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bilibili_data_14281936_BV1XU4y1T7qx_p1_BV1XU4y1T7qx_p1_m4-dialogue_0011186
[S1] See what I mean? [S2] Yeah. [S1] Like when I was at art school, it's like, now if you paint a landscape, you can't have the tree in the middle. It's got to go slightly that side so that it's, it, it kind of works according to this ratio of like whatever. There's this ratio that says if you put it there, it's going to be, feel really good. But if you put it in the middle, it'll just be wrong. And it's like, I'm putting it in the middle. I, I prefer it in the middle. Do you know what I mean?
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[S1] Yeah, yeah, totally. I mean, there's definitely this whole idea of like, uh, or, uh, you go ahead. [S2] No, go on. [S1] All right. I forgot what I was gonna say. So you go. [S2] But it, yeah, it's like, um, and it's not that I'm pretending, but like, when I look at the tree slightly to the left, in re, in real terms, I'm kinda enjoying it more, and I'm just being antagonistic 'cause I want the tree in the middle. I actually like the way the tree's in the middle. I like the, I like that feeling of it, you know?
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[S1] It was good. [S2] [LAUGHS] [S1] I can't think of anything else to say about it. Um, but yeah, he's clearly a, an exceptionally intelligent person. [S2] Mm-hmm. [S1] You know, the, the, he kind of, uh, realized what, you know, he realized when he, when this was happening and he was hearing these results, he realized the implications of it, basically.
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[S1] In terms of the, the modeling, the performance and stuff like that, is there any sort of like terminology that I could like dig into Wikipedia with on this? Or like any sort of technical term? [S2] I don't know, actually. I, I mean, I don't know if it, um... [S1] Or should I just bother him over email? [S2] You could do, yeah, if you want to. Um,
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[S1] But, yeah, I guess, uh, I went through a phase of using Razor quite a lot. You know Eric, Eric Smith developed the synth Razor in... [S2] I've heard a little bit about this, but I'm not that familiar. [S1] But basically, that is kind of like an additive model.
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[S1] ... to get it sound. Like what I'd like to have is, I'd like to get rid of all the samples and just have, like, synthesis models for each of the percussion, um, bits of the, of the track. But there's something about using samples that, that I find, for some reason it just adds a quality that, that, that is different to when it's entirely synthetic, synthesis. [S2] Right. [S1] Um,
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[S1] But, um, yeah, that's what I like to do, to build synthesis models. But I've, it, it never sounds as good. [S2] Um- [S1] Oh, not as good. It doesn't have the character that I'm after, if you see what I mean. [S2] Right. I think actually some of my synthesized drums I like the most, but I think that they're probably the worst that I use. Like, there's something about the worstness that I like about them.
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[S1] Yeah, I never use that stuff. But I'm, I'm like, I, I basically, when, when each new version of Max comes out, I do my hardest to make it look like Max 4, you know? So I, I hide, like, like when they added the kind of DSP render button on the bottom right-hand corner, it's like, I'm never gonna touch that, you know? [S2] Mm-hmm. [S1] So, um...
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[S1] It depends what I'm doing. Like if I'm doing stuff, like the multi-stability stuff, for example, all the sound is made by VST instruments that are embedded in Max. [S2] Gotcha. [S1] Um, and that, that works quite well for a lot of things for me. But then there are other projects that I do where I'll kind of develop a synthesis algorithm, you know, or some kind of multi-speaker thing. Um,
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[S1] And then the, I guess there's that distinction between the kind of pattern generating and the synthesis elements of the patch are not so clearly defined, I guess. Um, yeah, is that kind of what you're asking about? [S2] Yeah. [S1] Um, yeah, it depends on the project. Like, I think,
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[S1] Mm-hmm. Um, I just remembered a, a question that I forgot to ask. Um, I, I remember you talking in an interview about, um, I, I was looking back for it and couldn't find this, uh, but basically, like, some sort of, like, little book you were working on or, like, set of note cards that were kind of, like, simple instructions or, like, sort of, uh, you know, like aesthetic guidelines. Uh, can you- [S2] Yeah. [S1] ... what, what that was all about? [S2] It was- [S1] Any problems? [S2] It was very,
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[S1] ... often people start being with, with kind of, they're quite hostile to that idea, you know, 'cause they just wanna make whatever. And I'm like, "No, like, do this." And then actually, after a while of doing that, it kinda like, sort of changes the way you approach stuff, if you see what I mean. [S2] Yeah, definitely. [S1] 'Cause you start to focus on like, "Oh, this is quite interesting," you know? Um, but yeah, I never, I never finished that
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[S1] I think it's important to, for some, sometimes to kind of draw attention to the fact that you don't have to work. You can actually do something quite simple and it can be good enough, if you see what I mean. [S2] Yeah. [S1] Like you, you don't have to overwork stuff. You don't have to keep adding layers or adding complexity, you know. Sometimes just a few basic elements is enough. [S2] Mm-hmm. [S1] And also, whenever I have any students, it's like I kind of have this disclaimer that says like,
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[S1] It's like, uh, it's just not on my agenda at all, if you see what I mean. [S2] Mm-hmm. [S1] Um, so yeah, I kinda like that idea of reduced aesthetics as a kind of strategy for just confronting that idea that, like, adding more means better music.
