Tritones & Sad-Eyed Ladies: Chronicle 66

“We have to bring out knowledge where we don’t expect it.” – Roland Barthes

Isn’t it a fascinating quote?

We bring out knowledge in articles, in schools, in books: exactly WHERE we expect knowledge to be shown, that’s good.

But why should we do this in “unexpected” places? To create surprises? To aim at a new audience? Elegance of life?

I don’t know but I find it interesting.

But OK: where?

At work? Social media? Could we talk about Barthes on TikTok?

Knowledge? Music isn’t knowledge. So, what? Humanities? History? How? What form? Courses?

oOOo

Ahhh a day off, and a lonely time…

Let’s choose a musician (Gustav Holst, Chick Corea), ask some web pages, take some books, and explore. Finding names: “The Could Messenger”, “Now He Sings, Now He Sobs”. But I ended listening to “Jan Bang, Erik Honore, Gaute Storaas and Arve Henriksen – (2013) – Knut Hamsuns Victoria”.

A piece of quiet music:

oOOo

I have a draft here named Blood Family/Soul Family but I only have the title here. It’s an old structure, we know and see what it is. The problem is that we “know” our blood family – the soul family is elsewhere. We meet them later, maybe never. Maybe some work is needed to find the soul family. Not some work, but some… accuracy, or attention. But not being a tracker, right? One does not hunt a soulmate, but one can be ready to meet one.

oOOo

I made some photos which need some poetry.

oOOo

In French, there’s a song: “J’attendrai” (I will wait) – https://en.wikipedia.org/wiki/J%27attendrai. See lyrics. Other versions.

oOOo

Riskiest modulation of The Beatles: If I fell. It’s funny to hear it “explained” by a scholar with tritones, knowing that John Lennon liked to build song by “making piles of random chords”. I used to do it. Listening to the chords in loop triggers melodies.

oOOo

I opened a book about Bob Dylan and found that he had be signed on Columbia in the sixties by a guy named John Hammond. Hmm:

“What I wanted to do with Bobby was just to get him to sound in the studio as natural, just as he was in person, and have that extraordinary personality come thru…. After all, he’s not a great harmonica player, and he’s not a great guitar player, and he’s not a great singer. He just happens to be an original. And I just wanted to have that originality come thru.”

Producers who… feel something – the archetype probably being George Martin, often called the “fifth Beatles” (producer, arranger), and there’s another man, the manager (Brian Epstein). Hmm:

“…as John Lennon and Paul McCartney joined in with jokes and comic wordplay, that made Martin think that he should sign them to a contract for their wit alone.”

Stig Anderson was one of the dominant figures behind ABBA. He built them, co-wrote lyrics, etc, he’s sometimes called “The fifth member or ABBA” (well well), etc…

It is funny to read about the “guy behind”, when you read about big music stars. Who’s behind Queen, Elvis Presley? I’d like to find a book about them. What did they bring? What did they see? What have they in common?

oOOo

I opened a book about Bob Dylan’s songs, finding pages about one single song: Sad-Eyed Lady of the Lowlands. In itself, a big source of analysis games.

https://en.wikipedia.org/wiki/Sad_Eyed_Lady_of_the_Lowlands

  • It’s a very long “poem”, full of mysterious words. I found a French web page about Dylan’s lyrics style, closer than Rimbaud than American or English poets ( https://www.bobdylan-fr.com/articles/jeffreyside.html -> Google Translate it!).
  • Instead of “stories” or descriptions, images so weird that people scratch their heads in wonder. Like in Umberto Eco & the Open Work, the audience built their signification.
  • Therefore everybody finds something talking about themselves. Read the comments everywhere.
  • Dylan’s recording of the song is interesting.
  • It’s said to be a “hymn” to his lover. But some guys think that it’s about Dylan’s “anima” (the unconscious feminine side of a man – animus being the unconscious masculine side of a woman).
  • It’s a waltz.
  • The album was released in 1966; I’ve seen June, but also May 16th (I was born on May 15th this year).
  • The sleeve’s blurry.

Well: voilà some seeds, dig a hole, put the seed, see what blossoms.

https://en.wikipedia.org/wiki/Anima_and_animus

With your mercury mouth in the missionary times
And your eyes like smoke and your prayers like rhymes
And your silver cross, and your voice like chimes
Oh, who do they think could bury you?
With your pockets well protected at last
And your streetcar visions which you place on the grass
And your flesh like silk, and your face like glass
Who could they get to carry you?
Sad-eyed lady of the lowlands
Where the sad-eyed prophet says that no man comes
My warehouse eyes, my Arabian drums
Should I put them by your gate
Or, sad-eyed lady, should I wait?

