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Stuff We Like

  • The Vice Guide to North Korea

    North Korea

    This brilliant and disturbing documentary takes you deep into the shallows of Kim Jong Il’s hermit kingdom. Somehow, Vice Magazine’s Shane Smith (founder of VBS, Vice’s video division and star of their Guide to Travel series) and a clandestine-camera-wielding companion secure passage into North Korea from China -- pretending to be tourists, of course, because journalists go to jail. For an hour Smith explores the thin, saccharine veneer of majesty and might that the dictatorship uses to obscure the truth about the desperately impoverished and broken country. He mingles with eerily upbeat hosts, waitresses and tour guides, all hand-picked to chaperone him 24/7 during his stay (the pretense of which is to view and report on the Arirang Mass Games, a spectacular orgy of propaganda and gymnastics too baffling for words). Complete with a heartbreakingly awkward karaoke rendition of the Sex Pistol’s "Anarchy in the U.K.," this documentary is a must-see: a visceral primer for anyone interested in understanding the uniquely other-worldly yet backwards North Korea.  -- Adam Schaefer

  • The Art of Marco Fusinato

    Marco Fusinato

    Music, math, the interactive: these are three things that I really like, and Marco Fusinato's art includes them all. Mass Black Implosion is probably my favorite of his projects -- it reimagines musical scores, sometimes by overlaying them with scribbles of varying thickness (maps to some imagined territory), in architecturally-precise lines (an explosion into three dimensions), or as some kind of gloriously strange infographic for the world to come. Aetheric Plexus, in sharp contrast, turns audiovisual detail into interactive assault. It's difficult to get a sense of the scope of some of these works, but it's evident that Fusinato's gallery showings include a vast collaborative and musical component -- I'd love a chance to see some of this stuff live -- and I'm quite taken with his curatorial series You Don't Have to Call it Music, which tasks visual artists to create music.  -- Lauren Caldwell

  • Dianne Wiest's Old Face

    Dr. Gina Toll

    Dianne Wiest first struck me as the standout of Hannah and Her Sisters; then as the Law & Order DA who tells Sam Waterston what to do and how to think. She aged between these roles and now is even older, the offbeat beauty of her youth having morphed into a mature visage of both astonishing expressiveness and grandmotherly inscrutability — a crucial element of her facile and felicitous performance as psychotherapist Gina Toll on HBO's In Treatment. Psychotherapy is a delicate, hyper-pressurized encounter in which change rests on an enduringly empathetic therapist (who is also capable of being perceived as such) imbuing contingent actions and words with novel meanings and potentialities. Gina's patient Paul, a former protégé who returns for guidance after a decade of estrangement that began when Gina denied him a promotion, is ever probing Gina's face for nefariousness. A sleepy spider lying in wait, is what Paul calls her: What secret motives lie covertly in the fragile folds of her jowls, in the puffy bags beneath her eyes, etched on her weblike cheeks? Her enigmatic expressions initially offend Paul, whose history with Gina predisposes him to read any ambiguity in her mien as perfunctorily negative. Not sharing this pervading bias, we enjoy the virtuosic, Emmy-winning face of this gorgeous old lady whose allure and gravitas make me want to ask her to run for president.  -- Kevin Hilke

From the Vault

Things that died in 2008.

Our president pledged as primary candidate to staunchly defend individual civil liberties and curb the domestic intelligence abuses of the Bush Administration. As the Democratic candidate, he hedged. As president-elect, he made stunning about-faces, notably on immunity for telecommunications companies who cooperated with Bush's illegal requests. Now, as president, he's continued as many of Bush's abuses as he's curtailed. Also, there was a time when John McCain wasn't an unprincipled, dishonorable bigot. He was quite the man, when he was a man. Then came a succubus to hasten his by then inevitable decline.

Jürgen Habermas Does Not Exist

Kevin Hilke

Jürgen Habermas’s lecture at Stanford in commemoration of Richard Rorty on November 2, 2007, was a lucid recitation of Rorty’s career as a linguistic and political philosopher. It was the best such recitation I’ve come across in print or in person (a point made by the chair of Stanford’s philosophy department in a fawning non-question question during the Q&A), but given the colon-rich title of the event—“And to define America, her athletic democracy: Richard Rorty: Philosopher and Language Shaper”—I was expecting synthesis rather than summary. More specifically, I anticipated that Habermas, with his unique perspective on Rorty’s work, would make an attempt to elucidate (or, depending on what he took to be the sophistication of his audience, problematize) the stuff astride those conspicuous colons. But he didn’t. Between the two idioms in which the event was advertised—as a “lecture” (an academic idiom) “in commemoration” of Rorty (an elegiac idiom)—Habermas chose to lean heavily toward the second, the elegiac, in the form of hewing to Rorty’s life and work to the exclusion of other topics and ultimately to the extent that Habermas could have been anyone, a generic if eloquent deliverer of Rorty’s biography and intellectual lineage. Habermas wasn’t Habermas as Habermas, the thinker with unique ideas that engage uniquely with Rorty’s; he was our leader in group tribute. And so the man who asked Habermas, at the conclusion of his remarks, a question about his relative silence on how the new prominence of new media might affect his thinking about the public sphere was told, by Habermas, that such a question was inappropriate, that we were “here to talk about Dick.”

Habermas’s resoluteness in forgetting himself as himself was pointed up by a parallel phenomenon in the woman sitting to my left, who, in the presence of Habermas the man, ignored the man to seek his image, or rather dozens of his images. She scrolled through her search results, eyes flitting from photo to photo, periodically lurching incredulously to the stage and the man and spilling just as incredulously back down the pictures. After ten or so minutes of this, apparently unsatisfied, she closed her laptop, and after a final glance at Habermas the man, or rather at Habermas the anonymous but articulate medium of tribute, she nestled her head between the shoulder and chest of the comely man to her left and fell quickly to sleep.

Category: Briefs, Essays, Fiction, and Poetry, Thought and Society

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