RETO Y DERRUMBE

Muere Michael Hart, padre del libro electrónico

2011-09-09T10:29:00.002-05:00

Hoy murió Michael Hart, norteamericano, quien fundó en 1971 el Proyecto Gutenberg, que desde esa fecha se ha dedicado a capturar en formato digital libros cuyo copyright ha expirado.

Descanse en paz.

configuración

2011-09-01T17:08:00.000-05:00

procesador
identificación: intel celeron d 3.06 GHz
codename: presler
frecuencia: 2400 MHz
caché L1 32 KB
caché L2 512 KB
socket 775

placa base
biostar gropu p4m89-m7b

tarjeta gráfica
via/s5g unichrome pro igp
modo 1024x768 a 32 bit de profundidad de color

bios
fabricante: phoenix technologies
fecha: 08/02/2007
versión: 6.00 pg
tamaño: 512 KB

2011-08-31T12:23:00.000-05:00

Classification biologique

Les espèces actuellement les plus proches de l'humain sont les deux espèces de chimpanzé : Pan troglodytes (le chimpanzé commun) et Pan paniscus (le bonobo). Par leur proximité phylogénétique avec l’homme, viennent ensuite le gorille et l'orang-outan. Le génome des humains ne diffère que de 0,27 % de celui des chimpanzés et de 0,65 % de celui des gorilles. Ces chiffres conduisent à estimer que notre lignée s'est séparée de celle des chimpanzés il y a environ cinq millions d'années, et des gorilles il y a environ sept millions d'années

fr.wikipedia.org

2010-11-13T09:52:00.003-06:00

Nabokov's Lectures on Literature at Cornell University where he was appointed an instructor in 1948, reveals his controversial ideas concerning art.^{[citation needed]} He firmly believed that novels should not aim to teach and that readers should not merely empathise with characters but that a 'higher' aesthetic enjoyment should be attained, partly by paying great attention to details of style and structure. He detested what he saw as 'general ideas' in novels, and so when teaching Ulysses, for example, he would insist students keep an eye on where the characters were in Dublin (with the aid of a map) rather than teaching the complex Irish history that many critics see as being essential to an understanding of the novel.

***

To him, the "originality, invention, conciseness, harmony, complexity, and splendid insincerity" of creating a chess problem was similar to that in any other art.

***

His Time obituary reads "Politically, Nabokov saw himself as an old-fashioned liberal, though by current standards he was a William F. Buckley conservative. His suggestion that the portrait of a head of government "should not exceed a postage stamp in size" makes good sense in any ideology.

---wiki

2010-11-05T09:55:00.000-06:00

Influenced by the Swiss anthropologist Johann Jakob Bachofen (1815–87), Walter Benjamin coined the term “auratic perception”, denoting the aesthetic faculty by means of which civilization may recover an appreciation of myth.

2010-11-05T09:51:00.001-06:00

Baudelaire began asserting that traditional art was inadequate for the new dynamic complications of modern life.

***

The observer-participant dialectic

is evidenced in part by the dandy culture. Highly self-aware, and to a certain degree

flamboyant and theatrical,

dandies of the mid-nineteenth century created scenes through outrageous acts like walking turtles on leashes down the streets of Paris. [1] Such acts exemplify a flâneur's active participation in and fascination with street life while displaying

a critical attitude towards the

uniformity,
speed,
and anonymity of modern life in the city.

**************wiki

2010-10-28T17:07:00.010-05:00

The approach to the circuits which evolved at MIT was to set about to make the circuits fast and then the computer simple.

Through our history, many of the ideas came from our customers.

But in general, the market wasn't asking for it. Market surveys came to the conclusion that people wanted exactly what they had. That's because that's all they'd ever seen.

You never can say for sure because somebody else might have done it first.

DKA: Is DEC more open with its information about machine design than other companies?

KO: Probably so, because of [our] academic background. But even more important, it takes a lot of discipline to get people to write. After you're finished with a job, it's very hard to write about you've done because you're ready to go on to something new. Getting people to write down all they know about the project they worked on takes discipline and effort.

The company changes consistently and regularly. The people we hired initially of course were not trained in computers. They came from all kinds of backgrounds. Musicologists was surprisingly popular.

The military is always several years behind in computers, and getting farther and farther behind. They're not in a position to lead the computer industry just because of the way they're organized.

I think the interesting thing to observe about computers and computer technology is that the most significant changes people don't notice. Things they worry about never become a problem. For example, the hand calculator really was a revolution. No one predicted it, no one worried about it. It sneaked up on us and suddenly we all have them, we all use them, and we never thought of it as revolution. It just sneaked up on us.

I tell our people when I'm asked to lecture, look at the old people you want to be like.

I used to think that computers could do no harm. But there are some things which do worry me. Some people study computers and don't learn anything else. Computers are just tools to do something; you better be expert in something and consider the computers the tool. The computers are fun and exciting but they're just tools, and we better make sure that we know something about what the computers are supposed to solve not just the computers.

Computers also produce an enormous amount of data and people get confused with that. Data is not information. That's been pointed out. You put the data in a form which is useful and you have some information. But a large amount of data isn't information. I think in business making graphs is a menace.

***********ken olsen

http://americanhistory.si.edu/collections/comphist/olsen.html#tc1

2010-10-24T11:26:00.000-05:00

"The Internet is not about technology; it's about communication. The Internet connects people who have shared interests, ideas and needs, regardless of geography."

*************Bob Taylor

wikipedia

2010-10-16T13:08:00.001-05:00

Files have names, and can be referred to throughout your comnputer. But a file may include pieces of data which do NOT have names, and CANNOT be referred to elsewhere. Sometimes this is what you want. But often you would like to be able to refer to the smaller units WITHOUT names, and often you wish you did not have to refer to the larger ones WITH names.

************ ted nelson

http://xanadu.com.au/ted/TN/WRITINGS/TCOMPARADIGM/tedCompOneLiners.html

2010-10-16T13:08:00.000-05:00

In Unix, you can pretty much do anything. There are no "applications". You can run any program on any data, and if you don't like the results, throw them away. Computer liberation will mean empowering users to have this same kind of control.

