If you're fed up with antiquity, and feel that even the automobiles are antiques, and that religion alone remains an entirely new religion, which is to say it remains as simple as an airport hangar, then get thee to Paris and look at this spot under the chestnut trees, backed by the walls of the old monastery, surrounded by children at play. MORE>>>
Sunday, December 02, 2007
what's here worth seeing?
If you're fed up with antiquity, and feel that even the automobiles are antiques, and that religion alone remains an entirely new religion, which is to say it remains as simple as an airport hangar, then get thee to Paris and look at this spot under the chestnut trees, backed by the walls of the old monastery, surrounded by children at play. MORE>>>
"I teach horizontally, meaning that while I might begin with a fixed idea of what I'm going to teach that day, I let it drift rhizomatically way off topic, often pulling it back when it gets too far. I rely on non-fixed materials to teach this way; the whole world is at my fingertips. Should I go off on a tangent about John and Rauschenberg and their love relationship as expressed in Rauschenberg's bed, an image of that bed is always a click away. From there, we can head anywhere into the non-fixed universe, be it film, text or sound. And of course, that always takes us elsewhere. As Cage says, 'We are getting nowhere fast.'" 
that anyone has yet got the imaginative measure of that terrifying day six years ago. Certainly our Tolstoy has not crawled out of the rubble. The closest we have, Don DeLillo, succeeded as an essayist-journalist ("In the Ruins of the Future: Reflections on Terror and Loss in the Shadow of September,” Harper’s, December 2001) but, to my mind, failed as a novelist ("Falling Man"). One reason, perhaps, is that the remembered emotion was instantly buried under a pile of cultural junk.' - Tod Gitlin in his review of Susan Faludi's The Terror Dream (written for 
