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Category: quotes

On The Morning Post

There was one thing that no one at the institute wanted to miss: the arrival of the morning post. Letters from parents and friends were always welcome, but it was correspondence from far-flung colleagues and the journals that were seized upon for the latest breaking news from the frontiers of physics.

From QUANTUM by Manjit Kumar. In the above, he’s writing about the 1920s. Times long gone. Out here on the Thames Delta, we don’t even get the physical post in the morning any more. In the 1970s and 1980s, we had first post in the morning and second post in the afternoon. I remember having to wait in for second post when an expected letter (or an unemployment Giro) didn’t arrive in the first post.

Now we send email and texts that are rarely much longer than a telegram, and they get peppered across the full 24-hour spectrum. I like that. Imagine telling someone in 1924 that all their post and telegrams will be sent instantly to a piece of glass you keep in your pocket, powered by electrickery and radio (and costing the same as a house in London in 1924)? I am happy with this and look forward to the future.

That said: the pang I got when I read that paragraph the other night was real. The book is littered with extracts from long letters sent between peers in the emergent field of quantum physics, the last hurrah of the Republic Of Letters. The pang wasn’t necessarily nostalgia. I have never trusted nostalgia. Desiderium, maybe? But certainly also that I’m as bad as anyone else at writing letters. I remember long letters from and to peers, and I got out of the habit of writing them when email properly kicked in.

And the journals thing. I remember the rush and joy of the new magazines related to my work and interests arriving, when I was young (and I suspect that’s the defining thing here – both my youth and the slowness of information): a new Comics Journal, for example, a publication I owe a great deal to. I have, of late, been unsubscribing from newsletters. Not entirely of my own volition – I had a weird glitch with Substack and had to delete my account there, which meant losing a dozen newsletters. I’m in the process of adding those into my RSS feed instead. But the newsier stuff is getting dropped. It all tends to be a bit flat and a bit samey.

Some newsletters are good because they’re long letters from friends or peers, some are good because they bring knowledge and ideas like journals. But there aren’t enough of them, for me. I wonder today where I should be looking. I wonder if this is even a thing worth yearning for (yearning may be too strong a word, but clearly it’s been bugging me). But it’s an interesting thing to think about, for me.

(I also do a weekly newsletter, which is currently on pause til July 7 because of work and etc.)

Vaguely related, maybe: years and years ago, we used to have conversations about the social letterbox, part of which conversation turned into the Little Printer, which I still think was a brave thing. I distrust the social-network aspects of things like Substack. My letters do not need a public web-end comments section. Email should perhaps have been our social letterbox. Probably it once was. Maybe it can be again: I can spend a day hitting it with a couple of tools and end up with the sense that, when an email app does ping at me, there’s a better than fifty-percent chance that it’s something I want to read or need. And it will ping less. And most of the time I’ll be able to wait until I have the space to write a long reply, rather than just triage and tie something off fast.

Jotter notes are not fully baked.

Connected:

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Dialogues Across The Ether

“But isn’t it possible that the Library did reach one of its goals? To bring people closer together?” “Oh, it reached goals! Quite a lot of goals!” he said with a dash of sarcasm. “But certainly not the goals you’re talking about! Even those infamous contributions, those dialogues across the ether that were later purged by the Library, helped break that cycle of loneliness in which our citizens were confined. Or rather they helped to furnish the illusion of a relationship with the outside world: a dismal cop-out nourished and centralized by a scornful power bent only on keeping people in their state of continuous isolation. The inventors of the Library knew their trade well!”

THE TWENTY DAYS OF TURIN (UK) (US+)
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www.lrb.co.uk/the-paper/v46/n08/terry-eagleton/where-does-culture-come-from

The only good reason for being a socialist, apart from annoying people you don’t like, is that you don’t like to work. For Oscar Wilde, who was closer in this respect to Marx than to Morris, communism was the condition in which we would lie around all day in various interesting postures of jouissance, dressed in loose crimson garments, reciting Homer to one another and sipping absinthe. And that was just the working day.