********************** ted nelson

(cfr. Forth)

http://xanadu.com.au/ted/TN/WRITINGS/TCOMPARADIGM/tedCompOneLiners.html

2010-10-13T16:46:00.000-05:00

A VIC 20 combined with Terminal Cartridge and VIC Modem was one of the only ways to use BBS services and pre-internet Information Services like CompuServe.

http://www.commodore.ca/products/vic20/commodore_vic-20.htm

2010-10-12T22:47:00.000-05:00

for a new publishing system of the future, and it seemed manifest to me in 1960 that we would be reading and writing on computer screens that were interactive and all this would be fed by a vast feeder network of digital digitalia around the world, since we're going to be publishing in a system of this kind, what would be the reward structure, what would be the document structure, and what would be the most beneficial extension of literature as we knew it. To me literature is the great ideal here, not some engineer's notion of information retrieval.

----------ted nelson

http://web.archive.org/web/20041009214354/http://www.ics.uci.edu/~ejw/csr/nelson_pg.html

2010-10-12T17:30:00.001-05:00

Links meant that literature no longer had to be sequential.

As Alan Kay pointed out, literature was the software of the era.

http://www.rheingold.com/texts/tft/14.html

2010-10-12T17:18:00.002-05:00

Ted Nelson started his often lonely and always stubbornly unique intellectual journey when he first realized what they were trying to do to him in school. "I hated school all my life," he claims, "from the first grade through high school, unrelentingly and every minute. I have never known anyone who hated school as much as I did, although my assumption is that other dropouts do."

"The result is a seemingly anarchic pool of documents, true, but that's what literature has been anyhow . . . ," Nelson claims. "Its orderliness is not, as some would suppose, imposed by the computer or its administrators, but by something which arose long ago in the natural structure of literature, and which we are merely retaining."

If this all seems like a wild idea, that means you understand it.

http://www.rheingold.com/texts/tft/14.html

2010-10-12T17:00:00.001-05:00

As far as I know, there is still not a Decent Writing System anywhere in the world, although several things now come close. It seems a shame that grown men and women have to rustle around in piles of paper, like squirrels looking for acorns, in search of the phrases and ideas they themselves have generated. The decent writing system, as I see it, will actually be much more: it will help us to create better things in a fraction of a time, but also keep track of everything in better and more subtle ways than we ever could before. […]

*****************************ted nelson

http://www.mprove.de/diplom/ht/tndm.html

ted nelson, one-liners

2010-10-11T13:39:00.006-05:00

Imitating paper on a computer screen-- as almost all consumer applications presently do-- is like tearing the wings off a 747 and using it as a bus on the highway.

...the game of DOOM is far more realistic than anyone expected was possible, because the programmers skillfully used fast interaction and blur rather than high resolution.

Hypertext is not technology but Literature. Literature is the information that we package and safe (first just books and newspapes and magazines, now movies and recordings and CD-ROMs and what-all). The design of tomorrow's literature determines what the human race will be able to keep track of and understand. These are not issues to be left to "technologists".

Information always comes in packages (media bundles, called "documents" (and sometimes "titles")), and every such package has a point of view. Even a database has a point of view.

**********ted nelson

http://xanadu.com.au/ted/TN/WRITINGS/TCOMPARADIGM/tedCompOneLiners.html

2010-07-17T23:06:00.001-05:00

Le Poète TS Elliot disait dans Le Roc, l'un de ses célèbres poèmes :
“Où est la vie que nous avons perdue en vivant ? Où est la sagesse que nous avons perdue dans la connaissance ? Où est la connaissance que nous avons perdue dans l'information ?”

http://www.lemonde.fr/technologies/article/2010/07/16/pouvons-nous-devenir-plus-intelligents-individuellement-comme-collectivement_1389003_651865_1.html

2010-06-17T23:54:00.001-05:00

la piel inventó el lenguje
para distraer
del verdadero propósito
el CONTACTO

2010-06-17T23:44:00.001-05:00

la belleza

resultado de la fricción

entre los sentido

y una realidad externa-interna

----lugar de la belleza: lugar de un encuentro entre territorios indomables----

2010-06-17T23:43:00.002-05:00

La belleza nace donde el grito se convierte en gemido
el gemido en silencio
y el silencio en espejo
----espejo que sólo sabe reflejar espejos----

bion, esquizofrenia como panpsicopatología

2010-06-15T18:30:00.001-05:00

La primera preocupación de Freud no fue delimitar neurosis y
psicosis, sino poner en evidencia la psicogénesis de toda una
serie de afecciones. A la inversa, Bion ubicó el paradigma de la
enfermedad mental en la esquizofrenia. Según él esta enfermedad
tiene como origen la intolerancia a la frustración. El paciente
huye de la frustración negándose a mentalizarla. Lo logra destruyendo
o invirtiendo la función alfa. También Bion encaró casi
toda la patología mental como trastornos del pensamiento.

http://www.apdeba.org/publicaciones/2000/02/articulos/022000bleandonu.pdf

bion, parte no-psicótica

2010-06-15T18:25:00.000-05:00

Bion extendió este modelo para que pueda abarcar el
proceso de mentalización mismo. El punto primordial es que la
mente necesita del reverie materno para dejar de pensar en forma
concreta. Antes que la personalidad pueda disponer de una parte
no psicótica, es imperativo que haya logrado instalar en ella esta
capacidad de continencia y de transformación.

http://www.apdeba.org/publicaciones/2000/02/articulos/022000bleandonu.pdf

bion, reverie

2010-06-15T18:16:00.001-05:00

http://www.apdeba.org/publicaciones/2000/02/articulos/022000bleandonu.pdf

gauguin, influences

2010-06-14T10:18:00.001-05:00

Il (Paul Gauguin) cherche son inspiration dans l'art indigène, dans les vitraux médiévaux et les estampes japonaises.

