Ultrashort Short For Theatre: Sarah

A lower level hall at Dulles International Airport, Washington D.C.. Centre stage is a bench, on which MAN 1 and MAN 2 are seated side by side. They are both English, in their mid-fifties, and are wearing beige trousers with trainers and polo shirts. Stage left of the bench is their luggage, gathered around a pole with a sign reading “Wait here for Airport Shuttle Service to downtown Washington D.C.”. The two men are waiting. Mid afternoon light is spilling in, though the hall itself is deep and darkish.

Pause.

MAN 1: Is this the first time you’ve been back to the States since Sarah passed away?

MAN 2: I came back to scatter her ashes.

MAN 1: Aah. [Pause] And you flew Virgin then too?

MAN 2: Yes. [Pause] They’re very good.

MAN 1: [Nods.]

Pause. Fade out.

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Ultrashort Short Story: The Holiday

I am in line waiting to collect my tickets from the box office. Ahead of me two blondes in their twenties with pony tails and jeans in boots are talking. I hear a piece of one half of their conversation —

“No, don’t get me wrong — I didn’t want it. I didn’t want it. I just wanted him to say it.”

“…”

“No he was a scuba diving instructor.”

“…”

“Yeah, at the place where we were staying.”

The girl reshoulders her bag and switches hips, and I miss the next thing. Then the queue advances and she is at the head. Standing behind her, repeating the words over to myself, I realise that with those three brief lines she has conjured up an entire imaginative universe, and the narrative that passes through it: No, don’t get me wrong – I didn’t want it. I didn’t want it. I just wanted him to say it … No he was a scuba diving instructor … Yeah, at the place where we were staying.

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Of Antanaclasis, Buffalo, and Police

One of the delightful-est portions of Mark Forsyth’s delightful book The Etymologicon is his detour into the wonders of antanaclasis. This five-dollar word describes the lexical trick of using a single term with different meanings multiple times in the same sentence. One of the most famous examples of antanaclasis is the remark attributed to Benjamin Franklin, ‘We must all hang together or most assuredly we will all hang separately.’

In The Etymologicon, Forsyth explores the summit of antanaclasis, the wholly antanaclasic phrase. For instance, he cites the Latin sentence Malo malo malo malo, which apparently translates into ‘I would rather be in an apple tree than be a bad boy in trouble.’ But the true gem of English antanaclasis is a phrase conjured up by William J. Rapaport, who, most fittingly, is now a professor at the University of Buffalo:

Buffalo buffalo Buffalo buffalo buffalo buffalo Buffalo buffalo.

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How Cognitive Illusions Can Make You A Better Dancer

The beautiful thing about Daniel Margulies & Chris Sharp’s “Untitled”, which shows a brain listening to the Rite of Spring (see recent post), is the way the movements of Stravinsky’s music, and the floods of purling colours, seem to harmonise in time. It is almost as though they are dancing with each other. A lull in the music comes, and a cool blue suffuses the brain. A strident chord hits — and red chrysanthemums burst open across the cortical surface. And yet the opposite can happen too. Busy red activity can accompany a slower passage — as though the brain is jiggling from foot to foot in anticipation of the next fortissimo. And equally, a furious musical release can provoke a neural stillness, as though the sheer intensity of it flattens the brain out, and compresses it into a single state of pure blue.

The truth is, much of this is likely to be a cognitive illusion — Continue reading

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Invisible Hand

Announcement: Invisible Hand is an exhibition and residency by Tim Vincent-Smith featuring harmonographic drawing machines, dismantled pianos, live music and the world premiere of Goat Song, a work in progress by Uma Dragon.

Thursday 12th April 8pm: Live music and movement from Sink and guests. See here.

Saturday 14th April 1pm: Reading of Goat Song.

Gallery 1, arts complex, St. Margaret’s House, 151 London Road, Edinburgh, Scotland.

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Untitled (The effect of Stravinsky’s Rite of Spring and Kant’s 3rd Critique on the human brain: a functional magnetic resonance imaging approach)

from Daniel Margulies & Chris Sharp

The brain really is a piece of work. You pump in a supply of glucose and oxygen, and the craziest stuff comes streaming out. Amongst these streams are the works of Stravinsky, Kant’s Critiques, and more recently, this piece by Daniel Margulies and Chris Sharp. The film is a continuous fMRI scan of a brain listening to the Rite of Spring and pondering Kant — showing the floods and ebbs of cortical activity as the music rushes through it. Very suggestive, very beautiful.