Here it is by Joan Baez :

oOOo

Isn’t the best stimulant the curiosity of the person you love?

Thanks for reading. Happy New Year!

JP

Complex Water vs Simple Delights

Found this idea while listening to many new Progressive Rock tracks. From oldies to new things, I listened to a dozen albums (it’ll be another article), until something materializes

…between four “poles”, inside a square, showing me what I seek in this music.

ONE

The first pole is Esthesis. A very clean sound, changes, interesting instruments. But there’s a weakness, a strange one: chords and harmonies are static, and they are… simple. And if they change, it’s to come back immediately into “simple”.

It’s quiet, pleasant, harmless, it’s “simple water”.

TWO

The second pole is Dream Theater. Take any track. It’s fast, powerful, always changing, fireworky (listen loud!). But they build nothing! Watch the drummer…

It’s “complicated water”. No taste, bland, nothing-music, only energy. Technicians virtuosity, “things”…

THREE

The third pole is Fish on Friday. Suddenly more… comfortable. Much more quiet, like the first group, almost bland. But, like in the last Pink Floyd albums, they know something about giving pleasure harmonically.

It’s a good little thing. Like a petit four.

FOUR

The fourth pole is Flower Kings. A 27-minutes piece where they try to build something. Forget the nincompoopy lyrics, go to 20’20”, and watch them building something. They have pleasure! The bassist knows how to wait or accelerate. The drummer is present (instead of pattering like an idiot). And at 23′, the infinite modulante Puccini-esque crescendo gives me goosebumps.

Well this is a square, a four-points machine, a structure. You can study poetry or photography, love or sex, anything with that.

  1. Simple bland?
  2. Complex boring?
  3. Simple tasty?
  4. Complex tasty?

Each one has advantages! A good glass of water is great. Dancing on big DJ music is cool. Enjoying a complex whisky in winter is perfect. Having a 6 hours conversation with someone who likes it is fantastic.

But everywhere, a little tenderness, OK?

Merry Christmas, thanks for reading!

Complex Tasty “too much too much more more I like it” example:

Dumb as a log and other things

December is a good place to spot idiots. People running around, in crowded/emptied stores, like headless chickens, to find horrible presents, for a hated mother-in-law or a mean cousin, with a mask under the nose, ohlalaaaa.

Our word in France for morons is “con”. You can check on wordreference, “con” is a name AND an adjective.

Yesterday evening I was wondering about the English “Dumb”, therefore I googled “dumb as a” and found silly words, so funny I was hilarious in the streets.

I loved the “bag of hammers“! Haha!

We use hammer (marteau) to say someone is not dumb, but silly or crazy. “Il est complètement marteau” : He is completely hammer. Yess, it’s not “he is a hammer”, but “he is hammer”. I know.

We also say “Il est con comme comme un”, but with other “things”.

Il est con comme un balai (like a broom), comme ses pieds (like his feet), like the moon, or a chair, a suitcase, whatever.

These days I like to say “Il est con comme une bûche” (like a log). It’s more like a super-heavy-dumb, see?

The game is to go on https://www.expressio.fr/expressions/con-comme-un-balai to find things in other languages. Dumb as… bean straw (Germany), like pigeons, like a back door…

Thanks for reading!

Trifonov, Ware, hands & interior design: Chronicle 65

I decided to explore a bit much the field of Graphic Novels. I don’t really read comics but I own some “milestones”, like Spiegelmann’s Maus, Clowes’ Ghost World and Burns’ Black Hole.

So I found some Chris Ware (I bought Rusty Brown, and ordered Building Stories). I downloaded things and read a 21 pages chapter of Building Stories – (“(god…) Sometimes I Really Hate It Here“) and I’ve been flabbergasted.

Not astounded with virtuosity or avant-gardy marvels, but by the profound understanding of human life, the delicate way of showing body postures, the smart page layout (which loses you just a bit, enough to keep you focused). So, like with Chekhov’s short stories, I feel like… poisoned by the intelligence of it all and deeply touched by the facets of humanity in it.