---fr.wikipedia

marcel mauss,,,,,,,,,,,, psicologçia y sociología

2010-06-11T10:19:00.000-05:00

Mauss wrote extensively for the Journal of Normal and Pathological Psychology and served as president of the Society of Psychology from 1923 to 1926. He believed that data about primitive cultures were necessary to the science of psychology, and he wanted to facilitate exchange of information between it and sociology. He died on Feb. 10, 1950.

http://www.answers.com/topic/marcel-mauss

evene.fr

2010-06-10T10:38:00.001-05:00

evene.fr

paul nizan

2010-06-10T10:18:00.000-05:00

http://www.paul-nizan.fr/

origen del deseo de ser analista

2010-06-04T10:34:00.000-05:00

El análisis del deseo de ser analista, por medio del cual se troquela la escucha analítica, tiene que ver con momentos de profunda angustia infantil (Agustín Palacios, comunicación personal), con relación a aspectos de nuestras pulsiones parciales infantiles en los que nos jugábamos la vida, y ante las cuales generamos un estilo caracterológico específico, y que estamos obligados a intentar entender en el desempeño de nuestro trabajo.

Mireya Zapata Tarragona (APM)

http://www.apm.org.mx/Portal%20APM/cuadernos/2001/2001.html

textos, cantidad producida por la humanidad

2010-06-02T15:40:00.000-05:00

The little Google search window would be the gateway to the content of the 32 million books, 750 million articles, 25 million songs, 500 million images, 500,000 films, 3 million television programs and 100 billion public Web pages that Wired writer Kevin Kelly estimates humanity has published since the days of Sumerian clay tablets. To store all of this gigantic volume of data -- estimated at 50 petabytes -- would still require a building the size of a small town's library, Kelly wrote in a 2006 article for the New York Times. But in the future, all of that knowledge will be only a mouse click away -- and will fit on a single iPod.

---------spiegel online, 2003

http://www.spiegel.de/international/business/0,1518,473529-2,00.html

otto rank

2010-05-19T12:48:00.001-05:00

For each patient I need a different theory.

-----------Otto rank

http://www.ottorank.com/essays/the-evolution-of-psychotherapy-since-freud

freud durante las sesiones

2010-05-19T12:36:00.000-05:00

Often Freud would discuss books, theoretical points, even art and politics in the analytic hours.

----------------James Lieberman

http://www.ottorank.com/essays/the-evolution-of-psychotherapy-since-freud

hand-work

2010-05-01T11:08:00.001-05:00

I love to do things with my hands.

So in America there is so much to do for fun; I do not understand those people who are sitting on their big cushions in front of T.V. and complaining.

--------victor belenko

http://www.fullcontext.org/people/belenko.htm

glock

2010-03-22T14:13:00.000-06:00

Back in 1981 Glock was producing plastic grenade shells for the Austrian army, in addition to plastic curtain-rod rings. One day he overheard two colonels complain that no gun existed that could meet their specifications. When Glock offered to make one, they laughed at him.

"You do not laugh at Mr. Glock," says Christopher Edwards, the burly former deputy sheriff of Jefferson County, Kentucky, who now runs Glock's training program in Smyrna, Georgia. "He takes that personally."

Glock never doubted he could make a superior gun. "That I knew nothing was my advantage," he says.

-------gaston glock
http://www.forbes.com/global/2003/0331/020_2.html

prostitución, siempre

2010-03-20T00:14:00.002-06:00

"Pagamos por el sexo de una u otra forma... Al menos las prostitutas lo admiten."

----Tim Roth, en el primer capítulo de Lie to Me

tarifa y piel

2010-03-14T00:57:00.002-06:00

La piel está disponible
pero no hay un horizonte de caricias

-salvo el que se puede comprar con 250 pesos
por veinte minutos-

últimos soldados japoneses

2010-03-13T11:49:00.002-06:00

Hiroo Onoda (marzo, 1974)

Teuro Nakamura (diciembre, 1974)

University of London External System

2010-03-10T11:19:00.001-06:00

Referred to as "People's University" by Charles Dickens because it provided access to higher education to students from less affluent backgrounds, the External Programme was chartered by Queen Victoria in 1858, making the University of London the first university to offer distance learning degrees to students.

http://en.wikipedia.org/wiki/University_of_London_External_Programme

La palabra "palabra"

2010-03-05T13:36:00.004-06:00

Mot ----francés
"Dans le langage courant, un mot est une suite de sons ou de caractères graphiques formant une unité sémantique et pouvant être distingués par un séparateur (blanc typographique à l'écrit, pause à l'oral)."
-------------fr.wikipedia.org

Word -----inglés
"A word is the smallest free form (an item that may be uttered in isolation with semantic or pragmatic content) in a language, in contrast to a morpheme, which is the smallest unit of meaning.
"Word may refer to a spoken word or a written word, or sometimes, the abstract concept behind either."
-----------------en.wikipedia.org

Parola ---------italiano
"Elemento basilare della comunicazione verbale, la parola assume in questa il ruolo di unità minima di trasmissione dei concetti e come tale è stata anche definita "monade logica""
----------------------it.wikipedia.org

Palavra -------------portugués
"O termo palavra deriva originalmente do grego parabolé, tomada emprestada pelo latim, que gerou parabola."
-----------------------pt.wikipedia.org

Palabra ----------aragonés
"Una palabra u parola ye, en gramatica tradizional, cadagún d'os segmentos que se troban entre dos pausas u espazios en a cadena fablata u escrita, que puet aparexer en atras posizions, e que tien una funzión."
------------------an.wikipedia.org

Verbum ---------latín
"Verbum (Graece λέξις) est minima orationis et scriptionis pars individua, quae proprium habet sensum."
----------------la.wikipedia.org

Pallabra --------------asturiano
"Discutióse muncho sobro la definición esauta del conceutu de 'pallabra. Espondremos darréu, el sentíu que se-y da davezu: Ye un segmentu de tira fónica que na escritura represéntase ente dos espacios consecutivos."
------------ast.wikipedia.org

only maps

2010-03-05T13:33:00.002-06:00

"the mental world is only maps of maps, ad infinitum."

-------Gregory Bateson
"Form, substance, and difference." 1972

poema sin título

2010-03-03T22:32:00.003-06:00

Más...

Más piel expuesta...
Más piel explorada (besada, mordida)...
Más música del verbo gemir...
Más cabello en el cabello
(y cabello en las manos, y largo cabello en todos los rostros del rostro)...

Y más... Y más.

poema sin título

2010-03-03T22:22:00.004-06:00

¿Quién fue?
¿Quién comenzó?