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[S1] So, um, you know, in terms of house music and, uh, like the culture surrounding that, uh, and you, you also mentioned that you've never done a drug, uh, but all your friends have done every drug, um, and- [S2] Well, most of my friends have done most drugs. They're not all, they're not all drugs. [S1] Uh- [S2] Not even that, a lot. You know, you know what it's like. [S1] Yeah. Um- [S2] Some of my friends have done some drugs.
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[S1] Okay. But w- they'll re- re- uh, remain nameless. Uh- [S2] Yeah. [S1] So, at the same time, like, uh, you know, the other day I told myself, like, music is just drugs that you eat with your ears. And I, like, looked back and saw a little clip of your Sky Dancer performance, and I imagine that's, um, about equivalent to, like, a high dose of some sort of thing, um, just in terms of sensory overwhelm.
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[S1] Kind of removed from it, if you see what I mean. 'Cause I, you know, I wasn't, I wasn't, uh, on drugs dancing all night. [S2] Right. [S1] You know, I was kind of like, so I, I kind of like, at that point when it switched from being a kind of marginal activity to being a mainstream activity,
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[S1] and, um, becoming quite ill, I thought. [S2] Mm-hmm. [S1] While simultaneously thinking that they were kind of, uh, in some perfectly blissful state, you know what I mean? [S2] Right. [S1] So it was kind of like this sort of like quite,
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[S1] A lot of the way she understands what she does really makes a lot of sense to me, of someone who's kind of from, you know, an electronic music background, but, but never studied Western classical music. [S2] Mm-hmm. [S1] So a lot of the models that she brings to it or, or, or tells me about, it kind of makes sense to me, you know, like about how music is performed and the importance of the audience and, uh, this kind of,
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[S1] ... to accurately describe what that mode of performance is, if you see what I mean. Um, and especially 'cause I'm not Indian, it's a bit stupid of me to attempt to do that. [S2] Mm-hmm. [S1] Um...
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[S1] But, you know, it just made a lot of sense. And, and also you can see, you know, like when in the 20th century when there was this, you know, there was a, a growing interest from a lot of Western composers in Indian classical music and how that impacted on like, you know, people like, uh, the kind of American minimal, minimalist, for example. [S2] Mm-hmm. [S1] Um, it's kind of like, uh,
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[S1] Where am I going with this? Yeah, it's an amazing, it's an am... But also, like, there are problems with kinetic practice. You know, like, like a, a younger artist who's a really good friend of mine, Nakul Krishnamurti. I don't know if you've heard of Nakul. Krishnamurti has just released his first record on Café Otto. So a lot of Nakul's work is, is really looking criti- critically at the politics of kinetic practice and, um, especially in, in relation to cast and how that functions. [S2] Mm-hmm. [S1] Uh, and-
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[S1] And one of the, the, the two favorite kinds of music are Hawaiian music and dub reggae. So we listen to a, a hell of a lot of Lee Scratch Perry and a hell of a lot of Hawaiian guitar. And, um, yeah, it's kinda nice. So I've kind of got into a lot of Hawaiian music recently. [S2] Cool. [S1] Um,
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[S1] I would never listen on headphones. Uh, that would just be like, I c- I don't think I could do it. I mean, I used to listen to music on headphones on long-haul flights. [S2] Mm-hmm. [S1] Um, but that's about the only time I would listen on headphones. [S2] It's kind of interesting. [S1] Um, yeah, and, and also, I have a weird way of listening to music, so, like, I tend to,
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[S1] And I listen a lot of final as well. Um, there's, I just, yeah, I just, I just like, I like getting records out of the covers. [S2] Mm-hmm. [S1] I like looking at record covers, you know, I like... Yeah, it's a completely different experience. You know, it's like, it's like the difference between drinking tea out of a really nice,
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[S1] Well, I'll ask a few more sort of rapid fire things, and- [S2] Yeah, go for it. [S1] ... I'll, I'll let you, uh, eat your dinner. Um, so in terms of buzzwords and name drops, um, I, I'm curious, actually, just first, uh, if you have any sort of favorite, uh, footwork record or footwork producers. I assume that you, like, I feel like I hear it in, uh, both you and Ryan's music a little bit, so, um, I'm just, I assume.
