Showing posts with label Agnes martin. Show all posts
Showing posts with label Agnes martin. Show all posts

Wednesday, August 8, 2012

Reading Eric Packer Through Erik Satie




Erik Satie "Trois Gymnopédies"




How to Play Gymnopedie No1 by Erik Satie on 

Piano Lesson Pt1


If you listen to this music while you are reading this you will feel what Eric Packer says this music does for him. If you have access to a piano you can play it yourself with this fine tutorial. No previous music knowledge needed.

He rode to the marble lobby in the elevator that played Satie. (C 8)

I have two private elevators now. One is programmed to play Satie's piano pieces and to move at one-quarter normal speed. This is right for Satie and this is the elevator I take when I'm in a certain, let's say, unsettled mood. Calms me, makes me whole. (C  28-29)

In the Krasny youtube interviews DeLillo emphasizes that Eric Packer is not a normal Wall Street cyber financier. He reads poetry in different languages, he appreciates the art of Rothko, he listens to Satie and rap music. He has turned Satie into his very own musak musik elevator music. 

DeLillo's emphasis here is to project a character who is a  consumer of high avant garde culture. An aesthete perhaps. This contrasts with his Philip Dick sexual seduction dialogue with Elise. The paradox makes the dialogue very sexual indeed. 

I am equally sure that The Cronenberg did not include Eric Packer's ride down on his own elevator listening to Satie. 

Again we turn to Babette Babich, and a chain of signifiers floating all through Cosmopolis:

Nancy Babich, Nietzsche, excess, limits, implosion, aphoristic writing, musical writing, discontinuous, non linear, non- descriptive, non-explaining writing, writing that is all short, choppy dialogue even more so (Baudrillard) than the choppy, start and stop in quarter inches Foucauldian grid of New York City traffic and the power/knowledge/capital grid of our world where "there is no outside".
New York City Street Map

Agnes Martin


Wednesday, August 3, 2011

The Cut For the End of Representation and the Beginning of the Grid and Measurement

Foucault's analysis of Las Meninas (1656) spells the end of representation and the introduction of measurement and the grid. Don Quixote  (1605 vol 1 & 1615 vol 2)initiates the modern novel as language refering to itself, literature is the referent which tears language loose. The architecture of the city of Philadelphia assumes the grid in 1682 and New York, Barcelona, London and Buenos Aires fall in line. These dates are roughly the Foucauldian "cut" for the end of representation in language, art and architecture.


These grids are lovely I think, like Agnes Martin paintings.
Manhatten Grid Map of Packer's Journey to Samarkand






Cervantes Don Quixote 1605&1615 by Dore
Las Meninas 1656 Valezquez
 Las Meninas (Spanish for The Maids of Honour)[1] is a 1656 painting by Diego Velázquez, the leading artist of the Spanish Golden Age, in the Museo del Prado in Madrid. The work's complex and enigmatic composition raises questions about reality and illusion, and creates an uncertain relationship between the viewer and the figures depicted. 

Agnes Martin 1960's 1970's
Foucault then proceeds to lay down the grid of power/knowledge. The two are not separate but fused. Each cannot exist without the other. Still today this is not understood as most people think power comes from above to repress and control them. Foucault locates power below, within the interstices of the grid, tightening, crushing and controlling the individual within the family, the educational system, the society in which s/he lives through the Inscription of the Body and with it the mind forcing the person to conform to what is perceived as normal behavior. The way you speak, walk, work, reproduce, everything in your life, must conform within the parameters of normality. Walk outside with green hair and you are going to be noticed, and not favorably, unless you move in slacker or punk sub-culture.

And this is where Eric Packer is this spring day in April 2000 at Eastertime, the same time of year Hansen is following his Gradiva in the simulacrum of Pompeii. The same time of year Jesus is following Isaiah. Packer is crushed within the grid, a hostage in his own limo, surrounded by bodyguards to protect him, make him secure, but who really cannot even as the pie thrower gets him with a whipped creme pie. He is as if in custody.

He is shorting the yen. The yen is going up and up and up above its resistance points and beyond. 
Yen plotted against the dollar
It charts, says Packer. But it only charts within a grid. It only charts within linear time. It only charts within the dialectic of opposites, up and down, true and false, etc. And Packer is not in the dialectic anymore, not in linear time anymore, but interfaced with the screen of globally orbiting numbers, currencies that move asymmetrically. That is they don't chart, not even according to Packer's meditative esoteric rhythms. Charting requires time:past present future and Packer is in real time, cutting it smaller and smaller into infinitesimal particles into zepto seconds, that accelerate asymmetrically with positive and negative charges that collide and go pouf. Packer is being crushed within the interstices of the grid, just as Nina was in Black Swan. 


But Elise-Gradiva is seductively luring him on. She is ahead of him all day and he is following her as she is hiding from him. He is not searching for her, but he keeps finding her. Inside the limo is the Order of Production and outside the limo is the Order of Seduction, and Elise Shifrin keeps shifting as Packer's mind shifts on this day. Death is ahead of him and hiding from him, but Packer unerringly moves towards Samarkand to meet his destiny with death.


Black Swan
 It is the terrorist model to bring about an excess of reality, and have the system collapse beneath that excess. - Baudrillard


And the imploder, the intellectual terrorist, will disappear as his world becomes a different world because of his actions. He will make the leap into death to offer the gift of his life. The world will die when Packer dies.


He's not a self-destructive loser, folks. He is an intellectual terrorist. 


And so was/is Jesus.