¿La lengua y sus exploraciones?...
¿Los vientres que se frotaban?...

¿La ropa fugitiva?...

¿Quién fue?..., me lo sigo preguntando.

poema sin título

2010-03-03T22:10:00.003-06:00

Sembramos en la piel
árboles...

el deseo echó raíces...
las raíces nos trajeron asfixia...

el ahogo fue nuestro beso, nuestra desesperación.

poema sin título

2010-03-03T21:59:00.003-06:00

Bebió de sus pezones
con delectación

la ausencia- de- leche que ella le ofrecía

typewriter and women's liberation

2010-03-03T10:44:00.002-06:00

Sholes remarked of the typewriter, "I do feel that I have done something for the women who have always had to work so hard. This will enable them more easily to earn a living."

http://en.wikipedia.org/wiki/Sholes_and_Glidden_typewriter

psicoanálisis como arte

2010-02-26T13:31:00.002-06:00

Meltzer viewed psychoanalysis as an art form and essentially a process in which passion, personal commitment and the concern for patients were the main components of the “equipment” required for fostering their development.

http://www.psa-atelier.org/index.php?ul=0aa1458897789ed31c9cdc6fabf9567a

psicoanálisis y arte

2010-02-26T13:23:00.004-06:00

Meltzer's aesthetic interests, combined with the mother-baby model of early learning processes,^[10] led to seeing psychoanalysis itself as an art form. His later works describe the relationship between analyst and analysand as an aesthetic process of symbol-making. This has had an influence on the philosophical view of the relation between art and psychoanalysis.^{[11]

-----wiki engl}

el escritor ante la historia

2010-02-25T15:17:00.005-06:00

Pour Albert Camus, soixante ans plus tard, l'écrivain « ne peut se mettre au service de ceux qui font l’histoire : il est au service de ceux qui la subissent »

"La vérité est mystérieuse, fuyante, toujours à conquérir. La liberté est dangereuse, dure à vivre autant qu’exaltante."

-----Albert Camus
Discours de Suède, Gallimard, 1958, p. 14, 59 et 19.

Primer antropólogo

2010-02-01T13:21:00.001-06:00

Al Beruni

el culto a los osos

2010-01-31T11:28:00.003-06:00

" Joseph Campbell goes so far as to suggest that the Bear Cult was older than shamanism by many centuries."

http://druidry.org/obod/theorder/archive/pcg-dao.html

l'hiber

2009-12-22T00:03:00.001-06:00

El invierno
olvidó ponerse sus botas

Rezamos por que sea así

(Los gatos no)

levi-strauss, misceláneo

2009-12-17T12:51:00.004-06:00

http://www.liberation.fr/culture/0101601092-le-penseur-des-mondes-perdus

il travaille d’arrache-pied à la bibliothèque publique de New York, où il découvre des fonds ethnologiques très riches et entame sa thèse sur les Structures élémentaires de la parenté. «Je me suis senti assez vite homme de cabinet plutôt qu’homme de terrain»,

Lévi-Strauss ne rentre à Paris qu’en 1947. Quelques années plus tard, il refuse un poste à Harvard : «Je savais que j’appartenais par toutes mes fibres à l’Ancien Monde ; irrévocablement.»

En 1955, Tristes Tropiques marque un tournant : le professeur Lévi-Strauss, justement reconnu par ses pairs universitaires et chercheurs, devient un écrivain et savant mondialement connu. Ecrit à la demande de Jean Malaurie, lui-même ethnologue et directeur de la jeune collection Terre humaine, l’ouvrage tranche avec les précédents par son style et sa liberté de ton. Convaincu, après deux échecs au Collège de France, qu’il ne ferait pas de carrière universitaire, Claude Lévi-Strauss a accepté de «repenser ses aventures» et «d’écrire pour une fois sans précaution».

En 1962, dans la Pensée sauvage, il montre combien «la pensée à l’état sauvage, florissante dans tout esprit d’homme - contemporain ou ancien, proche ou lointain - tant qu’elle n’est pas cultivée et domestiquée pour accroître son rendement» n’a «rien de désordonné ni de confus», mais qu’au contraire, «partant d’une observation du monde qui témoigne d’une minutie et d’une précision stupéfiantes, elle analyse, distingue, classe, combine et oppose»

la musique, qui a été sans doute sa plus grande passion. Il voit un lien évident entre les mythes et la musique. Selon lui, «les structures mythiques préfiguraient à l’état latent les formes musicales»

estructura del mito

2009-12-17T12:13:00.001-06:00

Pour démontrer que les mythes, ces récits premiers et fondateurs, ne doivent rien à la fantaisie ni à l’arbitraire mais au contraire à la reproduction plus ou moins conforme d’invariants et de schèmes, le chercheur y transcrit, interprète et compare plus de 800 mythes amérindiens et d’un millier de leurs variantes. Le mythe est cette parole structurante qui a survécu au temps, qui assure la continuité du groupe et de l’espèce.

--IBID

sin escritura

2009-12-17T12:08:00.002-06:00

Une fois sa thèse passée, il est élu en 1950 directeur d’études à l’Ecole pratique des hautes études. Face à la protestation d’étudiants africains, il transforme l’intitulé de sa chaire, «Religions des peuples non civilisés», en «Religions des peuples sans écriture».

http://www.liberation.fr/culture/0101601012-levi-strauss-un-deracine-chronique

levi-strauss, et lacan

2009-12-17T12:07:00.002-06:00

Lévi-Strauss ne rentre à Paris qu’en 1947. Affecté au Musée de l’Homme, il rencontre Georges Dumézil, Michel Leiris dont il lit l’œuvre «avec délectation», et Jacques Lacan, en qui il voit un «chaman» des sociétés modernes.

http://www.liberation.fr/culture/0101601012-levi-strauss-un-deracine-chronique

claude levi-strauss y los pantalones de mezclilla

2009-12-17T11:52:00.002-06:00

il est rapidement révoqué du fait des lois raciales de Vichy. Il choisit et obtient un poste à la New School for Social Research de New York, un centre d’accueil pour intellectuels européens persécutés par le nazisme et commence à enseigner, sous le nom de Claude L. Strauss, comme on le lui demande à cause de la marque de blue-jeans: «Je vécus ainsi plusieurs années aux Etats-Unis sous un patronyme mutilé. Depuis, cette malheureuse homonymie n’a cessé de me hanter. Tel un fantôme. Il ne se passe guère d’année sans que je reçoive, en général d’Afrique, une commande de jeans».

http://www.liberation.fr/culture/0101601012-levi-strauss-un-deracine-chronique

locura y psicoanálisis

2009-12-13T21:44:00.003-06:00

Entonces, la salud mental tampoco existe. Frente al montaje de ideales de salud mental colectivos, Lacan enunciaba proposiciones provocadoras, como "todo el mundo está loco".

