#tenet — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #tenet, aggregated by home.social.
-
Maybe #TENET would be the best Nolan movie if I was a super genius.
-
Watched #TENET again. Fun but it doesn't really work imo.
-
-
Remember Lauren Chen, from Tenet Media? The Kremlin-funded propagandist is back in the US
https://bsky.app/profile/vatniksoup.bsky.social/post/3mbp2pt5cck2m
-
Right-wing media personality Lauren Chen left the U.S. in disgrace after her Tenet Media YouTube channel was exposed as a Russian media front funded by pro-Putin outlets. In December, she returned to Nashville, thanking a State Department official for his help.
-
So #Tenet is on Netflix until the end of the month.
I hadn't watched it since the first time in 2020…I can't remember if I actually saw it in a theater or at home soon after. My recollection is that I thought it was cool, but ultimately rather weird and confusing. And yeah, the sound mix is bad. (Gotta switch on subtitles!)
But watching it again now, I thoroughly enjoyed it! Might be one of my favorite Nolan films in the end.
-
#BehindTheScenes
#Tenet (2020)
Armed with only the word "Tenet," and fighting for the survival of the entire world, CIA operative, The Protagonist, journeys through a twilight world of international espionage on a global mission that unfolds beyond real time.Director #ChristopherNolan shooting #JohnDavidWashington #DimpleKapadia
-
#BehindTheScenes
#Tenet (2020)
Armed with only the word "Tenet," and fighting for the survival of the entire world, CIA operative, The Protagonist, journeys through a twilight world of international espionage on a global mission that unfolds beyond real time.Director #ChristopherNolan shooting #JohnDavidWashington #DimpleKapadia
-
#BehindTheScenes
#Tenet (2020)
Armed with only the word "Tenet," and fighting for the survival of the entire world, CIA operative, The Protagonist, journeys through a twilight world of international espionage on a global mission that unfolds beyond real time.Director #ChristopherNolan shooting #JohnDavidWashington #DimpleKapadia
-
#BehindTheScenes
#Tenet (2020)
Armed with only the word "Tenet," and fighting for the survival of the entire world, CIA operative, The Protagonist, journeys through a twilight world of international espionage on a global mission that unfolds beyond real time.Director #ChristopherNolan shooting #JohnDavidWashington #DimpleKapadia
-
#BehindTheScenes
#Tenet (2020)
Armed with only the word "Tenet," and fighting for the survival of the entire world, CIA operative, The Protagonist, journeys through a twilight world of international espionage on a global mission that unfolds beyond real time.Director #ChristopherNolan shooting #JohnDavidWashington #DimpleKapadia
-
Ce remix est un chef d’oeuvre d’orfèvrerie, une sorte de #TENET électronique, autant inaccessible pas que pas tant que ça inaccessible, ou rien ne va dans le bon sens, ou plutôt si…mais…non. L’art du découpage, avec un japonais (?) qui débarque à 2’38 et tout devient évident. #Top10 ever ♥️
My Angel Rocks Back and Forth ... -
Washington City Paper: Retro Review: Tenet, Christopher Nolan’s Pandemic-Year Misfire, Is Back on the Big Screen
"Happily, the Nolan retrospective that Alamo Drafthouse has been running for much of the summer will conclude with the big-screen presentation of Tenet that even Nolan stans like me deemed too risky to indulge in in 2020. ... At last, those of us who’ve been thrilled and confounded by Tenet at home on several occasions over the past five years can be thrilled and confounded in public.
The film has acquired a rep as the project where Nolan’s reach at last exceeded his grasp. Its plot, viewers said, was incomprehensible, as was the dialogue—clipped and enigmatic even if you could decipher the words the actors were speaking. Many viewers could not, given that Nolan did not prioritize speech in the film’s aggressive sound mix. These are, I will allow, valid complaints."
-
Tenet Review 1/6
Just watched Tenet. I think it's an interesting experiment in how you can try to condense a complex science fiction concept into a blockbuster action movie and still make it good. I felt it failed, at least for me. It was still worth watching, though. The characters somehow felt less vacuous than other Nolan films, less than Devs which I've previously watched.
-
Portuguese techno innovator PEIX offers up a deep, stylish, and relentless four tracker that draws inspiration from unwavering principles of inner resolve. #music #peix #tenet #antimodus
-
Couldn’t agree more! #Tenet is awesome! 😃
“5 years later, Christopher Nolan's most divisive movie is better than you remember”https://www.polygon.com/tenet-christopher-nolan-five-year-anniversary-review/
-
I often think about what a brilliant and underrated #movie #tenet is! #Nolan #philosophy
https://www.youtube.com/watch?v=ItL_kEXMtXM&list=PLJVhoOeqKSlLgL7AV4FSCbpIEEmR5j8dN&index=15
-
Maintenant que j'y pense, il doit bien y avoir le même genre de trucs dans #tenet ?
