I just read another mention of Godard using LOLcats!

How the fuck?!

Yeah yeah yeah, ontology is mathematical. Most boring statement of the century.

http://www.youtube.com/watch?v=nKeGpvrjEcQ

Entire film in 1 minute.

hahah.

so what does it mean exactly. being is mathmatical. being is material. i kind of get it?

being is something that could be mathmatically determined if you had a hyper accurate technology? like my existance and everything about it could be mathmatically predicted or mapped?

Well, no. Mathematics describes all the ways in which being could be, but being is not mathematical. Mathematics has always been ontology in the sense that being is nothingness. 1 is 0. Yeah, I don't get that part but I see how he supposes math to be the description of being if being is to to be as 1 is to be 1. 1+1=2 as one entity and another entity is a set of two entities, or whatever.

I could be wrong, I gave up Being and Event when it got dull.

If this is truly how you feel then go for it man you got to much on the ball to let them drag you down. Finding friends is easy everybody wants to be liked by somebody. Just haunt the kind of places that your personality gravitates towards and you'll find true friends. As longs as you're upfront and honest with people they're going to like you. Side benefit of being honest and upfront you'll like yourself even more and depression is a thing of the past.

cool, got the new movie.

it rules.

here's my cool-slash-weird imdb review I submitted:

As a longtime Godard fan (especially his later works, like "Every Man
For Himself" and "King Lear"), the wait for his latest film was
excruciating; it had been 6 long years since the brilliant "Notre
Musique" confounded and shocked me with its eye-popping imagery,
jarring editing, and poetic dialogue. Something I've noticed about
Godard is that he always strives for more and is always willing to take
his ideas and methods and approach further and further. I was expecting
a pure information overload with "Film Socialisme", and I was not let
down. There is a lot going on in this picture, and it's going to take
many, many watches for me to understand everything, to piece together
all the information. No matter -- Godard's works have always been
densely-layered and offer rewards for those willing to keep watching.

Such is the case here; Godard seems to be be in Histoire(s) du cinéma
mode here, since this film -- for the most part -- resembles his work
with that brilliant "film essay" series, as well as calling to mind
films like Numero Deux and Comment Ca Va? Godard, for the first time,
shot this entire film on digital, and the results are fascinating,
sometimes even... funny. During one part, the crappy digital camera he
had been shooting with appears to have been failing -- or at least,
there was some failure when transferred to the computer for editing --
as parts skip ahead, and backwards; there are artifacts on the screen,
audible and visual glitches, obscuring moments of a character's speech.
This wasn't my DVD -- this was definitely part of the film. Other parts
of the (early parts of) movie seem to have been filmed on really crappy
webcams, then the footage was oversaturated... the results are quite
jarring, especially when some of the "crap" footage is put next to some
of the most beautiful digital filmography I've ever seen. There are
audio messups, video glitches; recording synch sound on a boat in
itself is absurd, as you mainly hear wind, people screaming in the
distant, the engine of the ship; in sequences filming a party, you
basically can't hear anything but fart sounds, a loud distorted booming
and crashing. So, Godard, in a way, seems to be using new technology
against itself, in a way. He plays with jump cuts (which he popularized
50 years ago and has rarely used since), stop-motion (filming a camera
being reassembled), dramatic pausing, silence, glitching, and slow
motion. The first 40 minutes are all kinda like this; voices from
who-knows-where delivering lines that were important to Godard, as
image after image is shown in very quick bursts; some images were
jaw-droppingly beautiful, some were distorted beyond comprehension --
all were striking. Godard is first and foremost an artist, and rest
assured that the first 40 minutes are highly artistic. Not a dull
moment in what can only be described as a postmodern documentary. Has
Godard been watching the Current Channel? Has he been surfing Youtube?
There definitely seems to be a lot of influence from outside sources in
this part of the film, maybe even some of video art manipulating master
Ryan Trecartin...