Eric Laurent

http://virtualia.eol.org.ar/019/template.asp?dossier/laurent.html

no-saber

2009-12-12T11:18:00.006-06:00

la paradoja de que lo más importante de la Escuela no es lo que ella sabe sino lo que sabe que no sabe, lo más precioso del saber de la Escuela es que ella sabe que no sabe.

***

Crear una Escuela significa estar dispuesto, en todo momento, a sacrificar la institución, si es necesario, en favor del psicoanálisis. Lacan demostró esto sacrificando su Escuela cuando le pareció que ya no estaba funcionando para el psicoanálisis

***
El análisis es una profesión delirante, en la medida en que es pos ible encontrar entre los analistas a aquellos que piensan que están solos , pues la propia experiencia analítica lo favorece, por el hecho de que e n su consultorio el analista es analista sólo cuando analiza; es por eso que los analistas son proclives a llevar su subjetividad a lo absoluto.

****
La respuesta de Lacan fue sustituir las Sociedades por la Escuela, una institución cuya particularidad es la de no saber algo esencial, no saber qué es un analista.

******

Estoy esperando que en estas jornadas ocurra una discusión muy precisa para que se sepa si cada uno está preparado para sacrificar el goce de las rivalidades y de las oposiciones por una Escuela. La pregunta es: ¿el goce que se puede obtener de la Escuela podrá ser más fuerte que el goce que se obtiene al debatir y al herir al enemigo vencido? Tenemos que esperar para ver si eso se produce; antes de eso no podemos decir nada.

*****

Horacio Etchegoyen, futuro presidente de la IPA, es mi amigo. Cuando le preguntaron cuál era él tema que la IPA va a trabajar en el futuro, respondió: "La diferencia entre transferencia y repetición, que es un punto que Lacan señaló en 1964 y que él aprendió de mis conferencias caraqueñas del '80, 1o cual es muy simpático de su parte, pero no implica que tengamos tantas cosas para aprender.

----Jacques A. Milller

http://www.wapol.org/fr/las_escuelas/TemplateArticulo.asp?intTipoPagina=4&intEdicion=1&intIdiomaPublicacion=5&intArticulo=289&intIdiomaArticulo=1&intPublicacion=10

2009-12-12T11:18:00.003-06:00

behind the scenes and freedom

2009-11-19T13:18:00.002-06:00

I really like the behind the scenes role, because all my freedom is there.

--------brian eno

http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html

leaved

2009-10-22T22:19:00.001-05:00

We were leaved to the dust.

Después de ver REVOLVER

2009-10-22T22:18:00.001-05:00

Quise mirar hacia los agujeros de mi percepción...

más suave

2009-10-21T22:36:00.002-05:00

pieza: softer, softest (live performance)
artista: courtney love

(Descalza, sola, con su guitarra, frente a una multitud.)

malibu

2009-09-05T23:37:00.000-05:00

pieza: malibu
artista: hole

(video oficial)

animal

2009-08-31T23:07:00.004-05:00

"¡Hablar, hablar, hablar!... ¡La gente se la pasa hablando! Los animales no hablan, por eso no mienten."

----------La prostituta q sale en la peli BREAKING AND ENTERING

cetáceo

2009-08-31T23:01:00.002-05:00

"Una vez me retaron a filmar MOBY DICK desde el punto de vista de la ballena... Mi película recaudó 400 millones de dólares por todo el mundo."

-----El personaje q hace Dustin Hoffman, en WAG THE DOG

circunstancias

2009-08-31T22:35:00.001-05:00

"No existe eso q la gente llama problemas. Sólo hay situaciones."

---------De la película Revolver, de Guy Ritchie.

afrenta

2009-08-31T22:27:00.003-05:00

HOMERO: No te preocupes, hijo. Yo te construiré una casa-de-árbol tan grande que ¡será una afrenta para el mismo Dios!
BART: ¿Y puede tener una escalera plegable?
HOMERO: Sólo si es una afrenta para Dios.

Executive Producer

2009-08-27T22:09:00.005-05:00

EL DUEÑO DE UN ESTUDIO: "¿Y quién demonios es usted?"
HOMERO SIMPSON: "¿El término PRODUCTOR EJECUTIVO le dice algo?"
MEL GIBSON: "¡¿Productor ejecutivo?!"

melissa, siempre

2009-08-24T00:24:00.004-05:00

pieza: malibu
artista: hole (live performance)

(En esta versión, hay un juego de cámaras entre el rostro de Curtney y el hermoso rostro de Mellissa Auf der Maur, más o menos hacia el final de la canción.)

con mayor razón...

2009-08-23T22:34:00.004-05:00

-¿Y si candidateamos al Presidente para el Nobel de la Paz?
-Bueno, pues si Henrry Kissinger lo ganó...
-Pero, nuestro hombre sí trajo la paz.
-Oye, pero no había guerra.
-Pues eso le da mayor mérito.

-----------Diálogo entre Hoffmman y De Niro, en WAG THE DOG

necesario

2009-08-23T22:28:00.003-05:00

"No puedes tener una guerra sin un enemigo... Bueno, se podría, pero sería una guerra muy aburrida."

-----El personaje de Robert DeNiro en la peli WAG THE DOG

Gail Kim

2009-08-17T23:49:00.001-05:00

in the enosphere,,,,,,,,,,Franck Mallet 2001

2009-08-07T12:58:00.003-05:00

http://music.hyperreal.org/artists/brian_eno/interviews/artpress01.html

"It's a particular color, ambient music is intended to induce calm and a space to think. Ambient music must be able to accommodate many levels of listening attention without enforcing one in particular."

