9 de marzo de 2012

Día Internacional de la Mujer

Inquietante la disparidad de mensajes que circularon por FB a causa del día internacional de la mujer.
Había felicitaciones cursis, mensajes combativos, indignados, celebratorios, pachangueros, irónicos, misóginos, laudatorios-paternalistas que no hacían sino insistir es su objetualización (la horrible guitarrita con cuerpo de mujer), conmemorativos de episodios de la lucha por la igualdad, los que demandaban igualdad de derechos (pero el problema no está en la ley sino en la cultura), mensajes que desubjetivaban la conmemoración (“¿acaso yo los felicito el 1 de mayo?”), los que la negaban, los que alababan a los hombres que desde su subjetividad luchan por transformar esta condición cultural… desde mensajes felices hasta encabronados…

Mensajes de que algo anda muy pero muy mal. 

4 de marzo de 2012

Slavoj Zizek about "Paranoid Android" by Radiohead

Slavoj Zizek about "Paranoid Android" by Radiohead 

1. "In horror movies, one of the standard procedures for effective nightmare scenarios is one where the alien is inside oneself. This idea that inside your body there is a wormlike or other formless creature which dominates you and later the horrible, nightmarish moment when this thing is forced to come out. The video clip "Paranoid Android" is crucial for me because of its cartoon form. The horror lies in the idea that this "undead universe" of cartoons is transposed

2. into real life. The nightmare occours I think when a living being, which is dead symbolically, doesn't fit in our reality. There is a precise english term for being neiter dead or alive - the nightmare is the domain of the "living dead". The ultimate paradox. The true lesson of nightmares is therefore that we are not scared mainly of death like some philosophers will let you believe, but it is this "radical obscene immortality".

3. When someone says "immortal" one always thinks of christian blessings (etc.) of immortality...but no, immortality is something horrible...it is something that occurs in Stephen King novels... What I want to emphasise here is how narrow the line is between nightmare and comedy. Doesn't the same happen in Tom & Jerry? You know, when the cat is....sliced, overrun by a bulldozer... and in the next installment the game starts again. "

Translated by mikerino 

Slavoj Zizek about "Karma Police" by Radiohead "Rabbit in your Headlights" by Unkle

Slavoj Zizek about "Karma Police" by Radiohead and "Rabbit in your Headlights" by Unkle. Videos by Jonathan Glazer.




1. In two clips, Karma Police and Rabbit in your Headlights, we have two similar but not identical situations. A person is being followed, is hit by cars and at the end there is a kind of a cut. In one case it is a complete cut - the person stops running and stands still, so that the cars explode - a reversal of the situation - and in Karma Police he lights a match, starting a huge fire. This breaks the vicious circle of the nightmare, and indeed I find it very successful, which...

2. ... is why I admire these two video clips very much. They present a very nice cinematic equivalent of waking up, because his standing still means for me "Okay, if I wake up, the nightmare will disappear."

3. The video clip Karma Police stages another feature of the nightmarish situation perfectly, namely the paradoxical mixture of immobility and violent motion. You move, but the faster you move in a nightmare world the more you become aware of your immobility. For example, when the car...

4. ...accelerates and tries to catch up with the person, but, though it gets faster, they somehow never meet. This is interesting because it sheds new light on the old paradox of Achilles and the tortoise, whereby Achilles cannot catch up with the tortoise. This is the elementary machinery of dream logic. So why do I mention this? Isn't this mixture of extreme mobility and immobility also our situation as cinema or video spectators? We are, as spectators, having our own mobility reduced, while...

5. ... simultaneously being bombarded with extreme activity. We are immobilised, but at the same time ?part of a cinematic event?. So I would say that nightmare is not only one of the possible (?) and themes of film, but that the formal composition of film is itself something nightmarish.
Translated by amiablesnowman

Slavoj Zizek about "Come to Daddy" by Aphex Twin

Slavoj Zizek about "Come to Daddy" by Aphex Twin 


·         1: "Nightmare is not simply horror, not simply anxiety, not simply tension. in the nightmare there is always an ambiguity of border-crossing, of externalisation, where you meet an object that emerges from your deepest inside."
·         2: "let's take an object like saliva in your mouth: it's not disgusting/horrible, you can swallow it, no problem.
·         3: "to generalize this: now imagine on the same level your most secret objects of your fantasies, your most secret dreams, by which your whole psychic identity is structured. But precisely because they are so known/intimate to you, you don't dare to confront them directly. So this is precisely what you do confront in a nightmare."
·         4: "this tv-set not simply becomes alive, that would be too primitive. instead of this the SCREEN becomes alive and a creature emerges and steps out into our reality."
·         5: "in our daily life we have a clear distinction between the screen we are projecting our fantasies on and the reality. the horror consists here again in crossing the limit - in both ways."
·         6: "because - let me put it here in clear terms: what is happening on the screen? the screen in a way is the realm of the undead. i think, the primordial experience of the screen is the experience of some kind of ghost-realm. what we see on the screen is always some kind of undead, ghost-like life. but the horror arises not until this border, that sperates us from the screen, is transgressed."

Translated by mangomungo hace 1 año


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