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RCA| | 1. Write a story in two parts:
First Part, Second Part; First Part Second Part.
Part One: A boy and his girl are in New York City at the turn of the century. And he decides to risk his good name, his reputation, and his love for her and her love for him to steal a copy of Wong Kar Wai's IN THE MOOD FOR LOVE from the Virgin Mega Store in Times Square. The film represents the idea, the fantasy, he had in mind and still does, of their relationship. He steals it the way he steal her love, and misrepresents it to her and to himself. The imagined love and the movie are the same, but only in the sub-imaginings. They take the subway home; she might know, she might not know. But he knows, and it hurts him so badly that he denies that he knows that she could know.
Part Two: A boy meets a girl who is too drunk to come home with him, whom he has known before. And thought about being with before,a s she has thought about being with him - and they discuss their collective and individual desire to see IN THE MOOD FOR LOVE, both alone and together - so they go home together and are both too drunk to watch the film. The take a cab home
2. Never try to slip one over and get something for nothing. I have enough problems with Institutions as it is. Never go for the big free-ness again. Just want to get something reasonable, that is within the bounds - if i can keep myself on the straight and narrow; stop trying to buy giant laptop screens, convertible cars - just trying to get something for nothing - I'm not going to do that anymore.
3. {SILENCE} Just driving here on the road somewhere in Georgia. Are you still at work?...
H:You were sick today! {LAUGHS}
H: Were you really sick, or did you just take a sick day?
H: Oh! God!
H: Uh! Man! I mean, uh, how long do you think you've had it?
H: {LAUGHS} That's not really what I meant, like, when you said that I guess I realized I should be concerned, but I mean, you know if you have it for a long time, even if you don't have a bad case, um, you know.
H: No?!
4. Dang!
5. Develop a fake name, fake address, and fake phone number to give to people who like you but that you don't like.
6. You'll always be the fire I can't put out.
7. Charlie McClain, the Bellamy brothers
8. Sleeping with the radio on - I remember doing that as a kid
9.
S: "...Play a guitar until you know how to make love, because a guitar is shaped like a woman's body" and Claire was saying this hilarious and fabulous retort about how, "I suppose lesbians are the only musicians, and by the way, I actual suffer in the field for my characters, and only shitty literature would make it so you had to have life experiences to appreciate it." Her comment was extremely good, and I always wondered...
10.
s: Had to have a lot of other information to be able to get it. For example, if you had an incredible amount of knowledge about embryology you could get Adam Zoresky [?]'s work but the only other entryway is to know a lot about bioart. Then you can understand why you could get people quite close to people in animal rights' groups, you could get people stirred up about that and thinking about that. Actually what you are doing is scrambling a bunch of embryos and trying to make transgenic quail. Instead of only showing the "good" one, which is what scientists do, they show the 400 "bad" ones, where it looks like a fucked up chicken, or it looks like a scrambled egg.
H: Yeah
s: Then people go ape-shit, when, actually, Adam's stats are probably better than most scientists. He's just being honest about what it took.
H: yeah
s: You got kind of have a little bit of an internal view [?] or know something about it to kind of immediately get that, where a glowing bunny, the public seems to be able to understand what that means, or maybe it has different meanings for the artist. They are able to kind of get to that a little quicker than a scrambled quail egg. Though, I actually think Zoresky's work is much more powerful and interesting because it has this 3 or 4 layers of interpretive technique.
11.
H: Talking about speaking internally, I think a good deal of artists, including myself, while...you know how I went on this big kick about how writing letters was, like, the only thing because you have one specific creator and one specific audience, and you don't have to imagine the "READER" timeless, past, future
s: kinda
H: So, a lot of great art was created for a very specific community, even if - you know, Toni Morrison and Reynolds Price aren't really good friends, but they are part of a specific community and understand that they are going to read one another's work, right? I think there are targeted groups of artists, through time, where maybe it doesn't really represent a true movement, but they were concerned about what one another would think about and respond....
s: How many other geothermal physicists are there?
H: right, right! and that's why they all have to take breaks and all go to Ecuador for the weekend, and then they can really get down to business. And somebody's wife will bring their screaming infant, and it will just stop-up theoretical physics that whole year because no body could communicate. [LAUGHS]
s: Yeah, I think that's right. Or the fact that everyone has an infant in the same year, which is actually true and happening in bioart, where we've got a bunch of thirty-somethings and suddenly every art thing [INTERRUPTED BY H]
H: if you are a bio-artist and you have a baby, is the baby art?
s: There have been quite a number of projects where they removed, say, embryonic fluid that was then used in art projects. I mean, the baby that was just born between Warren and Annette has a bunch of saved biological material that they are trying to decide what to do with.
