philosophieren

Monday, November 27, 2006

On The Side of Laughter


The Cognitive Neurosceinence class actually is funner than it sounds. I have one friend in England who still believes that I study Psychology. I reckon that it is probably because Philosophy and Psychology, these two do not sound so different in terms of boredom and impracticalness. Even though I have to correct him everytime, I have no desire to blame it on him. Not that I admit that they are impractical and boring, but it is true that they put things in knotty and unconscious words and force us to understand them, or compel us to accept the ambiguous conclusions. However, we should not overlook their innocent initial purpose. They, anyway, all started from human beings, us. They desperately meet our needs, our aspirations to attain the truth about ourselves. They all talk about us, human beings. In this sense, you can equate Psychology with Philosophy.

Speaking of our lives in Psychology and Philosophy, I recall this Psychology professor's belief about 'Smile and Laughter': your smile and laughter make yourself smile and laugh because they make yourself believe that you are happy- the process of our cognition is quite interesting. Smile a lot for your own sake. If you want to make yourself a happy person, make yourself believe that you are a happy one first, then you will be acting as a happy one. It may sound cliched to some, however, all those cocky words are not all about Psychology and Philosophy. Back to life; I do not believe that it is simply a trendy slogan of the world of thoughts. From Plato through Christianity, the idealism may have had believed in the binary understanding of the world, until Nietzsche provoked the whole traditional metaphysical world. Nietzsche's or, Schopenhauer's 'back to life', to me seems like a natural dialectic consequence: if I am not too far from the sincere understanding of Hegel's 'dialetik'. Their names may threat us but they also were human beings seeking the 'truth' as we in 'this' world do.

He jokingly told me one day that maybe for me it is not too good to see him, because I am not too sad and I still have to study Philosophy. We laughed. I laugh loads, and I smile to the world's end. It seems true that my smiles and laughters make myself believe that I am the happy one. What a pleasant deception though - if I have to take some sort of philosophical criticism about this 'light' statement. This is what has changed me since I met this one person; 'back to life' interprets me, my life, all over again, in the whole new way. The agony of 學[hak:xue:learning] does not drag me down to the shaow of 'life'. What a grateful burden for us to 'philo' 'sophia'.



Angel Hye-young Kim

Monday, November 13, 2006

A Drummer


One afternoon in the late autumn of 2004, at the Trafelgar Square in London, after the speech of Nelson Mandela, there was a special stage for this African drum team. It was uncomfortably chilly under the typical charcoal gray London sky. Dressed all in white and milky green stripes, this overly bright-coloured group of the black was like a drollery for London. It was one happy sound of a feast spread all over the gray sublime Trafelgar. The whole air of the congregation was rather the 'emblem of the gloomy awakening of misery'; to 'make poverty history', when they, the milky green drummers were playing the pure joy of life. Who had said that life is agony, why do you choose to cry when we are able to choose to sing, said a joyous frog to me. There, I heard the sound of morning dew sprinkled on the sound land. It smelled like the breeze traveld all the way from the forest of truth to the Trafelgar square. Life was all vibrating with all that human rhythm.