It's strange to think a piece I recorded in two and a half days has aquired a kind of immortality. I thought it would be ephemeral. But it has a new life beyond the record. A part of me has become immortal, out of my control.

Nobody had really thought about this question, and yet we are increasingly likely to find ourselves in places with background music, an ambience. Still, no composers have thought to write for these modern spaces which represent 30% of our current musical experience.

I dreamed of a music without barriers, taking in classical instruments, new electronic instruments and "non-instruments"

I have always learnt things out of fascination.

For ten years Music For Airports was dismissed as crap!

People wanted to create a sound world using the studio, and not just to tell a story.

Music is my true home!

but when you study music in the classical system, you are always on the inside.

la revancha de lo intuitivo,,,,,,brian eno,,,,,,1999,,,,,,excerpts

2009-08-05T17:34:00.002-05:00

http://www.wired.com/wired/archive/7.01/eno.html

But now I'm struck by the insidious, computer-driven tendency to take things out of the domain of muscular activity and put them into the domain of mental activity. This transfer is not paying off. Sure, muscles are unreliable, but they represent several million years of accumulated finesse. Musicians enjoy drawing on that finesse (and audiences respond to its exercise), so when muscular activity is rendered useless, the creative process is frustrated.

In my experience, the instruments and tools that endure (because they are loved by their users) have limited options.

Indeed, familiarity breeds content. When you use familiar tools, you draw upon a long cultural conversation - a whole shared history of usage - as your backdrop, as the canvas to juxtapose your work.

brian eno,,,,,,,wired interview,,,,,2007

2009-08-05T17:09:00.004-05:00

http://www.wired.com/culture/art/news/2007/07/eno_qa_full?currentPage=all

But the breakthrough for me -- I happened to start working in studios just at the time that multi-tracking became available, and I realized it made music-making a lot like painting in that you could add and take away colors, you could stretch things and turn them upsidedown and do all sorts of different things. So I thought of myself as a sonic painter rather than as a composer.

So, it was always really trying to pick technologies that were around and seeing what else you could do with them. You know, I think that technology is always invented for historical reasons, to solve a historical problem. But they very soon reveal themselves to be capable of doing things that aren't historical that nobody had ever thought of doing before.

brian eno 2002

2009-08-05T16:29:00.003-05:00

http://www.indexmagazine.com/interviews/brian_eno.shtml

PETER HALLEY: I’m such a workaholic that the only way I can even make friends with people is by interviewing them. [laughs]

BRIAN: I make most of my friends through working situations as well.

BRIAN: When I watch my two little girls play, the thing that interests me about their games is the very laborious sets of relationships they’ll construct between the characters. You know, “You’re the auntie, but the mother doesn’t like you because you did this.” It’s terribly complicated, and there’s never any game at the end of it. The building of the network of relationships is just about all that ever happens.

PETER: That’s said to be a skill that’s prominent in women.

BRIAN: Yes. It led me to my theory that cities are places built for women.

PETER: Wow.

BRIAN: In cities, you have the opportunity to do all the things that women are really specialized at: intense social relationships and interactions, attention to lots of simultaneous details. And of course in cities you can do very few of the things that men are good at.

PETER: Like what?

BRIAN: You can’t break anything in a city. Everything is valuable, so you’re limited in how much you can test the physical nature of things — which I think is a big part of a man’s make up.

"I recently read Richard Sennett’s book The Uses of Disorder. It’s a very intelligent anti-planning book, and I thought, “This is fantastic, but nobody’s ever going to read it.” So I decided to condense it. I wanted to present the argument of the book in three thousand words. I went through it with a yellow highlighter, marking the bits that really got the germ of the idea. Then I photocopied all the parts I’d marked and collaged them together. After that, I had this idea that every serious book should be publishedin two forms. There should be the full version, but preceding it by a month or so should be the filtered version."

"...the introduction to his book Contingency, Irony, and Solidarity. It’s only a few pages long and it’s so good. The book is about Nabakov and Orwell, and about writing and the idea that works of imagination are the way that we arrive at new social concepts, rather than works of so-called rational deduction. In the end, what Rorty turns out to be saying is that philosophy is just another kind of writing. It doesn’t have any special grasp on the truth."

PETER: I’d like to bring up Norbert Elias again. In one of his books, he kind of refutes the idea of individual consciousness. He says consciousness only resides in the group. That seemed enormously important to me.

BRIAN: I recently read a book about the CIA’s experiments in the ‘60s and ‘70s using psychedelic drugs as interrogation tools. In the end, they found that what worked best was old-fashioned solitary confinement. It drove the subjects completely mad.

PETER: It seems that almost the biggest pain humans can feel is total aloneness.

BRIAN: Occasionally I go off for a few days just to sit somewhere on my own. I refer to it as “going into the abyss.”

"One often used to hear high art people saying that pop music was so boring and formulaic. I never thought that was true. All that formula and repetition is like a great big vehicle for carrying the moment of difference — the tiny point where something happens that didn’t happen before. As a listener, the first question I ask myself is, “Why am I moved by that? Why does that difference matter to me?”

"If something I do gets criticized, I would never say, “They didn’t understand me,” or “What I did was too good for them.” I would assume there was something wrong with what I was doing."

"I’ve often thought that there are two varieties of artists. There’s the fussy type, which I tend to be, who always censor themselves, and then there are people like Miles Davis and Prince who just say, “Look, if it came from me, it’s probably good.” "

"A few years ago I was interested in what was happening to the act of curating. I’d seen a few shows in Europe, particularly in France and Germany, where the name of the curator was bigger on the poster than the names of the artists. It’s like saying, “Here’s somebody who can draw an interesting line through our culture. He can connect a few things which you’ll probably find worth taking seriously.”

"As an English person living in America in the early-’80s, I was much more receptive than a native would have been. I didn’t have many friends there, so I would just listen to the radio. There were complete lunatics on the airwaves — people whose views seemed so objectionable. I started recording them just because I wanted to show my friends in England what people in America were listening to."

