Former Cal prof. Philosophy. Film. Sophistry. And brand @mmERCH. Wrote this book, too: https://teapawt.org/t.co/CZkgZoxjaO. And: https://teapawt.org/t.co/9ft25WFPhd.
San Francisco
Joined March 2009
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As homage, an essay on Lynch’s Mulholland Dr I published ages ago — & methinks it still stands up. euppublishing.com/doi/full/1…
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Wrote something on mourning ritual as a way ‘to think’ the unthinkability of death. medium.com/reading-the-way-o…
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How is ‘truer’ a word? What could that possibly mean? I’d like language to maintain at least the occasional absolute. If you need to qualify your truth, a keen adverb works quite nicely. But quantifying truth evacuates it of a meaning with any teeth. Just saying.
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Yes yes, I don't think my mic is on any more but, well, I wrote something about ecological being, trees, rivers, identity, and language..and posted it here:
medium.com/reading-the-way-o…
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Apropos of nothing & everything, I still think the Coens’ A Serious Man is a devastating horror film. The way he’s prefigured, pre-situated, in every conversation makes me shiver just to think about. Such is Job when stripped of faith: abject, cosmic suffering and nothing but.
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I always found QT’s version of Sharon Tate cloying—she’s not a real person, just a naive fantasy. But I now see it differently: the film is her resurrection. She doesn’t need complexity & depth. Here, it’s the mere fact of her living that matters: life restored, exuberant.
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I find it odd that cinema is so popular. It’s so fucking complex! So much happening at once, all in a constant state of change! And yet everyone watches & talks about movies while few seek out & discuss ‘fine art.’ For me, seeing films is often sublime—too much to wrangle.
So watching the decidedly mediocre tv show, Justified, I found myself weeping with bittersweet joy to see a scene with Bullock & Dan…. I still sometimes wonder if I hallucinated Deadwood.
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Not sure this mic is still on...I wrote something on charisma and the ubiquitous sundry forces of attraction, repulsion, & indifference that take place between bodies: a physics of the imperceptible that quietly, forcefully, shapes the world.
dcoffeen.medium.com/the-push…
I've been quiet as the noise of the world over the past few years has become unseemly. But I did just write something—and post it on the interwebs! A phenomenology of playing music. medium.com/@dcoffeen/the-bod…
I love that, in The Matrix, the machines interpret air as being so dense, bullets have to tear through it. The Wachowskis, or at least the machines, are plenists (though perhaps not of the Leibnizian variety).
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At times, I find myself feeling for the figure that, finally, will communicate my vision of the non-visible world. Smoke filled living room at dusk. The curve of clouds. And always: music—shapes & flows actively distributing affect; harmonies, dissonances, tangents, grooves.
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Rereading 'Of the Refrain' in 1000 Plateaus & am suddenly dumbfounded/confused that I taught it to undergrads (ages ago). I could devote an entire year to that chapter. Was it really just another reading in the syllabus? Did any student make any sense of it? (I do miss teaching.)
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Procedurals—criminal, medical—are necessarily philosophies of the event (even if usually banal). The set up is beautiful: something happens—and the rest of the show focuses on how to process said event, how to make sense of that which at once inaugurates and effaces sense.
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I’ve become obsessed with procedurals as they are about signs, perception, & modes of sense making. In Twin Peaks, for ex, Lynch gives us different kinds of signs, signification, & modes of perception as well new possibilities of sense itself.
Always hated the word ‘criminal’ as one is only a criminal in relation to the police state. (I suppose one can be criminal in relation to social or natural laws. But I’d prefer another term for that.)
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