12:00am 14 Nov 2006 at Chunyun Jazz Club, in Hyehwa, Seoul

A sketch of Jonathan Pollard the Drummer,
drawn by Angel Hye-young Kim

The Year of 1989


It was the winter of 1989. I was in the first year of elementary school. In the winter of 1989, so, I was an elementary school student. By that time, I possessed my own private spot in the tall white three-story house which my grandfather had built 30 years ago. My grandparents’ bed room, the living room, and the kitchen used be all on the second floor. And there are cold wooden stairs which turn once in the middle, until now. My parents’ bed room was placed on the third floor and I spent loads of time there. Because my whole family –grandfather, grandmother, father, mother, three little aunts, two uncles, my baby brother and I- lived all together, the tall white three-story house was not at all big enough. Consequently, to small youthful me, it was nonsense to expect my perfect private space in that house. So, I designated this open secret area, right under the small window at the top end of the wooden stairs which connected the second and third floor, as my private spot; nobody cared about it and it actually was officially a secret. I brought this little portable foldable ‘The Good Lord and His Sheep’ table to my private spot whenever I was ‘free’ and did my small work like drawing or reading quietly. That spot was always filled with the bright sun light and it was the specific spot of the house where people, like family, passed by pretty often but never stays at for longer than a few seconds. It was quite calm and peaceful, generally.
It was one of the troublesome winter vacation assignments to keep a journal everyday during the break. I learned the Korean character at the age of 6 by keeping the pictorial journal with my mother. Every evening my mother asked me what I had done during the day while mother was at school. I usually tried to tell her as many things happened as possible so mother had to make me choose the most memorable event of the day. And she wrote down a story within 5 to 6 sentences below my colorful drawing. By the time she came back home from school, usually it was nearly the sunset. It was after I entered the elementary school when I actually started writing my diary in my sentences without sharing the bundle of my daily stories with my mother. I honestly enjoyed the lone time of contemplation picking the most memorable even of the day without somebody else’s pressure. So, it was not a burden to me to keep a diary. I wrote my journal at my bright and quiet private place. I sometimes was writing my journal in the morning mainly because I had to write it when some sort of inspiration whispered to me and also the morning time was the brightest and quietest time of the day.
It was the last day of the year of 1989. I believed years also rotate as the seasons do. I did not have a clue to get to acknowledge that the numbers of the years are the simply numbers which people number. In the morning of that day, when one of my little aunts told me that tomorrow eventually is the first day of 1990, I asked her then when the year of 1989 comes back. She said that it does not come back. I could not believe her. I asked my mother. My mother told me that the year of 1989 was the year which leaves us and the new year of 1990 was waiting for us. I asked my uncle if it was all true that the year of 1989 shall not come back ever. He explained that the year of 1989 comes to the world for only once and it simply cannot exist ever again in the world. In the tremendous shock, I asked again my mother, slowly, doing my best to make my question as clearly as possible and restraining the irresistible sadness secretly, whether it truly was impossible to have the year of 1989 back. My mother answered slowly and sincerely that ‘time’ does not come back once it leaves. I did not let anyone know as usual that I came back to hide at my private place and there, I wrote down as ‘good-bye the year of 1989’ in bold letters on a piece of paper. And I sank in the great sadness. For the first time since I came out to the world, I realized that there are things that I cannot have more than once and not everything comes back as rotating fairly like the seasons. Years later, I also could accept the fact that I grow and become an adult one day but never can be a child again. I was slow in a way; I answered them that I wanted to be a rabbit when I grew up if somebody asked me what I wanted to be when I grew up. I continued to do this until I first met this boy in my class who wanted to be a fire fighter at the age of 7.
Grasping the glimpse of the rules of the ‘time’ and the testing inquiry about the future dream at the age of 7, I cognized the concept that time flows towards the unknown world of infinity and never looks back. That day, the last day of the year of 1989, I could not free myself from that great shock all day. It finally became the fact that yesterday, today, and tomorrow exists, and yesterday is unreachable forever once you leave it. My initial conception of time as counting down to Christmas day as ‘three more nights, two more night’ tumbled down to the immaturity zone. The year of 1989 was taking off, just like that, while I was going through the sense of a deep pity for the helplessness we all have to face. The next stop was that to cognize the loss of somebody. Then I learned how to ‘be’ sad. The world is nothing but a huge ball of sadness, if it really is true that everything in the world exists once but has to leave at some point for the infinity. I thought that the air was unbearably pungent since it was only full of people’s sadness and all their lives accumulated in the bottomless sadness.
It took me another long long time to cognize the fact that the lost time and the lost ones exist in me wholly and soundly. The past time, the past people and their love remain in the blood of the present; we breathe in the sadness and the lung filters out the sadness through the love of memories – just like the trees of the forest of truth.
All present once used to be the future but all present is the past. All is present but none is present. All time happens to be past. ‘I in the present’ is ‘apodictically’ the ‘I in the past’, and my love, passion, and my people all will be gone as time. But none will be gone. My mother, my uncle, and my little aunt all were right. I have been waiting carefully and secretly, but, yes all, the year of 1989 did not return yet. Moreover, it has been ages since I lost the ‘good-bye 1989’ paper. However, I also have gained a pinch of an acquaintance with the sadness; how it, the sadness over the things that leave but never return, liberates the ones of the world and just leaves them to live ‘a life’.



photo taken in the year of 1979 in Seosan in Korea, my mother with the white mourning ribbon over her mother's death on her hair, and one of her students
26 Jan 2003 and 13 Nov 2006 Angel Hye-young Kim

Wednesday, November 08, 2006

不動 [bu dong: immobility]

as clouds
it rains
the sky
as rivers
flows
into ears
goes deaf.
lain
as grass
it runs
the sun, to it
sticks
the feet
goes blind.
as
hair
the wind
blows
the sky
forms.
as clouds
it rains
the sky
as rivers
runs
goes deaf
again,
lies.



photo taken on the train from Luoyang to Zengzhou in China, July 2006.
3 Jan 2003 Angel Hye-young Kim

