This book fills a much needed gap

Umberto Eco, How to Travel with a Salmon & Other Essays
Harcourt, 1994 (org. essays written in Italian between ‘59-‘61)

Also from this book: Revolution with police permission

How to Travel on American Trains

The train, in America, is not a choice. It is a punishment for, having neglected to read Weber on the Protestant ethic and the spirit of capitalism, making the mistake of remaining poor.

28


How Not to Know the Time

All these clocks, like the whole information industry today, run the risk of no longer communicating anything because they tell too much. But they also possess another characteristic of the information industry: they no longer speak of anything except themselves and their internal functioning. The zenith is reached in some ladies’ watches with imperceptible hands, just a marble face without hours or minutes, shaped in such a way that, at most, you could say we are somewhere between noon and midnight, and perhaps it’s the day before yesterday.

58


How to Justify a Private Library

A second shock of banality occurs to many people in my condition—that is, people who possess a fairly sizable library (large enough in my case that someone entering our house can’t help but notice it; actually, it takes up the whole place). The visitor enters and says, “What a lot of books! Have you read them all?” At first I thought that the question characterized only people who had scant familiarity with books, people accustomed to seeing a couple of shelves with five paperback mysteries and a children’s encyclopedia, bought in installments. But experience has taught me that the same words can be uttered also by people above suspicion. It could be said that they are still people who consider a bookshelf as a mere storage place for already-read books and do not think of the library as a working tool. But there is more to it than that. I believe that, confronted by a vast array of books, anyone will be seized by the anguish of learning, and will inevitably lapse into asking the question that expresses his torment and his remorse.

In the past I adopted a tone of contemptuous sarcasm. “I haven’t read any of them; otherwise, why would I keep them here?” But this is a dangerous answer because it invites the obvious follow-up: “And where do you put them after you’ve read them?” The best answer is the one always used by Roberto Leydi: “And more, dear sir, many more,” which freezes the adversary and plunges him into a state of awed admiration. But I find it merciless and angst-generating. Now I have fallen back on the riposte: “No, these are the ones I have to read by the end of the month. I keep the others in my office,” a reply that on the one hand suggests a sublime ergonomic strategy, and on the other leads the visitor to hasten the moment of his departure.

116-7


How to Compile an Inventory

Research bogs down also because the bureaucratic routine makes us waste time in solving ridiculous problems. I am the head of a university department. Some years ago we were told to make an inventory of the department’s physical possessions, a scrupulous list. Our only available employee was supposed to deal with a thousand other questions. But it was possible to farm out the task to a private organization that asked for three hundred thousand lire. We had the money, but in funds meant for inventoriable materials. How could we declare that an inventory was inventoriable? I had to set up a committee of logicians, who suspended their own researches for three days. In my statement of the problem they saw something comparable to The Set of Normal Sets. Then they decided that the act of compiling an inventory, as it is an act, is not an object and therefore cannot be inventoried, but they further decided that its output is the catalogue of the inventory and, as this is an object, it can be inventoried. We asked the private firm to bill us not for the act but for its result, a result that we then inventoried. For several days I distracted serious scholars from their specific tasks, but I avoided going to jail.

119


How to Buy Gadgets

Culture, as we know, is all the more interesting if it serves to revise and correct nature. Nature is tough and hostile; culture, on the contrary, allows people to do things with less effort, saving time. Culture frees the body from the enslavement of toil and opens the way to contemplation.

126


It is well known that, to reduce their cholesterol levels, the Americans have long since taken up jogging: they run for hours and hours until they drop dead of a heart attack. Pulse-Trainer ($59.95), worn on the wrist, is attached by a wire to a little rubber sheath slipped over the index finger. When your cardiovascular system is on the brink of collapse, an alarm goes off, apparently. A real achievement, if you consider that in underdeveloped countries a person stops running only when he is out of breath—a highly primitive criterion, and perhaps for this reason children in Ghana are not brought up to jog.