Yeah that’s toxic, delightfully toxic. I read a little about Chris Ware (who is my age), and also found a multi-authors book named “The Comics of Chris Ware – Drawing Is a Way of Thinking“, which makes me smile, and then I smiled more, because of this “Introduction: Chris Ware and the “Cult of Difficulty”. Awww!

It’s slow reading…

Attacking Mazzuchelli’s Asterios Polyp. The character is an architect. We see him teaching something about “Linéaire/Plastique”, and my jaw opened, because I read the same day an article about Linéaire/Pictural, a fondamental opposition in Arts (I screenshot both books down there).

It’s clearly a good seed. It’s an art historian named Wölfflin who wrote 5 “principles” in arts, the first being : From linear (draughtsmanship, plastic, relating to contour in projected ideation of objects) to painterly (tactile, observing patches or systems of relative light and of non-local colour within shade, etc) -> Wiki.

You can google “linear painterly” and play – you find these facets :

  • Sculpture/Painting
  • Drawing/Coloring
  • the artist showing reality/the artist showing his idea of reality
  • Classic (the object as it is)/baroque (the object as it appears)
  • things as they are/things as they become
  • line/shape
  • functional/decorative
  • to draw/to think
  • etc

Yeah, good seeds for conversations lovers…

https://en.wikipedia.org/wiki/Heinrich_W%C3%B6lfflin

On Belgian radio I heard about Daniil Trifonov, a young and intense Russian piano player (I heard about him many times before), and I thought about “crazy artists of today”, like these graphic novels writers. Introverts, lost in their own minds, something like “too intense”, overthinking and working, therefore secreting marvels and “different” things instead of becoming alone and silly.

Here he is with Gergiev in an always-modulating shostakovich concerto :

Yesterday at work I talked with a thirty-something woman about her career : studying arts, working in interior design, feeling bored about all of it, and working, then, in food business…

Eventually, recently she helped friends to move and to… decorate their home. BUT this time she was not in front of ideas and pencils and computers, but with her hands, doing/making things. An epiphany! And we laughed, because she was coming back to the beginning, but in another way, understanding by doing – like some scholar finding concepts fixing motorcycles!

oOOo

All this is chekhovian and about the previous article of this blog (returning to things): Life’s not easy but we can/should stand up – it’s the subject of “(god…) Sometimes I Really Hate It Here” and of Asterios Polyp.

The artists and the pianists work like crazy and produce big things, all with their… hands.

Have a nice day! Thanks for reading!

Returning to things, returning to reality

Like the philosopher who understands concepts while he fixes motorcyles, thinkers find ways when their brain dances as they oddjob in reality.

I wrote a few articles about the body, who “calls” us all the time.

Today I read a magazine article about the French president, who was criticized because he explained on TV that we should not gather more than 6 people for Christmas (so it was: “It’s not the president’s role to talk about these “details””.), and was praised for the exact same sentence: it is a goodsmart way to show people that he was “in life”, and not “in the higher spheres”.

Yesterday I talked with a photographer, who told me that, as many others, he was coming back to film, analogue photography, which was a classic: a loss, a lack (each picture costs money, you have to buy films) and a progress (you focus much more, you think about when you trigger, etc).

But the main thing, he told me, was to be back in contact with paper, chemicals, grain, film, smells… Something real.

By the way I remember I held Bernadette‘s hand in a dark photo lab, at school when I was 15. Protected by darkness (the teacher had a passion for photography and taught small groups how to develop), we were holding hands. Emotion!!

(yeah later we kissed)

Thus, as a bookseller, I told him about Matthew Crawford‘s book ( Shop Class as Soulcraft: An Inquiry into the Value of Work – https://en.wikipedia.org/wiki/Matthew_Crawford ) – he’s a scholar in Advanced Studies in Culture and is also a motorcycle mechanic.

Example of abouts (I bolded the bold): “Every once in a great while, a book will come along that’s brilliant and true and perfect for its time. Matthew B. Crawford’s Shop Class as Soulcraft is that kind of book, a prophetic and searching examination of what we’ve lost by ceasing to work with our hands-and how we can get it back.”

So, voilà. We work with our brain, we think and we talk, we have memories. It’s out of the question that I’d say : “We should go back to do things with our hands”, blah. Nope!

Because you know me: we have to come back, to do both, to go back to hands, the skin, the smells and the reality – and thinking/talking. The tango between them is our throne, our machine, our power.

