinct against the shinyness of the skin underneath. Although there was much baldness tonight, the perfomances were grade A (I particularly marvelled at Gerry Mackay, who played the revolutionary zealot Cassius all too well), and had the intimacy which only the studio stage can capture.

Maybe this is really fucking petty but I can't help but add that Craig Erickson (who played Marc Antony) did not look anything like his headshots from the programme. I felt like I'd been duped. Someone should tell him that it's not honest to deceive others with uncharacteristically good photographs of himself.

7.12.2007

bard round two: romeo and juliet



After my last visit to the Bard, I was desperately hoping for Dean Paul Gibson's production of Romeo and Juliet to compensate for my earlier disappointments. Luckily, the performance tonight has redeemed the Festival after the last Western-styled desecration of Shakespeare, and had fucking style. With Kyle Rideout playing a love-struck, mascara-eyed, melancholy emo Romeo, I felt like I was in one of those engrossing GAP commercials. Tight black pants and collared white shirts, perfectly synchronised uniformity - the Apothecary's sole grey shirt attracts both metaphoric and literal neutrality. Could this get any sweeter? There's a naked ass in this play, restoring the Vancouverite liberalism we all thought was lost.

6.20.2007

taming of the shrew: elizabethan, western 21st century interpretations



I'm about as confused on this one as ever. Bard on the Beach presents Taming of the Shrew, but in a mish-mash of genres that don't seem to fit very well together. Flamboyant suede chaps, Mexicans incognito, and deliberately awkward staging to reflect the current apathetical comedic modes... not to mention Katharina's (Colleen Wheeler) breaking of the will, which essentailly violates every aspect of the great feminist movement.

While Petruchio (Bob Frazer) translates well into his macho, Marlboro man persona, series host Christopher Gaze's british accent doesn't bode well for someone trying to come off as a Mexican. Don't get me wrong, as far as the theme of fiesty women and power and oppression reign, this play was in its right, but would have Shakespeare turning in his grave - to be honest I was actually thinking about how similar The Shrew is to that angsty late-90's flick "10 Things I Hate About You." Director James Fagan Tait begs "Kiss me, Kate!" But this isn't what I learned in my Shakespeare class.... The ending was a familiar philosophical tangent reflecting on the power of the will, but the soft weaknesses of the body; a quintessential, Shakespearean mindfuck paradox.

Katharina throws away the entire reputation of women in a single swooping motion, to chuck off a hair decoration that her husband disproves of, but only says so in pursuit to win a bet. I wasn't feeling the love tonight.

If you don't like Shakespeare that much, or don't understand him, GO SEE THIS PLAY. Mostly slapstick, anti-feminine sovereignty gags that don't require the use of too many braincells... yeah.

6.11.2007

"To Decapitate = To Castrate"



I just read the most fucked up thing that Freud wrote, about the sexual metaphoristic qualities of the myth of Medusa's head. Pretty far-fetched stuff...

In the selection “Medusa’s Head,” psychoanalyst Sigmund Freud fleshes out his interpretation of the mythological image as a deep-seated sexual issue, stemming from the human fear of their mother’s genitals devouring their own. In his analysis of the metaphorical representation of female genitalia, Freud sheds light onto the paradox of heterosexual male desire - a force which is both terrifying and undeniably attractive. Despite the comical effects and his persuasive argumentation, Freud’s assertions ultimately fail to explain the complexities of human sexual relations, as they gravitate around an ignorant male view of women’s sexuality.

For Freud, sex is attached to an unspoken, irrational fear of castration, where the vagina represents a vortex of simultaneous pleasure and horror. In the style of third person narrative, Freud creates a situation where the “other” is identified - in this case, the body of the female, represented by Medusa’s decapitated head is the center of alterity through the mystification of female sensuality. Instead of exploring the idea of its multiple possibilities, Freud articulates one, monolithic, uniform kind of female sexuality. From this position, Freud is failing to substantiate his arguments, as they are clearly seen to stem from impossible fears, and a blatant lack of understanding the fairer sex.
















