Hyakkei 百景 – Standing Still in a Moving Scene (Full Album)

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Stanley Kunitz — End of Summer

10-3-2018 7-55-02 AM


Stanley Kunitz, “End of Summer” from The Collected Poems of Stanley Kunitz. Copyright © 1953 by Stanley Kunitz.  Reprinted by permission of W. W. Norton & Company, Inc.

Source: The Collected Poems of Stanley Kunitz (W. W. Norton and Company, Inc., 2002)


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The Problem With Twitter

Twitter-FeatureArtI’m on Twitter. I tweet, I retweet, and I like tweets. I do the Twitter things. I succumbed to the urging by peers and mentors that an academic–or even just a thinking person–ought to engage on the social media platform du jour. But I can never shake the feeling that I just don’t like the platform.

It’s not that I don’t understand the utility or intrigue of the platform–and you certainly can’t deny its potential for revolution. But there’s something about the culture of the site, the kind of exchange it engenders, that turns me off. One would think that I, as a poet, would be at home in the compression of the form, and it’s true that compression is one of the few things that excites me about it, but more than that, I’m annoyed by the way it brings out the quippy, over-simplified worst in all of us–especially those of us that (kind of) make a living with our writing.

In a recent exchange with a friend and colleague, she posted something that seemed intentionally inflammatory–snarky and radical in a way that didn’t really surprise me, but that was perhaps cranked up a few notches. Being a tweet, her comment arrived on my feed without context and without complication: this is the way things are, it declared. (I’m refraining from sharing the details to preserve her privacy).

But I knew her to be a thoughtful person, so I challenged her: are things really that simple? I asked. Isn’t it always more complicated? And right away, she admitted, yes, of course, but not on Twitter. Ay, there’s the rub.

I realized that my dislike for the platform was connected to the same thing I actually liked about Twitter–the space restriction. It’s more than that, though. This space restriction, which can engender poetic compression and even a zen-like minimalism, creates a culture of snarky self-righteousness that’s so often indulged and encouraged by thousands of followers.

In a socio-cultural moment when we need more attention to complexity and nuance, image.pngTwitter tends to encourage oversimplification and binary thinking. This is certainly the case for perhaps the most famous Twitter user on the planet right now. Especially in stark contrast to the eloquence of his predecessor, President Trump wields the punchy tweet deftly–precisely in the way it was (ostensibly) designed to be used. Trump’s Twitter is not a perversion of the form; it’s the epitome of the form. A quick search through the various scandals, upsets, and vitriol that have raged through Twitter reveals endless examples of similar statements.

Furthermore, it’s become increasingly clear that Twitter facilitates the spread of misinformation. In the study published in the March 2018 issue of Science, which tracked some 126,000 news stories that were independently identified as either true or false, researchers found that

Falsehood diffused significantly farther, faster, deeper, and more broadly than the truth in all categories of information, and the effects were more pronounced for false political news than for false news about terrorism, natural disasters, science, urban legends, or financial information.

This is not to say, of course, that there aren’t outliers. There are many folks who use Twitter beautifully–to make art, to stay in touch with friends, and so on. It does not, however, seem to me to be a medium that encourages the kind of dialogue we so badly need. Even those Twitter users that seem to be pushing against the shallowness of the format–someone like Dave Rubin, maybe–are nonetheless pulled into the fray and its attendant pettiness from time to time.

In an age where false news stories are rampant  and clearly have an effect on American democracy, we need a push toward depth rather than inflammation–a move toward complexity rather than simplistic chants and mottos. Despite the undisputed power and importance of the platform, I don’t expect to find that complexity and nuance on Twitter any time soon, though I sincerely hope that’s not always the case.

The question then becomes what might be done about it: should we use Twitter conscientiously and thoughtfully, working against the current of reductionist hashtags and slogans, or are we better off abandoning the platform in favor of something else, something long-form like Youtube (which carries its own host of complications). Personally, I’m not quite sure. What say you?



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Totorro — Home Alone (Full Album)

Totorro — Home Alone (2014)

Hear more on the Totorro’s bandcamp page.

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Baudrillard and Vaporwave: A Remixed Nostalgia

I should first offer a brief apology for how infrequent my posts have been here. As a PhD student, I’m nose-deep in a book most of the time, and come up for air mostly to relax and decompress. I did, however, experience an interesting confluence of my scholarly work and my extra-curricular enjoyment the other day in the form of an essay by Jean Baudrillard (1929-2007) and a vaporwave remake of an 80s pop song from The Miami Sound Machine.