-
#NamitMalhotra #CEO #DNEG
Indian #visualeffects company
Has won seven #Oscars already
#DunePartTwo #Interstellar #Tenet #ExMachina
https://www.hindustantimes.com/entertainment/hollywood/meet-namit-khanna-indian-behind-the-oscar-nominated-vfx-of-dune-part-two-designed-visual-effects-for-interstellar-tenet-101740567761061.html -
The aporia or obstacle to Louise Banks’ eventual learning-to-use such 4-dimensional logic is-&-was, in the film, her own worded world—and especially (in her own worded world) her sense of herself as a particular and particularized/particularizeable ‘ᴘᴇʀꜱᴏɴ’ (rather than, instead, something or someone in #flux, in perpetual #progress or #process … that-is-to-say as an ongoing ‘#individuation’ rather than straightforward ‘#individual’). … Once her sense of straightforward self is discerned as something ‘porous’, the aporia disappears—or is at least overcome (…she becomes, as such, #over·human, #über·menschlich as Friedrich Nietzsche would have said, and she “opens up her theatre-eye—the great ‘third eye’ that looks out into the world through the other two”). This entails a kind of passivity, I suppose, since it necessitates a sort of letting-go (or what Meister Eckart, prior to Nietzsche, called Gelassenheit and Abgeschiedenheit: the ‘letting-go’ that is itself a ‘letting-be’ allowing something like the fullness—maybe the excess—of ‘be’ing its place, its play, in time).
Since in this 3-dimensional world I am currently out-of-time (having reached the maximum time-allotment for the ᴍᴏɴᴏʟᴏɢᴜᴇ part of this Babson-College session), perhaps I’ll close with reference to another film—one that wasn’t included in your readings-or-screenings (which you can view at your leisure or pleasure later on, if you feel so inclined or enlooped) followed by one last nod (one final reference) to the Illegibility readings [[love that phrase]], acknowledging-of-course (with respect to the reference to yet-another film) that I’ve made reference to a number of films that weren’t on the reading-or-screening list: films like #Dune and like #Tenet, in addition to the reading/screening-list’s #Arrival. … The other film to which I want to refer is that of Guy Ritchie’s #Revolver, which also deals with a situation wherein its protagonist (a con-man by the name of Jake Green rather than a linguist by the name of L Banks) has to overcome particular/particularized ‘personhood’, individual/indivisible ‘identity’, in order to escape the confines of his own ‘con’. In #Revolver (a film released in 2005), just as in #Arrival (released in 2016), ‘fixed’ rather than ‘fluid’ notions of ‘the self’ (—understanding ‘selfhood’ as something altogether ‘individuated’-in-the-present rather than always in-the-process-of-‘individuatɪɴɢ’—) keeps everything ‘fixed’-in (and ‘fixated’-with) the ‘ɴᴏᴡ’, inextricably ‘pinned’ or ‘bound’ to what we now think that we know, closing-off the outside, the unknown, or what I jokingly called the monstrous ‘Not-Yeti’ in my uploaded #Future_Philosophy videos. … Overcoming the self, both in the overman/overhumanism of philosophers like Nietzsche and (at least in the case of #Revolver) director/cinematographers like Guy Ritchie, opens in its negation a kind of Keatsian ‘ɴᴇɢᴀᴛɪᴠᴇ ᴄᴀᴘᴀʙɪʟɪᴛʏ’ or Meister-Eckhart-like ‘Gelassenheit’, allowing in this weird undoing—this abnormal abnegation/‘Abgeschiedenheit’—a glimpse at the surreal theatre-qua-theory of futurity ‘in formation’ (quoting William Allen, “the form-without-form of negativity’s exteriority in all its evasion-of-relation”). … The future ‘in formation’, the future in its becoming, is basically—from our 3-dimensional perspective—what the future ‘ɪꜱ’: it is #larval, both in the sense of still-#unformed (still-in-#formation), and in the more strict etymological sense of #shrouded, #clouded, covered-over or #masked.