128


How to Speak of Animals

Human beings have always been merciless with animals, but when humans became aware of their own cruelty, they began, if not to love all animals (because, with only sporadic hesitation, they continue eating them), at least to speak well of them. As the media, the schools, public institutions in general, have to explain away so many acts performed against humans by humans, it seems finally a good idea, psychologically and ethically, to insist on the goodness of animals. We allow children of the Third World to die, but we urge children of the First to respect not only butterflies and bunny rabbits but also whales, crocodiles, snakes. Mind you, this educational approach is per se correct. What is excessive is the persuasive technique chosen: to render animals worthy of rescue they are humanized, toyified. No one says they are entitled to survive even if, as a rule, they are savage and carnivorous. No, they are made respectable by becoming cuddly, comic, good-natured, benevolent, wise, and prudent.

214


Roger Ebert, Questions for the Movie Answer Man
Andrews McMeel Publishing, 1997 

Allan Smithee  is nothing more than a pseudonym-a commonly used smokescreen   for the identities of filmmakers who, out of embarrassment or  protest over the outcome of their work, have chosen to remove  their name from the official credits of a given film.

Q. How come on the Far and Away movie poster both Tom Cruise’s  and Nicole Kidman’s names were featured, but this summer’s  poster for The Firm has only his name on it? I thought Gene Hackman   was also in this movie. Do you have to be married to Tom  Cruise to have your name on his posters? (R. Sullivan. Lowell. Mass.)

A. Yes, and that’s where Hackman draws the line.

When you can see the sound  boom in a movie, it is usually not the fault of the filmmakers, but of  the theater projectionist, who has framed the movie incorrectly.  All movies contain more picture area than you are ever intended  to see, in order to allow the picture to “bleed” over the sides of the  screen. Sometimes a boom strays into the “head room,” but if the  projectionist has done his framing correctly you will never see it.

Q. I’m a photographer, and have been wondering-who started  the Orange and Blue Movement? All those movies where each  scene has to have something blue and something orange in it? A  good example would be Trading Moms, with Sissy Spacek. There  are lots of others in the last two years. I think it began with night  city scenes mimicking neon reflections on faces. The actor usually  has a warm (orange) main light on his/her face from a 45-degree  angle, and has a cold (blue) kicker light skimming the shadow  side of his face. Warm colors appear to move forward and cold  colors recede, so it adds depth to an object. Someone grabbed this  theme of color and a movement began. (Jim Langley, Phoenix, Ariz.)

A. Frankly, Jim, I thought you might be hallucinating. But I referred   your question to the great cinematographer Owen Roizman,  a five-time Oscar nominee. He responds:

“I don’t think he is hallucinating. When we are shooting at  night we have a tendency to look for reasonable sources of light to  justify or enhance what we are shooting. When we are in areas  that don’t have many sources, we tend to turn to `moonlight’ as  one of them. Some people fantasize that moonlight is blue whereas  others envision it as a cold white light. Neither is correct, but that  is a long story. The `blue’ believers generally use the ‘moonlight’ as  a backlight or edge light, otherwise known as a kicker. What sets  off the blue very nicely is a warm tone, such as orange. Hence the  orange and blue.

“The other approach is that generally a warmer tone of front  or side light is very pleasing at night, like fire or candlelight, or for  that matter a dimmed lamplight. If everything is lit with just the  warm tones it has a tendency to get ‘muddy’ looking but if some  blue light is introduced somewhere, either in the shadows or backlight,   etc., it gives the subject a much more pleasing quality.

“I used this approach on Wyatt Earp on almost all of my night  work and I was very pleased with it. I must have done something  right because I received a nomination for it. I know you hated the  picture but I didn’t write it so I’m off the hook.”

Laughter is a form of communication, which explains why  we seldom laugh at funny movies we are watching by ourselves-unless   they strike us as really funny, in which case our laughter is  accompanied by mental notes to share the joke with friends, which  is a form of delayed communication. In a small movie audience we  laugh so that others will hear us, but in a theater we laugh so that  the actors will hear us-and isolated individual laughter in such a  live situation is inhibited because it feels like a personal, rather  than an anonymous, communication to the stage. While we’re at  it: Buddy Hackett once told me that his jokes worked better in Vegas  rooms where the audience looked down at him than in rooms where  they looked up at him. I have personally observed that comedies  seem funnier when seen from a balcony, and dramas play better  when one is looking up at the screen.

