Adolf Hitler. the dentist. Terry & June. fucking bastard Thatcher. Scouse impersonator. silly pathetic girlies. silly pathetic woman. macho dickhead. Bonnie Langford. neighbours. lost keys. phoney friend. ungrateful accusing mate. the Royal family. Stock Aitken & Waterman. smiling Judas. heartbreaking lying friend. Myra Hindley. acid rain. stinking rich female in furs. disloyal lover. wife & child beater. drunken abuser. racist. bully. The Sun newspaper. AIDS inventor. Leon Brittan. all nonsense. massive massive oilslick. Jimmy Tarbuck. loneliness. cancer. hunger. greed. gut wrenching disappointment. evil gossiping fashion bastard. tasteless a&r wanker. hard cold fish. overdraft like a mountain. the Jimmy Swaggart show. the Tory invention of the non-working class. poll tax. commie bashers. mister Jesse Helms. Hillsborough. weird british judges. apartheid. John Lennon's murder. anyone's murder. the breakdown of the NHS. the death of the rain forest. Heysel stadium. rednecks. rape. homelessness. the all-American way. Clause 28. Tiananmen Square. sexual harrassment. Nelson Mandela's imprisonment. Nancy's term. Ronnie's term. miscarriage. where were you?
The found text i found was a little different. I figured i'd try a watching a movie and then read an analysis. The movie i picked was the original dawn of the dead (gasp) and based on some of the things i've heard about (shunting aside the typical zombie\violence aspect of it) it was one of those movies that provide a satire of the society it was based on. But in any case i'll cut to the point show my source text from a review on hollywoodgothique.com
"CONCLUSIONS Time has not blunted the film’s sharp satirical edge. That jabs at consumer culture are obvious but entertaining, though many critics, especially in America, where the horror genre is held in lwo regard, seem to miss the message. “I think generally the European audiences get more of the stuff that underlies the action—but it doesn’t underlie the action,” observes Romero. “People say, ‘There’s a hidden message about consumerism in DAWN OF THE DEAD.’ I always say, ‘It ain’t exactly hidden!’ It’s pretty much right up in your face.” Romero explains, “At their core, NIGHT OF THE LIVING DEAD and the two sequels I made are about revolution, but only in the broadest sense. A new society replacing the old and devouring it—in this case, literally. Sociopolitical criticism and satire is neither hidden nor masquerading as allegory. It’s right out front. We took big, obvious swipes at the media, at religion, at the misuse of family as an institution, and principally at tribalism, at man’s inability to consider perspectives other than his own. That theme is central to all three of my zombie films: mankind bringing about its own defeat.” For some fans, NIGHT OF THE LIVING DEAD is still the superior movie. They mistake DAWN for a soulless sequel that abandons the tone and style of the original. But in truth the film, like its predecessor, is a perfect reflection of its time, and the “soulless” quality is an element under attack, part of the satirical depiction of the shopping mall, which Romero has dubbed “a temple of mindless consumerism.” In short, Romero took the lowest, most critically derided form of horror filmmaking—explicit gore—and turned it into a form of art. Mixing this outrageous bloodshed with outrageous humor, he also mounted a savage (if tongue-in-cheek) attack on the foibles of modern society. Despite containing elements that many would consider low-brow (not to mention offensive), the film truly earned the accolade bestowed by the Overlook Film Encyclopedia: Horror, which said, “Certainly one of the bloodiest films ever made, it is also memorable for its unusual sensitivity and intelligence.” "
Whilst perhaps from a different point of view, Dawn of the dead may not be the best example of films that work like this but even so i feel my discoveries are enough to incite discussion about such satirical films.
I've had five attempts at adding a photo using photobucket. Just when I thought the world was complicated enough. I'm leaving the fifth attempt as an optimistic gesture. I've discovered how to delete (are you not getting little bins by your own comments, Rie?) so that's a silver-lining. Just so you know the photo is of a sticker that reads; "BUSH IS ANOTHER WORD FOR A CUNT"
Sarah's Found Text...(from "LONDON WALKS" "Somewhere Else" London 10.30 am Embankment Tube (Circle, District, Norhtern & Bakerloo Lines) What a delightful goulash of a walk this is. It gets you into streets that you'd just never find off your own bat - into a neighbourhood that precious few Londoners have seen, let alone visitors. It's a thrilling discovery - the real deal. There's no better sense of place in London - and no finer architectural effect. Yellow brick, perfectly preserved, all unselfconcious self-respect, real Cockney - unaltered Dickensian London. And the miracle is that it's still there, embedded in central London - screwed in to the big city. That discovery alone makes this one of those bewitching "somewhere else" London Walks. And getting there is a bit of all right too - because there's a dramatic river crossing, a stroll along the Thames, the world's foremost arts complex, London's best loved old theatre, a real London street market (instead of a tourist trap), a stunning bird's eye view of the capital (and there's a lift so we won't have to climb hundreds of stairs!), and buckets of character. Guided by Steve or Stephanie.