When the philosopher René Descartes wrote (just prior to publishing his 1626 #Rules_for_the_Direction_of_Mind and 1636 #Discourse_on_Method) that he was entering onto-or-upon the great stage or theatre of World Philosophy as all actors do: that is, #masked—(his words were “larvatus prodeo”: “I advance #masked”)—he was acknowledging that his public #persona, his public #identity, was a #cover (a cover-story) underneath/behind/beyond which, in truth, lies ꜱᴏᴍᴇᴛʜɪɴɢ ᴇʟꜱᴇ. Descartes admitted that such a mask, such a masking, allows him to cover-over his shame—again, as ᴀʟʟ ‘actors’-or-‘performers’ do. In his book #Illegibility, William Allen touches upon this when he writes about what he calls “ontological shame” and explains (on page 3 of our readings) that “shame would then be the corollary of futurity.” When we speak of, or theorize, futurity—at least from our limited 3D perspective—there is (or there should be) a feeling of shame, a feeling that something is being lost or glossed-over, abandoned—perhaps because every formulation of the future denies the future its status as not-yet-formed/Not-Yeti, as if we are tired of waiting for (or ‘awaiting’) the future, and abandon the wait (the waiting) altogether. Perhaps theorists-of-futurity should be more like Didi and Gogo in Beckett’s #Waiting_for_Godot (here referring to the most well-known work of the novelist/playwright Samuel Beckett), who, even when they think of doing it (or resolve to do it) never actually stop waiting. The Irish writer Samuel Beckett and the French writer Maurice Blanchot have—or rather, had—much in common, including a fine (refined) sense of #waiting, and, in waiting, of #boredom (which the philosopher Heidegger called “the ground-mood of Being”): boredom to the point of #dread (or if you prefer, as Heidegger himself may well have, of ‘#existential dread’—for isn’t that what life’s all about?, what life really ‘is’?: a #waiting?, an #awaiting?). More to the point: isn’t this what ‘the future’—futurity—is all about? As William Allen puts it in the quotation from Blanchot’s #Awaiting_Oblivion on page 7 of our readings, “the source of all waiting [is] the future.” … This does sound very much like a 4D statement (“the source of all waiting [is] the future”), and one that throws the question of waiting into a whole new light (again from page 7 of our readings): “It is thus not a question of waiting for the event to happen … but rather of waiting as a mode of experience of that which does not take place” but nevertheless allows everything to take place (and take time). … There—thanks for allowing this little talk to take place (and take time).
* [[ᴇɴᴅ ᴏꜰ ᴍᴏɴᴏʟᴏɢᴜᴇ / ʙᴇɢɪɴɴɪɴɢ ᴏꜰ ʜᴏᴜʀ-ʟᴏɴɢ ᴄʟᴀꜱꜱ ᴅɪꜱᴄᴜꜱꜱɪᴏɴ ᴀɴᴅ ᴜɴᴘᴀᴄᴋɪɴɢ]] * :-)
-
The aporia or obstacle to Louise Banks’ eventual learning-to-use such 4-dimensional logic is-&-was, in the film, her own worded world—and especially (in her own worded world) her sense of herself as a particular and particularized/particularizeable ‘ᴘᴇʀꜱᴏɴ’ (rather than, instead, something or someone in flux, in perpetual progress or process … that-is-to-say as an ongoing ‘individuation’ rather than straightforward ‘individual’). … Once her sense of straightforward self is discerned as something ‘porous’, the aporia disappears—or is at least overcome (…she becomes, as such, over·human, über·menschlich as Friedrich Nietzsche would have said, and she “opens up her theatre-eye—the great ‘third eye’ that looks out into the world through the other two”). This entails a kind of passivity, I suppose, since it necessitates a sort of letting-go (or what Meister Eckart, prior to Nietzsche, called Gelassenheit and Abgeschiedenheit: the ‘letting-go’ that is itself a ‘letting-be’ allowing something like the fullness—maybe the excess—of ‘be’ing its place, its play, in time).
Since in this 3-dimensional world I am currently out-of-time (having reached the maximum time-allotment for the ᴍᴏɴᴏʟᴏɢᴜᴇ part of this Babson-College session), perhaps I’ll close with reference to another film—one that wasn’t included in your readings-or-screenings (which you can view at your leisure or pleasure later on, if you feel so inclined or enlooped) followed by one last nod (one final reference) to the Illegibility readings [[love that phrase]], acknowledging-of-course (with respect to the reference to yet-another film) that I’ve made reference to a number of films that weren’t on the reading-or-screening list: films like #Dune and like #Tenet, in addition to the reading/screening-list’s #Arrival. … The other film to which I want to refer is that of Guy Ritchie’s #Revolver, which also deals with a situation wherein its protagonist (a con-man by the name of Jake Green rather than a linguist by the name of L Banks) has to overcome particular/particularized ‘personhood’, individual/indivisible ‘identity’, in order to escape the confines of his own ‘con’. In #Revolver (a film released in 2005), just as in #Arrival (released in 2016), ‘fixed’ rather than ‘fluid’ notions of ‘the self’ (—understanding ‘selfhood’ as something altogether ‘individuated’-in-the-present rather than always in-the-process-of-‘individuatɪɴɢ’—) keeps everything ‘fixed’-in (and ‘fixated’-with) the ‘ɴᴏᴡ’, inextricably ‘pinned’ or ‘bound’ to what we now think that we know, closing-off the outside, the unknown, or what I jokingly called the monstrous ‘Not-Yeti’ in my uploaded #Future_Philosophy videos. … Overcoming the self, both in the overman/overhumanism of philosophers like Nietzsche and (at least in the case of #Revolver) director/cinematographers like Guy Ritchie, opens in its negation a kind of Keatsian ‘ɴᴇɢᴀᴛɪᴠᴇ ᴄᴀᴘᴀʙɪʟɪᴛʏ’ or Meister-Eckhart-like ‘Gelassenheit’, allowing in this weird undoing—this abnormal abnegation/‘Abgeschiedenheit’—a glimpse at the surreal theatre-qua-theory of futurity ‘in formation’ (quoting William Allen, “the form-without-form of negativity’s exteriority in all its evasion-of-relation”). … The future ‘in formation’, the future in its becoming, is basically—from our 3-dimensional perspective—what the future ‘ɪꜱ’: it is #larval, both in the sense of still-#unformed (still-in-#formation), and in the more strict etymological sense of #shrouded, #clouded, covered-over or #masked.