Tuesday, June 14, 2011

Reading Eric Packer and Elise Shifrin Through Destiny

On The Continental Divide Trail
Against this assumption into generalized exchange, this movement of convergence towards the Single and the Universal: the duel form, irrevocable divergence. Against all that is striving to reconcile the antagonistic terms: maintain impossible exchange, lay on the very impossibility of that exchange, lay on that tension and that duel form, which nothing escapes, but everything opposes.

At all events, this duality governs us. Each individual life unfolds on two levels, in two dimensions - history and destiny - which coincide only exceptionally. Each life has its history, the history of its successive events, its twists and turns - but elsewhere, in another dimension, there is only one form, that of the absolute becoming of the same situation, which occurs for everyone in the form of the Eternal Return. The form of destiny, which Nietzsche also calls 'character, to distinguish it from any psychology of the ego and its successive changes. (79 IE)
Somewhere in Colorado there is a demarcation line where the waters part - the so-called Continental Divide - some running off to the Atlantic, the rest to the Pacific. It is a line almost as imaginary as the one separating the past from the future - that line we call the present. And the two dimensions of time themselves run off and vanish into oceanic depths of their own. The instant, that dividing line, is a line of destiny, past and future part there, never to meet again. And existence is merely this ever-greater divergence of past and future, until death reunites the two in an absolute present.

The line where the waters divide - the line where thoughts divide. No planispheric extension.  Waters and destinies always divide. (1 Cool Memories IV)

In man, it is thoughts which divide - the 'mental divide'. Like the continental waters, they run off unpredictably in opposite directions, and often those which were closest together will end up furthest apart.

Map of Eric Packer's Journey Through the Grid of NYC Traffic
There are always at least two occasions when two persons, unwittingly, almost meet. Each time destiny seems to have prepared this meeting with the greatest care, attending first to one possibility, then another, ordering the tiniest detail and leaving nothing to chance. But each time some tiny, unattended eventuality intervenes to prevent the coming together, and the two lines diverge once again at a greater rate... But destiny iis much too persistent to allow itself to be put off by a failure. It arrives at its ends, by such subtle machinations that not even a click is heard when at last the two persons are brought together. (Nabokov)(IE 81)

Agnes Martin Print
We can recall moments in the past when we had equal chances of living or dying - in a car crash, for example.... Every time someone finds himself at a crossroads of this kind, he has two worlds before him... It is the same with each decisive moment, both with birth and with death. Just as the virtual dead man that I am continues on his way on the other side, carries on with his existence which runs just beneath the surface of mine, birth is that dividing line where on the one side I exist as myself, but on the other I begin, at the same moment to exist as other Such is the form of alterity...(Impossible Exchange 82)
Continental Divide - Mark Tansey

That which has separated definitely  - for example, the I from the non-I at birth - continues none the less to run along another line. These lines, or these parallel lives, meet only in death. But at certain moments, you can jump from one to the other, cross one of these other lives. Destiny dooms us to a personal death, but something of this multiple predestination remains. Alterity  is a trace of these crossings, which provide one of the grids of becoming...(IE 82)

Thus each existence is the product of a double declension. It is in this sense that it is a dual, not an individual form.  We are not free to exist just on the side of our ego,, or just on that of the so-called real world. We are wholly the products of this relation of adversity, this twin complicity. Destiny is divided, like thought, which comes to us from the other. Each is the destiny of the other. There is no individual destiny. (IE 82-3)

Destiny has been arranging the day for Elise Shifrin and Eric Packer. Elise - The Symbolic Order of Seduction/destiny/surprise/challenge/duel -  is ahead of Eric all day, moving West into the sunset and the night. Eric has been following her. Each time they meet, their selves diverge and divide like the waters at the Continental Divide. They split and then split again. Until they end pure and lorn, naked under blinding light.





Sunday, April 24, 2011

Reading the Grid in Cosmopolis Through Foucault and Agnes Martin

Agnes Martin Print

On a Clear Day 1, 1973.

Agnes Martin
   Go to the links here for a number of prints including the upper one. Didi Fancher has a grid print on the wall. It may be an Agnes Martin drawing, or a derivative of her work, or one her assistants did it a la Andy Warhol. He pressed her against the wall drawing, a minimalist grid executed over several weeks by two of the artist's adjutants working with measuring instruments and graphite pencils. 


On the right is an Agnes Martin painting. They are usually large, 5 to 6 ft across and almost as long. They are pale and lovely. But they are not dangerous. Or are they?


Eric Packer's Grid
Foucault's Power/Knowledge grid is what Eric Packer is caught in on this last day of his life. H begins it in linear time, historical time, within a dialectical frame. It charts implies time that is linear. Only it doesn't chart because Eric is within a simulated reality. He is trying to go in a straight line from East to West. But he is in global Virtual Reality. Numbers (yen), information, sex all circulate in an orbit.   So are the "rats".


In an interesting article on Richard Serra's minimalist Tilted Arc 1981  and its removal by the courts from its site-specific selected and commissioned place by the GSA at 26 Federal Plaza in Lower Manhattan,  the author says
Richard Serra: Tilted Arc from minimalissimo.com

Minimalist sculpture is a critique of commodification, with its outwardly simplified visual schemas which seem to diminish the uniqueness of these objects.  Their artistic value can be difficult to extract.  In this sense, Minimalism reflects many of the social and political issues addressed by the American counterculture.

The critique continues and of course all this folds in with DeLillo's Cosmopolis in a seamless fashion. An Agnes Martin grid resonates with a Foucauldian grid of power/knowledge/capital and this grid was exactly what got Tilted Arc removed from its site after  an almost 10 year court battle. NOt to mention the GRID of traffic Eric Packer is moving in quarter inches all day.