eve lande

evieditelle@gmail.com

From Paris Review interview with Chris Ware:

"Well ABC always felt sharp and acidic, for some reason, and NBC softer and I’d associate or think of real moments in my life as being more "ABC" or "NBC", as if they were adjectives … When I started trying to make comics in high school , it’s no surprise that I ended up imitating the feeling and rhythms of television, from the falseness of the characters and situations to the camera cropping of the imagery … The problem of course is that we humans have craved these constructs and cliches and we’re now so steeped in them that they’ve restructured our unconscious, which any writer or artist trying to deal with re-creating actual consciousness can’t ignore. And which of course has been a concern of contemporary fiction for decades now."

🌹🌹SEVEN YEARS 🌹🌹

🌹🌹SEVEN YEARS 🌹🌹

From:

http://www.theguardian.com/money/2014/sep/21/-sp-thomas-piketty-bestseller-why

Includes:

Tyler Cowen

"In the simplest version of the Piketty model, wealth grows more quickly than does the economy as a whole and thus the picture changes. The relative losers are no longer low earners but rather anyone who is not a capitalist. Any disparity is due not to their shortcomings in labor markets but rather to their lack of a high initial endowment."

J Bradford DeLong

"The second is that they now know of a plutocracy that did not use to exist and makes us very uneasy. Last generation’s Michigan governor and American Motors president George Romney lived in a large-but-not-abnormal house and bossed a company that created lots of good jobs at good wages. This generation’s Massachusetts governor and Bain Capital CEO Mitt Romney has seven houses worth perhaps $25m in total, and bossed a company whose core business model appears to have been exploiting legal anomalies like the fact that pension funds have little control over their money after it’s invested."

Ben Lerner’s 10:04, as I go:

1. This first passage is beyond my full understanding I suspect, due to my lack of knowledge of art theory, a barely superficial appreciation of the philosophical meaning of metaphysical, etc, but I have my Eve skimmed perception and it forms an image and idea which I like:

Three translucent angels hover in the top left of the painting. They have just summoned Joan, who has been working at a loom in her parents’ garden, to rescue France. One angel holds her head in her hands. Joan appears to stagger toward the viewer, reaching her left arm out, maybe for support, in the swoon of being called. Instead of grasping at branches or leaves, her hand, which is carefully positioned on the sight line of one of the other angels, seems to dissolve. The museum placard says that Bastien-Lepage was attacked for his failure to reconcile the ethereality of the angels with the realism of the future saint’s body, but that “failure” is what makes it one of my favourite paintings. It’s as if the tension between the metaphysical and the physical worlds, between two orders of temporality, produces a glitch in the pictorial matrix; the background swallows her fingers … I was reminded of the photograph Marty carries in Back to the Future …  as Marty’s time-traveling disrupts the prehistory of his family, he and his siblings begin to fade from the snapshot. Only here it’s a presence, not an absence, that eats away at her hand: she’s being pulled into the future.

2. “Emerging from the train, I found it was fully night, the air excited by foreboding and something else, something like the feel of a childhood snow day when time was emancipated from institutions, when the snow seemed like a technology for defeating time, or like defeated time itself falling from the sky, each glittering ice particle an instant gifted back from your routine.”

An instant gifted back from your routine.

"sorry to be annoying but…"