“Untitled” is currently on show at the Wellcome Trust as part of their exhibition Brains: The Mind as Matter. If you are in London and haven’t been: go! It is a fascinating and delightful show, featuring: a brainbow mouse, a time lapse film of a chick’s brain spinning itself into existence, old medical movies of brain surgery, casts of eminent brains, trepanned skulls, anatomical drawings, phrenological tools, and much much more. Entry is free.

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The Good Analyst

The Good Analyst

good analyst noun 1. a person who analyses social or environmental good, 2. a person who is good at doing this, 3. an analyst who is a force for good (cf. good Samaritan, good witch)

The Good Analyst is a new book about how a better understanding of social value can create a new set of relationships between society, money, and people’s access to an ok life. Money can be difficult to move around in society — getting stuck sometimes in the wrong places, or being imagined to be somewhere where it turns out later it’s not (or not any more). In the social sector these difficulties are often compounded by money not really knowing where to go, or how to be effective. But there is a potential lead. As the sector is really about impact — meaning the social or environmental good that comes from somebody doing something — by looking at impact, it is possible to send signals to money as to how to move. And so put more distinctly, the book is about how analysing social impact can inform and guide the flow of capital through the social-purpose universe to the places where it can do most good.

The Good Analyst presents Continue reading

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Edinburgh Handedness Inventory

The author on the synthetic Euroclay court of his home club.

When I play tennis, I serve with my right hand and generally volley with my left hand, although on occasion, when a deep ball is unplayable with my backhand, I will flip my racquet to my right hand, giving me an extra 50 centimeters of reach and an added chance of making the shot. In reality, this limb confusion means my serve is less powerful than a true right-hander and my volley is less powerful than a true left-hander because neither hand is actually dominant. Which also means I am destined to remain a mediocre tennis player whose enthusiasm (and on-court sartorial elegance) far outpace his actual game.

But in my mind! Oh, in my mind I am an ambidextrous monster who, by magically switching my racquet from hand to hand can bewilder opponents and reach the most unreachable balls. How many times, while rallying at my local club, have I slipped the racquet into my right hand to make a shot and heard the awed announcer at Roland Garros gasp, ‘Mercer has done it again! The amazing ambi-man is on his way to another French Open title!’

So, prone as I am to such fantasy, you can imagine my intrigue when I stumbled across the Edinburgh Handedness Inventory. The test was designed in 1971 by R.C. Oldfield of the Speech and Communication Unit at Edinburgh University. Continue reading

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Sonnet for Sylvia

by Martin Lewis

I frame this verse, in somewhat antique style,
For thee, Miranda open-eyed and bright,
The sole lady of thine enchanted isle
Now Prospero hath sailed into the night:

And both to him, and thee, I offer thanks
For that haven of fellowship and art
He conjur’d up on swift Sequana’s banks
By Notre Dame, Lutetia’s very heart.

In thy heart also may there ever dwell
The humane passion that thy father proved,
And strength besides, to live that passion well
And love the calling as he also loved.

Fight, like Sir George, with reason and with rhyme
The dragons of this calibanic time!

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George Whitman, In Memoriam

Pia Copper-Ind writes:

The world sees few men like George Whitman. In the harsh capitalist world of today, George’s morals and his motto “Live for humanity” almost seem a thing of the past. For so many people, 37 rue de la Bûcherie, Paris was so much more than a bookstore, it was home for a few months, a place to dream, to write and be inspired in front of one of the most beautiful cathedrals in the world, Notre-Dame, a site Whitman referred to as “Kilometer Zero”, the ultimate address.

Many thousands of twenty-something men and women from all over the world, would-be writers and artists, were served up George’s pancakes and his strawberry ice-cream while they strove to become the next Gertrude Stein, Djuna Barnes, Henry Miller, Ernest Hemingway or James Joyce. Whitman would tell people to ‘read a book a day’ and ‘write the next great novel’ upstairs. Everyone had to write their biography and leave it for posterity. And there were writers. Lawrence Durrell was one of George’s greatest friends, Richard Wright was a regular, Henry Miller called the place a “wonderland of books”. His companion-in-arms was Lawrence Ferlinghetti, who also came to Paris in the postwar years with POW money and then started his own bookstore in San Francisco publishing the “Beats” who drifted between Paris (Shakespeare and Co.), Tangiers and Big Sur. George was even rumoured to be a “Don Juan” of the arrière-boutique, seducing the mysterious Anais Nin. But perhaps he was more of a Prince Myshkin or a Don Quixote, as he liked to call himself: a man of books and letters more than a man of passions. Anais Nin called him “a saint among his books, lending them, having penniless friends upstairs in his Utrillo house, not too steady on its foundations, small windows wrinkled shutters.”

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