Found Text - from Nobody in the Cast by Barton, Booth, Buckles and Moore published by Longmans Canada Ltd.
Activities. For Relaxation.
1. You are an ice sculpture. As the music plays, you begin to melt very slowly: the thaw starts at your fingertips, then slowly moves to the rest of your body. Feel yourself melt until you are nothing but a pool of water. Free your mind of thoughts and simply relax, limp and lifeless, for at least three minutes. On the signal for the next exercise, come to life slowly, gently, stretching your muscles. 2. You are a puppet. At the beginning of the exercise, the strings are pulled very tightly. The puppeteer relaxes the strings one at a time: your head drops first, then your hands, your arms, your shoulders, your hips, and finally your legs. You are now a crumpled heap on the floor. 3. You are lying on a beach and someone is gradually covering you up with warm sand. 4. You walk in front of a laser beam. Gradually, you disintegrate. 5. You are a sleeping cat. Lie on the floor and become so limp that if the leader lifts up your hand or foot, your arm or leg flops around lifelessly. 6. You are a rag doll. Bending from the hips, rhythimically flop to the left and to the right. Stretch up tall and become as rigid as steel. Flop down again like a doll. Repeat.
Gwen's found text (found it in the street torn from a page of text - thought it was interesting in that because it's torn from a sheet it's now read out of context, & because I feel i can subvert it more by completing the text myself - the beginings and endings).
for the consider close organisation of a business ceived to al behaviour agers; or even e or embarrass regards to clients. ociations with a'no nships' policy may use procedures against who begins a personal at work - leading sometimes
ly few number of UK companies rmal policy on relationships however you should check ployment contract to see if your ation does have one in place. ou could run the risk of your nship with you colleague being out and may have face the quences ay need t consider whether nship is worth ture with
manag work; these management aware of interest, not to dis individuals. However, there is that demands emp their relationships all employees have private matters to water muddies wh may have busin as a personal fall is relationships w to sensitive inform positions. where there's ge business, it's poss insist on a transfer someone to leave. romances don't fal not and you want y entitled to it.
MY FOUND TEXT : Without a deadline I do nothing With adeadline I do nothing Until the deadline is upon me Then I panic Which isdoing nothing quickly When the deadline has passed I begin work On my excuses
History also teaches us how to laugh at the solemnities of the origin.The lofty origin is no more than "a metaphysical extentension which arises from the belief that things are most precious and essential at the moment of birth ".We tend to think that this is the moment of their greatest perfection, when they emerged dazzeling from the hands of their creator or from the shadowless light of a first morning.The origin always preceeds the fall.It comes before the body ,before world and time:it isassociated with the gods,ands its story is always sung at theogony.But historical beginnings are lowly ;not in the sense of modest or discreet like the steps of a dove, but derisiveand ironic, capable of undoing every fatuation ."We wished to awaken the feeling of mans sovreignity by showing his devine birth: this path is now forbidden , since a monkey stands at the entrance".Man originated with a grimace over his future development;and Zarathrustra himself is plagued by a monkey who jumps along behind him, pulling at his coat tails.Foucault.Nietsche'geneology' history. zoe
PLAGIARISM is covered by the university's regulations on academic Misconduct: sources of academic misconduct in coursework can include fellow students, published sources including the internet, essay banks and other commissioned and uncommissioned sources. See http://www.londonmet.ac.uk/academic-regulations/misconduct-1.cfm
GUIDELINES FOR THE SUBMISSION OF COURSEWORK
. Students are advised to keep a copy of every assignment .You must complete Sections A & B of this cover sheet and sign the declaration in Section A. This completed cover sheet should be attached to your work. Work will not be accepted without a cover sheet . The cover sheet will be stamped and the bottom part returned to you as a receipt. Receipts are available for work dropped through Drop boxes from the day after submission for two weeks only. The receipt is your proof of submission. Please keep it safe as your receipt may be required in the event of an assessment query. . Coursework deadlines - deadline dates will be published on the website; www.londonmet.ac.uk/deadlines . Late work - you may only submit coursework up to two weeks after the deadline date. A coursework assignment which is not submitted by the due date will normally be regarded as a non-submission unless Mitigating Circumstances for late submission are accepted. You will need to complete a mitigating Circumstances Form and supply documentary evidence of the reasons for your failure to submit by the due date.
