“A multiple-worlds interpretation of the Huxtable narrative, however, raises a plethora of new questions about the final scene of the series finale of The Cosby Show. In the final moments of the Huxtable narrative, Cliff and Claire Huxtable break the proverbial fourth wall and step out of their singular ontological zone into the textual void or what Warren Ellis terms “the bleed” between universes or worlds. Might this bold action represent an attempt by Cliff (and to some measure Claire, but remember that Cliff is the one who in fact leads her out of their universe or world) at quantum suicide? Is Cliff—who seems, by that point in the narrative to have mastered his developing hetero-ontological awareness—aware that there is more than one version of “himself” in the multiverse and that he cannot, in theory, truly die? Does this action represent his surrender, his willingness to depart his universe or world; his defeat and realization of his own singular yet impossibly divided self; or a further stage on his quest to reconcile himself with his disparate selves spread throughout the multiverse?” —Contemplating the quantum suicide of Cliff Huxtable. McSweeney’s Internet Tendency: Selections From the Cosby Codex: Selection 14: Part Two of Toward a Conception of Blakian Prophetic Mythology in (and through) the Huxtable Narrative: The Many Worlds (and Multiple Histories) of Bill Cosby and the Quantum Suicide of Cliff Huxtable.
“We’re like vibrating stones, in a way. Have you ever seen that movie, Meetings With Remarkable Men? It’s a movie about Gurdjeff’s life, and in the very first scene there are some musicians meeting for a competition to vibrate the stones in the mountains, somewhere in Afghanistan or whatever. They’re all playing beautiful music then finally one guy starts singing some overtones and tunes up to the vibrations, the resonance of all these mountains. That’s what they did to us.” —Violist Eyvind Kang on his collaboration with Sun O))). The Wire: Adventures in Modern Music: Article
“I’ve made a move in the Luddite direction recently by trying to remove UbuWeb from Google. I want the site to be more underground, more word-of-mouth. The only way you’ll be able to find it is if someone links to it or tells you about it, just like music used to be before MTV.” —Kenny G on moving away from the center and into the margins. The Believer - Interview with Kenneth Goldsmith
“unlike a traditional protest, which identifies the enemy and fights for a particular solution, Occupy Wall Street just sits there talking with itself, debating its own worth, recognizing its internal inconsistencies and then continuing on as if this were some sort of new normal. It models a new collectivism, picking up on the sustainable protest village of the movement’s Egyptian counterparts, with food, first aid, and a library” —Douglas Rushkoff identifies the decentralized, network-like aspects of OWS. Think Occupy Wall St. is a phase? You don’t get it - CNN.com
“One of the small pleasures of working backward through pop history from the Smiths is stumbling across Sandie Shaw’s “Heaven Knows I’m Missing Him Now” or Reparata and the Delrons’ “Shoes”, for instance, and thinking ohhh, now I get it.” —Douglas Wolk on The Smiths’ shoplifting trips through pop history. The Smiths: The Smiths Complete | Album Reviews | Pitchfork