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    • AMMDI is an open-notebook hypertext writing experiment, authored by Mike Travers aka mtraven. It's a work in progress and some parts are more polished than others. Comments welcome! More.
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from Nihilism in Art
  • Macbeth, of course
    • Tomorrow, and tomorrow, and tomorrow, Creeps in this petty pace from day to day, To the last syllable of recorded time; And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle! Life's but a walking shadow, a poor player, That struts and frets his hour upon the stage, And then is heard no more. It is a tale Told by an idiot, full of sound and fury, Signifying nothing.
from Macbeth/Bibliography
    • Augustine, of Hippo, Saint. The Confessions of St. Augustine. Book XI.
    • Bazin, André. Orson Welles: A Critical View. Jonathan Rosenbaum (trans.). Acrobat Books. 1991 (1972).
    • Bloom, Harold. *Macbeth: *A Dagger of the Mind. Scribner. 2019.
    • Casson, Philip. Macbeth. Thames Television, 1979. 2 hrs. 25 mins.
    • Chesterton, G. K. Orthodoxy. Image Books, 1990 (1908).
    • Coen, Joel, director. The Tragedy of Macbeth. Apple Original Films, 2021. 1 hr. 45 min.
    • Davis, Erik. *High Weirdness: Drugs, Esoterica, and Visionary Experience in the Seventies. *Strange Attractor Press/MIT Press. 2019.
    • Davis, Erik. "Weird Shit." Boing Boing article. 2014.
    • Deleuze, Gilles. Cinema 2: The Time-Image. Hugh Tomlinson and Robert Galeta (trans.). University of Minnesota Press, 1989 (1985).
    • Deleuze, Gilles, Logic of Sense. Mark Lester (trans.). London: Athlone Press, 1990 (1969).
    • Garber, Marjorie. "Macbeth: The Modern Medusa" in Shakespeare's Ghost Writers.
    • Goold, Roger, director. Macbeth. BBC Four, 2010. 2 h 40 m.
    • Heraclitus, Fragments. (I tend to use the Burnet translation.)
    • Hillman, James. Pan and the Nightmare. Spring Publications. 2007 (1972)
    • Huntley, Frank L. “Macbeth and the Background of Jesuitical Equivocation.” PMLA 79, no. 4 (1964): 390–400. JSTOR: https://doi.org/10.2307/460744
    • Jung, Carl Gustav. Aion: Researches Into the Phenomenology of the Self. R. F. C. Hull (trans.). Princeton University Press, 1969 (1959).
    • Jung, Carl Gustav. *Answer to Job *(1952). R. F. C. Hull (trans.) in: *The Portable Jung. *Joseph Campbell (ed.). Penguin. 1971.
    • Jung, Carl Gustav. "Late Thoughts" in Aniela Jaffé (ed.), Memories, Dreams, Reflections. Trans. Richard Winston & Clara Winston. Vintage, 1989 (1961).
    • Jung, Carl Gustav. "On the Relation of Analytical Psychology to Poetry." R. F. C. Hull (trans.) in *The Portable Jung. *Joseph Campbell (ed.). Penguin. 1971.
    • Knight, G. Wilson. "Macbeth and the Metaphysics of Evil" in The Wheel of Fire. 2nd edition. Routledge. 2001 (1930).
    • Kusters, Wouter. *A Philosophy of Madness: The Experience of Psychotic Thinking. *University of Chicago Press, 2020.
    • Marchitello, Howard. "Speed and the Problem of Real Time in Macbeth." Shakespeare Quarterly, Volume 64, Issue 4, Winter 2013, 425-448.
    • Meillassoux , Quentin. After Finitude: An Essay on the Necessity of Contingency. Trans. Ray Brassier. Continuum, 2008.
    • Montaigne, Michel de. *The Complete *Essays. Trans M.A. Screech. Penguin, 2003 (1592).
    • Nietzsche, Friedrich. The Gay Science: With a Prelude in Rhymes and an Appendix of Songs. Walter Kaufmann (trans.). Vintage Books, 1974 (1882).
    • Polanski, Roman, director. The Tragedy of Macbeth. Playboy Productions, 1971, 2 h 20 m.
    • Pullman, Philip. *The Subtle Knife. *Scholastic Point, 1997.
    • Purkiss, Diane. *The Witch in History: Early Modern and Twentieth-Century Representations. *Routledge. 1996.
    • Resnais, Alain, director. Hiroshima Mon Amour. Argos Films, 1958. 1 h 30 m.
    • Richardson, Brian. "'Hours Dreadful and Things Strange': Inversions of Chronology and Causality in Macbeth." Philological Quarterly, Summer 1989.
    • Rimbaud, Arthur. "Letter to Paul Demeny, May 15, 1871" in Complete Works, Selected Letters, a Bilingual Edition. Wallace Fowlie (trans.). University of Chicago Press, 2005/1966.
    • Shakespeare, William. *Hamlet. *1600.
    • Vernant, Jean-Pierre. *The Origins of Greek Thought. *Cornell University Press, 1982 (1962).
    • Welles, Orson. Macbeth. Mercury Productions, 1948. 1 hr. 47 mins.
from Weird Studies/Cutting (Patreon)
  • Cutting as the prime gesture of Macbeth
    • Defining gesture in cinema, also brutalist architecture
    • The moment of decision (is a cut), the witches cut the thread of fate

Macbeth

11 Mar 2023 - 17 Jun 2023
Open in Logseq
    • Act 1 Scene 1 – the Witches
      • fair is foul and foul is fair
    • Act 1 Scene 2 - Duncan
      • the broil, I love that phrase
    • Act 1 Scene 3 - Macbeth meets the Witches
      • so foul and fair a day I have not seen – obvious echo of the witches, but what does it mean?
      • Banquo: If you can look into the seeds of time  And say which grain will grow and which will not,  Speak, then, to me, who neither beg nor fear  Your favors nor your hate.
      • Witches: Lesser than Macbeth and greater, Not so happy, yet much happier.
      • The rhythm of paired opposites...
      • Macbeth: My thought, whose murder yet is but fantastical,  Shakes so my single state of man  That function is smothered in surmise, And nothing is but what is not.
      • Hm, that sounds JFM-significant, doesn't it.
    • Scene 4
      • DUNCAN   There’s no art  To find the mind’s construction in the face.  He was a gentleman on whom I built  An absolute trust.
      • Immediately, Macbeth enters and the King starts heaping praise and gratitude on him...that is, Duncan is the kind of fool who doesn't learn from his mistakes.