Then, the next part of the film -- a good 30-40 minutes -- is extremely
"Godardian". It should be very familiar to people who have seen any of
Godard's recent films. There's not a lot of image or sound manipulation
here; just lots of long, quiet takes of characters discussing life...
usually filmed in front of strikingly beautiful backdrops. This section
calls to mind every film he's made in the last 30 years, Some people
call this "alienating", but his style is so brilliantly personal, I
can't help but be fascinated. The direction in this section is
topnotch, of course...

...and it leads to the final 30 minutes, which is mostly a film essay,
with dialogue over top of mostly stock footage (scenes from other
films).

So, it's an overwhelming experience, but I never felt it was 'tiring';
I could've watched another hour or two of this stuff, definitely.
Therein lies its brilliance. While, indeed, its difficult to sum up in
a few words, its not difficult to understand why its so compelling;
this is one giant ball of images, sounds, quotes, hitting us so fast
that we can barely keep up. I'm not qualified to put forth everything
this film meant to me, after just one watch, but I do know I will be
watching this film 100 more times in the future, because it's just so
captivating.

Forgot to mention... LOLcats are on this, as well as a lama who lives
in a garage.

A truly brilliant experience that a lot of people will find "difficult"
or "challenging", but to be completely honest, this is one of Godard's
most easy-to-get-into films in a long time; by adopting the elliptical
"youtube editing" and by going into "Sensory overload" mode (at least,
for a lot of its length), Godard has actually managed to make a film
that even an A.D.D.-addled teenage could probably enjoy... all the
while, commenting on aspects such AS sensory overload, technology,
language, and how impersonal and cold everyone in 2010 is. Characters
speak but don't "converse". Talk, talk, talk... but no one listens. No
one responds. In many ways, this is a style Godard has always utilized,
but this is his best display of it; this might be the ultimate Godard
film.

PS: I originally had a LOT more written on each section, but I had to
keep removing chunks of it to get it to the 1000 word limit. I suspect
anybody who tries to review this film will probably face the same
challenge; there is just simply too much to say about this film. Truly
the best film of the past 10 years.

Here are the subtitles:
http://0x2620.org/srt/film_socialisme.srt

Atsonic, I fucken love you.

Where did you get it from? Me want. Me love Late Godard.

karagarga. But it's on piratebay too.

I want a fucken DVD that I can hold in my hands, Darling. That's how I am.

Okay. Well... if you order it, it should only cost you $40 or so after shipping; if you don't have a region free player you can play it on your computer, probably.

I've got the dvd rip with all the special features and such. They're not subbed though.

I am definitely ordering the new Kitano THE OUTRAGE, it comes out this Tuesday. The Hong Kong DVD will be region 0 and everything is subbed by Kitano himself. I'm so there.

Like I said elsewhere, everyone into Godard should get Philippe Garrel's brilliant films, especially his 3 hour masterpiece "Les Amants Reguliers". Even Godard himself (!) is a fan of Garrel's work, and he doesn't rep anybody.

The subtitles to this are themselves a very big part of The Art, innit?

The film has subs, the special features don't.

But the film subs aren't just subs...they are very dynamic, and mimic a dumb white persons way of imitating American Indians.

Those are the alternate joke subs Godard used because of his loooooooong rant at the 2003 Cannes film festival where he probably bitched for 20 minutes about how Cannes REQUIRES films to be subbed and that he wouldn't have been able to show Notre Musique without english subs. Actual English subtitles -- as well as the "Navajo English" joke subs -- are on the DVD I believe. I have watched it with both subtitle tracks, and the Navajo English subtitle track is clearly for humor; it's pretty funny but is NOT the way to watch the film. It is clearly a comment on communication and so on, but for a film so densely-layered to start with, the best way to watch the film is by knowing what they are actually saying, at least the first time you watch it.

Hmmmm....did Himself Himself authorize "straight" subs? I have a feeling that he'll go ballistic if the subs are anything but what he created.