So welcome: we eat, we need sex, we walk (I hope so!), the body knows how to call!

Stuck? Stop thinking, DO something, explore and try, disobey to some rules, try something unusual, let the body and the hands act! And bake and cook, it works…

Like the philosopher who understands concepts while he fixes motorcyles, thinkers find ways when their brain dances as they oddjob in reality.

Patterning Unusual

The constant return of the body

Analogue

Thanks for reading!

Is “to exist” adhesion or emergence?

ONE

My poor structural brain just found a bone to chew on.

It’s… because I bought a philosophy book named “Vivre en existant” : to live by existing.

So here are verbs, three of them for a triangle :

to live – to be – to exist

Let’s play. There’s adhesion, or grip, to life. But curiously the word “EXIST” is like a tree :

  • To be, to continue to be, to persist
  • To be real, to be present
  • To have life, to live, to be able to live
  • To have the ability to be known, recognized, understood

There are more in https://www.thefreedictionary.com/exist.

Etymology gives something more.

From Latin existere/exsistere: “to step out, stand forth, emerge, appear”.

And in a way we all know that to live is to de-coincide with me, it is to emerge into the world. To operate, maybe?

There’s something like: to live is adhesion, fitting to what “is”, but to live by existing is to detach, unstick, take off.

The singularity of the experience.

TWO

All this mess is linked to other words, like “possibility”. I immediately thought about Deleuze’s becoming.

To find differences, and to begin multiple processes of transformation.

  • To think differently, but how?
  • What do we do with the unpredictable?
  • What is the effort to create a future that differs from the present?
  • Can we dream our own dreams, but how to get out of the trap they are, if they remain dreams?

Human life is ordered, classified, distributed, and managed: how can we shape possibilities?

Deleuze “becoming” is not to imitate something, it’s to get out of our “territories”, invent new plugs, quit the always-predictable to evolve in “becoming mode”. And for a day or an hour, you become a cat, a doctor, a wolf, a mother, a cook, a stone, etc.

The magic is the word “and” instead of the word “be”, ungrip and unhook from “I am this I do this”, to let propositions happen, to watch what is singular, or intense.

Will we make a web, will we bark, will we gather food like squirrels, will we be a child, for an afternoon? Will I become minoritarian for a day?

THREE

Told you, it’s a mess!

All this because of the “ex” is exist, “to stand forth”, hmmm.

What do you think?

Thanks for reading!

Risky suites of chords (and how to get them) ?

I downloaded French magazines like “Best of Music 2016“, and I dig, je creuse, through torrents or YouTube. I trash everything (rolling my eyes), but, well, I keep digging.

There’s a very lazy Radiohead album (A Moon Shaped Pool), an “I see what you’re doing, sillies” with rolled-out vowels I pfffed all along. But there’s this one: Burn the Witch, propelled by unstable harmonies, I found it… interesting (I try to forget the rolled out vowels). It floats in some uncertainties.

So there’s a lack, everywhere, I think, in the pop-rock field, of a producer saying: “No, dear, this is not good enough”.

This morning I listened to Paul McCartney’s Chaos and Creation in the Backyard, which is curiously entirely good. It was produced by Nigel Godrich (the, hmmm, Radiohead producer), who was tough enough to fight the myth, to push and jostle the singer:

According to McCartney, Godrich was at times blunt in his appraisal of McCartney’s songs-in-progress during the making of Chaos and Creation in the Backyard:

“Nigel… refused to allow me to sing songs that he didn’t like, which was very cheeky of him.”

Ah ah! I like this! Well, today (and then), the whole profession says it’s a masterpiece, an instant classic.

So I played the game of listening to the previous album and the next, entirely, and hmmmm, nope, it’s not that good, by far (but there’s one exception, a song names : “I do”.

I know exactly what Godrich did. Because what he got in “Backyard” is… harmony complexity (and surprises), which come from risky suites of chords and the subsequent modulations he has to make to follow).

Cf Friends to Go, very John Barry-esque (and oh, the lyrics!)…

This is such a good lesson. Good things appear when sometimes… we need someone we trust to say: “Hey, silly: not like that!”. Cheeky but lovely, right?

How do we find someone like that? Someone we trust enough? And more: when do we need this “coaching”? What kind of “producer” relationship is it? A superior? A lover? A Friend? A collaborator? A “push-me-out-of-my-comfort-zone” guy? What if we need this and we don’t now it?

Have a great day!