YOU SHOULD NOT LEAVE THE HANDLING IN OF YOUR WORK UNTIL THE LAST MINUTE
DO NOT DETACH-RECIEPTS FOR COURSEWORKS SUBMITTED THROUGH POST BOXES WILL BE AVAILABLE FOR COLLECTION THE DAY AFTER SUBMISSION - AS SPECIFIED ON POST BOXES.
1 MODULE CODE TA300/TA3D11 2 ASSIGNMENT NO 1 3 STUDENT ID NO. M210684 4 STUDENT NAME MATTHEH INCLEDON
OFFICE USE ONLY
COUSREWORK RECIEVED LONDON metropolitan university
17 JAN 2005
Undergraduate registry Calcutta House (1)
White:Bottom half = Student's Receipt
Yellow: Tutor/File Copy
Blue: Remains on Coursework
I found this receipt in a book as I borrowed it from the Library, my initial reaction was that this receipt had been in there since 15 Jan 2005, the front of the book told me it had been taken out on the 23 Nov 2004, it was a three week loan, something didn't add up, the module code looked like no other I'd seen before, was the world conspiring against me, hadn't this book been bought up in conversation about my dissertation yesterday, were not all of the tutors screaming out it's name in praise today, hadn't I rushed here to get it, in case those other students got here before me and my masterpiece of a dissertation, my thesis would be ruined and no one had taken it out for almost two F**KING YEARS. All this anxiety disappeared as I used the self service till to check out my book, foregoing the desk stamping and awkward meeting with the Librarian. Such an idiot this book has been out a million times before and the students just use the self checkout system.
Update The book was bought on the 19 Feb 2004 I am the second person to take out this book It is not the same book all the tutors have been triumphing around the corridors of our fair central house. It is “Impressions Of Africa” by Raymond Roussel Paris 1910 It is not “New Impressions Of Africa” by Raymond Roussel Paris I don’t know the date. Now available as an atlas anti-classic from bookaratbook Hoxton
Let us go then, you and I, When the evening is spread out against the sky Like a patient etherized (2) upon a table; Let us go, through certain half-deserted streets, The muttering retreats Of restless nights in one-night cheap hotels And sawdust (3) restaurants with oyster-shells: Streets that follow like a tedious argument Of insidious intent To lead you to an overwhelming question . . . Oh, do not ask, "What is it?" Let us go and make our visit.
In the room the women come and go Talking of Michelangelo. (4)
The yellow fog that rubs its back upon the window-panes, The yellow smoke that rubs its muzzle on the window-panes Licked its tongue into the corners of the evening, Lingered upon the pools that stand in drains, Let fall upon its back the soot that falls from chimneys, Slipped by the terrace, made a sudden leap, And seeing that it was a soft October night, Curled once about the house, and fell asleep.
And indeed there will be time For the yellow smoke that slides along the street, Rubbing its back upon the window-panes; There will be time, there will be time To prepare a face to meet the faces that you meet; There will be time to murder and create, And time for all the works and days of hands That lift and drop a question on your plate; Time for you and time for me, And time yet for a hundred indecisions, And for a hundred visions and revisions, Before the taking of a toast and tea.
In the room the women come and go Talking of Michelangelo.
And indeed there will be time To wonder, "Do I dare?" and, "Do I dare?" Time to turn back and descend the stair, With a bald spot in the middle of my hair-- [They will say: "How his hair is growing thin!"] My morning coat, my collar mounting firmly to the chin, My necktie rich and modest, but asserted by a simple pin-- [They will say: "But how his arms and legs are thin!"] Do I dare Disturb the universe? In a minute there is time For decisions and revisions which a minute will reverse.
For I have known them all already, known them all:-- Have known the evenings, mornings, afternoons, I have measured out my life with coffee spoons; I know the voices dying with a dying fall Beneath the music from a farther room. So how should I presume?
And I have known the eyes already, known them all-- The eyes that fix you in a formulated phrase, And when I am formulated, sprawling on a pin, When I am pinned and wriggling on the wall, Then how should I begin To spit out all the butt-ends of my days and ways? And how should I presume?
And I have known the arms already, known them all-- Arms that are braceleted and white and bare [But in the lamplight, downed with light brown hair!] Is it perfume from a dress That makes me so digress? Arms that lie along a table, or wrap about a shawl. And should I then presume? And how should I begin? . . . . . Shall I say, I have gone at dusk through narrow streets And watched the smoke that rises from the pipes Of lonely men in shirt-sleeves, leaning out of windows? . . .
I should have been a pair of ragged claws Scuttling across the floors of silent seas.
. . . . .