First, if you haven’t read Baudrillard, you should know the guy can seem a little out there. He’s primarily known as a sociologist, but his theoretical and critical work has found its way into a variety of humanities fields, especially English-lit/critical theory, and particularly as it relates to postmodernism. Interestingly, he’s also possibly one of the first trolls, arguing publicly that the Gulf War didn’t take place, but that’s a subject for another post, perhaps.

His main contribution to the field is the concept of “simulacra,” or “simulation,” and his argument for the ways in which reality has been completely obscured (or subsumed) by imitation/simulation. Much of this core concept is found in the essay “The Precession of Simulacra” where Baudrillard argues that in the postmodern age we have lost touch with reality. More specifically, there is no longer a “real” at all; it has been replaced by a representation of reality. What we see as the world is simulacra (singular: simulacrum), a representation without an original.

He provides a few examples of how this happens, some of them helpful and others less so. One of the more notable examples is that of a map: in his analogy a map is created of an empire, and this map is so perfectly representational of the original that people can no longer tell the difference between the two. Eventually, the original rots away, leaving only the map, a copy of the real. But the problem now, he asserts, is that we’re creating images, signs, and narratives that have no basis in reality–a copy without an original. This he calls the “hyperreal.”

There are, of course, some fundamental problems with simulacra and the hyperreal according to Baudrillard–the main problem is that, ostensibly, anything can be true (for all intents and purposes) because truth is simply a matter of persuasive simulation.

We can see how this works by looking at the phenomenon of diametrically opposed narratives emerging simultaneously, such as that A) The 9/11 attack on the World Trade Center was carried out by radical Muslim terrorists and B) The 9/11 attack on the World Trade Center was an inside job, perpetrated by the US gov’t to justify a “war on terror” and the proliferation of the surveillance state that ensued. Because the vast majority of us were not on the ground on that fateful day, the only way we have of experiencing and understanding the event is through media. We only know, therefore, the narrative presented to us, manicured and rendered for a particular kind of consumption and for a particular set of reasons. Thus, without having been there, scenarios A and B are both equally possible, and, according to Baudrillard, equally “true.”

What does his have to do with Gloria Estefan’s awesome 80s perm, you ask? Well, if we take a look at the original song by The Miami Sound Machine, we could locate, arguably, some elements of what Baudrillard’s talking about, albeit on a somewhat different scale and register. “Falling in Love” works from a variety of love-song archetypes in the lyrics and from some R&B and even Funk roots in its arrangement. As a whole, Baudrillard might say The Miami Sound Machine’s mid-80s hit is a simulation of the pop-love song (a category we can readily recognize) but without an actual “real” foundation. Baudrillard might argue that “Falling in Love” is a simulacrum of a pop song that doesn’t exist.

This is a stretch, I know, and probably sounds suspect (there’s plenty of justified critique of Baudrillard’s work), but I’m less interested in this tenuous argument and the mental gymnastics it requires than I am in what happens when contemporary remixes in the vaporwave movement get a hold of this stuff. That’s when things get really weird–and fascinating.

Vaporwave, on the surface, is where 80s and 90s smooth jazz, muzak, and obscure pop music meets electronica, hip-hop sampling techniques, and internet memery. It feels like what might happen if a computer programmer who grew up in the 80s was nostalgic and bored in the wee hours of the morning. The visual aesthetic of this microgenre, considering its emphasis on nostalgia, is extremely important, with looped Reagan-era commercials and neon glitch art nearly always displayed alongside the music. A much-viewed example of vaporwave can be found below. Check it out:


Interesting, right? If you grew up in the 80s or 90s, it evokes a distinct kind of nostalgia; there’s something lingering in the background that’s recognizable, but it’s also strangely new. It feels as if the past is being compressed and delivered via .zip to the present. Or at least that’s the sense I get.

But what happens when we employ the lens Baudrillard gives us? What would he say about this music? What would he think of Waterfront Dining’s re-imagining of “Falling in Love” (re-titled “Miami Wicked”)? Can it even be called a re-imagining, considering how intact the original track is?

My best answer to this question comes from my own personal experience. I was born at the very end of the 80s, and thus don’t really remember much from that cultural moment, despite how long 80s culture lingered into the 90s. But I feel the nostalgic pull of this music, despite never having heard this song before (at least not to my memory).

So what we have in this re-imagining of “Falling in Love” is a song explicitly engineered from the nostalgia of a culture that itself was a representation–this is a dreamlike re-imagining of what was already a dream-image. And further–listened to and enjoyed (and probably made) by a person who didn’t really experience that decade. Does that make this thing a simulacrum, or something altogether different?