Lion’s Cave & Resignations: Chronicle 64

When you read people about MBTI, they’re all INFJ! If I exaggerate a little I’d say 95% say they are INFJ, though it’s 1% in reality.

“OMG THAT’S SOOOO ME!”.

“I’m an empath, an introvert, I’m so rare, I can feeeeel people”. So rare but they’re all “so rare”. Why not, after all: it’s all a game of grids, right? Percentages for people are rarely accurate, and one can’t forget that some “types” are sometimes used as an excuse or justification for certain unhealthy behaviors – like “I’m doing nothing because I’m like that, so there”.

oOOo

I got rhythm
I got music
I got my guy
Who could ask for anything more?

Mike Oldfield really?

When I was a teenager I went to the neighbors’ house with my parents to have a pre-dinner drink. It was very quiet and boring.

I was maybe 13. My neighbors had two daughters. One of them, who was maybe 16, showed me a record with a blue butterfly on the sleeve and put it on the turntable. It was Platinum, by Mike Oldfield. The most incredible artistic shock of my whole life. I fell off my chair. Almost cried.

What was it? It was like a 20 minutes long track with a disco rhythm, gorgeous guitars, breaks and crescendos. I was flabbergasted. It was pulsing rocketing ideas everywhere. My head exploded.

Years later I understood. Skills. In Platinum, Mike Oldfield :

  1. had the bottle to build a 20 minutes disco complex instrumental “thing” with big guitars, disco rhythms, a big brass and a Phil Glass repetitive ending.
  2. is a great melodist.
  3. likes crescendos, likes to pull levers on crazy levels (cf Amarok)
  4. obviously looks for the audience’s ecstasy.
  5. is a bit crazy, daring crazy, the good crazy.
  6. has a VERY special guitar sound.
  7. dares an energic Punkadiddle “rock with a recorder and a crowd”.
  8. writes dreamy echoes in the night (Woodhenge).
  9. A Gershwin cover track.

So, I bought the album and it was my very first LP! Listened to it for months before I bought others (Ommadawn, etc).

There’s a big question today, in my head, about why he lost his skills as a composer. Lack of energy or inspiration is common when you come to 50, 60 years old, but…

mike-oldfield-platinum-lp-album.jpg

oOOo

There once was a lion who was too lazy to hunt for his food. He pretended to be very sick and announced to all the animals that he was soon to die.

“Please,” he said, “come visit me in my cave and bid me goodbye.”

The lion looked so weak and helpless, the animals felt sorry for him. One by one the visitors came. One by one, the lion ate his fill of them!

When fox arrived to pay his last respects, he stopped in front of the cave’s entrance and looked closely at the ground.

“Come in quickly, I am dying!” cried the sly lion, impatiently.

“No,” said the fox, who was equally clever, “You’ll not have ME for a visitor, though you moan and pout. While I see many footprints going into your cave, NONE are coming out!”

oOOo

Ahhh the rest job face :

Diljob.jpg

oOOo

oOOo

Collins Dictionary: Resignation is the acceptance of an unpleasant situation or fact because you realize that you cannot change it.

Descartes: My third maxim was to endeavor always to conquer myself rather than fortune, and change my desires rather than the order of the world, and in general, accustom myself to the persuasion that, except our own thoughts, there is nothing absolutely in our power.

W. Somerset Maugham: I can imagine no more comfortable frame of mind for the conduct of life than a humorous resignation.

oOOo

I read about a study on the factors that employees consider motivating. Good wages, interesting work, the security of the job, of course, but the number one factor was “to be valued”. Really valued.

It’s not about a bonus or a “best employee of the month” challenge. It’s something like :

“I see what you do and I appreciate what you do”.

People often do the best they can with what they got. And they wait, they need to be seen…

Makes sense, right?

It’s a special case for life, this theory telling that everything we do in society is to be loved.

Thanks for reading!

Structures against Changes

Again, always:

“How to catch what moves, generates, leaks, becomes, invents, slips, spurges… instead of contemplating what we think is fixe, immutable, eternal, stable, immobile?”

Today I like it because I think about models:

“A model is a lie that helps you see the truth”

– H. Skipper

So there’s a bias: the propensity of the thinker to believe that the model IS the principle of people’s actions. That’s wrong because “Haecceity”: people move, mutate, and invent!

We have time to think outside of life, but when we’re inside of the flow, models and rules are just “grids”. Life’s more about strategies, hesitations, adaptation and attempts. We try to plug!