And the afternoon, the evening, sleeps so peacefully! Smoothed by long fingers, Asleep . . . tired . . . or it malingers, Stretched on the floor, here beside you and me. Should I, after tea and cakes and ices, (5) Have the strength to force the moment to its crisis? But though I have wept and fasted, wept and prayed, Though I have seen my head [grown slightly bald] brought in upon a platter, (6) I am no prophet--and here's no great matter; I have seen the moment of my greatness flicker, And I have seen the eternal Footman hold my coat, and snicker, And in short, I was afraid.
And would it have been worth it, after all, After the cups, the marmalade, the tea, Among the porcelain, among some talk of you and me, Would it have been worth while, To have bitten off the matter with a smile, To have squeezed the universe into a ball To roll it toward some overwhelming question, To say: "I am Lazarus, (7) come from the dead Come back to tell you all, I shall tell you all"-- If one, settling a pillow by her head, Should say: "That is not what I meant at all. That is not it, at all."
And would it have been worth it, after all, Would it have been worth while, After the sunsets and the dooryards and the sprinkled streets, After the novels, after the teacups, after the skirts that trail along the floor-- And this, and so much more?-- It is impossible to say just what I mean! But as if a magic lantern (8) threw the nerves in patterns on a screen: Would it have been worth while If one, settling a pillow or throwing off a shawl, And turning toward the window, should say: "That is not it at all, That is not what I meant, at all."
. . . . .
No! I am not Prince Hamlet, (9) nor was meant to be; Am an attendant lord, one that will do To swell a progress, start a scene or two, Advise the prince; no doubt, an easy tool, Deferential, glad to be of use, Politic, cautious, and meticulous; Full of high sentence, but a bit obtuse At times, indeed, almost ridiculous-- Almost, at times, the Fool.
I grow old . . .I grow old . . . I shall wear the bottoms of my trousers rolled.
Shall I part my hair behind? Do I dare to eat a peach? I shall wear white flannel trousers, and walk upon the beach. I have heard the mermaids singing, each to each.
I do not think that they will sing to me.
I have seen them riding seaward on the waves Combing the white hair of the waves blown back When the wind blows the water white and black.
We have lingered in the chambers of the sea By sea-girls wreathed with seaweed red and brown Till human voices wake us, and we drown.
I’ve been wrestling with this statement all my life, because I’m still not sure what happiness is or what it constitutes. I have waves of cheerfulness, of elation; feeling that my life is progressing towards an enlightened place of hope. An obstacle occurs, as we’re constantly warned and reassured about, but no-one ever told me this would happen straight through the heart of my euphoria, at a time when I least expect it, worst of all want it. When misery beats me, I can only feel immense pain and failure to crawl past this damaged wreck, as I have done so many other times before.
“Whatever makes you happy, do it” she always told me, with her sodden, glassy eyes closed and burning rosy cheeks, pressed against mine. Her VOICE was always a comfort to me and her advice an envelope of protection, a mask from the disenchanted reality I could no longer look in the eye. This free reign and unclothed counsel was always delivered through its own tragedy of reason, which is undoubtedly, a more interesting story than my own.
Without ever forgetting, I once read that an unborn child’s first experience or sense of the ‘outside’ world is through the VOICE, specifically that of the Mother. A child once expelled from the womb becomes exposed and eventually conscious of language, experience and time. What we see isn’t necessarily what we hear. What we hear isn’t necessarily what we see. Our conversations with the VOICE are forever trailing our path and never letting go; to guide and carry us, to chide and bury us.
As a Mother and once a child; this VOICE from within or appropriated from another, is therefore my life’s work and my work’s life. Yet, time is running out. Nothing that has been said before this day or that’s spoken after this statement will not influence or dictate the development of my creative path. It will happen, because it must.
• This VOICE has a physical and emotional necessity that, as an artist and as human being, will help formulate the creative process.
• This VOICE has a need and desire to fulfil the creative potential, in myself and to absorb that of everyone around me.
• This VOICE has no compromise for anything or anyone outside of its own personal desires or direction.
• This VOICE will penetrate and capture all other voices when it chooses.
• This VOICE will always have a message to convey or a story to tell.
• This VOICE demands attention at all times and I will obey its every call.
• This VOICE can be heard by anyone with whom it is intended.
16 Comments:
Rie's Found Text....