H: I've heard of these people in the Bay area who are making money hand over fist by coming in right after a home birth and collecting all the after-birth an amniotic fluid
s: I send you that article
H: oh, oh, oh
s: LAUGHS
H: And then they make preserves out of it
s: placenta prepared to eat
H: Jellies, marmalades
s: There's a belief that mammals eat their placenta and that somehow this is especially good, like it somehow renews the mother's body and is good for nursing. And so, they basically present the mother with a meal made of the placenta..yeah, mom, it's fucked up. And the belief that it is about what the body needs is the magic of childbirth. Really freaks me out.
12.
H: I think that I've seen...there's so much about motherhood and so on that I don't even want to get into this conversation, like at an academic level, but like, its almost better if you have a child and are just, 'It's no big deal." it's gonna take care of itself. [LAUGHS] And like, "I'll be here." But extremely directed parenting, which is like all that goes on at colleges...
s: I'm sure I've told you the three historians thing on NPR on motherhood.
H: yeah
s: So basically, there is this particular notion of nationalism and motherhood
H: Instead of being afraid that your child might turn out homosexual, you are afraid it might turn out to be a Republican.
s: or you might not be able to nurse it, so you think its addicted to corn syrup, and therefore a troll
H: Yeah, it's just like, no!
s: I told you, it's ridiculous in Ithaca. If you give your child a bottle, you just be prepared to tell people there is some special medical reason for what your doing.
13.
s:It's even more oppressive because of this ultra-educated stuff.
H: They use that bullshit to control people.
s: Yeah, to control women, really.
H: I mean, uh, yeah, [false voice] "I know best!"
s: The thing is, at least if you are a Christian, and you are trying to get the Word out, you at least recognize that there is another team, that it is Satan, and that next person might be on Satan's team, and there might just be nothing you can do. But in the sort of "Washing-the-masses" crowd, there is no other team, we're all in it together! "Can I give you some information?"
H: This is the exact problem with these Israeli filmmakers, who came to visit. It's that they literally didn't understand that there were two sides, that there were two prospectives, they were like, "If only we could educate, educate, educate, everyone would agree with us!"
s: That's the science problem right? If everyone had enough information about science, then everyone would be okay with it!
H: They had all of, I would call it pretension, but it also was delusion, saying, "Nobody will play our movies on television. What's wrong with them? We have a right to speak." Apparently, the right to speak to millions of people at once! Like, no you don't have have that right! You have to right to speak in your personal sphere, like you know any way, so, now...
14.
H: The most important thing I've learned working, actually related to deconstructing language. When we say "Documentary Studies" the term was invented by John Grierson to trump up support for the kind of movies he wanted to make, and it sounds really official and good, know what I mean?
s: [inaudible] we understand....
H: What I've learned is, and I've learned it from Rankin, even though he would likely not agree with deconstruction at all, but what it is, is that when he hears a term like, just say, Documentary Studies, it's not that he doesn't think its meaningless, but on the surface it is meaningless. So, you have to teach documentary photography 101 for three or four years, 8 or 10 classes, and then, after you've taught it, and done a process on it, then you can come to understand what it is, in this context, in this place. Before that, the door is totally open and swinging. So, it is literally going to a particular place and spending time working with other people or with your self that leads to terms and meanings having any sort of weight.
s: You remember Khun's idea of community, right? That that's what formulates meaning, that the words only mean something to you...and in fact in Stanley Fish's there are techincal terms in the discussion [?]...It's very interesting...
H: What I'm saying is, I want to live that way. If I'm going to say, "OK, I'm a professor of visual studies," it is not enough for me to earn that title, in some sort of external value, I have to have an internal value that says, "OK, this is not a bullshit thing I made up." Like, I have to do it and understand what it is. Even if I can't communicate, at least I'll understand
s:[inaudible] specialized programs. At the end [inaudible] STS Stanford is very different that SSTS Cornel or than STS at Harvard or Public Policy. It is just any school's idea of what it is a pretty far cry removed from Ithaca's idea.
15. What is the name of the movie?
John La Fee
Where did you see it?
I saw it in LaFayette at the theater.
How old were you?
I was a teenager.
It was a full feature film. It was story that went along. It was good.
Say the synopsis.
He was a pirate. And he helped Jackson during the Battle of New Orleans.