Mystifying the organs of female sexuality have both an amusing and a maddening effect - Freud attaches the fear of castration in sex to a boy’s glimpse of his own mother’s vagina. Yet where does this fear originate? Freud lacks an explanation for how anyone would even associate sexual pleasure with the possibility of losing one’s penis. Perhaps the most absurd tenet of his interpretation of Medusa is the idea that the snakes in her hair are “a confirmation of of the technical rule according to which a multiplication of penis symbols signifies castration.” The only technical rule which could be applied to Freud’s argumentation is that he defies every epistemological convention.

In short, Freud lacks understanding in the issue of sex - particularly of the female persuasion. However, his interpretation of the myth of Medusa and her sexual evaluations brings another, more philosophical issue to the surface. It is the displacement of social values which creates a dichotomy of sensuality: the ignorance towards the female body and its responses to sexual desire in turn becomes a symbol of both desire and fear, and even possibly hatred. According to Freud, the sight of Medusa’s head (and therefore the sapphic images associated with it) makes the man “stiff with terror...” yet at the same time “offers consolations... he is still in possession of a penis, and the stiffening reassures him of the fact.” This line is particularly absurd, since the spectator has an erection, how could he have ever feared for the loss of his member?

Ergo, Freud’s exploration of female sexuality through the literal and figurative interpretations of power in the myth of Medusa creates more ignorance on the topic instead of clarifying it. Even in this short selection, an envious, fearful misogyny resonates in this analysis. It is perhaps due to the social repression of women at this time in history that causes them to be “othered” to the point of being recognized as either a symbol of sexual desire, fear of castration, or both.

6.04.2007

Capitalism is the New Christianity




Perhaps one of the most interesting aspects of cultural theory which is both evident and underlying in its nature is the investment which people create in their social spaces. According to both Foucault and Bhabha in their critical essays, human beings are made subjects of their sociocultural spaces and are inevitably constructed by these specific communities, which they perpetuate through various mediums. By looking further into Bhabha’s analysis of this social phenomenon, the difficulty of transgression is made painfully clear - since so many cultural practices become ingrained into the construction of communities, the perpetuation of these standards become overlooked themselves. On a more philosophical level, Capitalism as a global community, has created the ultimate generative existential crisis of the modern age.

One of Bhabha’s most resonating lines from her essay “On the Use and Abuse of Culture” is the perpetuation alterity and otherness across nations: “their cultural identity have become contestants in the public sphere of capitalist democracies and are embroiled in characteristic struggles for redistribution and recognition.” In this way, a new crisis of the modern age is the assimilation of cultural with economic institutions, as capitalism and the free market have paved their way as the new, dominant religion.

Clearly, the imposition of an economic infrastructure upon a cultural history does not seem at first to be an acceptable correlation, yet this coalescence of societies and capitalism has created the most fundamental existential pitfall. Similarly to Zizek’s assertion of capitalism being the seductive, yet empty promise, Bhabha articulates the “promesse du bonheur that advanced capitalism always holds... but never quite delivers.” It is merely the false idea of capitalism which lures participation, a sort of community created by the discursive address that functions in the name of “the people,” creating an ideological position for itself and enforcing those values everywhere.

This is exactly what Friedrich Nietzsche contested against in his philosophical works - that guilt and bad conscience stem from creditor and debtor relations, and that human beings fail to analyze the system which they perpetuate through their participation. It creates an undeniable monolithic binary between the creditors and the debtors, those who have, and those who do not.

The process of othering which becomes apparent in Bhabha’s analysis is the distinction between capitalist and non-capitalist nations, creating another system of binaries which human beings seem unable to resist. The problem of this is rooted in the false and highly ironical nature of capitalism - that choice is an ephemeral, illusory concept - a replacement for the Christian afterlife in a time of declining religious faith, and increasing participation in the institution of global capitalism. In this way, the Nietzschean “death of God” has an equally negative replacement: the worship of financial giants in the modern world.