Imperfect List
Adolf Hitler. the dentist. Terry & June. fucking bastard Thatcher. Scouse impersonator. silly pathetic girlies. silly pathetic woman. macho dickhead. Bonnie Langford. neighbours. lost keys. phoney friend. ungrateful accusing mate. the Royal family. Stock Aitken & Waterman. smiling Judas. heartbreaking lying friend. Myra Hindley. acid rain. stinking rich female in furs. disloyal lover. wife & child beater. drunken abuser. racist. bully. The Sun newspaper. AIDS inventor. Leon Brittan. all nonsense. massive massive oilslick. Jimmy Tarbuck. loneliness. cancer. hunger. greed. gut wrenching disappointment. evil gossiping fashion bastard. tasteless a&r wanker. hard cold fish. overdraft like a mountain. the Jimmy Swaggart show. the Tory invention of the non-working class. poll tax. commie bashers. mister Jesse Helms. Hillsborough. weird british judges. apartheid. John Lennon's murder. anyone's murder. the breakdown of the NHS. the death of the rain forest. Heysel stadium. rednecks. rape. homelessness. the all-American way. Clause 28. Tiananmen Square. sexual harrassment. Nelson Mandela's imprisonment. Nancy's term. Ronnie's term. miscarriage. where were you?
OK, sorry about that, teething problems (does anyone know how to delete a post?) Feel free to add me to the 'Imperfect List' ...
The found text i found was a little different. I figured i'd try a watching a movie and then read an analysis. The movie i picked was the original dawn of the dead (gasp) and based on some of the things i've heard about (shunting aside the typical zombie\violence aspect of it) it was one of those movies that provide a satire of the society it was based on. But in any case i'll cut to the point show my source text from a review on hollywoodgothique.com
"CONCLUSIONS
Time has not blunted the film’s sharp satirical edge. That jabs at consumer culture are obvious but entertaining, though many critics, especially in America, where the horror genre is held in lwo regard, seem to miss the message. “I think generally the European audiences get more of the stuff that underlies the action—but it doesn’t underlie the action,” observes Romero. “People say, ‘There’s a hidden message about consumerism in DAWN OF THE DEAD.’ I always say, ‘It ain’t exactly hidden!’ It’s pretty much right up in your face.”
Romero explains, “At their core, NIGHT OF THE LIVING DEAD and the two sequels I made are about revolution, but only in the broadest sense. A new society replacing the old and devouring it—in this case, literally. Sociopolitical criticism and satire is neither hidden nor masquerading as allegory. It’s right out front. We took big, obvious swipes at the media, at religion, at the misuse of family as an institution, and principally at tribalism, at man’s inability to consider perspectives other than his own. That theme is central to all three of my zombie films: mankind bringing about its own defeat.”
For some fans, NIGHT OF THE LIVING DEAD is still the superior movie. They mistake DAWN for a soulless sequel that abandons the tone and style of the original. But in truth the film, like its predecessor, is a perfect reflection of its time, and the “soulless” quality is an element under attack, part of the satirical depiction of the shopping mall, which Romero has dubbed “a temple of mindless consumerism.”
In short, Romero took the lowest, most critically derided form of horror filmmaking—explicit gore—and turned it into a form of art. Mixing this outrageous bloodshed with outrageous humor, he also mounted a savage (if tongue-in-cheek) attack on the foibles of modern society. Despite containing elements that many would consider low-brow (not to mention offensive), the film truly earned the accolade bestowed by the Overlook Film Encyclopedia: Horror, which said, “Certainly one of the bloodiest films ever made, it is also memorable for its unusual sensitivity and intelligence.” "
Whilst perhaps from a different point of view, Dawn of the dead may not be the best example of films that work like this but even so i feel my discoveries are enough to incite discussion about such satirical films.
http://i87.photobucket.com/albums/k138/thecollectiveart/PICT2744.jpg
I've had five attempts at adding a photo using photobucket. Just when I thought the world was complicated enough. I'm leaving the fifth attempt as an optimistic gesture. I've discovered how to delete (are you not getting little bins by your own comments, Rie?) so that's a silver-lining.
Just so you know the photo is of a sticker that reads;
"BUSH IS ANOTHER WORD FOR A CUNT"
Sarah's Found Text...(from "LONDON WALKS"
"Somewhere Else" London
10.30 am Embankment Tube (Circle, District, Norhtern & Bakerloo Lines)
What a delightful goulash of a walk this is. It gets you into streets that you'd just never find off your own bat - into a neighbourhood that precious few Londoners have seen, let alone visitors. It's a thrilling discovery - the real deal. There's no better sense of place in London - and no finer architectural effect. Yellow brick, perfectly preserved, all unselfconcious self-respect, real Cockney - unaltered Dickensian London. And the miracle is that it's still there, embedded in central London - screwed in to the big city. That discovery alone makes this one of those bewitching "somewhere else" London Walks. And getting there is a bit of all right too - because there's a dramatic river crossing, a stroll along the Thames, the world's foremost arts complex, London's best loved old theatre, a real London street market (instead of a tourist trap), a stunning bird's eye view of the capital (and there's a lift so we won't have to climb hundreds of stairs!), and buckets of character. Guided by Steve or Stephanie.