Okay.
http://en.wikipedia.org/wiki/Jean_Lafitte
http://movies.yahoo.com/movie/1800149402/info
http://www.imdb.com/title/tt0029950/
16. "Hey Ma; Hey Pa!" Her mother..Mrs. Hicks. married everything...
worst thing in the world...
Who was it though? It was Papa Steele's sister. Right?
Where else were they living at when they would ride by? We don't know?
Lynda: Papa Steele's was my great granddaddy
C:
L: Uncle Jack was a knife trader. He liked to trade knifes. He'd go up to the cattle barn, Uncle Jack would, on Wednesday to trade knives.
s: LAUGHS
H: Just to trade, or to make money?
L: Just for fun
17.
H:did ya'l; purposefully get him when you got the goats?
L: No, they're high-priced dogs. They are great pianese, and they are high priced dogs, and Phillip bought him and he didn't want him, and he give him to Virgil.
s:
L: huh
s:he's just rolling around with that ball
c: he's a fine puppy. you're such a good dog.
s: a beautiful dog too
c: yeah
[goats bleat]
s: try to step over the fence and he'll - he's not like he's gonna hurt you, he just stays between you and them. You can never really get right up on them
18.
H: ...Story where the mud puddle got real big out by the driveway and the three dogs came and played with him. could you tell me that story?
Laird: um, in there?
H: yeah, yeah, talk into this thing so we can have a recording!
L: in there?
H: Naw, we'll just have it in there.
L: you mean speak?
H: Yeah, talk
L: right there?
H: right there, in the top!
L: oh
H: Yeah, so Laird, tell me the story like you are talking to me.
L: Um, does it really work?
H: Yeah, it really works . Tell me the story. What did the dogs look like?
L: They were white and brown.
H: Yeah, and whose dogs were they?
L: The neighbors across the road.
H: Yeah. Were you just sitting in the mud puddle? Or what were you doing?
L: I was playing in it.
H: Yeah. Was it still raining?
L: No.
H: Am, come on! Tell me the story! Don't make me drag it out of you!
L: heh!
H: You were just telling me about those three trees that were out by the back porch.
L: It was four.
H: Four trees.
L: Yeah, four.
H: Well, I just thought that you would love, later on, to have a recording of yourself talking about your childhood home
L: I think it was last year, or the year before that. I think I was in pre-school or kindergarten. Guess what grade I'm in.
H: I don't know. First?
L: yes
H: did you already go to kindergarten?
L: well, last year I did.
H: Did you know you go to the same school I went to?
L: Nu-uh. What school did you go to?
H: Lee Scott Academy
L: yeah. I'm going there
H: you play with the same playground equipment that
L: yeah
H: that I played with, man
L: yeah
H: but the campus is different
L: yeah. What's a campus?
H: That's like where all the buildings are and where the playground is at, and the sports fields are - that's the campus
L: Oh, well we've got two fields. The practice field and the football field, right next to the practice field.
H: Don't you also have a recess area where there are sandboxes and stuff?
L: well, no but not on the playground. Well, at home ,y sand box is about this long.
H: yeah
L: and its about this big
H: do you ever have computer class at school?
L: well, no but when we go on Tuesday and play on the computers.
H: What do you do? Do you like that or not?
L: Yeah! we go to art on Mondays and you know what is on Tuesdays.
H: Uh-uh. What;s on Tuesdays?
L: Computer.
H: ooooh!
L: Wednesday is music and Thursday is library and Friday's french.
H: French! Parlez-vous francais?
L: What does that mean?
H: Do yo speak French?
L: I do. Did you know that?
H: What are some French words they taught you?
L: deux mille neuf that's how you say 2009
H: yeah, that's great man!
L: how do you speak those numbers in French?
H: un deux trois quatre cinq six sept huit neuf
L: Man, this is taking a long time. I sure do agree
H: Man, I'm so bad at foreign language but its cool to learn it
19. People who say that this is not a story of a specific place, that this is a story of "US" must not have looked at a lot of stories because every story is a story of us. So, it is only special if it is a specific story of a specific time and place, people, event.
20. For the sole purpose of making love to a woman
21. Is character fate? Is character destiny? Does what happens to you happen because of who you are? Is it all determined in those first few months after childbirth? Damn. Have to ask somebody. Damn. Developmental....communicate, communicate, regurgitate, then reference, until, " we have compared everything in the world
to everything else in the world,
and there is nothing left to do
but quietly close our notebooks
and sit with our hands folded on our desks."
| | | Posted 10/31/2009 11:50 AM - 1 View - 0 eProps - 1 Comment
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