6.03.2007

the commodore ballroom presents: the dandy warhols



As a huge Dandys fan, this show, in one word - rad. The thing about the Dandy Warhols that blows my mind is the apathetical, casual bohemian attitude, paired with the unmatched all-round musical genius they possess. Opening with a pseudo-Pink Floydian experimental montage, the Dandys rocked their sugary-sweet tunes, sided by video screens that flashed images from the mundane to the obscene. The set was both a nostalgic reliving of their older, quintessential hits - You Were the Last High, Heroine is so Passé, and of course, Bohemian Like you. Yet at the same time they switched it up with unreleased songs from their upcoming album, and made up for missing instruments on the stage with interesting results! Courtney Taylor-Taylor flouted his "da na na naaa" vocal talents en lieu of missing trumpeteers in their performance of "Godless." It was difficult after seeing Ondi Timonder's 2004 Documentary DiG! on the drug-riddled habits of the band to actually imagine that Zia McCabe's child is currently touring with them. Despite the difficulties of motherhood, the quartet maintained their cool narcissism in an impressive way. So fucking catchy it hurts. "See what looking pretty cool gets ya?" - I swear I have never seen so many artsy looking dandies in the audience. For some reason the show attracted throngs of young hipsters alternating with matching mullets on middle-aged couples. So much for social commentary... bottom line is the Dandy Warhols entertain on all fronts.

For more info on Ondi Timoner's DiG! check out http://www.jam.canoe.ca/Music/Artists/D/Dandy_Warhols/2007/05/30/4219475.html

5.21.2007

Awake and Dreaming - The existentialist exploration of sleep in Fight Club and Waking Life




By watching the young, confused, and tired character from Richard Linklater’s Waking Life, I realized how fortunate I was to be able to rouse myself from my dreams. Perhaps too fortunate? I’m not sure. It would be rather intriguing to be able to exercise the concept of a “lucid dream,” which the film explores, in that we are able to realize we are dreaming, and manipulate our thoughts to the point where we cannot distinguish reality from what is actually a dream. That means we can fashion a reality in our sleep which would never be socially acceptable in our own lives, we can toss aside all taboos and social mores and construct an experience for ourselves, and let the plot unfold such
as we desire.

Waking Life: far more philosophical merit, deals with a plethora of existentialist philosophers, such as Sartre and Nietzsche.

Yet our poor protagonist cannot awake from these fantasies, and reawakens time and time again, only to find himself in the midst of another dream. It begs with the question regarding the nature of reality; do we truly have experiences in a realm of supposed consciousness, or do they really manifest themselves in our sleep, disguising themselves as a mere shared hallucination?

Another film which tackles this question is Fight Club, starring Edward Norton, Brad Pitt and Helena Bonham-Carter. Directed by David Fincher, Norton plays a character who suffers from severe insomnia, and becomes an existential madman in many senses. As a result, he undergoes a personal transformation and creates a secondary personality who embodies all the characteristics that he lacks himself (Tyler). Just like the bizarre experiences of our confused hero in Waking Life, Tyler has no bounds; he is powerful, persuasive, and strange. In this film, the main character’s experiences are split between his ‘true’ identity, and the second personality he creates as a result of sleep condition.

Both films provide a fascinating commentary on the role which sleep plays in our lives. One individual is frustrated by their inability to wake, and another’s anguish is derived from his inability to sleep. Yet both characters create and experience their environments - challenging themselves and questioning their purpose, bewildered by the world around them. Despite Pitt’s chiseled abs, the movie deserves 3 stars out of 5, for its sheer mainstream quality. I would give Waking Life 4.5 starts out of 5, as this film relies on its direct philosophical content.
*
Ed and Helena: have on-screen chemistry, but less philosophy to back it up.

Morality and The Slave: An Analysis of Institutionalized Morality and its Consequences in The Phenomenology and On the Genealogy of Morals

The emergence and development of morality is perhaps one of the most elusive and intriguing areas of philosophy, since it is inexorably bound to sociopolitical variables. In Nietzsche’s work On The Genealogy of Morals, Nietzsche describes the historical conditions converging with general human anxiety in the formation of social life and organized political systems. From this methodological account, moral systems were developed to internalize the destructive animal instincts, although they surface inevitably in accordance to varying social positions. On the other hand, Hegel’s Phenomenology of Spirit accounts for master-slave morality through the inescapable dialectical structures which consciousness embodies. Although each writer strives for a different account for morality, offering different versions of the lord and bondsman relations, both Nietzsche and Hegel impart a fundamental idea: the necessity of the reversal of perspectives.