When the philosopher René Descartes wrote (just prior to publishing his 1626 #Rules_for_the_Direction_of_Mind and 1636 #Discourse_on_Method) that he was entering onto-or-upon the great stage or theatre of World Philosophy as all actors do: that is, #masked—(his words were “larvatus prodeo”: “I advance #masked”)—he was acknowledging that his public #persona, his public #identity, was a #cover (a cover-story) underneath/behind/beyond which, in truth, lies ꜱᴏᴍᴇᴛʜɪɴɢ ᴇʟꜱᴇ. Descartes admitted that such a mask, such a masking, allows him to cover-over his shame—again, as ᴀʟʟ ‘actors’-or-‘performers’ do. In his book #Illegibility, William Allen touches upon this when he writes about what he calls “ontological shame” and explains (on page 3 of our readings) that “shame would then be the corollary of futurity.” When we speak of, or theorize, futurity—at least from our limited 3D perspective—there is (or there should be) a feeling of shame, a feeling that something is being lost or glossed-over, abandoned—perhaps because every formulation of the future denies the future its status as not-yet-formed/Not-Yeti, as if we are tired of waiting for (or ‘awaiting’) the future, and abandon the wait (the waiting) altogether. Perhaps theorists-of-futurity should be more like Didi and Gogo in Beckett’s #Waiting_for_Godot (here referring to the most well-known work of the novelist/playwright Samuel Beckett), who, even when they think of doing it (or resolve to do it) never actually stop waiting. The Irish writer Samuel Beckett and the French writer Maurice Blanchot have—or rather, had—much in common, including a fine (refined) sense of #waiting, and, in waiting, of #boredom (which the philosopher Heidegger called “the ground-mood of Being”): boredom to the point of #dread (or if you prefer, as Heidegger himself may well have, of ‘#existential dread’—for isn’t that what life’s all about?, what life really ‘is’?: a #waiting?, an #awaiting?). More to the point: isn’t this what ‘the future’—futurity—is all about? As William Allen puts it in the quotation from Blanchot’s #Awaiting_Oblivion on page 7 of our readings, “the source of all waiting [is] the future.” … This does sound very much like a 4D statement (“the source of all waiting [is] the future”), and one that throws the question of waiting into a whole new light (again from page 7 of our readings): “It is thus not a question of waiting for the event to happen … but rather of waiting as a mode of experience of that which does not take place” but nevertheless allows everything to take place (and take time). … There—thanks for allowing this little talk to take place (and take time).
* [[ᴇɴᴅ ᴏꜰ ᴍᴏɴᴏʟᴏɢᴜᴇ / ʙᴇɢɪɴɴɪɴɢ ᴏꜰ ʜᴏᴜʀ-ʟᴏɴɢ ᴄʟᴀꜱꜱ ᴅɪꜱᴄᴜꜱꜱɪᴏɴ ᴀɴᴅ ᴜɴᴘᴀᴄᴋɪɴɢ]] * :-)
-
The aporia or obstacle to Louise Banks’ eventual learning-to-use such 4-dimensional logic is-&-was, in the film, her own worded world—and especially (in her own worded world) her sense of herself as a particular and particularized/particularizeable ‘ᴘᴇʀꜱᴏɴ’ (rather than, instead, something or someone in #flux, in perpetual #progress or #process … that-is-to-say as an ongoing ‘#individuation’ rather than straightforward ‘#individual’). … Once her sense of straightforward self is discerned as something ‘porous’, the aporia disappears—or is at least overcome (…she becomes, as such, #over·human, #über·menschlich as Friedrich Nietzsche would have said, and she “opens up her theatre-eye—the great ‘third eye’ that looks out into the world through the other two”). This entails a kind of passivity, I suppose, since it necessitates a sort of letting-go (or what Meister Eckart, prior to Nietzsche, called Gelassenheit and Abgeschiedenheit: the ‘letting-go’ that is itself a ‘letting-be’ allowing something like the fullness—maybe the excess—of ‘be’ing its place, its play, in time).