"Things always look much more calculated in retrospect. I agree that you can draw a line through the things that I did, but at the time they all seemed chaotic to me. "

behind scenes

2009-08-04T14:40:00.000-05:00

I really like the behind the scenes role, because all my freedom is there.

http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html#musician

nature fabric

2009-08-04T14:34:00.002-05:00

"I get steadily more interested in the idea that here's nature, the fabric of things or the ongoing current or whatever, and what you can do is just ride on that system, and the amount of interference you need to make can sometimes be very small."

http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html#musician

can't understand

2009-08-04T14:15:00.001-05:00

It's like David Byrne said to me the other day: 'Sometimes I write something that I really can't understand, and that's what excites me.' I felt such a sympathy with that position.

"writing" lyrics

2009-08-04T14:13:00.000-05:00

"So what I do first is work on the track till its identity is fairly well established, I already know how its gonna sound in terms of textures and time and speed and all that, then I take all that home, a rough mix version of it and I just keep playing it very loud and just singing along with them just singing anything really, and sometimes that anything is just right for it. It s the only thing I do, I guess, that approaches improvising, because everything else is very pedestrian in the way it's made. What often happens is that I get an idea of how the words will fall and what their function be rhythmically, so I start singing or placing the syllables in a certain way, and they're just nonsense at the beginning. Then certain types of sounds will emerge, like a particular vowel sound will suit a particular song. Like, for some reason, the vowel sound 'i' suited 'Baby's on Fire,' it's a sharp kind of thin sound; so then I'm working around two things, which is this vowel sound and this syllable construction, and quite soon words arise from that, and you only need to get about six words out of that for you then to have a good clue of what the song is going to be about. And I know it sounds extremely perverse whenever I explain it, to finally at the end of it all sit down and read it and say, 'Ah, so that's what it's about.' But what strikes me is that following this process, the preoccupations that manifest are not ones that you're necessarily conscious of at any earlier point."

http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html#musician

musicanción

2009-08-04T14:12:00.001-05:00

You see, the problem is that people, particularly people who write, assume that the meaning of a song is vested in the lyrics. To me, that has never been the case

--------brian eno

http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html#musician

musilyrics

2009-08-04T14:08:00.001-05:00

With the lyrics I have all these tricks and techniques which were first conceived as a way of defeating self-consciousness about writing lyrics, and because I don't have anything to say in the usual sense. I prefer to let the music prompt something from me. See what that prompts and then examine it after the event.

------------brian eno

http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html#musician

fuck the trainning

2009-08-04T11:41:00.002-05:00

"One of the interesting things about having little musical knowledge is that you generate surprising results sometimes."

--------brian eno

http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html#musician

no-manual

2009-08-04T11:36:00.001-05:00

"...so strictly speaking I'm a non-musician. None of my skills are manual, they're not to do with manipulation in that sense, they're more to do with ingenuity, I suppose."

-----------brian eno

http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html#musician

fun, building

2009-08-04T11:32:00.003-05:00

"Nearly all the things I do that are of any merit at all start off all just being good fun, and, I think, um, I'm sort of building up to doing something else quite soon."

------------brian eno

http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html#tape

musijungla

2009-08-04T11:29:00.003-05:00

"...it's a sort of jungle sound, really."

-------------brian eno

http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html#tape

recordar a mcluhan

2009-08-04T11:03:00.002-05:00

Everybody thinks that when new technologies come along that they're transparent and you can just do your job well on it. But technologies always import a whole new set of values with them.

----------brian eno

primero, muerto

2009-08-04T10:37:00.000-05:00

"Of course, they want another Nevermind, but I'd rather die than do that."

----------------------kurt cobain

http://en.wikipedia.org/wiki/In_Utero

prosticel

2009-08-02T00:24:00.003-05:00

Mi celular es como las prostitutas: siempre cobra más de lo acordado, entrega menos de lo prometido, y se la pasa apurándome para que "ya termine".

International Psychoanalytical Association

2009-08-01T23:04:00.001-05:00

página de la internacional psicoanalítica

instituto mexicano de psicoanálisis

2009-08-01T23:01:00.002-05:00

página oficial de los frommnianos

asociación psicoanalítica mexicana

2009-08-01T23:00:00.001-05:00

página oficial de los freudianos

la apasionada ejecución de la bajista kristen pfaff

2009-08-01T13:02:00.004-05:00

pieza: gutless (life performance)
artista: hole

(el video y el audio tienen pobre calidad técnica, pero con la grandísima ventaja de que está en primer plano, todo el tiempo, la hermosa bajista kristen pfaff, fallecida en 1994, a los 27 años de edad.)

kristen pfaff.....una diosa q murió demasiado pronto

2009-08-01T10:08:00.002-05:00

Video tributo a Kristen Pfaff

el hermoso coreo de kristen pfaff

2009-07-31T23:39:00.002-05:00

pieza: mis world (live version)
artista: hole

melissa auf der maur....in her words

2009-07-31T13:33:00.003-05:00

http://melissaaufdermaur.org/content/page/10/quotes_by_melissa

"All of us are half men and half women we have just as much masculine as feminine, so I would definitely describe the new project as me wrestling with those two sides."

"I sold my life to Capitol Records; it sucks."

"I mean, the way I see it is, every penny I've ever made through music is free money."

"I am still making up songs in my head and on my answering machine."

"I must've been a rastafarian in a previous life. They think their hair is an extension of themselves, and every time I get mine cut, I cry. My mother is a big Bob Marley fan. Maybe that explains it. "

"I'm glad I spent a chapter of my life there to really get to know the ugly beauty of the American dream."

"The bass is the mother of all instruments."

"I get so into it. The only time I ever feel the same way is when I'm having sex; it's the epitome of unifying with something."
-Melissa on playing bass

"I do fuck, but i don't say fuck"
-Melissa after Courtney tries to get the audience to get Melissa to say fuck

"Canadian red-head, believes in aliens or other worlds. Likes sexy rock music. You must be able to take acid and not freak out."
-Personal ad

"I was just considering to start playing bass, and when I saw D'arcy playing those Gish songs, with these wacked out, kinda trippy guys, I just thought: I want to be this girl."

