Thursday, September 24, 2009

murakami's jellyfish


"What we see before us is just one tiny part of the world. We get into the habit of thinking, this is the world, but that's not true at all. The real world is a much darker and deeper place than this, and much of it is occupied by jellyfish and things."
- Haruki Murakami

The problem is, we don't see the big picture. We only perceive time and space, as they concern us personally but we don't have a perspective view. Of course, Murakami (who actually had a fear of jellyfish) might have wanted to convey something else with this quote, but after my previous posts like jelly invasion and giant jellies I am able to interpret it in an entirely different way: What we like to perceive is only a part of the whole story. The whole story is much more darker and frightening for us to acknowledge. However, the increasing number of jellyfish and the deterioration of the waters are signs that we ought to broaden our view on "things", until it's too late.

polysics


Polysics are are a punk-synth-pop band (let's call it new wave) from Tokyo and they describe their style as "technicolor pogo punk" (whatever that might be, I have always hated all these labels). They are known for their flashy style and performances, as well as for their crazy videos.

Check out one of my favourite videos for the song "I My Me Mine", performed by animation dancer Mao Murakami, who often teams up with her dad for performances and use the stage name Strong Machine.

the antlers


I am becoming a fan of The Antlers' music. Check them out if you haven't already. "Hospice" is probably the saddest album ever written.

Here is the video for their song "Two" (beautiful colors, btw):


My favorite song by them is probably "Kettering".

dead man


Jim Jarmusch's "Dead Man" is one of my favourite movies. Every second of it was full of subtle poetic substance, mysticism, incredible photography, stunning music (by Neil Young, watch below). Depp makes a wonderful performance and I would not want anyone else to play this part. This is definetely one of those movies that get under your skin: beautiful and deep. poster source

foals


Foals are a band from Oxford with math rock and minimalist influences. Interestingly, I seem to like their B-sides better.

Enjoy one of my favourites: "The Chronic"

stupidity and research

I have recently stumbled across Martin Schwartz' essay "
The Importance of Stupidity in Scientific Research".

Although I do not agree with everything he states, I have to highlight a few paragraphs:
"I recently saw an old friend for the first time in many years. We had been Ph.D. students at the same time, both studying science, although in different areas. She later dropped out of graduate school, went to Harvard Law School and is now a senior lawyer for a major environmental organization. At some point, the conversation turned to why she had left graduate school. To my utter astonishment, she said it was because it made her feel stupid. After a couple of years of feeling stupid every day, she was ready to do something else."
Martin goes on to admit that he has the same feeling and to suggest that the key to overcoming that painful awareness is to accept it and get used to it. Even get addicted to it. He explains that it's important to understand that it is not just him not knowing the answers: It's everyone's problem, from the student to the big prof:
"Science involves confronting our 'absolute stupidity'."
I think Martin may be right here, but I think he neglects the fact that unfortunatelly many people hide their own "absolute stupidity" (instead of embracing it) by making others feel "realtive studpid". In a different line of thoughts he continues:
"I'd like to suggest that our Ph.D. programs often do students a disservice in two ways. First, I don't think students are made to understand how hard it is to do research. (...) What makes it difficult is that research is immersion in the unknown. We just don't know what we're doing. We can't be sure whether we're asking the right question or doing the right experiment until we get the answer or the result. Admittedly, science is made harder by competition for grants and space in top journals. But apart from all of that, doing significant research is intrinsically hard and changing departmental, institutional or national policies will not succeed in lessening its intrinsic difficulty. Second, we don't do a good enough job of teaching our students how to be productively stupid.(...) Productive stupidity means being ignorant by choice. Focusing on important questions puts us in the awkward position of being ignorant. One of the beautiful things about science is that it allows us to bumble along, getting it wrong time after time, and feel perfectly fine as long as we learn something each time. No doubt, this can be difficult for students who are accustomed to getting the answers right. No doubt, reasonable levels of confidence and emotional resilience help, but I think scientific education might do more to ease what is a very big transition: from learning what other people once discovered to making your own discoveries. The more comfortable we become with being stupid, the deeper we will wade into the unknown and the more likely we are to make big discoveries."
Martin's bottom line is "if we don't feel stupid, it means we're not really trying". By this he means that we are used to asking easy questions, so that we can easily find the answers. It might not be challenging at all, but it is quite comforting to know we are smart. Since we have been brought up in a tradition that does not tolerate uncertainty, most people I know are striving to find predictability and certainty. I believe this is, in itself, not a bad thing, as long as one's aspirations are in concordance with one's environment! But if this is not the case, it might cause a great deal of suffering. And then, one has to make a decision: either accept the undeniable truth or reject it and find a more convenient one. The good thing about accepting it, according to Martin, is that it changes the entire perspective, it liberates one from ever attempting to be "smart". I am determined to accept it. But I still have a long way to go.

I believe that in order to achieve victory we must first conquer ourselves. Martin suggests that acceptance might be the first step in doing so. I will now add another interesting idea: Then, after making the choice "You must concentrate upon and consecrate yourself wholly to each day, as though a fire were raging in your hair." (adapted from Taisen Deshimaru). Because without this devotion, accepting stupidity is not a good choice. Stupidity must not only be embraced, it must be exploited.

mircea cartarescu


Mircea Cărtărescu is a Romanian poet, prose writer, publicist, fantasy novelist and postmodernism theoretician. He is considered by the critics the most important poet of the 1980's post-modern generation. I remember when we first read one of his poems in class: "Poema chiuvetei" ("The Poem of the Sink"): It felt so different, it was (to an adolescent's mind) unusually comical and, well... different, to be taken seriously. It was about the impossible love between an object of household use (the sink) and one of the cosmic plane (a star). If you understand Romanian, you can read the "Poem of the Sink" and a Romanian interpretation here.

But then, our wonderful teacher taught us how to read postmodern poetry (interestingly enough, she had graduated from the same class as the writer; I think that, because she used to be one of our first and greatest mentors, our class carries the postmodern signature, as it was conveyed through her words, chosen topics, writings, and discussions.):

The avant-garde of the 80s generation brings for the first time a change of cultural paradigm to Romanian literature, by adopting the Anglo-Saxon model and breaking the long tradition of French and German literary influences. Postmodern literature is characterized by its play with already existing forms, themes and motifs. It is a "combinatory art", a collage of literary references, a parody of models, a play with contexts and irony and a dialogue between forms of different epochs and styles. The postmodern writer is conscious that everything has been already written, that the only thing left for him/her is the play with cultural fragments, which he/she re-semantisizes (source). Thus, the first poem that we had read by Cărtărescu, was an intelligent play with the original poem "Luceafarul" by Romania's genius and possibly most prominent poet, Mihai Eminescu (read here some translated versions of Eminescu's works).

The translation of his 1989 novel "Nostalgia", writes Andrei Codrescu, "introduces to English a writer who has always had a place reserved for him in a constellation that includes the Brothers Grimm, Franz Kafka, Jorge Luis Borges, Bruno Schulz, Julio Cortázar, Gabriel García Márquez, Milan Kundera, and Milorad Pavic, to mention just a few." Readers opening the pages of "Nostalgia" should brace themselves for a verbal tidal wave of the imagination that will wash away previous ideas of what a novel is or ought to be. Although each of its five chapters is separate and stands alone, a thematic, even mesmeric harmony finds itself in children's games, the music of the spheres, humankind's primordial myth-making, the origins of the universe, and in the dilapidated tenement blocks of an apocalyptic Bucharest during the years of communist dictatorship (source).


Read one of my favourite stories ("Roulette") from one of my favourite books ("Nostalgia") in English here.