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[S1] Yeah, but I have to be honest that I don't really know anything about that. You know, I, it's like I might have got some records somewhere in the, in the recess of my iTunes library that, that I come across, but I don't have a detailed knowledge of that world. But I do really enjoy R.P. Boo's music a lot. [S2] I suppose, yeah, you did just tell me that you don't listen to electronic music, but I, I had to ask. [S1] Yeah.
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[S1] Yeah, yeah. [S2] Uh, uh, next one is George Lewis. [S1] Who's George Lewis? [S2] The, he's a trombonist, uh, teaches at Columbia, I believe, and he has, like, the Voyager, uh, computer music system that, like, plays duets with him. [S1] Oh, right. I don't know his work. [S2] Just curious, uh- [S1] Sorry. I'm not doing very well on your- [S2] [LAUGHS]
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[S1] Well, I mean, I'm, I'm impressed with, uh, how much random crap I know. [S2] Yeah. [S1] Uh, no, but, uh, let's see here. Um, the CCRU, does that mean anything to you? Like the Cybernetic Cultural Research Unit, uh, in Warwick?
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[S1] Warwick, yeah. I, I don't, I don't know those people, but it seems like they did incredibly brilliant work. And Robin Mackey was affiliate, was, who now runs Urbanomic, was part of that group. [S2] Mm-hmm. [S1] Uh, and I'm currently writing a book for Urbanomic, which I'm supposed to be doing right now. [S2] [LAUGHS] [S1] And he's emailing me every day saying, "Where is it?"
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[S1] ... how shit life is, basically. Um, and it, it's, it, I'm kinda shifted from, from like this interesting kinda hardcore analytic philosophy to the kinda more European stuff, if you know what I mean. [S2] Mm-hmm. [S1] Um- [S2] Does the name, like, David Pierce or, uh, like, Transhumanism or Hedonistic Imperative mean anything to you? [S1] No, it doesn't. I'm really doing bad on, on these things. Sorry.
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[S1] Uh, but- [S2] GPT-3 is like this text engine that's like doing a pretty good job of writing convincing, uh, like just convincing content. Like you can have it write simulated stories, uh, or like, uh, you know, people are doing like Jerry Seinfeld, uh, simulations of stand-up comedy and stuff like that. [S1] Right. [S2] But it's pretty convincing, but it's like, you know, not actually a smart, uh, AI or anything. Um- [S1] Yeah.
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[S1] ... that was a really, if people haven't encountered the Haffler trio, they should, they should dig it out, 'cause, 'cause that work, I think, is, like, incredibly important and not really that well-documented or, um, you know, it's not the kind of thing that get, that gets referenced as much, as much as it should do, I think. [S2] Mm-hmm. [S1] So the, you know, the Haffler trio, I think, um, it's now just one guy, Andrew McKenzie. I think, uh,
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[S1] ... this idea that if you try and make it sound beautiful. I'm always talking about this. Like every meeting I have these days, I bring up this bloody paper. I can't even remember if I've said it in this meeting already. But, um, but how t- if you try and, if you attempt to make beautiful sounds using the shaku hachi, if you try and turn it into just something of aesthetic appeal, that this is like indicative of like really, really bad character. And that- [S2] Interesting. [S1] ... the best way to engage with it is just to kind of blow it and see what comes out.
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[S1] And, um, do you want me to try and find a name of it? Like, it might only take me a minute. [S2] Sure, that'd be great. The Shakuhachi flutes have been coming up all the time for me for some reason. [S1] Really? [S2] In every other video.