In On The Genealogy of Morals, Nietzsche describes the development of moral systems as institutionalized and unnatural constructions used to secure communities under constitutional parameters. Social responsibility, he claims, is an exercise in conformity: “the task of breeding an animal with the right to make promises.... first makes men to a certain degree necessary, uniform, like among like, regular, and consequently calculable.”1 Although he is arguing from a nihilistic perspective, the socialization of man is arguably the singularly most traumatic experience in human history, since it depends on favoring social justice rather than entertaining personal desires and needs.

At this point it would be integral to our investigation to mention Hegel’s phenomenological account of the master-slave dialectic, since its causes and underlying forces are closely related to those which propagate Nietzsche’s own formulation of morality. For Hegel, the constant shifting and power dynamics between the master and the slave are both inevitable and necessary, with an outcome that is a “recognition that is one-sided and unequal.”2 Like most dialectical structures, the existence of opposites creates the hostile platform from which conflict arises, namely through the master constantly trying to overcome the slave. The most fundamental similarity between the Nietzsche and Hegel’s accounts of slave-master relations is also an opinion also shared by Sartre, in that the relation is not unilateral, but rather that it is “envisaged within the perspective of conflict.”3 In other words, it is arguable to claim that such conflict arises from the instinctual desire to assert domination over another as an evolutionary defense, and is not necessarily a moral judgment. For Nietzsche, the development of any relation involving an inferior and a superior is directly linked to the realm of socialized moral development, since social groups inevitably form in complicated social, political and economic hierarchies, which are essentially artificial constructs of the challenges posed in nature.

On the other hand, Hegel’s emphasis on such challenges are not only socially constructed, but are innately contained within individual cognitive abilities. In The Phenomenology he writes that “consciousness itself is the absolute dialectical unrest,” illustrating that the plurality of the sensible world, in contrast with its intellectual representations, are “the dizziness of a perpetually self-engendered disorder.”4 In this way, Hegel views the slave-master dialectic not in terms of morality necessarily, but a reaction to the fuzzy area of reconciling the sensuous world with intellectual articulation of it. In other words, Hegel is reacting to the difficulties of language based on the impossibility of sense-certainty, and the subject of recognition between the master and the slave.

To add more complexity to this dialectical structure, Hegel asserts that the relationship between the lord and the bondsman, like many opposites, has a twofold significance. In this way, the mutual recognition of the master and the slave is a process that must “supersede the other as the essential being... in so doing it proceeds to supersede its own self, for this other is itself,”5 which succinctly describes the necessity involved in such a relation. In other words, although the master, by definition, dictates the activities of the slave, the only way in which the master’s existence is acknowledged is through “his recognition through another consciousness.”6 Thus, for Hegel, the dependence and independence of both the slave and the master form an organic unity, once they have overcome the duality, to discover the unity beyond separation.7

Rather than this organic interpretation of the lord and the bondsman, Nietzsche’s emphasis on cruelty as festival also holds very cogent bearing on the topic of master-slave morality, since much of the interplay of power takes place between debtor and creditor. When man is removed from his primitive environment of hunting and asserting his dominance for
animalistic purposes, these instincts must play out in the realm of civil society as well. According to Nietzsche, the historical event of human moralization induces the existential stress
because mankind no longer depends on animal instincts, but is conditioned to rely on the faculty of consciousness, a weaker guide. Rather than outwardly discharging these violent anxieties, human beings have conditioned to internalize these forces, creating “hostility, joy in persecuting, in attaching, in change, in destruction.”8 Since man has been removed from a physically hostile environment, such hostilities must be acted out in another realm - the moral. Morality thus appears to be the language for controlling and minimizing the impacts of this internalization, and through this hostility, master-slave relations become inevitable undertones of social structures.

While Nietzsche emphasizes bad conscience and guilt as the motivating drives for mastery and submission to authority, Sartre defends Hegel’s assertions that the propensity to fall within the dialectic is inevitable. He uses a powerful analogy of lovers, and claims that “with Hegel the Master demands the Slave’s freedom only laterally... while the lover wants the beloved’s freedom first and foremost.”9 Although the actual dynamics of master-slave relations differ in cases of love, Hegel suggests that the inclination to either submit or dominate another’s will is an inherent, ostensibly natural desire contained within the subconscious of any individual.