Nevertheless, structures are useful, they are tools to watch, magnifiers or rulers.

What I’d like to study, in a given field, is “how structures change”.

We also could study the difference between structure (or model) and practices, or how it is a mistake to trust “habits” and customs. In fact: surprises!

Working with models is great but they are virtual cages, and we lose a substance: the complexity of the human mind.

That’s the purpose of the at-the-top quote: “How to catch what…”

Thanks for reading!

Questions about Difference

There are “seed words” like this one. Just a word. This word is covered with moving strings. It resonates. It’s like a multi-tool. Difference:

  • Difference “of what”? Intensity? Nature?
  • Do we talk about meaning, or identity?
  • Can two things be different in appearance, but not in itself?
  • Quality or quantity?
  • Are differences oppositions? What (and why) is affirmation of difference(s)?
  • Are differences states? Like raw and cooked, alive and dead.
  • What’s the struggle to define differences and where do we see that?
  • If compliance is a state, what is a superior accomplishment? What is deviance?
  • What is resemblance? How is resemblance a difference?
  • Must difference be represented?
  • What is simulacra? What is virtual? Is it the same, but not the same?
  • What are structures, or models? Finding “the same” within differences? Are there levels of differences then?
  • Is negation opposition?
  • What is differentiation? The process of becoming different? Who notices?
  • What is diversity?
  • Can one cancel differences? What for? How?
  • What is extension? What is “to grow”? Evolution? Are there levels and stages? What are stages?
  • What is an evolving system? What evolves, what parts? Is there a “system of growing differences”?

Where do we see this?

Thanks for reading!

Chekhov’s Gun & its Disobedience :Chronicle 63

Confinement 2.0 in France: the whole of November – but most specialists say that it’ll need 2 or more months to be effective, and only if people respect the game.

The problem is if universities are closed, all schools are opened. If people are encouraged to work from home, many can’t.

More: a problem appears from the fact that all small stores are closed (florists, hair styling salons, bookstores) AND supermarkets are not. The little ones want to stay open, but if you do that, the confinement is silly! Therefore the government ordered them to close the “non-essential” parts, like toys, flowers, books, etc.

Strange days, right?

oOOo

I had the idea to build an alphabetical exploration in the blog. So now I’m working on A, but I’m lazy! I watched Losey’s Accident for that.

oOOo

I reached 500 “real” followers here, after 4 years. This means, I want to believe, that readers love “one subject” blogs, but not that much “a little of everything” blogs.

oOOo

Chekhov’s gun is a dramatic principle that states that every element in a story must be necessary, and irrelevant elements should be removed. Elements should not appear to make “false promises” by never coming into play.

Of course, you want to disobey this, right?

oOOo

I wonder what an American person does to imitate the British accent. I think there’s something with “t”. Better said better instead of bedder. Often said often instead of offen. There’s also a singing quality, I think. Am I wrong?

oOOo

I searched the two words “Trump Lord” on Twitter and read a few dozens of tweets. Ohlalaaaa! US religious persons sound very strange to me, I really don’t get it. I asked a question and got an answer: “We need to look to God & His Word for His plans & purpose. He desires repentance & readiness for His 2nd coming. He desires that all be saved through Christ and come to the knowledge of the truth. He is Holy, faithful & just. God will keep His promises.”

oOOo

Watched a documentary about U2, full of little ideas. What I realize, after such months with The Beatles, it’s how… The Beatles are good composers!

U2 has been a hitmaker. The film (about Joshua Tree) shows their different ways to achieve that…

Bono is very charismatic, Edge has an interesting “sound” (infinite guitar, etc), the bass player is limited (dom dom dom dom dom) but very effective, and the drummer is fantastic. They are not great “composers”, but they have plenty of energy, goodwill and a great singer/lyrics writer, they have good rhythm ideas, a sense of “hymn” things, and… Brian Eno/Daniel Lanois are good producers!

If you type “U2 Chords” on YouTube you get things like “Four Chord Easy Beginner Guitar Song”, which is cruel.

Of course, this was a delight to hear Eno & Lanois and their differences and facets, Eno as an intellectual (who loves gospel), Lanois as a fascinating clever person. Both have such a look in their eyes…

oOOo

I bought Ronan Farrow’s book about the Weinstein affair, a Gertrude Stein biography and Bryson’s book about England. Then I realize that the two last books are about Americans living for decades in Europa. I’m probably interested in what they noticed.

