Photos in IV

[alice wellintown]

A-and don't forget that Polaroid  Paul is Dead conpiracy.  I buried
Coy. No, dude, like in other life, like in the J-Valley, like, I was
like this re-run pornogrpahy of the life of a star and and and like
Coy lives, dude.

How do you sleep ...you Zombie . .. .


www.youtube.com/watch?v=_Ab2pLpLkso


On Sun, Sep 13, 2009 at 9:45 AM, Dave Monroe <against.the.dave at gmail.com> wrote:
> On Sat, Sep 12, 2009 at 6:55 PM, Richard Fiero <rfiero at gmail.com> wrote:
>
>> After being slapped in the face repeatedly about film and TV in VL, we have
>> in IV for starters:
>>
>> Pg  3 this isn't just a couple X-rated Polaroids
>> Pg  6 a Southern California beach that never was
>> Pg  9 Bigfoot showed up on camera wearing getups
>> Pg 14 a rendering of a giant bloodshot eyeball
>> Pg 32 have to look in through and past all that depressing detail
>> Pg 38 She handed Doc a couple of Polaroid baby pictures
>> Pg 42 I'd like to have one for every minute. Rent, like, a warehouse
>> Pg 58 Do you like the lighting
>> Pg 59 It's that Ida Lupino
>> Pg 61 reflected in the screen of a mammoth TV
>> Pg 63 hand-painted silk ties
>> Pg 73 blurred telephoto shot of himself
>
> from Michael Berube, Marginal Forces/Cultural Centers: Tolson,
> Pynchon, and the Politics of the Canon (Ithaca, NY:
> Cornell UP, 1992), commenting on "pornographies of flight" (GR 567) ...
>
> Dwight Eddins has even suggested there is an antidote to
> poronographies of flight, for "when we integrate, we return to
> integrity, to all that the original, unbroken arc means by way of
> momentary grace, momentary freedom, and the natural triumph of
> gravity" ([The Gnostic Pynchon] 1983, 78).  But this "reintegration"
> is itself an already performed illusion, already part of the structure
> of film and calculus: both are forms of dismemberment and
> reconstitution which are  reassembled into illusions of unity--in this
> case, unified and continuous motion.  For as Pynchon writes elsewhere
> in Gravity's Rainbow, the pornography of film and calculus is not that
> they carve up originary unities, but that they feign such unities:
> "There has been this strange connection between the German mind and
> the rapid flashing of successive stills to counterfeit movement, for
> at least two centuries--since Leibniz, in the process of inventing
> calculus, used the same approach to break up the trajectory of
> cannonballs through the air" (GR 407).  (MF/CC 247-8)
>
> In my reconstruction, then, "pornography" in Gravity's Rainbow
> describes a regressive anamnesia that recreates illusory, prelapsarian
> (or preliguistic) unities through a complex mechanism of dismemberment
> and rreconfiguration; and since nostalgia itself works by much the
> same dynamic, Pynchon's "pornography" gives us fresh purchase on the
> cultural critique of nostalgia as well....   (MF/CC 248-9)
>
> [...]
>
> ... the "falsity" of Pynchonian pornographies lies not in their
> rituals of dismemberment but in their fetishistic reassemblies, not in
> their cutting up of organic (w)holes but in their recomposition of
> inorganic wholes that fetishize the very idea of organic wholes.  At
> the very least, we should be wary of endorsing the book's various
> depictions of
> nostalgia, return, "Diasporas running backwards" (GR 737); ideally, we
> should also be wary of approaching Gravity's Rainbow as if
> fragmentation were a problem to be solved by critical intervention ...
> (251)
>
> http://waste.org/mail/?list=pynchon-l&month=0010&msg=50144
>
>