Papers by Michael V Kramer
We, as contemporary Western citizens and subjects, navigate a world intent on swaying thought. In... more We, as contemporary Western citizens and subjects, navigate a world intent on swaying thought. In fact a point often lent to the credibility of a philosophical education is that philosophy allows one to deconstruct subversively implanted arguments and see through to the inhering logic, and in so doing disarm the latent influence. By 'deciphering' the hidden messages, as it were, one can more accurately assess the nature of a given argument. The modus operandi for this process of decryption has typically fallen to a technical sort of deductive calculus-a system of logically valid or sound inferences and relations-in order to interpret the true content of a claim.
Meditations: UCLA Undergraduate Philosophy Journal, Jun 2014
τί τὸ γεγονός αὐτὸ τὸ γενησόμενον καὶ τί τὸ πεποιημένον αὐτὸ τὸ ποιηθησόμενον καὶ οὐκ ἔστιν πᾶν π... more τί τὸ γεγονός αὐτὸ τὸ γενησόμενον καὶ τί τὸ πεποιημένον αὐτὸ τὸ ποιηθησόμενον καὶ οὐκ ἔστιν πᾶν πρόσφατον ὑπὸ τὸν ἥλιον 1 QUID EST QUOD FUIT IPSUM QUOD FUTURUM EST QUID EST QUOD FACTUM EST IPSUM QUOD FACIENDUM EST NIHIL SUB SOLE NOVUM 1 --Ecclesiastes, 1:9--10.
Spirit is to assume that it holds, or proposes, a position of metaphysical veracity.
A song, by its very nature as recorded audio and reproducible to that extent, is inherently repet... more A song, by its very nature as recorded audio and reproducible to that extent, is inherently repetitive; if not within the confines of when it starts and when it ends, at least in terms of the power to listen to it over and over again. Songs wedge themselves into our heads and sometimes refuse to leave; so it goes with soundtracks of certain films. The headspace, so to speak, is not a purely acoustic vacuum but, as depicted in Nakahira's Crazed Fruit (1956), Oshima's Three Resurrected Drunkards (1968), and Obayashi's House (1977), also deals intimately with diegetic resonation in terms of style, plot, and structure. Michel Chion wrote of soundtrack, "Out of time and out of space, music communicates with all times and all spaces of a film, even as it leaves them to their separate and distinct existences" (81); bearing this in mind, he also writes of the seamlessness with which music can support a film's thematic structure. In collapsing together the nature of song-as essentially meant for reiteration and replay-with the strong suggestions and devices for recurrence and repetition through these films, an ulterior pattern can be
UCLA/Hammer Museum Graphite Interdisciplinary Arts Journal, May 2013
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Papers by Michael V Kramer