According to Elliot L. Jurist, the master-slave dialectic is an exercise of the consciousness which is performed in order to actualize itself. The existence of another consciousness recognizing the other is a fundamental necessity in achieving mutual recognition. The necessity of outward forms in order to realize conscious recognition is carried into the moral realm as well, as Jurist argues that the development depends both on the self, as well as the universal in the self:
“moral consciousness attempts to unite the antithesis.... the actualization of morality leads
consciousness to confront itself as aspiring to perfection, just as it must acknowledge its own imperfections.”10 From this point, it is clear where the problems of morality are derived. since the act of conscious recognition involves not only the self, but a community of values. It thus appears to be a battle between altruistic morality and egoism: the exponents of the master emphasize self-regulation over abandonment while the exponents of domination emphasize self-abandonment over regulation.

Rather than this complex psychological compulsion to comply in master-slave relations, Nietzsche illustrates this morality as a raw, animalistic power play. Since human beings are no longer vexed by the issues of securing food and shelter, these territorial instincts must transpose themselves onto the echelon of social rank and position. For instance, in debtor and creditor relations, the pleasure of punishing the debtor increases with the rank of the creditor. More succinctly, Nietzsche affirms that “the creditor participates in a right of the masters: at last he, too, may experience for once the exalted sensation of being allowed to despise and mistreat someone as “beneath him.””12 In other words, the desire for the creditor to punish the debtor who is socially inferior to him does not necessarily involve itself in any moral imperatives, but rather is the result of the internalization of animal instincts.

Similarly, the festive results of this grand internalization of animal instincts, according to
Nietzsche, occurred historically partly for the “festival plays for the gods.”13 Tracing back to the emergence of Greek morality plays, Nietzsche begins to flesh out the most ironic and futile creditor/debtor relationship through the paradox of Christianity. In order to alleviate the strains of the confines of society, God is a figure who discharges guilt and the overwhelming bad conscience which drives many individuals to submit themselves entirely. Wolfgang Müller-Lauter succinctly describes Nietzsche’s attitude the history of religions is but “a systematic case history of sickness employing religious-moral nomenclature,”14 without any positive, philosophical results. Furthermore, the debtor/creditor relation between the Christian God and the christian is a failure, a self-perpetuating paradox of irredeemable penance: “God as the only being who can redeem man from what has become unredeemable for man himself.”15 In this sense, religion as a mediator for bad conscience is the ultimate failed cause - instead it pontificates artificial moral codes and envelops consciousness with an even more futile straightjacket. Thus Nietzsche holds religion largely accountable for the most self-destructive form of master-slave morality, since the mechanisms of Christianity function predominantly to solidify bad conscience and institutionalized guilt.

Even Hegel believes that Christianity is one of the greatest sources of unhappiness. In many ways, The Phenomenology articulates that an unhappy conscience is exacerbated not only through the desire to reconcile life and the spirit, but also because of the problem of overcoming the impossibilities of sense-certainty. Judith Butler incorporates this duality in terms of the master and the slave, where “unhappy conscience seeks to overcome this duality by finding a body which embodies the purity of its unchangeable part.”16 For Butler, the physical body bondsman belongs to the lord, but it is a kind of belonging that is both irreconcilable and based on a vicarious notion of existential substitution. Butler’s reading of Hegel then makes a fundamental connection to the Nietzschean analysis of the Christian paradox: “ the minister reformulates the
dialectical reversal and establishes the inversion of values as an absolute principle... pleasure is temporally removed from pain, figured as its future compensation.”17 The philosophical crux of this analysis is that the promise of such compensation only furthers the sense of guilt through debt - Nietzsche’s Christian paradox lends itself invariably to the master-slave dialectic.