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[S1] So I've got this thing, I have no idea, like, so I'm gonna really mess up my Japanese pronunciation. Hitorikotoba by Hisamatsu Fuyo. His, Hisamatsu Fuyo. Anyway, it's like a really old text from, uh, this guy was like 1790 to 1845. [S2] Interesting. [S1] Uh,
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[S1] Awesome. Well, I'll skip it out. Um, the, the very last question I'll ask you and then, uh, we can wrap this up, uh, is, you know, you're, I guess a claim for your, uh, selection of knitwear and I'm curious if you can, uh, give me any sort of wisdom for, uh, sweater and knit, knitwear program. [S2] I didn't know that was a thing, but like, I have got a particularly nice jumper on right now, but that is because I've not had the heating on in this room and I was, like, totally freezing. But actually, under this jumper, I have another jumper. [S1] [LAUGHS]
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[S1] Well, now you're aware of your reputation for Netware. Um, cool. Well, Mark, this has been awesome. Uh, thanks for being so generous with your time and answering all my questions and, uh, yeah, I- [S2] Sorry if I kind of zoned out once or twice. I don't know what happened. I was just like kind of, uh, yeah. [S1] Uh, you're fine. [S2] [LAUGHS] Okay, cool. [S1] Cool. Well, um, I hope you enjoy your dinner and, uh- [S2] Yeah. [S1] ... I hope you have some listening in and, uh, thanks again.
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[S1] Between, uh, natural plasticity and cybernetic plasticity. So in between predestination and the pure event, there lies the space of the form which is halfway between necessity and chance. Oh, thank you very much. Um, I hope it was clear. [S2] Yes, very clear. It's amazing. Thank you so much, Catherine, for this, uh, intellectual self, uh, portraits. [S1] It was, uh, not easy to do, I must-
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[S1] Reinvent and sometimes explode. [S2] [LAUGHS] Yes, absolutely. [S1] Yeah, yes, yeah. Yeah. So th- thank you so much and, uh, well, there are already, uh, q- question on the, in the Q&A and, uh, please feel, uh, if- [S2] Um, I- it's okay. I see them, so, uh, I should just, uh, read them and- [S1] You can ask me some question first. [LAUGHS] That's my privilege. Okay, Catherine? [S2] Oh, yes, of course. Sorry, sorry. I- I thought you wanted me to read the-
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[S1] Uh, including against myself. I think this is very important. So it's a tool, it's a process, you're right. [S2] Uh, okay. So there are, uh, different question. Do you want me to read them or do you want to, uh- [S1] As you prefer. [S2] No, it's- [S1] Yes, you can read them if you, if you don't mind, I mean. [S2] Okay, okay. [S1] But I have the, the feeling that it's the same person asking. Am I right? [S2] Yes, yes.
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[S1] [laughs] Okay. [S2] So, uh, I think that we are, we, you, you won't have, uh, time enough to, to, to answer all the questions, so I choose- [S1] Okay. [S2] ... this is just a one or two, and, uh, so, uh, how does a, a, a human maintain their sense of identity through time? Isn't it the DNA genetic codes that remains immutable through all the, the epigenetic sculpting of the human form?
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[S1] Okay. Uh, perhaps a last question by, uh, from, uh, from, uh, Yanis. [S2] Yanis. [S1] Uh, oh, but about truth. I like how you deconstructed the pretentious absolute of what we call reality. Do you think truth is another high-brow, uh, and much corrupted and abused term that we should also abandon under the specter of plasticity? So what about-
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[S1] And of course, uh, the second part of your question, uh, absolutely. Um, plastic, a plastic vision of biology is definitely opposed to, um, the essentialist vision of, uh, uh, wholly determined, genetically determined, uh, body, mind, et cetera. Absolutely. Absolutely. [S2] Mm-hmm. [S1] A field that is, uh, unfortunately very strong
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[S1] Yeah. [S2] Yeah. [S1] Uh, Catherine, I, I would like to ask you a, a question of more general about the situation of philosophy today because the- [S2] Yeah. [S1] ... that's also the purpose of this, uh, series to, well, to understand the, the distribution of philosophy, of contemporary philosophy in, in Europe or, uh, in the United States. So, uh, well, you,
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[S1] cross, uh, borders because you, you, you, you teach in, well, you, you taught in France, but also in England and, and the United States. Could you tell us what you think about the situation of philosophy in these countries? Uh, and, uh- [S2] You mean in, uh, in England and- [S1] In, in, in the United States and in France, the, the, well, the, the, the, the dialogue or, or what, what's your feeling about, uh, the, the, the situation of philosophy today?