"I have to point out that I was born on St. Patrick's day and that both my parents have black hair and that I came out redheaded and pale. I mean I have lots of Irish in my blood, so it makes sense, but the redhead gene is a completely schizophrenic, chaotic DNA thing that makes no sense at all. they just come up whenever. there's no predicting it. scientists can't pin it down. so it's always been kind of a big hang up of mine. when I was a kid, I thought it was gross. and I was like, "i wanna be like everyone else. Please take away this red hair." but then throughout the years, I realized it was special. Someone gave me— I think a makeup artist —this scientific explanation that our pigment is fucked up and something we have reacts weird to the sun so freckles are the reaction. sometimes if I'm on mushrooms or something and I look in the mirror, I look green and I feel like there's major yellow. the moral of the story is that supposedly redheads have a wider color spectrum in their skin. there's green, blue, purple and brown in my skin so supposedly we can wear more colors than most people."

melissa auf der maur...."but I will be"

2009-07-31T13:21:00.002-05:00

http://melissaaufdermaur.org/content/page/5/biography

Her father bought her her first bass(A japanese Fender Squier) for her 21st birthday. "At that time I was going up to the local punk bands and asked if I could jam with them. 'Well', they said, 'Are you any good?' and I said, 'No, but I will be.'"

courtney love,,,,,,,por caitlin moran

2009-07-31T12:24:00.002-05:00

http://www.timesonline.co.uk/tol/life_and_style/article630036.ece

But, as Love herself is the first to admit, “My press is disproportionate to the amount that I’ve done.”

“My mother told me she tried to abort me, and that I was the result of a rape. My dad says my mother was high on acid. I was raised by wolves.” She shrugs — maybe she has heard R. D. Laing’s aphorism, about character being conditioned by the fuck that made you.

“The language of love letters/Is the same/As suicide notes."

courtney love,,,,,,,,,por laura barton

2009-07-31T12:11:00.002-05:00

http://www.guardian.co.uk/film/2006/dec/11/biography.popandrock

"What does the man that I married have any fucking thing to do with my experience as a woman? Other than completely destroying half my life?"

"Kim Gordon [of Sonic Youth] sits me down and says, 'If you marry him your life is not going to happen, it will destroy your life.' But I said, 'Whatever, I love him, and I want to be with him!'" Love hesitates. "It wasn't his fault. He wasn't trying to do that."

Love me do

She's been a stripper, an actor, an addict, a rock star and, since 1994, the seriously troubled widow of Kurt Cobain. Here, she talks to Laura Barton about her 'transgressions', the day Johnny Depp saved her life, and why she's been blacklisted by Hollywood.

- Laura Barton
- The Guardian, Monday 11 December 2006
- Article history

Burning, but not out ... Courtney Love in 2004. Photograph: Scott Gries/Getty

She is wearing a pussycat-bow blouse, sipping lapsang souchong, her eyes tilted down demurely over her china cup. Poised in all her silken finery, the figure once described by Rolling Stone magazine as "the most controversial woman in the history of rock" is barely recognisable. As much as we think we know who Courtney Love is, nothing prepares you for the sprawling intelligence or the keen beauty of her. Love is not like most female celebrities. She is bigger than that. Her hands are meaty and her eyes enormous, her bosom has been surgically enhanced and her lips swollen with collagen. She looks as if someone has coloured her in and strayed beyond the lines.

But Love has always been about crossing lines. She has been a delinquent, a stripper, an actor, a drug addict, a rock star, and since 1994, the widow of Kurt Cobain, the Nirvana frontman who committed suicide at the height of his fame, leaving her with a two-year-old daughter, Frances Bean, and a note that claimed: "It's better to burn out than fade away."

"Kurt, Kurt, Kurt, Kurt, Kurt, Kurt, Kurt, Kurt, Kurt, Kurt," she says today with weary exasperation, and she lights a cigarette. Her voice is a threadbare drawl. Love, 42, has just returned from an appearance on Radio 4's Woman's Hour where she was dismayed to find that the interview lingered on the suicide of Cobain. "It was this lovely woman in a grey sweater, but it was so fucking awful. She asked me, 'Had you any intimation that Kurt was going to kill himself?' And, you know, sometimes I don't know how to just do that. I thought it would be more of a feminist thing." She sits crotch-forward in her short skirt, legs splayed wide. "What does the man that I married have any fucking thing to do with my experience as a woman? Other than completely destroying half my life?"

Even before his death, Cobain had dominated Love's life. They met in 1989 at an L7 concert, when they were both fledgling musicians with burgeoning drug addictions, but by the time they married, in 1992, Nirvana had become one of the biggest bands in the world. "Kim Gordon [of Sonic Youth] sits me down and says, 'If you marry him your life is not going to happen, it will destroy your life.' But I said, 'Whatever, I love him, and I want to be with him!'" Love hesitates. "It wasn't his fault. He wasn't trying to do that."

By the time of his death, however, Love had become something of a hate-figure in the eyes of many of her husband's fans, and in the days, weeks, years of its aftermath, she has been accused of everything from driving Cobain to suicidal despair to hiring a hitman to kill him. Death threats have been made, abuse hurled and shotgun shells thrown on stage at her shows. Such was the level of devotion Cobain inspired, that Love was not allowed to own his death like other widows - she had to share it with his grieving public. Though she does, she points out, own his ashes. They are kept in a bank vault in Los Angeles. "No cemetery in Seattle will take them."

The most obvious comparison is Yoko Ono, whose own art has been for ever overshadowed by the death of her rock star husband. Indeed, on the song 20 Years in Dakota, Love draws her own analogy: "She spent 20 years like a virus/ They want to burn the witch who's inside us/ Well you, you don't fuck with the fabulous four."

Why, I wonder, did Cobain have the success and not her? "Cause the complete phenomenon happened," she shrugs. "After 20 years of people trying to find the next thing, to follow REM, he happened to be the one with the talent and the looks." Yes, but so did she. Love is momentarily quiet. "Yeah, but you know, I'm a woman."

irse en paz

2009-07-30T22:57:00.002-05:00

Cuando muera, con mi último pensamiento, quiero ver-oír en mi mente, la forma en que Melissa Auf der Maur dice "I'll gonna rescue you", y la forma en que corea, en el video Malibu, de Hole.