shakespeherian's profile (website)

Info


Name: Tim Coe
Also On: Flickr
Joined: May 24, 2006

Contributions

MeFi: 3 posts RSS feed of posts by shakespeherian, 503 comments
MetaTalk: 0 posts RSS feed of posts by shakespeherian, 98 comments
Ask MeFi: 3 questions RSS feed of posts by shakespeherian, 43 answers
Music: 0 songs RSS feed of music posts by shakespeherian, 0 comments, 0 playlists
Projects: 0 posts
Jobs: 0 posts

View all activity

Favorites: 174
Favorited by others: 604

Social

Links to: 1 user
Linked by: 1 user
Top 10 Tags on MeFi: religion (1) philosophy (1) moviemapper (1) metaphilm (1) interpretation (1) gravity (1) game (1) flash (1) film (1) drawing (1)
Top 10 Tags on Ask MeFi: succession (1) shipping (1) ring (1) president (1) mail (1) engagement (1) election (1) death (1) chicago (1) bars (1)

About

What's the deal with your nickname? How did you get it? If your nickname is self-explanatory, then tell everyone when you first started using the internet, and what was the first thing that made you say "wow, this isn't just a place for freaks after all?" Was it a website? Was it an email from a long-lost friend? Go on, spill it.

I think the point where language starts to break down as a useful tool for communication is the same edge where poetry or art occurs... if you only deal with what is known, you’ll have redundancy; on the other hand, if you only deal with the unknown, you cannot communicate at all. there is always some combination of the two, and it is how they touch each other that makes communication interesting.
—Bruce Nauman


One moment of our 1993 conversation made this especially clear, one during which we both looked at the textured surface of Blue Poles: Number 11, 1952, a painting by Jackson Pollock full of patches, slashes, lines, drippings, and blobs, with barely a hint of blue. “I don’t understand this,” I said. “Yes you do,” Lynch said. “Your eyes are moving.” They must have been, but I had not paid any attention. I had automatically experienced a lack of meaning because I could not stand at the prescribed, controlling viewing distance and read the painting as a rationally controlled system of shapes. Lynch had spontaneously identified the painting as a meaningful representation for me because it had released my moving eye from conventional viewer expectations. I saw that I could not contain the painting in some theoretical framework; he saw me performing with the painting. He saw as crucial that part of me that my education had taught me is inconsequential to my grasp of meaning.
—from The Passion of David Lynch by Martha P. Nochimson

Flickr