Found Text - from Nobody in the Cast by Barton, Booth, Buckles and Moore published by Longmans Canada Ltd.
Activities. For Relaxation.
1. You are an ice sculpture. As the music plays, you begin to melt very slowly: the thaw starts at your fingertips, then slowly moves to the rest of your body. Feel yourself melt until you are nothing but a pool of water. Free your mind of thoughts and simply relax, limp and lifeless, for at least three minutes. On the signal for the next exercise, come to life slowly, gently, stretching your muscles.
2. You are a puppet. At the beginning of the exercise, the strings are pulled very tightly. The puppeteer relaxes the strings one at a time: your head drops first, then your hands, your arms, your shoulders, your hips, and finally your legs. You are now a crumpled heap on the floor.
3. You are lying on a beach and someone is gradually covering you up with warm sand.
4. You walk in front of a laser beam. Gradually, you disintegrate.
5. You are a sleeping cat. Lie on the floor and become so limp that if the leader lifts up your hand or foot, your arm or leg flops around lifelessly.
6. You are a rag doll. Bending from the hips, rhythimically flop to the left and to the right. Stretch up tall and become as rigid as steel. Flop down again like a doll. Repeat.
Gwen's found text
(found it in the street torn from a page of text - thought it was interesting in that because it's torn from a sheet it's now read out of context, & because I feel i can subvert it more by completing the text myself - the beginings and endings).
for the
consider close
organisation
of a business
ceived to
al behaviour
agers; or even
e or embarrass
regards to clients.
ociations with a'no
nships' policy may use
procedures against
who begins a personal
at work - leading sometimes
ly few number of UK companies
rmal policy on relationships
however you should check
ployment contract to see if your
ation does have one in place.
ou could run the risk of your
nship with you colleague being
out and may have face the
quences
ay need t consider whether
nship is worth
ture with
manag
work; these
management aware
of interest, not to dis
individuals.
However, there is
that demands emp
their relationships
all employees have
private matters to
water muddies wh
may have busin
as a personal fall
is relationships w
to sensitive inform
positions.
where there's ge
business, it's poss
insist on a transfer
someone to leave.
romances don't fal
not and you want y
entitled to it.
MY FOUND TEXT :
Without a deadline
I do nothing
With adeadline
I do nothing
Until the deadline is upon me
Then I panic
Which isdoing nothing quickly
When the deadline has passed
I begin work
On my excuses
From - 'How to Live' by Simon Munnery
History also teaches us how to laugh at the solemnities of the origin.The lofty origin is no more than "a metaphysical extentension which arises from the belief that things are most precious and essential at the moment of birth ".We tend to think that this is the moment of their greatest perfection, when they emerged dazzeling from the hands of their creator or from the shadowless light of a first morning.The origin always preceeds the fall.It comes before the body ,before world and time:it isassociated with the gods,ands its story is always sung at theogony.But historical beginnings are lowly ;not in the sense of modest or discreet like the steps of a dove, but derisiveand ironic, capable of undoing every fatuation ."We wished to awaken the feeling of mans sovreignity by showing his devine birth: this path is now forbidden , since a monkey stands at the entrance".Man originated with a grimace over his future development;and Zarathrustra himself is plagued by a monkey who jumps along behind him, pulling at his coat tails.Foucault.Nietsche'geneology'
history. zoe
This comment has been removed by a blog administrator.
Sayshun Jay's Found Text ...
PLAGIARISM is covered by the university's regulations on academic Misconduct: sources of academic misconduct in coursework can include fellow students, published sources including the internet, essay banks and other commissioned and uncommissioned sources. See http://www.londonmet.ac.uk/academic-regulations/misconduct-1.cfm
GUIDELINES FOR THE SUBMISSION OF COURSEWORK
. Students are advised to keep a copy of every assignment
.You must complete Sections A & B of this cover sheet and sign the declaration in Section A. This completed cover sheet should be attached to your work. Work will not be accepted without a cover sheet
. The cover sheet will be stamped and the bottom part returned to you as a receipt. Receipts are available for work dropped through Drop boxes from the day after submission for two weeks only. The receipt is your proof of submission. Please keep it safe as your receipt may be required in the event of an assessment query.
. Coursework deadlines - deadline dates will be published on the website; www.londonmet.ac.uk/deadlines
. Late work - you may only submit coursework up to two weeks after the deadline date. A coursework assignment which is not submitted by the due date will normally be regarded as a non-submission unless Mitigating Circumstances for late submission are accepted. You will need to complete a mitigating Circumstances Form and supply documentary evidence of the reasons for your failure to submit by the due date.