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[S1] ... that shares, of course, many, many points with my previous works. Uh, so yes, I, I didn't, I, I thought I, I wouldn't have time to explore, um, all the, uh, yes, the aspects of my most recent books. [S2] Catherine, thank you so much. [S1] Oh, thank you, uh, Francois. It was great. It was a good exercise. [S2] And see you soon, uh, at... [S1] Yeah,
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[S1] Hello. Hello. Hello from Berlin. It's really terribly hot. My, my brain is boiling. [S2] Yeah. [S1] Let's try our best. [S2] Yeah, it's, it's the same here. It's like above 40 degrees. Uh, and so, yes, I, I started with the, this video that, um, that I watched a piece of, um, I would really love to see the exhibition, but with the,
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[S1] Uh, it reminded me, you remember Second Life? [S2] Yeah, yeah, of course. Yeah. [S1] Yeah. Yeah. Yeah. I, I, I rem- it just disappeared that at, at some point. I don't know how because I thought that Second Life would be like, uh, something we would be playing forever, that it would exist forever. It really looked like, uh, people could go to a,
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[S1] You, it, uh, becomes like a, like a Rorschach test almost, or something. The future is very, very watery, and also it's not very accurate. [laughs] [S2] Yeah. [S1] Because it's an, it's entirely based on past data, you know? So the future becomes just a mirroring of the past, you know, into the, into the future. It's already colonized by past data.
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[S1] Well, I mean, the recent past has shown us that the future is pretty unpredictable. And the most unpredictable thing is even if something like a pandemia is being predicted, then people are still like, "Oh, no, no, no, that, that's not gonna happen." [S2] [LAUGHS] [S1] You know? So even if, if I could predict the future, no one would believe me. And that's the one thing. The other thing, and that's also something that's being mentioned in this is the future, is that
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[S1] Opening day, on the opening day, two days before the opening date, we were sent the invitation cards and they listed the name of one of Germany's biggest weapons manufacturers as main sponsor. [S2] [LAUGHS] [S1] And this is something which is very, very unusual, I have to say. It's very, very unusual. It doesn't really normally happen. So in this case, we were really tricked, but then we very quickly
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[S1] ... which has grown, you know, already from this method of liberating resources from free ports, composting them, and, um, transferring them to free plots. So in my view, one should compost the whole art world like that, right? [S2] Yeah, yeah. [S1] Just in, yeah. Compost the thing and just grow everything anew.
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[S1] So we are preparing this right now, talking about the peasant wars, talking about serfdom. Uh, he's on stage in armor. [S2] [LAUGHS] [S1] It's a sword and doing laser sword fighting, this kind of thing. So that's what we're working on right now. [S2] So theater is a battlefield now? [S1] Yeah, now, yeah. We've, we're done with that. Let's go to see it. [LAUGHS] No, I'm joking. I don't know.
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[S1] And I'm also thinking here about Lacan's statement that the unconscious is structured like a language. [S2] Yes. [S1] It seems that what Ghatari does is he's going to take that and then explore its fullest implications. In what way, if the unconscious extends beyond the barrier of skin and skull,
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[S1] ... messages together. Um, Gawtry never takes up the four, these four dimensions, which he says will be, uh, these four unconsciouses are actually dimensions of the same assemblage, of the machine assemblage as a whole. And I think that he's always reworking his, his terms. I f- I feel like the seminar is partly a, kind of a trial ballooning of- [S2] I agree. [S1] ... discourse. [S2] Yeah.
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[S1] I agree. [S2] ... discourse. [S1] Yeah. [S2] So, uh, and I said to you that the, these four unconsciousness seem to, on the one hand, they meld into the three ecologies later in his writing, but on the other hand, you can look at A Thousand Plateaus and you can look at The Machine-In-Conscious, those two works, and you can see these four aspects, uh, getting linked to another one of your questions that I know you'll, we'll talk about later. Not just the notion of the diagrammatic, you'll see this
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[S1] I had an insight reading this. I was basically reading this seminar alongside Anti-Oedipus and- [S2] Oh, great. Yeah. [S1] It seems that the perennial problem for psychoanalysis, at least as I see it, has been to square the circle of how do you get from any unconscious repression to a sort of social repression, right? And this is what Anti-Oedipus is about. And given the fact that Anti-Oedipus
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[S1] ... Antidates this seminar, it made me think, okay, how is Gattari doing this so that, um, it squares with the project of Anti-Oedipus, which I feel as a, an improvement upon anything that Freud or Marxists tried to do in terms of squaring- [S2] Right. [S1] ... uh, psychic repression with social repression. And so in the subjective unconscious section here, the one thing that really stands out to me is the focus on neurosis. [S2] Yes. [S1] And that the, the dimension of the subjective unconscious is this kind of tethering to
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[S1] ... this is another Ghatari term that I think we need to unpack a little bit, the component of expression. And I'm, I've marked in my notes that the assemblage can be modified at the level of component of expression. One of the things that I thought about was Kafka. And in my pre-episode content, I talked about Kafka and the way that he used the German language in a way that was very unique. [S2] Right. [S1] It was very un- un- German in some sense, that he was able to take the components of expression, which in this case were the German language, and configure
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[S1] ... that you kind of imagine on the spot in the therapeutic context. [S2] Right. [S1] And what I see here is kind of an import of those methods.