Although Nietzsche, in principle, tends to gravitate towards a critique of how Western political and social spheres operate, it is difficult to see any other alternative other than the ones presented to us. The account of the internalization of man undoubtedly causes some profound psychological effects on the human being, but these innate hostilities and anxieties are already hardwired into the biological system of each individual. Regardless of what situation an individual may find himself in, Nietzsche imparts the idea that the reversal and shifting of such mores is imperative. In her essay entitled “Genealogy, the Will to Power, and the Problem of a Past,” Tracy B. Strong asserts that “slave morality is thus not just the noble morality stood on its head - a reversal of the structures of domination. It is structured in a different manner and thus is a different way of being in the world.”18 In this way, a kind of rational sovereignty is attainable, despite the pressures of social expectations. This reversal of perspectives is the most optimistic idea which Nietzsche suggests - the overturning and questioning of existing social and political ideals to create an individual space, despite the inevitable anxieties of existence. Hegel, to a certain extent, also accomplishes a similar goal in his evaluation of the spirit. Cognition and its conscious awareness enables the individual to be perpetually seeking new avenues of thought, through the constant turning over and recollection of new information. The consequences of perpetually accepting institutionalized moral codes could make “consciousness in its full abjection like shit, lost in a self-referrential anality,”19 a frightful mess in its own way.

Thus the two accounts of morality and the master slave dialectic appear to be more similar, or compatible than they seem initially. Through the concept of guilt and bad conscience, and the internalization of animal instincts into the form of social mores, the paradox of Christianity becomes as apparent as the realities of the relations between the lord and the bondsman. Despite the complexities of socialized groups, and the systems of morality that develop, Nietzsche and Hegel assert that the reversal of perspectives is the fundamental shift necessary to overcome the burden of the dialectic. In this way, both writers attempt to reconcile the universal and the self in accordance with the self-generating complexities of moral life - a unique component of the human condition.


Bibliography:
Butler, Judith (1995) Stubborn Attachment, Bodily Subjection: Rereading Hegel on the Unhappy Consciousness. In Dennis King Keenan (Ed,) Hegel and Contemporary Continental Philosophy. New York: State University of New York Press, 2004

Hegel’s Phenomenology of Spirit. Trans. A.V Miller. Oxford: Oxford University Press, 1977. (coursepack)

Hyppolite, Jean.Genesis and Structure of Hegel’s Phenomenology of Spirit. Evanston: Northwestern University Press, 1974.

Jurist, Elliott L. Beyond Hegel and Nietzsche: Philosophy, Culture, and Agency. Cambridge: The MIT Press, 2000.

Müller-Lauter, Wolfgang. Nietzsche: His Philosophy of Contradictions and the Contradictions of His Philosophy. Chicago: University of Illinois Press, 1971

Nietzsche, Friedrich. On the Genealogy of Morals, from Basic Writings of Existentialism. ed Gordon Munro. New York: Random House, 2004. (coursepack)

Sartre, Jean-Paul. Being and Nothingness. New York: Washington State Press, 1943.

Strong, Tracy B. Genealogy, the Will to Power, and the Problems of a Past. In Christa Davis Acampora (Ed,) Nietzsche’s On the Genealogy of Morals: Critical Essays. United States: Rowman & Littlefield Publishers, Inc, 2006

5.17.2007

notes on a scandal: ultimate ethical crisis


In a nutshell, Richard Eyre's new film is a disturbing glimpse into the lives of two devastatingly lonely women. Judi Dench plays an embittered school teacher, an authoritarian whose depressingly vacant social life drives her to manipulate the deadly secret of the new art teacher. Sheeba Hart (Cate Blanchett) stars as the sexy, bohemian teacher who seduces the likes of a fifteen year-old student as a reaction to her fading youth and failed life aspirations. This film represents the worst taboos known to the cinematic tradition: as the cataclysmic intentions become revealed, Judi Dench's portrayal of a desperate ageing lesbian surfaces to a longing obsession. "To be so chronically untouched that the slightest brush of the bus conductor's hand sends a jolt of longing - straight to your groin..." Could this be any more titilating?

5.16.2007

disavowal, or, the impetus for Queer Theory


I just finished reading a very interesting essay called "Is There a Queer Pedagogy? Or, Stop Reading Straight" by Deborah P. Britzman. Modern Critical Theory has never been so good...