Since in this 3-dimensional world I am currently out-of-time (having reached the maximum time-allotment for the ᴍᴏɴᴏʟᴏɢᴜᴇ part of this Babson-College session), perhaps I’ll close with reference to another film—one that wasn’t included in your readings-or-screenings (which you can view at your leisure or pleasure later on, if you feel so inclined or enlooped) followed by one last nod (one final reference) to the Illegibility readings [[love that phrase]], acknowledging-of-course (with respect to the reference to yet-another film) that I’ve made reference to a number of films that weren’t on the reading-or-screening list: films like #Dune and like #Tenet, in addition to the reading/screening-list’s #Arrival. … The other film to which I want to refer is that of Guy Ritchie’s #Revolver, which also deals with a situation wherein its protagonist (a con-man by the name of Jake Green rather than a linguist by the name of L Banks) has to overcome particular/particularized ‘personhood’, individual/indivisible ‘identity’, in order to escape the confines of his own ‘con’. In #Revolver (a film released in 2005), just as in #Arrival (released in 2016), ‘fixed’ rather than ‘fluid’ notions of ‘the self’ (—understanding ‘selfhood’ as something altogether ‘individuated’-in-the-present rather than always in-the-process-of-‘individuatɪɴɢ’—) keeps everything ‘fixed’-in (and ‘fixated’-with) the ‘ɴᴏᴡ’, inextricably ‘pinned’ or ‘bound’ to what we now think that we know, closing-off the outside, the unknown, or what I jokingly called the monstrous ‘Not-Yeti’ in my uploaded #Future_Philosophy videos. … Overcoming the self, both in the overman/overhumanism of philosophers like Nietzsche and (at least in the case of #Revolver) director/cinematographers like Guy Ritchie, opens in its negation a kind of Keatsian ‘ɴᴇɢᴀᴛɪᴠᴇ ᴄᴀᴘᴀʙɪʟɪᴛʏ’ or Meister-Eckhart-like ‘Gelassenheit’, allowing in this weird undoing—this abnormal abnegation/‘Abgeschiedenheit’—a glimpse at the surreal theatre-qua-theory of futurity ‘in formation’ (quoting William Allen, “the form-without-form of negativity’s exteriority in all its evasion-of-relation”). … The future ‘in formation’, the future in its becoming, is basically—from our 3-dimensional perspective—what the future ‘ɪꜱ’: it is #larval, both in the sense of still-#unformed (still-in-#formation), and in the more strict etymological sense of #shrouded, #clouded, covered-over or #masked.
When the philosopher René Descartes wrote (just prior to publishing his 1626 #Rules_for_the_Direction_of_Mind and 1636 #Discourse_on_Method) that he was entering onto-or-upon the great stage or theatre of World Philosophy as all actors do: that is, #masked—(his words were “larvatus prodeo”: “I advance #masked”)—he was acknowledging that his public #persona, his public #identity, was a #cover (a cover-story) underneath/behind/beyond which, in truth, lies ꜱᴏᴍᴇᴛʜɪɴɢ ᴇʟꜱᴇ. Descartes admitted that such a mask, such a masking, allows him to cover-over his shame—again, as ᴀʟʟ ‘actors’-or-‘performers’ do. In his book #Illegibility, William Allen touches upon this when he writes about what he calls “ontological shame” and explains (on page 3 of our readings) that “shame would then be the corollary of futurity.” When we speak of, or theorize, futurity—at least from our limited 3D perspective—there is (or there should be) a feeling of shame, a feeling that something is being lost or glossed-over, abandoned—perhaps because every formulation of the future denies the future its status as not-yet-formed/Not-Yeti, as if we are tired of waiting for (or ‘awaiting’) the future, and abandon the wait (the waiting) altogether. Perhaps theorists-of-futurity should be more like Didi and Gogo in Beckett’s #Waiting_for_Godot (here referring to the most well-known work of the novelist/playwright Samuel Beckett), who, even when they think of doing it (or resolve to do it) never actually stop waiting. The Irish writer Samuel Beckett and the French writer Maurice Blanchot have—or rather, had—much in common, including a fine (refined) sense of #waiting, and, in waiting, of #boredom (which the philosopher Heidegger called “the ground-mood of Being”): boredom to the point of #dread (or if you prefer, as Heidegger himself may well have, of ‘#existential dread’—for isn’t that what life’s all about?, what life really ‘is’?: a #waiting?, an #awaiting?). More to the point: isn’t this what ‘the future’—futurity—is all about? As William Allen puts it in the quotation from Blanchot’s #Awaiting_Oblivion on page 7 of our readings, “the source of all waiting [is] the future.” … This does sound very much like a 4D statement (“the source of all waiting [is] the future”), and one that throws the question of waiting into a whole new light (again from page 7 of our readings): “It is thus not a question of waiting for the event to happen … but rather of waiting as a mode of experience of that which does not take place” but nevertheless allows everything to take place (and take time). … There—thanks for allowing this little talk to take place (and take time).