There are forty-eight Tora-San movies, making it history’s  longest-running feature film series with one actor. The beloved At-  sumi, whose real name was Yasuo Tadoroko, was compared in Japan  to Charlie Chaplin; he made two Tora-San movies a year until recently,   when advancing age slowed him down to one a year. His  films were rarely exported. I have seen only one of them. They all  follow more or less the same story line, in which an everyman gets  a few weeks off from his job, visits his family in their old neighborhood,   doesn’t get along with them very well, and then decides to go on vacation to a famous Japanese tourist area. While there, he meets  a beautiful girl and falls in love with her, but the romance never  works out, and he ends up helping her in some way and then returning   to his lonely bachelor life. Audiences enjoyed the predictability   of this plot, which was repeated with variations in film after  film. In their unassuming way, these human comedies reflected  the Japanese notion of “nolo con aware,” or the bittersweet awareness of the transience of earthly things. Some of the “Tora-San”  movies are available on video in the United States.

Regarding your column about how certain details are changed  when movies are dubbed into German, the reality in German theaters   is a lot worse! In the German version of Die Hard, the German  terrorists weren’t Germans anymore but Brits-and Hans Gruber  was changed to “Jack” Gruber, even though Bruce Willis was still  seen writing the name Hans on his arm. In the German version of  the Gene Hackman flick Loose Cannons, it was not German terrorists,   ‘cause that might imply to German audiences that Americans  think all Germans are Nazis. Even when Hackman and Dan Aykroyd  are standing in the German embassy and you see the German flag,  in the German version they say they’re in some South American  embassy. Yeah, those people really look South American.

Q. Ever notice that when characters in costume dramas use a  term modern audiences aren’t likely to understand, they immediately   follow it with the definition? In Rob Roy, for example: “He’s a  vile Jacobite! A supporter of the exiled King James!” (Rich Elias, Delaware,  Ohio)

A. This is just a precaution. Hollywood learned its lesson with  titles like Wrestling Ernest Hemingway and Searching for Bobby Fischer,   which bombed because nobody knew who Ernest Hemingway   or Bobby Fischer were. On the other hand, Beethoven’s 2nd was  a hit because everyone knew Beethoven was a dog.

One of the writers of the screenplay for The Big Sleep was the  great novelist William Faulkner, who couldn’t make sense of the  story. According to a Hollywood legend, he called Raymond Chandler,  author of the original novel, and asked him for an explanation.  After Chandler provided it, Faulkner pointed out several loopholes  and inconsistencies. “Then I’m as confused as you are,” Chandler said.

“Three techniques  were used to hide Lt. Dan’s legs: (r) digital computer removal (very expensive and complicated): (2) an incredible “mirror” arrangement in the wheelchair, partially designed by magician Ricky Jay;  and (3) holes in the bed, holes in the floor, and careful shooting.  It’s the best effect of its type I’ve ever seen, and I swear, I’ve seen  ’em all. If this movie doesn’t win the Oscar for Best Visual Effects, they should digitally remove the Motion Picture Academy’s  building on Wilshire Boulevard.”

This may also be related to the fact that the movie stars of the 1940s looked older in their twenties than today’s movie stars look  in their forties. Robert Mitchum never looked young. Robert Redford never looks old.

Q. Can you tell me why the date of every movie appears in roman  numerals? (Jean M. Dunne, Riverside, 111.)

A. Copyrights are in roman numerals on movies to make it harder  to instantly determine the date, thus extending their shelf lives.

