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Created on: June 27th, 2010
one sidenote: in the original script, Morpheus welcomed Neo more specifically to Baudrillard's desert of the real.
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Paint Your Wagon is my Dad's favorite movie. When VCRs came out, he said "If they show Paint Your Wagon on TV, I'll go out and buy a VCR so I can tape it." When they showed a promo for PYW on the late night movie, he went out and paid $1000 (in 1977 dollars) for a Sony Betamax Top-loader. And that's how we became the first family on the block to own a VCR. (And also how I reveal how old I am on YTMND.)
In this organization, the story plays a decisive role. It "describes," to be sure. But "every
description is more than a fixation," it is "a culturally creative act."" It even has distributive
power and performative force (it does what it says) when an ensemble of circumstances is
brought together. Then it founds spaces. Reciprocally, where stories are disappear-ing (or else
are being reduced to museographical objects), there is a loss of space: deprived of narrations
(as one sees it happen in both the city and the countryside), the group or the individual
regresses toward the disquieting, fatalistic experience of a formless, indistinct, and nocturnal
totality. By considering the role of stories in delimitation, one can see that the primary function is to authorize the establishment, displacement or transcendence of limits, and as a
consequence, to set in opposition, within the closed field of discourse, two movements that
intersect (setting and transgressing limits) in such a way as to make the story a sort of
"crossword" decoding stencil (a dynamic partitioning of space) whose essential narrative
figures seem to be the frontier and the bridge. - De Certeau (124)
description is more than a fixation," it is "a culturally creative act."" It even has distributive
power and performative force (it does what it says) when an ensemble of circumstances is
brought together. Then it founds spaces. Reciprocally, where stories are disappear-ing (or else
are being reduced to museographical objects), there is a loss of space: deprived of narrations
(as one sees it happen in both the city and the countryside), the group or the individual
regresses toward the disquieting, fatalistic experience of a formless, indistinct, and nocturnal
totality. By considering the role of stories in delimitation, one can see that the primary function is to authorize the establishment, displacement or transcendence of limits, and as a
consequence, to set in opposition, within the closed field of discourse, two movements that
intersect (setting and transgressing limits) in such a way as to make the story a sort of
"crossword" decoding stencil (a dynamic partitioning of space) whose essential narrative
figures seem to be the frontier and the bridge. - De Certeau (124)
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