* [[ᴇɴᴅ ᴏꜰ ᴍᴏɴᴏʟᴏɢᴜᴇ / ʙᴇɢɪɴɴɪɴɢ ᴏꜰ ʜᴏᴜʀ-ʟᴏɴɢ ᴄʟᴀꜱꜱ ᴅɪꜱᴄᴜꜱꜱɪᴏɴ ᴀɴᴅ ᴜɴᴘᴀᴄᴋɪɴɢ]] * :-)
-
The aporia or obstacle to Louise Banks’ eventual learning-to-use such 4-dimensional logic is-&-was, in the film, her own worded world—and especially (in her own worded world) her sense of herself as a particular and particularized/particularizeable ‘ᴘᴇʀꜱᴏɴ’ (rather than, instead, something or someone in #flux, in perpetual #progress or #process … that-is-to-say as an ongoing ‘#individuation’ rather than straightforward ‘#individual’). … Once her sense of straightforward self is discerned as something ‘porous’, the aporia disappears—or is at least overcome (…she becomes, as such, #over·human, #über·menschlich as Friedrich Nietzsche would have said, and she “opens up her theatre-eye—the great ‘third eye’ that looks out into the world through the other two”). This entails a kind of passivity, I suppose, since it necessitates a sort of letting-go (or what Meister Eckart, prior to Nietzsche, called Gelassenheit and Abgeschiedenheit: the ‘letting-go’ that is itself a ‘letting-be’ allowing something like the fullness—maybe the excess—of ‘be’ing its place, its play, in time).
Since in this 3-dimensional world I am currently out-of-time (having reached the maximum time-allotment for the ᴍᴏɴᴏʟᴏɢᴜᴇ part of this Babson-College session), perhaps I’ll close with reference to another film—one that wasn’t included in your readings-or-screenings (which you can view at your leisure or pleasure later on, if you feel so inclined or enlooped) followed by one last nod (one final reference) to the Illegibility readings [[love that phrase]], acknowledging-of-course (with respect to the reference to yet-another film) that I’ve made reference to a number of films that weren’t on the reading-or-screening list: films like #Dune and like #Tenet, in addition to the reading/screening-list’s #Arrival. … The other film to which I want to refer is that of Guy Ritchie’s #Revolver, which also deals with a situation wherein its protagonist (a con-man by the name of Jake Green rather than a linguist by the name of L Banks) has to overcome particular/particularized ‘personhood’, individual/indivisible ‘identity’, in order to escape the confines of his own ‘con’. In #Revolver (a film released in 2005), just as in #Arrival (released in 2016), ‘fixed’ rather than ‘fluid’ notions of ‘the self’ (—understanding ‘selfhood’ as something altogether ‘individuated’-in-the-present rather than always in-the-process-of-‘individuatɪɴɢ’—) keeps everything ‘fixed’-in (and ‘fixated’-with) the ‘ɴᴏᴡ’, inextricably ‘pinned’ or ‘bound’ to what we now think that we know, closing-off the outside, the unknown, or what I jokingly called the monstrous ‘Not-Yeti’ in my uploaded #Future_Philosophy videos. … Overcoming the self, both in the overman/overhumanism of philosophers like Nietzsche and (at least in the case of #Revolver) director/cinematographers like Guy Ritchie, opens in its negation a kind of Keatsian ‘ɴᴇɢᴀᴛɪᴠᴇ ᴄᴀᴘᴀʙɪʟɪᴛʏ’ or Meister-Eckhart-like ‘Gelassenheit’, allowing in this weird undoing—this abnormal abnegation/‘Abgeschiedenheit’—a glimpse at the surreal theatre-qua-theory of futurity ‘in formation’ (quoting William Allen, “the form-without-form of negativity’s exteriority in all its evasion-of-relation”). … The future ‘in formation’, the future in its becoming, is basically—from our 3-dimensional perspective—what the future ‘ɪꜱ’: it is #larval, both in the sense of still-#unformed (still-in-#formation), and in the more strict etymological sense of #shrouded, #clouded, covered-over or #masked.
When the philosopher René Descartes wrote (just prior to publishing his 1626 #Rules_for_the_Direction_of_Mind and 1636 #Discourse_on_Method) that he was entering onto-or-upon the great stage or theatre of World Philosophy as all actors do: that is, #masked—(his words were “larvatus prodeo”: “I advance #masked”)—he was acknowledging that his public #persona, his public #identity, was a #cover (a cover-story) underneath/behind/beyond which, in truth, lies ꜱᴏᴍᴇᴛʜɪɴɢ ᴇʟꜱᴇ. Descartes admitted that such a mask, such a masking, allows him to cover-over his shame—again, as ᴀʟʟ ‘actors’-or-‘performers’ do. In his book #Illegibility, William Allen touches upon this when he writes about what he calls “ontological shame” and explains (on page 3 of our readings) that “shame would then be the corollary of futurity.” When we speak of, or theorize, futurity—at least from our limited 3D perspective—there is (or there should be) a feeling of shame, a feeling that something is being lost or glossed-over, abandoned—perhaps because every formulation of the future denies the future its status as not-yet-formed/Not-Yeti, as if we are tired of waiting for (or ‘awaiting’) the future, and abandon the wait (the waiting) altogether. Perhaps theorists-of-futurity should be more like Didi and Gogo in Beckett’s #Waiting_for_Godot (here referring to the most well-known work of the novelist/playwright Samuel Beckett), who, even when they think of doing it (or resolve to do it) never actually stop waiting. The Irish writer Samuel Beckett and the French writer Maurice Blanchot have—or rather, had—much in common, including a fine (refined) sense of #waiting, and, in waiting, of #boredom (which the philosopher Heidegger called “the ground-mood of Being”): boredom to the point of #dread (or if you prefer, as Heidegger himself may well have, of ‘#existential dread’—for isn’t that what life’s all about?, what life really ‘is’?: a #waiting?, an #awaiting?). More to the point: isn’t this what ‘the future’—futurity—is all about? As William Allen puts it in the quotation from Blanchot’s #Awaiting_Oblivion on page 7 of our readings, “the source of all waiting [is] the future.” … This does sound very much like a 4D statement (“the source of all waiting [is] the future”), and one that throws the question of waiting into a whole new light (again from page 7 of our readings): “It is thus not a question of waiting for the event to happen … but rather of waiting as a mode of experience of that which does not take place” but nevertheless allows everything to take place (and take time). … There—thanks for allowing this little talk to take place (and take time).