Q. I am a mathematician by training, a computer nerd by profession,   and a sci-fi nut from way back. After recently seeing the  latest big-budget sci-fi flick Independence Day, my taste for “real”  sci-fi was still unquenched, so I watched-for at least the tenth  time-Stanley Kubrick’s masterpiece 2001: A Space Odyssey, and  this time I picked up on a little tidbit that may interest you. The  third segment, entitled “Jupiter Mission/18 Months Later,” begins  fifty-two minutes into the film. About five minutes into this  segment, crewman Frank Poole, played by Gary Lockwood, is engrossed   in a game of chess with Hal, Discovery 1’s on-board computer/villain/genius.   Frank is playing White. The chess position  reached is shown on a computer screen, reproduced here:

WQ - - - - BR BK -  - - BP - BB BP BP BP  BP - - -  - WN - - BN - - -  - - - - - BN - -  - - WP BO BB  WP WP - WP - WP WP WP  WR WN WB WB - WR WK -

The script goes as follows:

Frank: Anyway, Queen takes Pawn. Uhh … okay.

Hal: Bishop takes Knight’s Pawn.

Frank: What a lovely move. Uhh … Rook to King one.

Hal: I’m sorry, Frank. I think you missed it.

Queen to Bishop three, Bishop takes Queen, Knight  takes Bishop mate.

Frank: Uhh … yeh. It looks like you’re right. I resign.

Hal: Thank you for a very enjoyable game.

Frank: Yeah, thank you.

There is something wrong here. Although this is a chess position  that could very well arise in a game (it looks like a typical Amateur  vs. Paul Morphy game) and Black does, indeed, have an overwhelming   attack, Hal’s explanation of the winning line of play is  flawed. He should have said “Queen to Bishop six,” not three.

Since a properly functioning computer would never make this type of mistake-a mistake in reporting a positional move-there  are only two possibilities:

1. This is an inadvertent flaw in the film.
2. This is a deliberate hint, albeit a very subtle one, that something   is wrong with Hal.

As 2001 is my all-time favorite film, I would like to think the second   of these is correct, but perhaps only Stanley Kubrick and Arthur  C. Clarke know for certain. (Clay Waldrop Jr., Garland, Tex.)

A. Kubrick is as usual incommunicado, so I took your query to  Arthur C. Clarke, via e-mail to Sri Lanka. He replies: “Meaningless  to me-I deliberately avoided learning even the basic moves of  chess when I was a boy-afraid I’d be engulfed. How glad I was-2001 would never have been made! Arthur.”

Q. I write this in response to the question about Hal’s mistake in  2001. Some have said that Hal is testing the pilots for their reaction   and ability to acknowledge mistakes. I am certain that the  chess miss was not an error on Kubrick’s part. He is by far one of  the most anal directors working. Not that this is a bad thing by any  means. He is also a huge chess player. He loves the game and has  been seen playing the game with different actors and technical crew  on the sets of his films. (Karsten Lundquist, Mankato, Minn.)

A. Kubrick of course is incommunicado. I admire his anal qualities while observing the perfectionism of his movies, but at times  like these I wish he had a few oral aspects, too.

Q. Heard a delicious rumor that The Madness of King George was  originally named The Madness of George III, but they changed the  title for the American release because they were afraid everyone  would think this was a sequel! Is this true? (Molly Ivins, Austin. Tex.)

A. Absolutely true. And then there was the Hollywood producer  who asked his partner, “Have you seen Henry the Fifth?” And the  partner replied, “Hell, I haven’t even seen the first four.”