YOU SHOULD NOT LEAVE THE HANDLING IN OF YOUR WORK UNTIL THE LAST MINUTE
DO NOT DETACH-RECIEPTS FOR COURSEWORKS SUBMITTED THROUGH POST BOXES WILL BE AVAILABLE FOR COLLECTION THE DAY AFTER SUBMISSION - AS SPECIFIED ON POST BOXES.
1 MODULE CODE TA300/TA3D11
2 ASSIGNMENT NO 1
3 STUDENT ID NO. M210684
4 STUDENT NAME MATTHEH INCLEDON
OFFICE USE ONLY
COUSREWORK RECIEVED LONDON metropolitan university
17 JAN 2005
Undergraduate registry
Calcutta House (1)
White:Bottom half = Student's Receipt
Yellow: Tutor/File Copy
Blue: Remains on Coursework
I found this receipt in a book as I borrowed it from the Library, my initial reaction was that this receipt had been in there since 15 Jan 2005, the front of the book told me it had been taken out on the 23 Nov 2004, it was a three week loan, something didn't add up, the module code looked like no other I'd seen before, was the world conspiring against me, hadn't this book been bought up in conversation about my dissertation yesterday, were not all of the tutors screaming out it's name in praise today, hadn't I rushed here to get it, in case those other students got here before me and my masterpiece of a dissertation, my thesis would be ruined and no one had taken it out for almost two F**KING YEARS. All this anxiety disappeared as I used the self service till to check out my book, foregoing the desk stamping and awkward meeting with the Librarian. Such an idiot this book has been out a million times before and the students just use the self checkout system.
Update The book was bought on the 19 Feb 2004
I am the second person to take out this book
It is not the same book all the tutors have been triumphing around the corridors of our fair central house.
It is “Impressions Of Africa” by Raymond Roussel Paris 1910
It is not “New Impressions Of Africa” by Raymond Roussel Paris I don’t know the date.
Now available as an atlas anti-classic from bookaratbook Hoxton
My Found Text...
Soho Comedy Club
Roundtable Pub (upstairs)
St Martins Court
8Pm Kate & David
Leic Wyndhams Theatre
Sq
RoundTable
*Free entry For Giles and a Friend*
The love song of J. Ald Prufrock. T.S Eliot
Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherized (2) upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats
Of restless nights in one-night cheap hotels
And sawdust (3) restaurants with oyster-shells:
Streets that follow like a tedious argument
Of insidious intent
To lead you to an overwhelming question . . .
Oh, do not ask, "What is it?"
Let us go and make our visit.
In the room the women come and go
Talking of Michelangelo. (4)
The yellow fog that rubs its back upon the window-panes,
The yellow smoke that rubs its muzzle on the window-panes
Licked its tongue into the corners of the evening,
Lingered upon the pools that stand in drains,
Let fall upon its back the soot that falls from chimneys,
Slipped by the terrace, made a sudden leap,
And seeing that it was a soft October night,
Curled once about the house, and fell asleep.
And indeed there will be time
For the yellow smoke that slides along the street,
Rubbing its back upon the window-panes;
There will be time, there will be time
To prepare a face to meet the faces that you meet;
There will be time to murder and create,
And time for all the works and days of hands
That lift and drop a question on your plate;
Time for you and time for me,
And time yet for a hundred indecisions,
And for a hundred visions and revisions,
Before the taking of a toast and tea.
In the room the women come and go
Talking of Michelangelo.
And indeed there will be time
To wonder, "Do I dare?" and, "Do I dare?"
Time to turn back and descend the stair,
With a bald spot in the middle of my hair--
[They will say: "How his hair is growing thin!"]
My morning coat, my collar mounting firmly to the chin,
My necktie rich and modest, but asserted by a simple pin--
[They will say: "But how his arms and legs are thin!"]
Do I dare
Disturb the universe?
In a minute there is time
For decisions and revisions which a minute will reverse.
For I have known them all already, known them all:--
Have known the evenings, mornings, afternoons,
I have measured out my life with coffee spoons;
I know the voices dying with a dying fall
Beneath the music from a farther room.
So how should I presume?
And I have known the eyes already, known them all--
The eyes that fix you in a formulated phrase,
And when I am formulated, sprawling on a pin,
When I am pinned and wriggling on the wall,
Then how should I begin
To spit out all the butt-ends of my days and ways?
And how should I presume?
And I have known the arms already, known them all--
Arms that are braceleted and white and bare
[But in the lamplight, downed with light brown hair!]
Is it perfume from a dress
That makes me so digress?
Arms that lie along a table, or wrap about a shawl.
And should I then presume?
And how should I begin?
. . . . .
Shall I say, I have gone at dusk through narrow streets
And watched the smoke that rises from the pipes
Of lonely men in shirt-sleeves, leaning out of windows? . . .