The concept of disavowing is traditionally viewed as an internalized, yet conscious denial of responsibility or weighing the value of an idea or concept. Indeed, the essence of disavowal lies within the paradoxical idea that although certain thoughts and situations are widely accepted as “being wrong” in political, social or moral senses, the act of disavowal itself is a silent confirmation of the socially constructed axioms.

For Deborah Britzman, the concept of disavowal in Queer Pedagogy is an extremely complicated issue due to its social, historical, and philosophic integrity. In her essay, Briztman fleshes out the discontinuity of pedagogy in relation to the “crucial cultural and historical changes that concern the constitution of bodies of knowledge and knowledge of bodies.”1 According to her argument, Queer Theory acts against the altruistic human inclination to disavow certain kinds of knowledge simply because they defy the social and cultural conventions, which are perpetually changing.

Namely, the act of disavowal attempts to deconstruct the definitive binaries which social institutions gravitate towards. As listed in the essay, “categories like masculinity, femininity, sexuality”2 form the basis of education and the pedagogical canon which become accepted due to varying sociopolitical and cultural variables. Furthermore, the pedagogical account of knowledge fails to unify, and instead becomes divisive in its assertions of normalcy and the articulation of what the majority of society believes is “heterosexual.” Although Queer Theory is not an exploration in deviant sexuality, the example of the binaries established by defining sexuality are extremely significant in the analysis of disavowal, since these binaries are essentially universally accepted on an ontological basis.

Going beyond the theoretical significance of disavowal, the object of Queer Theory becomes self-refuting immediately after it has been put into motion. In order for the disavowal of present binaries and cultural misconceptions, the object of defying such socially relevant issues becomes a living paradox when taken to absurd lengths. For example, to break the cycle of disavowing or becoming complacent with present social mores, Queer Theory demands a constant, perpetual turning over of new ideals. In this sense, the goal of Queer Theory reduces itself to a theoretical absurdity: it requires the constant shifting of new values within the pedagogical system, yet where exactly does the significance lie in creating new perspectives?

Thus the goal of Queer Theory is an ironic one - it merely preserves the Nietzschean “reversal of perspectives” to the point where it becomes a foil to nihilism. As Queer Theory rejects preexisting binaries, it invents another one by defining itself on the fringes of what is culturally accepted - thus being inherently paradoxical.

4.19.2007

technological difficulties

ok, so somehow i got trapped in the internet "communications cesspool," and it totally blew up in my face. fucking html...

all my writing has disappeared on my website, and i can't access it anymore because the site seems to have imploded.

see what happens when you come to depend on a computer? the whole universe comes crashing down.

3.22.2007

entry #7 - a bout of realistic cynicism

ok... so i haven't written on this blog since my existentialism class required me to do so. but i looked on my first blog and realized that i was really wrong about everything.

i think happiness is possible, but it is a fundamentally naive idea. so many people i know are in this life-long pursuit of "happiness," and i don't really think they understand the futility of this romantic ideal.

instead of thinking about happiness as a lasting idea, i view it as something that arises on the fly; there are moments surely when you can be ecstatically happy, but after a while everything has the capacity to go sour. this happens in almost every situation in life. when you achieve something, or realize something, or acquire something new, you don't tend to be bothered by the negative aspects of that thing. think of relationships, for example. the first kiss from a new lover is maybe one of the most exciting, euphoric experiences possible, but this doesn't last when you start to pick apart the imperfections and points of tension in your relationship. even a new job - i have snatched up jobs without even thinking about them, but after a while you realize that maybe the office asshole outweighs the benefits of the otherwise beneficial opportunites.

so i suppose this seems really bitter and perhaps even cynical, but after studying such an ostensibly bleak arena of philosophy i have realized that existentialism addresses the core issue of this fundamental crisis of desire and the fleeting nature of happiness. i have realised that all you can truly pursue is some kind of satisfaction in what you've done, and how you have been the self-creator of your own individuality. but please, don't get off on the possibility of actually being happy and staying happy because you've overcome a great achievement... because it isn't going to last. the human soul is constantly at odds with itself, consciousness is a perpetual dialectic that struggles with its opposing forces and desires.