1) I have almost sold about 95% of my record collection now. I like that. When I look at that part of my room now, I don't see too much of other people's shit I thought I had to buy. As it often is: Yes, I could need the money (from the second hand dealer), but it was good to get rid of something mainly. (This is similar to drinking and eating less at public places, smoking less, buying less whyever trendy clothes (too late): If you can't pay for it, you avoid lots of shit. This should be good news for the working classes and alarming for all the fashionistas and consume addicts out there. But they won't care anyhow, right?) One half of the albums I keep will be with me still because of missing covers, general un-sellability or cracks on the record. Another quarter will be more or less funny novelty stuff. And about twenty albums and 7"es I want to own. And I don't mean keep or hold dear really. CDs? Similar. Another good thing about it: I will not be able to put records on anywhere for longer than 3 hours. Which is terribly great, too.
2) Since Mid-June I have taken notes on my handy, at meetings and when I read sth somewhere or was told about something or somebody I hadn't heard of before. I will make use of these here.
a) There are some notions that struck me during Forum d'Avignon Ruhr, that congress dealing with KQs, "creative quarters" and that "innovation is passion":
- translocal networking
- making change perceptible
- keeping local authorities able to communicate internationally
- the ruhr area as a "weltmeister of change" having to remain open for innovation more than others
- innovation not meaning that everything has to be brandnew
- UK innovation charity Nesta works with "creative intensity values"
- there is a "deutsche gesellschaft für evaluation"
b) Notes I took during the excursion with the International Visitors Programme of North Rhine Westphalia:
- W. G. Sebald
- Rheinischer Kapitalismus
- "You need a gentle ego for that."
- "Quality and trust"
- Japan Association for Cultural Economics
- "Nabucco Warwick" What? Googled it and got: "This study examines Turkey's role in the EU's quests to ensure secure access to energy resources through the Nabucco Gas Pipeline and how ..."
c) While reading "Natural Symbols" by Mary Douglas:
- "Purity and danger"
- "These silver pearls of serenity, the most beautiful jewels of a cultivated conversation." (She is writing about which kind of laughter she likes here.)
- that Rousseau, the deprivation hypothesis and a certain western idea of (teen) rebellion may not appeal to each culture on earth
d) While reading an interview by german mag Spiegel with Alexander Dugin:
- Arnold Toynbee
- Friedrich Wilhelm von Herrmann
"Cuts You Up"
3) The end of the first chapter of Thomas Pynchon's "The Crying of Lot 49" struck me like little else this year: A couple, Oedipa and Pierce, on a journey, has entered a museum and she starts crying after she has looked at the middle piece of "Bordando el Manto Terrestre", a tryptych by Remedios Varo. Here is some of the text plus a large part of that work of art. And this is how the chapter goes on and ends:
She had looked down at her feet and known, then, because of a painting, that what she stood on had only been woven together a couple thousands miles away in her own tower, was only by accident known as Mexico, and so Pierce had rather taken her away from nothing, there'd been no escape. What did she so desire to escape from? Such a captive maiden, having plenty of time to think, soon realizes that her tower, its height and architecture, are like her ego only incidental: and what really keeps her where she is is magic, anonymous and malignant, visited on her from outside and for no reason at all. Having no apparatus except gut fear and female cunning to examine this formless magic, to understand how it works, how to measure its field strength, count its line of force, she may fall back on superstition, or take up a useful hobby like embroidery, or go mad, or marry a disc jockey. If the tower is everywhere and the knight of deliverance no proof against its magic, what else?
4) Must have been the influence of the last Monty Python show I watched that made me listen to "Slap!" by Chumbawamba and "Ça c'est le Blues" by Freiwillige Selbstkontrolle one after the other. Good experience. Made me rethink again what country I am living in and with what (different) kinds of people. Time for a short holiday, I guess.
(Pic used before.)