I should have been a pair of ragged claws
Scuttling across the floors of silent seas.
. . . . .
And the afternoon, the evening, sleeps so peacefully!
Smoothed by long fingers,
Asleep . . . tired . . . or it malingers,
Stretched on the floor, here beside you and me.
Should I, after tea and cakes and ices, (5)
Have the strength to force the moment to its crisis?
But though I have wept and fasted, wept and prayed,
Though I have seen my head [grown slightly bald] brought in upon a platter, (6)
I am no prophet--and here's no great matter;
I have seen the moment of my greatness flicker,
And I have seen the eternal Footman hold my coat, and snicker,
And in short, I was afraid.
And would it have been worth it, after all,
After the cups, the marmalade, the tea,
Among the porcelain, among some talk of you and me,
Would it have been worth while,
To have bitten off the matter with a smile,
To have squeezed the universe into a ball
To roll it toward some overwhelming question,
To say: "I am Lazarus, (7) come from the dead
Come back to tell you all, I shall tell you all"--
If one, settling a pillow by her head,
Should say: "That is not what I meant at all.
That is not it, at all."
And would it have been worth it, after all,
Would it have been worth while,
After the sunsets and the dooryards and the sprinkled streets,
After the novels, after the teacups, after the skirts that trail along the
floor--
And this, and so much more?--
It is impossible to say just what I mean!
But as if a magic lantern (8) threw the nerves in patterns on a screen:
Would it have been worth while
If one, settling a pillow or throwing off a shawl,
And turning toward the window, should say:
"That is not it at all,
That is not what I meant, at all."
. . . . .
No! I am not Prince Hamlet, (9) nor was meant to be;
Am an attendant lord, one that will do
To swell a progress, start a scene or two,
Advise the prince; no doubt, an easy tool,
Deferential, glad to be of use,
Politic, cautious, and meticulous;
Full of high sentence, but a bit obtuse
At times, indeed, almost ridiculous--
Almost, at times, the Fool.
I grow old . . .I grow old . . .
I shall wear the bottoms of my trousers rolled.
Shall I part my hair behind? Do I dare to eat a peach?
I shall wear white flannel trousers, and walk upon the beach.
I have heard the mermaids singing, each to each.
I do not think that they will sing to me.
I have seen them riding seaward on the waves
Combing the white hair of the waves blown back
When the wind blows the water white and black.
We have lingered in the chambers of the sea
By sea-girls wreathed with seaweed red and brown
Till human voices wake us, and we drown.
VOICE Manifesto
“Whatever ……. makes you happy….”
I’ve been wrestling with this statement all my life, because I’m still not sure what happiness is or what it constitutes. I have waves of cheerfulness, of elation; feeling that my life is progressing towards an enlightened place of hope. An obstacle occurs, as we’re constantly warned and reassured about, but no-one ever told me this would happen straight through the heart of my euphoria, at a time when I least expect it, worst of all want it. When misery beats me, I can only feel immense pain and failure to crawl past this damaged wreck, as I have done so many other times before.
“Whatever makes you happy, do it” she always told me, with her sodden, glassy eyes closed and burning rosy cheeks, pressed against mine. Her VOICE was always a comfort to me and her advice an envelope of protection, a mask from the disenchanted reality I could no longer look in the eye. This free reign and unclothed counsel was always delivered through its own tragedy of reason, which is undoubtedly, a more interesting story than my own.
Without ever forgetting, I once read that an unborn child’s first experience or sense of the ‘outside’ world is through the VOICE, specifically that of the Mother. A child once expelled from the womb becomes exposed and eventually conscious of language, experience and time. What we see isn’t necessarily what we hear. What we hear isn’t necessarily what we see. Our conversations with the VOICE are forever trailing our path and never letting go; to guide and carry us, to chide and bury us.
As a Mother and once a child; this VOICE from within or appropriated from another, is therefore my life’s work and my work’s life. Yet, time is running out. Nothing that has been said before this day or that’s spoken after this statement will not influence or dictate the development of my creative path. It will happen, because it must.
• This VOICE has a physical and emotional necessity that, as an artist and as human being, will help formulate the creative process.
• This VOICE has a need and desire to fulfil the creative potential, in myself and to absorb that of everyone around me.
• This VOICE has no compromise for anything or anyone outside of its own personal desires or direction.
• This VOICE will penetrate and capture all other voices when it chooses.
• This VOICE will always have a message to convey or a story to tell.
• This VOICE demands attention at all times and I will obey its every call.
• This VOICE can be heard by anyone with whom it is intended.
• This VOICE promises it will never leave me.
This weeks 10 words:
Voice
Truth
Believe
Loss
Memory
Code
Message
Interpret
Construct
Story
One word:
VOICE
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