A Short Description




For a couple of days, I sketched anything at random. Drawing helped hold back this unbearable depression. I, especially, fancied the drawing of my foot gazed down on. That it shaded the foot under whose gaunt frail skin veins were almost transparent, was quite paradoxical. Such tranquil interests were aroused when the direction of the light changed with his fresh speech. It was near the sunset when I finished drawing the foot. The searing solemn sun rays streamed down to the living room on the second floor. It was comfortable as if it were granted to be that way, that the sides of the old pencil became smooth with finger marks. A name written down fully on the pencil is remained as a boast. It says ‘J. Kim’ written with black water ink. I once have given this pencil to my brother, now it only has lost its history how it returned to my hands. I put the melancholiac pencil which has lost its history and my sketch note as thick as the bible in the middle of the sun flooded into the room as lava. I came up stepping on the icy stairs in my bare feet. At the edge of the stairs, through a tiny window, the yellow sunlight was crawling into. Through the wooden corridor I sneaked into the room with the piano in. Pairs of spectacles of my brother’s were laid down on the pile of books. Why does he place the pairs of spectacles which he does not wear in order; if this has been done in some sort of ritual reason like I draw the foot. The pairs of spectacles in the shadow where the sun did not touch, were hiding with a sneer. I sat on the piano chair. The yellow book with a thick black printed word ‘Chopin’ is placed, fairly indifferently. The book sounded like a leaf which is now completely dried after a long cry. [Waltz in A minor. Op.34 no.2] It already has been 9 years of playing this piece. Tears with a queer sentiment trickle down along my cheeks. For 9 years, no other way but this way have I been able to interpret this piece. It composes the whole guilt synopsis that I transfer this sublime sensation to a loaf of bread. The negotiation with some tunes seemed to be an inappropriate compromise. Compared to that I drew the foot, it was a dirty negotiation. The unbearable silence of that dark searing piano before my immorality was like pain. Hiding the guilt, I run away from the room as if unwittingly. The piano does not chase me. It does not yell at me. The pairs of spectacles in a row are staring at me sharp. Crooning a nameless song, I came down from that brown place. As leaping for joy, spring down to the living room on the second floor, I subside into the gigantic couch, as dust is laid down. The crimson cover of the sketch note was scorching hot as the sun, so I turned it over. The pencil rolls down to the floor. It that was fiercely rolling stops at just an awkward point. It was rather an unacquaintedness that I drew a foot floating in the air. His story against my belief that a foot is not a being permitted to be floating in the air was worth listening to once. I looked at my foot drawing with scrupulous care, and put on the shoes to go out. Then, I seemed to forget about the foot. When I was out, the strange thing was that the sun which flooded into the second floor so searing slow, was actually immovable.


24 July 2003 and 8 Nov 2006 Angel Hye-young Kim

Sunday, November 05, 2006

Beijing



The white air of Beijing makes everything look dim. Everything seems hazy as sunk in reminiscence. The sun, through the white round mass of air, is beaten down on my eyelashes heavily. The heavy yellowy sun on my eyelashes makes everything look even hazier. The white, warm, soft dusty breeze pacifies my heart. The death of fool is become a bit of inoffensive dirt then gone with that warm dusty breeze. The freedom from life. The moment when the intangible freedom seems even more perfect within the square created by ‘the material’ of Marx and Engels, this is the time for the tears of void and contradiction of Metaphysics which has been crying for the complete ethics and freedom. When my eyes and nose are paralyzed by the white pungent air so the things melt into dreams, all the phenomena seem not to exist, mongrelized with hazy memories. The misty beauty which the question of Ontology does not dare to bother leads all our senses to its ecstasy, so that the present life becomes dreams without a guarantee of reality.


Angel Hye-young Kim 2005-2006 Beijing

Friday, November 03, 2006

Jazz


Jazz

If the Sumerians inspire me with an academic sensibility, Jazz sails me to the sea of dreams. Satie may whisper the sophisticated sadness, whereas Jazz absorbs the absurdity. Jazz is a breeze with the scent of the forest of truth. It shall not unveil the secret of truth, however, it embraces lives, so warm. The Enlightenment only awakes my weary soul, so why is it too wrong to lean on this cozy friend for a moment and let my eyes fall asleep.


Angel Hye-young Kim

Bethena




Chungseong Kim (,die) , a new family member of Kim family was born in June. 2006 in Korea. She is the biter, cuddler, runner, hopper and kisser.

Grandparents talk loads to her. She always nods her head slantwise which makes my grandparents believe that she understands what they say.

One summer day in 2006 at the local college playground near my grandparents' in Korea.


Angel Hye-young Kim

Etreinte


Embrace, Pablo Ruiz y Picasso, 1901

Picasso's early sketches attract me like the rapture. I have faced the passion of young Picasso at Museu Barcelona in the spring of 2005. In 1901 Paris, Picasso was maybe in the middle of his initial transition to find and free the true self. Etreinte(Embrace), 1901 seems to reveal his youthful but passionate faith in the 'naive' truth; the 'mushniess' of love and being. The embrace is in part a pregnancy motif which appeals to me. Embrace finds its favourable companion with the 'Waltz in A minor. Op. posth' of Chopin. This friendly companionship may have its origin simply in my belief in the beauty of hermeneutical harmony of two hands in Chopin's waltz. This is the first post of this page; because it implies the primary idea of my thoughts.

We all know that Art is not truth. Art is a lie that makes us realize the truth, at least the truth that is given to us to understand.
- Pablo Picasso

Angel Hye-young Kim