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[S1] ... with, but what Gattari seems that he's going to disavow is we're not going to reduce any of these occurrences within the subjective unconscious to myth or a return to the Greek tradition, let's say. We can interpret this phenomenon of the unconscious through all kinds of things, like through Kafka's text, for example, or through maybe even a laundry list. I don't know. [S2] Right. [S1] Right? But he's definitely op- opening up the gamut of what that kind of interpretation looks like.
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[S1] And they always interlock, right? I mean, at least insofar as we have, in, insofar as we have stratification, and we, we do, and, and insofar as we have a, a certain type of existential consistency, we're going to have, we're gonna have those two, and they're always gonna, they're always gonna presuppose each other reciprocally. [S2] Right. [S1] And yet, at a certain level, we can, as Deleuze would say in his sort of Cartesian Spinozist language, we can,
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[S1] Yeah, and I would say it's, you know, it's the four unconsciouses are, as I'll say, they're four dimensions of the assemblage. [S2] Right. [S1] And, and so, to a certain extent, depending on, again, depending on how we focus on the real distinction or not between content and expression, when Guattari uses that term, that shorthand of the assemblage, he is thinking at, at one and the same time of, of,
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[S1] ... collective assemblages of enunciation and machine-like assemblages. And it's, it's kind of like the way they think of, uh, design machines as, as the same as social-technical machines, yet under a different regime, right? So- [S2] Right, okay. [S1] So it's kind of like two regimes of the, of the assemblage, of,
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[S1] Bad. And again, this goes back to the warnings they say, like not to de-stratify too quickly. And also- [S2] Right. [S1] Perhaps, perhaps not to analyze too quickly, too cursorily. Like, like it, it, it really would be a case by case, one time, each time type of deal and not a cookie cutter type of, you know, um,
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[S1] Not just the pharmaceutical companies are against the federal legalization and de-scheduling of marijuana. You also have beer companies who wrongly think that it'll cut into their profit shares. And I, I do see- [S2] Right. [S1] ... wrongly. I, I, I, I do, people who,
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[S1] ... wanting a kind of catch-all universal way of diagnosing all pathologies, right? Who wouldn't want the fucking, you know, it's kind of like the, the one law in physics to explain them all, right? [S2] Yeah, the final answer to it all. [S1] That's right. So, so even if one discredits Freud and laughs at him, and, and there's some, obviously there's, there's parts of Freudianism that should be laughed at.
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[S1] Uh, that doesn't mean, at the same time, one shouldn't take it seriously. [S2] Yeah. [S1] Uh, deadly seriously. And I think that, that's what blues and guats are, we do with anti-edibus. [S2] Yeah, and so it's almost more dangerous because, you know, if ultimately they're right, but this is going on, but we reach a stage where it's not even, you know, taken seriously, you know, on a conscious level, uh, it's almost more dangerous if it's constantly going on behind our backs without even being recognized, right?
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[S1] Yeah, and I think- [S2] Yeah. [S1] ... that's part of, part of their project is to revive and show sort of where Oedipus is operating, right? I mean, throughout, throughout Anti-Oedipus, particularly now moving to, uh, anthropology, cultural anthro, they, they see a,
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[S1] Uh, an attempt to kind of find Oedipus there, to Oedipalize these individuals. Uh, this podcast came about because, uh, the three of us did a, did a reading of Colastres, um, and, you know, that was- [S2] Society against the State? [S1] Yeah. And, and do- the way Deliz and Getari deal with that text and try- attempt to show not sort of an anti-state, uh, presence there, but an almost non-Oedipalizable one. Um, you know, and, and they're,
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[S1] asked by an interlocutor after a, his, one of his papers he gave at a conference. The guy's like, "What do you keep saying, God?" You know, and David was like, "It's a fucking word. Still have it. It's still there. It's still, it still functions." [S2] [LAUGHS] [S1] It's, it's, it's not just, it, it functions not just as a, as, as a signifier, but as this transcendental signified which, you know, phylogocentrism, blah, blah, blah. You, you, you guys get it. It's, uh, so, so, yeah, Oedipus kind of- [S2] No, it's, it's good to go through this stuff, though. [S1] Yeah. [S2] Yeah. I mean,
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[S1] containing the kernel of capitalism. [S2] Yeah, right. [S1] And I'm wondering if we can draw an analogy between brick making and the way that, for example, the institution of Christianity brings about the possibility of, of capitalism. The axiomatic of capitalism couldn't have even been born until a certain kind of structure was put into place.