Nurdan Gürbilek, Vitrinde Yaşamak: 1980’lerin Kültürel İklimi
Metis, 1992

1980’lerin Kültürel İklimi

Böylece 80’lerde, Türkiye’de ilk kez yaygın olarak tüketilebilecek bir “pop tarih” kuruldu. Bunu mümkün kılan şey, imgeleri tarihsel yükünden kurtaran, geçmişi bir alıntıdan ibaret kılan, tümüyle keyfi ve nedensiz bir idlin çeşitli alanlarda yaşar kılınabilmesiydi. Bu dili, her şeyden önce reklamcılık kışkırttı. Reklamların dili yalnızca sözü görüntünün, imgenin hizmetine sunmakla kalmadı, aynı zamanda bütün kültürü bir malın pazarlamasında kullanılabilecek bir hammaddeye, sınırsız bir alıntılar toplamına da dönüştürdü. Kültürle ilişkiyi bir jest ve büyülenme, bir ani uyarı ve şık, bir vitrin ve seyir ilişkisi haline getirdi. Bir nesneyi tanıyanlarla tanıtanları, tanımaya dayanan bilgiyle tanıtım bilgisini birbirinden koparırken, bir yandan da başka alanlarda da kullanılabilecek yeni bir dili, söz ettiği nesneyle ilişkisi nedensiz ve keyfi olan, günlük konuşma dilinden, haber dilinden, teknik dilden, teorik ya da felsefi dilden, argodan, edebi ya da politik dilden alıntılar yapan, ama hepsine eşit uzaklıktaki sentetik bir dili de özendirdi.

s.24


Bu keyfilik birçok alanda birden etkili oldu. Haber başlıklarının 80’lerde aldığı biçimi düşünün. Haber verilen dünyayla bağlarını koparmış, artık kendi için çalışan, kendi için varolan, kendine has bir dünya kuran başlıklardı bunlar. Esas olarak bir oyuna, çoğu zaman haber verilen şeyle hiçbir ilgisi olmayan bir espriye, genellikle de bir ses oyununa dayanıyorlardı. 80’lerin ortalarında önce haftalık haber dergilerinde görülen, zamanla bütün basını saran haber başlıklarına göz gezdirmek yeterli: Panama’da İç Kanama (Panama üzerine), Katibime Cola’lı Gömlek (Coca Cola üzerine), Türk Müziğinde Suna Kan Davası (Suna Kan’la yapılmış bir söyleşi), Dalyan’ın Kerataları (Caretta Caretta’lar üzerine).

s.26

Vitrinde Yaşamak

Galleria Ataköy’de dükkanı olan biri, bir gazeteciyle görüşmesinde Galleria’yı Kâbe’ye benzetmiş. Benzetme, gerçekten de çoğunluğun Galleria’yla neden ilişki kurduğunu açıklıyor. Galleria’ya gitmek için, bir yolculuk yapmak gerekiyor […] iş, sinema ya da tiyatro çıkışı uğranabilen bir yer değil, ancak “ziyaret edilebilen” bir yer. […] Birçok açıdan bir mesire yerine, en çok da malların sergilendiği ve seyredildiği, Meta’nın ziyaret edildiği bir fuara benziyor. Galleria, alışverişi şehir hayatının bir parçası olmaktan çıkarıp kendi başına bir amaç, malları kullanım değerleri bütünüyle silinmiş bir değişim değeri haline getirmekle kalmıyor, bakılanla kurulan ilişkiyi de önemli ölçüde değiştiriyor. İnsanlara kendi şehirlerinde turist olma imkânını veriyor; mekânla kurulabilecek tanışıklık ilişkisinin imkânlarını tümüyle ortadan kaldırarak.

s.30-31


Simmel yabancıyı “bugün gelip, yarın kalan” kişi olarak tanımlamıştı. Turist bugün gelip yarın giden kişiyse eğer, yabancı da bugün gelip yarın gidemeyen, geri dönme imkânı olmayan kişidir. Bu tanımdan yola çıkarak, arabeskin şehirdeki yabancıya, şehre yabancı olana seslendiği söylenebilir. Şehre gelip köye dönme imkânı olmayan, ne köylü ne şehirli olanın müziğidir arabesk.

s.33

“İlkin sürücülerin devamlı radyoyu açık tuttuğu görüldü. Kültürlerine yabancı müzikler çıkınca istasyon değiştiriyorlardı. Hele gece yarısından sonra araba sürenler, Türk istasyonları sustuktan sonra geç saat yayın yapan Arap radyolarını bulma alışkanlığı edinmişlerdi. Sanırım arabeskin icadına giden yolda önemli bir dönemeç oldu bu alışkanlık.”

