Tuesday, October 10, 2006
“A portrait on film, in action and in real time, of one of the greatest players in the history of soccer," Football As Never Before by Hellmuth Costar, featuring George Best, [left] from 1971:
“What at first seems like an eccentric experiment turns in the course of the film into something much more valuable: never before has the spectator had such a clear view of a player's progress through a match and his attempts to "read the game" - or such an insight into how carefully a player like Best paces himself. Particularly in the first half he spends far more time waiting for the ball than in possession of it. At times he seems to be just standing around hands on hips, at others he strolls around the pitch like a man out for a walk - even the referee overtakes him en route to the opponents' goal. And then, out of nowhere, he explodes into action, as he does for the first goal.”
Gawker debuts an artists page, with open submissions.
Susanne Messmer on ArtBeijing, in Die Tageszeitung:
Walking around the halls at ArtBeijing, you almost get the feeling it wouldn't be so bad if the Chinese art market cooled down a bit. Because nowadays it seems as if things have got out of control. There are hardly any photographs, sculptures or even video works here. Instead there are many paintings, mainly the kind that correspond to Western expectations. Present here is the art establishment that's been successfully reproducing 'political pop' and 'cynical realism' since the 1990s, with bright pictures full of Coke cans and red stars. Only seldom do you see something new.
Isaiah Berlin on 'postmodernism' avant la lettre?:
History seems to show that after every great creative era comes an age during which the great heritage is meticulously examined, divided, classified, and labeled, in which the macrocosm is neglected for an infinity of microcosms which are credited with leading separate existences in it, and the wood is ignored because of the exquisite interest felt in the individual trees.
Imre Kertesz is interviewed in Der Tagesspiegel:
"If you want to survive in a concentration camp, you have to follow its logic. This collaboration, whether willing or unwilling, is the biggest shame of those who survived. They cannot own up to it. But the writer can. Because literature possesses a special candour. These are simply good sentences, you see. In this case, good sentences are far more important than my own shame. My 'Fateless' isn't a cheerful novel. Yet it gave me a lot of joy when I wrote it. And you can only write when you're free, when you take pleasure in it. That's a deadly paradox, but I love it."
Neal Ascherson wrote a considered, moving review of Fateless for the London Review of Books recently. And here is the site for the film version of the novel by Lajos Koltai.
Noam Chomsky and Michel Foucault had a debate on Dutch television in 1974, on the issue of justice and power. Foucault makes some brilliant points in regard to justice and institutions: " The idea of justice in itself is an idea which in effect has been invented and put to work in different types of societies as an instrument of a certain political and economic power or as a weapon against that power.....
"No luxury and no comfort, no delight and no pleasure, no new liberty and no new discovery, no praise and no flattery, which we may enjoy on our journey will mean anything to us if we have forgotten the purpose of our travels, and the end of our labours"
Posted by João Ribas at 11:09 AM