Terry Eagleton

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The Colour Has Been Taken Away

He already knew then that the materials he used were no longer being made and would eventually run out. Twenty years later, he spoke of tracking down old Cibachrome machines through small ads, picking up whatever old chemicals and abandoned equipment he could find, but his dark room is now closed. There is a red produced by using Cibachrome that he will never achieve again. ‘Now I can almost make anything, I have fifty years skill and experience, but I cannot make the pictures.’ The colour has been taken away from him which must be like having a word taken from your vocabulary.

THE VAST EXTENT, Lavinia Greenlaw (UK) (US+)

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Be Peculiar

Choose to be peculiar. Choose to commit to the journey, not to any particular engagement. Because you’re dancing on a frontier, it’s impossible that all of your work will resonate. That’s okay. Great work isn’t popular work; it’s simply work that was worth doing.

THE PRACTISE, Seth Godin (UK) (US)

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I Am Spartacus

D’Onofrio remembered three hundred extras waiting while Kubrick fiddled with a camera on top of a crane. One extra lost patience and muttered, ‘Get off the crane.’ An assistant said, ‘You’ll never get a chance like this; you’re working with Stanley Kubrick, so watch it. No talking.’ Another long wait. Still Kubrick didn’t come down. ‘Get off the fucking crane,’ another extra yelled. This time Stanley descended. ‘Who fucking talked?’ he asked. A voice comes from the back: ‘I am Spartacus!’ Then another: ‘I am Spartacus!’ Kubrick guffawed along with the horde of extras.

Kubrick: An Odyssey, Robert P. Kolker and Nathan Abrams (UK) (US)

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24 Images A Year

“I don’t come from there. I still feel It’s a bad thing, even for the eyes… it’s become such a problem with digital that we have too many images,” he said. “Some people love it, some people are sick of it, but you could say we’re all sick from it.”

“If I was a dictator, a nice dictator, says a king or queen, or sheikh or an emir, or whatever, I would not allow people to share more than 24 image a year,” he quipped.

24 Frames, even.

Also:

“It’s the only art for which a machine had to be invented for it to exist,” he said of cinema “It’s very young, only a century old, but it’s also very old.

“You have to reinvent it every generation… It goes back to what we were saying before about sacred images, you have to reinvent the power of the silent films. The people who watched the first film, this train coming into a train station  [L’Arrivée d’un train en gare de La Ciotat], they were afraid. If you showed this film to a three-year-old today, he would be bored. You have to reinvent this power, this amazement, that’s the ambition and the hardship of making films.”

From a conversation between Robert Bresson and Jean-Luc Godard, from BRESSON ON BRESSON:

RB: And those people who think, who sometimes write (I’ve even read this recently) that silent films are the only pure cinema! Imagine!

J-LG They say that, yes, but that doesn’t change the fact that when they watch a silent film they can’t stand it!

RB And what I was saying goes a lot further: There was never such a thing as silent film! It never existed! Because people still spoke, they just spoke into the void, we didn’t hear what they were saying. So please don’t say that we created a silent style! It’s absurd.

Related: Denis Villeneuve’s method considers dialogue a thing for theatre and tv, not for his films.

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Network Of Pipes

…radio is one-sided when it should be two-. It is purely an apparatus for distribution, for mere sharing out. So here is a positive suggestion: change this apparatus over from distribution to communication. The radio would be the finest possible communication apparatus in public life, a vast network of pipes. That is to say, it would be if it knew how to receive as well as to transmit, how to let the listener speak as well as hear, how to bring him into a relationship instead of isolating him.

BRECHT ON THEATRE

(series of tubes)

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Parables

Once I’ve found out what modes of behavior are most useful to the human race I show them to people and underline them. I show them in parables: if you act this way the following will happen, but if you act like that then the opposite will take place. This isn’t the same thing as committed art. At most pedagogics.

Bertolt Brecht, BRECHT ON THEATRE

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Complex Seeing

Some exercise in complex seeing is needed – though it is perhaps more important to be able to think above the stream than to think in the stream.

Bertolt Brecht, from BRECHT ON THEATRE. Can the graphic novel page be conceived of as “complex seeing”? This seems to tie into a group of thoughts I’ve been returning to occasionally over the last ten years in relation to the graphic novel.

This quote relates to his using projected intertitles in an early play.

Very quotable book.

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