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[S1] I, I called you a lawyer once and I think that was the most irritated you've ever been with me, um, because that was how you started things, but you really have studied every field out there and tried to- [S2] Yeah, sure. [S1] ... to take things from different studies and different models in life. Did you, did you go about doing that intentionally? [S2] Of course. I could see the power of it. [S1] When did you figure it out? [S2] Well, it came naturally to me.
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[S1] It wasn't that good of mine. You know, I was in the top 1%, but not, no prodigy. So I never would have succeeded in a field that required a mind to be that of a prodigy. But it was a much better mind than ordinary people had. And I recognized that quite early, and I just played the hand I was dealt in order to get as much advantage as I could. [S2] When did you recognize that? Were you a child still? [S1] Very young. [S2] Yeah.
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[S1] Part of the advice that you give people in life is pretty basic stuff, but if you follow it, it's really excellent advice. I think your first one is, is have low expectations. The second one is have a good sense of humor. And the third one is surround yourself with love of friends and family, obviously. [S2] Yeah, sure. [S1] I have a hard time thinking of a time when you set your expectations low, though. [S2] Yeah, well, I did.
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[S1] I think one of the things you've said along the years, at least this is what I've been told, is that it's not staying rich that's difficult, it's staying sane. [S2] Yeah, of course. [S1] I mean, that's a lot of your life. A lot of your life and advice is- [S2] Avoiding traps. [S1] ... invert, invert, and try and figure out where you don't want to be. [S2] Yes, and then divert it. Yeah, of course. That's what everybody's life is, in a sense.
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[S1] Still ahead. [S2] Oh, you get- [S1] Charlie, let's talk a little bit about bureaucracies, because you have duly noted the problems with bureaucracies, where, whether it be a big company, whether it be the government. [S2] Have I ever. [S1] Right. So how would you fix some of the bloated bureaucracies out there? Let's start with the federal government. [S2] That comes in my two hard bile. I can't tell you how to do that.
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[S1] country, it's, it's not much fun being president. [S2] Mm. So that is something that really, you can say you set it aside and it's not worth worrying about, but... [S1] I don't have much time on it because I can't fix it. [S2] Right. [S1] It goes into my two hard pile. Even if I had all the power, I couldn't fix it. [S2] Up next... [S1] If you soldier through, you can get through almost anything.
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[S1] So I don't want money. I would have paid any amount to get you £200 tuna. When I was younger, I never caught one. And now I, if given the opportunity, I would just decline going. I would only go out after them. There are things you give up with time. [S2] You're pretty active. You've got a busy social schedule. You're on Zoom. You have breakfast and lunch. [S1] Well, I like it that way. [S2] Yeah. [S1] That's my idea of a proper old age for me.
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[S1] Of course. Everybody struggles. The, the iron rule of life is everybody struggles. [S2] I try and think back of what the toughest moments might have been and how you got through some of those. And, I mean- [S1] Well, we all know how to get through them. Through, you, the great,
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[S1] Charlie, Warren Buffett told me that a long, long time ago you told him he should live his life, he should write his obituary the way he wants it written and then live his life accordingly. [S2] Yeah, sure. [S1] I, I assume you've done the same thing for yourself. [S2] Well, you know, I've written my obituary the way I've lived my life and if you want to pay attention, you're sorry with me. And if they want to ignore it, that's okay with me too. I'll be dead for what the devil make. It's not a bad idea.
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Yeah. [S1] We use finite element for heat transfer. We've covered like, we need the attic and fixed temperature. [S2] So this is finite elements for heat transfer, okay. Which course was that? [S1] Oh, okay, so if you apply boundary conditions like fixed boundary condition, the displacement is zero. [S2] Okay. [S1] Or you apply one where the slope is zero. [S2] Right, free or fixed boundary conditions. [S1] A fixed slope that's not zero. [S2] Okay. [S1] A fixed slope at some constant value. [S2] Uh-huh. [S1] That happens more easily
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Yeah, so let me think about that more properly. I mean, that's a very good question and, and, and the lectures didn't, uh, allow for that. Yeah. Okay. Okay. If I can put that one off and, and give you a good answer, 'cause it deserves it. Okay. Other questions? Other discussion? Yeah. You have one. You have a? [S1] Uh, maybe a silly question. [S2] A silly question. Good. Okay. [S1] Uh,
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[S1] In the class you presented, the hats and the bubbles merged together. [S2] Right. [S1] In order to be able to get better accuracy. [S2] Yes, that's right. [S1] So, better accuracy in between the benchmarks. [S2] Yeah, yeah. When I say better accuracy, yeah, when I put the hats and the bubbles together, the, the improvement would be noticed in, in between. [S1] In between. [S2] In between, yeah. Yeah. [S1] So, if you were to put bubbles all over the place, it's like,
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This, that area of the course. Yeah. [S1] When you're looking at the x+iy. [S2] x+iy stuff, okay. [S1] Any function of- [S2] Basically any function of x+iy, yeah. Any function, so strictly, yeah, I mean, a mathematician would say, what? Any function? That's, you've opened the door to-
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flow field satisfying Laplace's equation with the two orthogonal, the streamlines orthogonal to the equipotentials. We could totally do that example. Right. Okay, let me, I'll, yeah, thanks. [S1] So is that when you say one test question is based on the next question? [S2] Yeah. [S1] Okay. [S2] Well, this sort of stuff, but.