Have a nice day! Thanks for reading!

Eugene Korolev, Russian Digital Artist

Eugene Korolev, Russian Artist

This guy is fantastic. I love his subjects, his dreams, his colors. It’s good craziness, it’s frightening and funny, it’s great !

You’ll find plenty at : https://www.artstation.com/evgen

This one is clickable :

Instant Oyster or Tent?

There are so many way, for humans, to protect themselves from stress.

Many will fight, “Up and at’em!!”. Others will run away – and that’s often smart!

Most thinkers know that against stress there’s one good solution: flee from the source of stress.

There’s another one: realize that stress does not exist in reality, but only in our brain, that stress does not penetrate your body through an ear or a toe, but that we secrete it.

OK, but now we all know that we sometimes have to deal with it. There’s no way, now, to escape.

Let’s not talk about fighters, we’re all introverts here, right?

To protect me against stressy people or situations, we can also oyster.

An oyster is a mollusk in a shell, a closed shell. When you oyster against stress, you stay here and nobody notices you’re oystering. You now just contemplate bullshit like a wise koala in its tree, maybe even smiling inside…

There are subtleties in the way we can oyster.

  • We can tent, the famous “instant tent”. You just need half a second to instant tent. Hop and vroush, here you are.
  • We can spider: in a hole we hide, there’s nothing more than a string that connects you with reality.
  • We can ice, too: immobility of the mind.
  • We can tree, wise and vast and upstairing, talking to birds and clouds and the sun, solid on roots…

What do you choose? Where (Work? Couple? Parents?)? Is it effective? How long?

Thanks for reading!

“OK, that’s good, why?” and how we look into it.

What do you listen to in a song?

  • Melodies, harmony, structure, voices, bass, guitars, keyboards, drums, originality, energy, lyrics, production?

What do you watch in a photography or a painting?

  • Colors, details, meaning, characters, originality, lines, atmosphere, size, composition?

What do you watch in a book?

  • Progression, story, characters, style, words, originality, phrases?

What do you watch in a movie?

  • Scenario, editing, characters, frames, camera work, action, sense of place, composition, music?

And in architecture, poetry, marketing?

It’s not exactly how we “watch” something, but how we stop in front of something and try to understand where the pleasure comes from. A little bit more like:

“OK that’s good, why? – let’s look into it”.

My choices upstairs are bolded. Lyrics are probably important when I discover a track, BUT I always try to understand the structure, I listen to the bass player, and harmony progressions and changes. More than melodies, or the song’s energy.

In front of a painting that stops me, I want to know “what did the painter want?”. Same from photography, or movies. I dig into (or try to imagine) how the artist dealt with the audience.

So, well, it’s a matter of empathy, or structures/skeletons, of what’s hidden. Nobody listens to the bass, nor really cares about a photo’s composition. It’s all about the singer or the lead guitar, it’s all about colors and “events”.

What I choose to look into tells a lot.

Therefore I think that it is a good exercise when we meet someone, to watch and listen and ask: “What do you like in this? Why?”.

This “says” something about the person. If they are an empath or not, if they’re a thinker or not, fast or slow, surfacing or diving, heavy or light…

Thanks for reading!

Foxery is Mêtis’ Cunning

The concept of Mêtis comes from the ancient Greeks. It is a strategy involving “the cunning of intelligence”.

Mêtis is practical, it’s about “what happens”, the moment and the now, changing things, unpredictable things needing immediate action.

It is like a “fight with reality” (or a dance) to maybe save the day, including technical matters: the archetype then becomes the artist, the craftsman, the handyman – with a use of a global knowledge, playing games, inventing solutions.

Cunning against what (or who) is stronger, using hiding and secrets.
Intelligence’s strength stays sometimes in the Art of not being seen, therefore the other is stupid! This includes the use of lures and ploys.

Good examples are the Trojan Horse or archetypal characters like Robin Hood or Zorro.

This idea of “honest cunning” has been written “renarderie” in French, it could be Foxery.

The idea of “now adaptation” and cunnings sounds very Chinese to me.

See: Cunning Intelligence in Greek Culture and Society Jean-Pierre Vernant and Marcel Detienne, and of course the 36 Stratagems.

I’m sorry for my improbable Frenchy English. This was just a casual article, just a seed for thoughts.