s.33, dipnot’ta Murat Belge’nin Tarihten Güncelliğe’sinden alıntı, 1983


Özal, son seçimlerde istediği oyu alamazsa siyasetten çekileceğini açıklamıştı. Dalan, Tempo dergisinde İstanbul metrosuyla ilgili yolsuzlukları açıklayan bir haber yer yayımlanınca, ertesi gün hemen dergiyi mahkemeye vereceğini açıkladı. Ama ne Özal siyasetten çekildi, ne de Dalan dergiyi mahkemeye verdi. Bütün bunlar basında bir kere yer aldıktan sonra, Özal “çekiliyorum” demekle çekilmiş, Dalan “mahkemeye vereceğim” demekle dava açmış gibi oldu. Bütün bunlara karşı çıkmak için, bir başkası da çaresizlik içinde “kendimi yakacağım” diyebilir, bu da bir jesttir ve kendini yakmış kadar olur. Sözün geçersiz olduğu, bir simgeye dönüştüğü bir toplum, muhalefeti de kendisi gibi bir jest, bir simge olmaya zorlar.

s.36

Mahrumiyet

80’lerde yalnızca özel hayatın dili kamusallaşmadı, kamunun dili de giderek özelleşmeye, “dış” da “iç”miş gibi yapmaya başladı. Bu dönemin haber dergiciliğinin en önemli yeniliği, haberi mutlaka özel hayatlara gönderme yaparak aktarması, haberi okura bir hayat hikâyesiymiş gibi sunmasıydı. Reklam spotları gibi haber başlıkları da özel mesajlara dönüştü (Bir Caz Gecesi Rüyası, Felsefenin Sefaleti, Trafiğin Dayanılmaz Ağırlığı, Yeşil Salatanın Dayanılmaz Hafifliği). Eleman arama ilanları giderek “hayat arkadaşı” ilanlarına benzemeye başladı. [B]u ilan dilinin temel özelliği, işyeri ile özel hayat arasındaki farkı ortadan kaldırması, insanları örneğin “güleryüzlülük”leriyle, “sıradışılık”larıyla, işe duydukları “tutku”yla, kısacası kişilikleriyle, bir mutluluk vaadiyle çağırıyor olması. Öyle ilanlar ki bunlar, insanları belirli bir işi üstlenecek işçiler olarak değil, belirli bir “hayat tarzı”na uyum gösterecek, işverenleriyle ya da diğer işçilerle sanki bir özel hayatı paylaşacak kişiler olarak tanımlıyor.

s.67


Gecekondular daha önce de vardı, ama İstanbul’un “elden gittiği” en çok gecekondulaşmanın hızını kaybettiği 80’lerde dile getirildi. Arabesk denen müzik 70’lerde de vardı, ama bu ancak 80’lerde bir söylem nesnesi haline geldi.

s.69

Krizin İmkânları

Stalin döneminin kültür sözcüsü Jdanov, 1948’deki Sovyet Müzik İşçileri Konferansı’nda biçimci ve atonal müziğin “normal insan kulağının temel fizyolojisine aykırı düşen” bir müzik olduğunu, insanın “ruhsal ve fizyolojik dengesini bozduğunu” savunmuştu.

s.81

Bastırılmışın Geri Dönüşü

Ne kadar kaba ve ikiyüzlü olabilirse olsun, Kemalizmin taşraya uyguladığı baskı her zaman bir vaadi, modernleşme, medenileşme vaatlerini içinde taşıyordu. Bu, yalnızca Kemalizm gibi nispeten cılız sayılabilecek bir baskı aygıtı için değil, bütün geleneksel baskı aygıtları için de geçerli. Erkeklerin kadınlar üzerindeki baskısı, bir aşk vaadinin dışında tasavvur edilebilir mi?

s.107


Marshall McLuhan’a televizyonda neden hep kötü haberler gösteriliyor diye sorduklarında, o bunun böyle olmadığını söylemiş: “Reklamlar iyi haberlerdir”. Ama şu da doğru: Televizyon haberinin seyirciye verdiği en iyi haber aslında kötü haberdir. Çünkü buradaki esas haber kötülüğün dışarıda, seyircininse içerde, güvende olduğudur.

s.115