* [[ᴇɴᴅ ᴏꜰ ᴍᴏɴᴏʟᴏɢᴜᴇ / ʙᴇɢɪɴɴɪɴɢ ᴏꜰ ʜᴏᴜʀ-ʟᴏɴɢ ᴄʟᴀꜱꜱ ᴅɪꜱᴄᴜꜱꜱɪᴏɴ ᴀɴᴅ ᴜɴᴘᴀᴄᴋɪɴɢ]] * :-)
-
New Cosmos chain will use liquid staking tokens from other networks for security - Staked ETH, BNB, ATOM, SOL and MATIC will be usable on Tenet as “... - https://cointelegraph.com/news/new-cosmos-chain-will-use-liquid-staking-tokens-from-other-networks-for-security #liquidstakingderivatives #rocketpool #cosmos #tenet #lido #ankr
-
“Southern helped popularize extremist theory
Since Tenet Media began publishing content, Southern has produced several videos for the outlet focusing on Canadian issues.
Their titles range from "Canada Is Becoming A COMMUNIST HELLHOLE," which compares Canada to the U.S.S.R., and "Mean Tweets = Life in PRISON in Canada?!" which criticizes the proposed Online Harms Act.”
https://www.cbc.ca/news/investigates/russian-influence-election-tenet-media-chen-southern-1.7314976
#Canada #Russia #Propaganda #Southern #Tenet #RightWingExtremists #Fascists #CPC
-
Consequently, #ReligiousExemptions from #antidiscrimination #laws—whether favoring one #religious #belief over another or even over a simple #desire not to adhere to any #religious #tenet—must be recognized as a #violation of the #14thAmendment's pledge to #equality.
The #ReligiousFreedomRestoratioAct (#RFRA) has further complicated this #legal #relationship. (4/8)
-
If you don't have the time to watch the full presentation and you only want to see TENET working between some networked Spectra, you may head straight to the practical demo here:
https://youtu.be/Mkn9syUI_N8?feature=shared&t=2775#TimexSinclair #Timex #TC3256 #TENET #ZXSpectrum #Spectrum #Speccy #retrocomputing #TS2068
-
If you don't have the time to watch the full presentation and you only want to see TENET working between some networked Spectra, you may head straight to the practical demo here:
https://youtu.be/Mkn9syUI_N8?feature=shared&t=2775#TimexSinclair #Timex #TC3256 #TENET #ZXSpectrum #Spectrum #Speccy #retrocomputing #TS2068
-
If you don't have the time to watch the full presentation and you only want to see TENET working between some networked Spectra, you may head straight to the practical demo here:
https://youtu.be/Mkn9syUI_N8?feature=shared&t=2775#TimexSinclair #Timex #TC3256 #TENET #ZXSpectrum #Spectrum #Speccy #retrocomputing #TS2068
-
If you don't have the time to watch the full presentation and you only want to see TENET working between some networked Spectra, you may head straight to the practical demo here:
https://youtu.be/Mkn9syUI_N8?feature=shared&t=2775#TimexSinclair #Timex #TC3256 #TENET #ZXSpectrum #Spectrum #Speccy #retrocomputing #TS2068
-
If you don't have the time to watch the full presentation and you only want to see TENET working between some networked Spectra, you may head straight to the practical demo here:
https://youtu.be/Mkn9syUI_N8?feature=shared&t=2775#TimexSinclair #Timex #TC3256 #TENET #ZXSpectrum #Spectrum #Speccy #retrocomputing #TS2068
-
Holy fkn shit, ich hab schon gedacht, #Tenet geht an Deutschland komplett vorbei.
Ihr könnt euch nicht vorstellen, wie die #MAGA Faschos grad am Rotieren sind.
Das ist, als wenn ohne Vorwarnung #Nius dichtgemacht und #Reichelt + #Elsässer wegen Geldwäsche & Verbrechen gegen die demokratische Grundordnung in U-Haft wären, mit klarer Beweislage für 10-20 Jahren Knast *fürn Anfang*.