Thanks for reading!

Look at all the lonely people, Eleanor : Chronicle 62

Music is a pleasure of life, and it’s useful too. One day I realized that there are musics “for”.

  • Music to give birth to images. Imaginary landscapes or anything. Images.
  • Music decor.
  • Challenging musics you don’t understand. You need explanations. Or books. Exploration. Typical for me: Mahler.
  • Music can help you to work, to focus, to give brain energy.
  • Dancing in your house.
  • Musics for remembrance. Memories.
  • Music for energy.
  • Music to be together (concerts)

I wanted to write an article named “This Author? I have everything…”.

You probably have one, if you’re a reader, right? Or two.

I have everything (or almost) of Jünger, Proust, Chekhov, Faulkner, Valéry, Borges and Bernhard.

And you? Why?

Nietzsche: The Camel, The Lion, The Child. What are these?

Like what? Levels?

  1. The Camel is a carrier and he is strong. He’s a walker, a traveler. But also: “The camel develops the desire to unburden itself, take control of its own destiny and say its own “I will”.”
  2. The Lion needs to rule over the desert, to become a lord, struggling with existing lords, like the dragon who says “You shall”. The lion don’t say “I will”, he says “No”.
  3. Then, the Child. He’s at play: “The child is innocence and forgetfulness, a new beginning, a game, a self-propelling wheel, a first motion, a sacred Yes.”. Unburdened of many customs and conventions, he explores, changes, he creates!

Well I kind of like it.

There’s something about one Art lover who was in love with a well known painting, I don’t remember which one, but this painting was placed in a museum on another continent, thus the poor man had never really “seen” the painting. A TV channel proposed him to pay for everything, following the poor man with cameras. TV loves emotions!

At least, he’s put in front of it, puts his hand on his mouth and cries, overwhelmed with emotions, etc.

  • Or not: how can you be really moved when two cameras stand in front of you?
  • Or else: what do you feel when you’re “supposed” to feel something?
  • Or more: what if you don’t feel the expected, at all?

We’re here into the well known “be spontaneous paradox”. A vexing communication block occurs when one person requests or demands something from another that can only be given spontaneously – like trust, love, interest, acceptance, appreciation, desire, and respect.

The idea of “breaking the fourth wall” is always interesting, it’s a strangeization process, something unusual to catch back the audience…

It talks about a convention (in a play or a film, actors usually don’t talk to the audience), therefore it tells something about the director, “conventions breaker”, why, etc.

It can be done metaphorically, like: “This can be done through either directly referring to the audience, the play as a play, or the characters’ fictionality.

It’s about meta, about originality, about sympathy too : I love when Woody Allen in Annie Hall (I think) talks to the spectators in a middle of a scene (engaging, using me as a friend-witness, etc).

https://en.wikipedia.org/wiki/Fourth_wall

The Muslims veil says “I don’t want to show you my hair”.

So?

What are my Third Path Pattern?

  • I have to choose A or B – I choose C
  • I have to choose A or B – I choose both

What are yours?

Is there a Tim Burton problem? Of course you’ll find his last interviews where he says he’s a bit tired, and he’s aware of every artist “loss of inspiration”.

My Tim Burton problem is the pattern “cult and original and so different”, but the… mainstream way. It’s a bit like the goth culture problem, they feel and dress “so different” but the whole thing is always the same and predictable (clothes, music, moods) AND they always gather to be… together.

So: mist, black things, cemeteries, weird trees, etc. Burtonesque.

Sometimes it’s marvelous (Nightmare Before Christmas!), most of the time I roll my eyes, sigh (Alice, etc).

Thanks for reading!

PS : Grammarly doesn’t work properly in the new WordPress “block” editor. Any clue to make it work?

PS 2 : http://www.theindierockplaylist.com/

Thomas Struth, German photographer

Thomas Struth, born in 1954, is a German photographer.

I read about him (he loves museums, he loves “series” of photos, he shows large formats) and I watched his pictures, but I couldn’t find or decide why I stayed… but I stayed, and kept exploring his work.

This tropism, when you discover something, you don’t know why you insist exploring it, because obviously you don’t know why you like it, but you like it!

Is it because of this street :

Or this road :

Or these people watching… what :

Or this city :

Like Jeff Wall, he :

These photos stop me. They have something I don’t understand.

I have this inner smile.

Well, I think I’ll need a book…

Thanks for reading!