There's constantly something new at Ubu. I watch for it pretty much daily. Now it's the 1970 Yoko Ono experimental film short, Apotheosis, completely mesmerizing. Up we go in a hot-air balloon, wintertime, and a single continuous shot (with sound) gets the scene. (Actually, Kenny Goldsmith's notes indicate that somewhere in there Yoko spliced in some images from a second camera she had with her.) I like intuiting and knowing of the thrill behind the scenes: John and Yoko going up, up, up in '70. They--or at least John--are apotheosized in our watching this film now. The slow rising up, along with the ambient sounds capturing the extraordinarily silence of leaving terra firma: that's a heavenly gesture too. This thing is really intentioned.
"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 