Die Kombination "#Trump bei #NABJ + #Harris" hat das politische Erdbeben ausgelöst, das die USA gebraucht haben.
-
-
criminal prosecution activity is really none of my business, but the #tenetmedia stuff is pretty funny.
some of the most shameless grifters and smirking fascist propagandists in recent history whose best option here is to plead abject stupidity (more accurately than they'd like to pretend tbh).#tenet #maga #fascism #disinfo #timPool #laurenSouthern #daveRubin #taylerHansen #farright #putin #FARA
-
US foreign agent rules can’t keep pace with #RussianPropaganda
US legal actions targeting Russian influence network last week exposed shortcomings in laws to tackle malign influence of foreign agents
Justice Department indicted Kalashnikov & Afanasyeva, RT employees, for violating foreign agent & #MoneyLaundering laws funding news network from LLC called #TenetMedia
#Tenet funds independent social media figures
https://kyivindependent.com/us-foreign-agent-rules-cant-keep-pace-with-russian-propaganda/
-
Jsem pozadu, ale konečně jsem viděl Nolanův #Tenet. Kromě řemeslné kvality celkem zírám, že někdo dokáže něco tak složitě představitelného jako jsou časově proti sobě jdoucí dějové linie skloubit do sledovatelného filmu. Pravda, mozek se zapotil a pro lepší pochopení detailů bych to musel vidět znova, ale pointu jsem pochytil a líbilo se mi to dost.
-
New Cosmos chain will use liquid staking tokens from other networks for security - Staked ETH, BNB, ATOM, SOL and MATIC will be usable on Tenet as “... - https://cointelegraph.com/news/new-cosmos-chain-will-use-liquid-staking-tokens-from-other-networks-for-security #liquidstakingderivatives #rocketpool #cosmos #tenet #lido #ankr
-
New Cosmos chain will use liquid staking tokens from other networks for security - Staked ETH, BNB, ATOM, SOL and MATIC will be usable on Tenet as “... - https://cointelegraph.com/news/new-cosmos-chain-will-use-liquid-staking-tokens-from-other-networks-for-security #liquidstakingderivatives #rocketpool #cosmos #tenet #lido #ankr
-
New Cosmos chain will use liquid staking tokens from other networks for security - Staked ETH, BNB, ATOM, SOL and MATIC will be usable on Tenet as “... - https://cointelegraph.com/news/new-cosmos-chain-will-use-liquid-staking-tokens-from-other-networks-for-security #liquidstakingderivatives #rocketpool #cosmos #tenet #lido #ankr
-
2 weeks ago, I didn't even know who Lauren Chen was. Now I know that when she's not working as a Russian propagandist, she does "Stand Up Comedy". You can tell it's stand up comedy because she's standing up and has a microphone and a stool
Allow the Bachelors of Music to explain:
https://www.youtube.com/watch?v=pKGZiDXaI9g&ab_channel=TheBachelorsofMusic
-
LSD for DeFi: Tenet, LayerZero partner to drive cross-chain liquid staking adoption - Cross-chain interoperability protocol LayerZero’s infrastructure ... - https://cointelegraph.com/news/lsd-for-defi-tenet-layerzero-partner-to-drive-cross-chain-liquid-staking-adoption #liquidstakingderivatives #cross-chain #layerzero. #tenet #defi #lsd
-
Speaking of #Tenet this is a steal at Fopp right now. 😄 #uhdbluray #physicalmedia
-
-
The Complete Works Ep. 103: Christopher Nolan - TENET (2020)
#FilmBook #AaronTaylorJohnson #AndrewHoward #CarinaVelva #ClémencePoésy #DimpleKapadia #ElizabethDebicki #HimeshPatel #JohnDavidWashington #JonathanCamp #KatieMcCabe #KennethBranagh #MartinDonovan #MichaelCaine #Podcast #RobertPattinson #Tenet #TheCompleteWorks #WarnerBros. #YuriKolokolnikov
-
I just watched the most bizarre film I've seen in a very long time.
Described on #IMDB as "#DonnieDarko meets #TwinPeaks", #KnivesAndSkin is as difficult to describe as it is to understand, and that summary is as good as any.
It's an #IFCMidnight movie on #Hulu and, though it's more confusing than #Tenet, I really liked it, probably because it's so boldly beyond all expectations yet still tells stories that are understandable.
Plus, great 80's a cappella songs throughout; so it's a musical?
-
'Tenet' Didn't Bring Audiences Back to Movie Theaters. Now What? - People aren’t going to the movies at anywhere close to the numbers that Hollywood hoped, prompting... - https://www.nytimes.com/2020/09/15/business/media/tenet-movie-theaters-coronavirus.html #amcentertainmentholdinginc. #coronavirusreopenings #cinemarkholdingsinc #marvelentertainment #blackwidow(movie) #nolanchristopher #warnerbrothers #regalcinemas #tenet(movie) #gillmark #movies
-
Action movies released in 2020…pick your favorite.