It seems to me to be something pushed past simulacrum into something new, something still further removed from what Baudrillard meant when he talked about culture being manufactured, about culture being purely imitation. At least in the original song we can sense some form of originality, however flimsy Baudrillard might argue it is; we can feel the construction of the song as a coherent unit. But this recreation/remix and all the competing (perhaps deferred) associations it triggers feels altogether different.

I think I’m still processing what vaporwave might mean to Baudrillard, but I hold firmly that this phenomenon is worth exploring and thinking about. This is, after all, how culture is made/remade/recycled. Culture itself is the material of this movement after all.

At the very least, if Baudrillard’s lens leads us only into a neon-lit simulation of a culture that never really was, the music’s pretty good.

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Covet — Live on Audiotree [2016/Math Rock]

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Richard Wilbur — “The Beautiful Changes”

Earlier this week, we lost one of our most talented and longest-living poets, Richard Wilbur. I haven’t spent a ton of time with his work, but have returned to certain poems of his over the years. This is one of those poems:

The Beautiful Changes

One wading a Fall meadow finds on all sides
The Queen Anne’s Lace lying like lilies
On water; it glides
So from the walker, it turns
Dry grass to a lake, as the slightest shade of you
Valleys my mind in fabulous blue Lucernes.
The beautiful changes as a forest is changed
By a chameleon’s tuning his skin to it;
As a mantis, arranged
On a green leaf, grows
Into it, makes the leaf leafier, and proves
Any greenness is deeper than anyone knows.
Your hands hold roses always in a way that says
They are not only yours; the beautiful changes
In such kind ways,
Wishing ever to sunder
Things and things’ selves for a second finding, to lose
For a moment all that it touches back to wonder.
Richard Wilbur, “The Beautiful Changes” from Collected Poems 1943-2004. Copyright © 2004 by Richard Wilbur. Reprinted with the permission of Houghton Mifflin Harcourt, Inc. This material may not be reproduced in any form or by any means without the prior written permission of the publisher.
Source: Collected Poems 1943-2004 (2004)
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Trump and Authoritarianism

I’ve written before about Trump as a candidate,  arguing that he represents a frightening trend in American politics toward an interest in “doers,” those who want to exert their will on the political stage to “get things done” despite the constitutional and republican (little-R) barriers designed to prevent such singular action. While I’m sure I used to word “authoritarian” in that post, I used it in the general sense, rather than in its political science sense, which is detailed nicely in this video from Vox. (And, as a brief aside, I’m not uncritical of Vox as a news organization–I think their bias especially in terms of 2A issues is far too strong–but this analysis is sharp and to the point.)

In this brief video, reported Amanda Taub does a nice job of walking through what authoritarianism means in the political science world, looking at some of the research on its increasing traction with the American public and the Republican Party in particular, and talking about some of the possible trajectories this trend might take. This problem of authoritarianism, the urge for a strong leader to “get things done,” is a very real one in this country (and in the world, really), and an easier pattern of thought to fall into than one might think. I’m reminded of another old post I wrote about the hard work of being human–that we must resist the path of least mental/intellectual resistance, and that includes the thought-path that leads to authoritarianism. The question becomes, I think, how to show people the value of doing the hard mental work, and not to fall prey to black-and-white thinking.


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J.S. Bach — The Six Cello Suites, by Pau Casals

As finals wind down, Bach has been getting me through.

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Tony Hoagland — “Please Don’t”

tell the flowers—they think
the sun loves them.
The grass is under the same
simple-minded impression

about the rain, the fog, the dew.
And when the wind blows,
it feels so good
they lose control of themselves

and swobtoggle wildly
around, bumping accidentally into their
slender neighbors.
Forgetful little lotus-eaters,

hydroholics, drawing nourishment up
through stems into their
thin green skin,

high on the expensive
chemistry of mitochondrial explosion,
believing that the dirt
loves them, the night, the stars—

reaching down a little deeper
with their pale albino roots,
all Dizzy
Gillespie with the utter
sufficiency of everything.

They don’t imagine lawn
mowers, the four stomachs
of the cow, or human beings with boots
who stop to marvel

at their exquisite
flexibility and color.
They persist in their soft-headed

hallucination of happiness.
But please don’t mention it.
Not yet. Tell me
what would you possibly gain

from being right?

Tony Hoagland, “Please Don’t” from Application for Release from the Dream. Copyright © 2015 by Tony Hoagland.  Reprinted by permission of Graywolf Press.

Source: Application for Release from the Dream (Graywolf Press, 2015)

Also, a Mr. Alex Killian does a fantastic job reading and putting film to this poem. Thought I’d give him a deserved plug and let you enjoy this poem twice.

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