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And it actually comes up in serious, big computations because the equation for the pressure comes out to be a Laplace or Poisson equation. Now, I kept going there. Yeah, thank you. [S1] So earlier this year we did a problem involving convection. [S2] We did, as a MATLAB problem, that convect- [S1] Derivative. [S2] Sorry? [S1] Where we had a second order and a first order. [S2] And a first order, right.
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[S1] Would you be able to derive a weak point then? [S2] Huh. [S1] I mean, not right now. [S2] Yeah. [S1] Is that- [S2] I would do it the same way, but it wouldn't be symmetric, of course. That was the point about the convection term. Is the diffusion term would be just what we've done, right? The diffusion term was that second derivative. And what would it look like in, as long as, you know, we're close to, what would convection, diffusion in 2-D look like?
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[S1] He says he's moving again. Do you think he's going to wake up? [S2] Well, it's about time, isn't it? He has been asleep for about 14 hours. I think we may have used a bit too much venom for a human of his size. [S1] Oh, my bad. I got a little nervous and overdid it. [S2] No, don't worry. It is your first time catching a human, after all.
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[S1] Oh, come on, human. I didn't want to have to coil around you like this, but you leave me no choice. [S2] Sis, be careful. Don't coil him too hard. We don't want to squish him. [S1] I know, Leah. I'm being careful. [S2] It's just, he still looks uncomfortable. Maybe if I do this...
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[S1] Oh, yes. We have been observing you for around two months now. You always come to this part of the forest to gather wood and mushrooms, except on Sundays and rainy days. [S2] Oh, yeah. We have a cabin not so far away. [S1] But more importantly, are you single?
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[S1] That's wonderful. I couldn't bear the thought of you being already taken. [S2] Oh, that would be horrible. I would feel so guilty. [S1] Well, you see, the thing is, we want you. [S2] Yes, what you heard. We both want you. To be ours.
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[S1] What is that you don't understand, human? [S2] Oh, well, yes. We want you as our partner. [S1] Yes, like a husband for the both of us. [S2] Why? Oh, well, that's a long story for a human. First of all, how much do you really know about Lamius?
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[S1] So we're the first Lamias you've ever seen. And you actually thought we were just a tale, like fairies and unicorns. [S2] Oh, well, then I suppose you don't have a clue about how Lamias live or anything about our culture? [S1] Well, this is a little, um...
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[S1] I don't know if you'll think we are too weird, but... [S2] Well, have you ever heard the classic tale about a man wandering in the wood? A lamia appears and lures him into the darkness just to never be seen again? [S1] We have heard that that's the image most humans have about our species.
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[S1] Well, it sure has happened at least a couple of times in history. But don't worry, we don't eat people. [S2] Of course not. We're not monsters. Just snake people. [S1] Well, snake people could be technically classified as some type of monster, but not the brutal, violent type of monster.
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[S1] The truth is that we need humans, but for another reason. [S2] You see, have you ever heard about a male Lamia? Exactly. There aren't male Lamias. [S1] Our species is very peculiar in that regard. We're just girls.
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Yeah, the magazines say tight jeans are going to be really in this autumn. What am I going to do? [S1] Tight jeans aren't for everyone. If it doesn't look good, don't wear it. [S2] My legs don't look good in pants like these. [S1] You know what? Skirts are also going to be important this season. This skirt will look great on your figure. [S2] Oh, I'm really scared. [S1] How about this one? What size are you? [S2] A ten.
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[S1] It's, it's so simple. [S2] Yeah. [S1] A good guy and a bad guy. Good against evil. Saving a girl. Always a happy ending. I mean, I, I... [S2] That's just me. [S1] Yeah. [S2] I, I prefer dark stories.
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