Streaming and Download help. Report this album or account. If you like Bob Rok, you may also like:. No Support by Justice Rhiime. City For Sale by Von Pea.
Von Pea of Tanya Morgan returns with another album of deft rhymes and head-spinning, soul-based production. Bandcamp Daily your guide to the world of Bandcamp. No matching results. Explore music. Get fresh music recommendations delivered to your inbox every Friday.
That's what classic Hip Hop should sound like. James Orton. Jason Roebke. Jackie Lane. Brian Vaxter. Benjamin Mueller. Robert Groves.
Brian A. Purchasable with gift card. CD for press start includes album art and track listing. People know I rap no one really listens Sitting in the kitchen spitting writtens to the fucking dishes. Mikey runs fast. DJ MAR Please stay home Please stay home The world all but closed and there's nowhere left to go I do not have an idol so my life is rather peaceful I would never trust a system that would have me as an equal Please stay home Please stay home The world all but closed and there's nowhere left to go I do not have an idol so my life is rather peaceful I would never trust a system that would have me as an equal.
My former bully tried selling me insurance It made me think of tigers performing at the circus. Distorted Square Q Beats Nate Dirty Warming up to cold drinks Olives in the toothpick Everything he touch turns gold into a goose egg Hair like a Greek god Face like a toothache In-between ignored and when you dropping new shit Splinter in the sewer teaching turtles how to do things Dreaming of an afterlife early rise and exercise Meditate Nirvana my philosophy is never mind Naked in the pool I'm a graduate of better times Wordy superpowers and an hour left of sunlight Finishing my coffee and a little tree like Bonzai Razor tongued tornado dust Twist a word and paper cuts.
Things like that. So then people can get it. It takes three countless great eons to attain full enlightenment. Do you know how long that is? It is just too long. It takes too much energy. Better just liberate yourself from cyclic existence and be satisfied with that.
Just take care of yourself. Get yourself out of samsara and leave it at that. You are denying others access to that person as a fully enlightened being. Audience : What is the difference between becoming liberated and attaining full enlightenment? VTC : Liberation or nirvana is when you are free from the afflictions of ignorance , anger and attachment, and the karma that causes rebirth in cyclic existence. Full enlightenment is when those stains have been eliminated. They say that these stains are like the onions in the pot.
You can take the onions out, but you still have the smell. This is what needs to be removed — the smell, in order to become fully enlightened. Saying it takes too long; better to concentrate on their own thing. I will give you an example. Somebody in Thailand or some place was doing a lot of Vipassana meditation. They were doing quite well, but they got stuck at some point in their practice and could not get any further.
They could not realize emptiness. Their teacher had clairvoyant powers and saw that this person had previously taken the bodhisattva vows and vowed not to go into nirvana without leading others there. Because of this the person was impeded in realizing emptiness. If you say that kind of story to somebody who is involved in the bodhisattva practice, who had much regard for Buddhahood, and turn them away from that path, even though you mean well that person who told that story definitely meant well , from a Mahayana viewpoint, that would be something that is harmful.
Pratimoksha vows or individual liberation vows are the vows of fully ordained monks and nuns. The vows of the novice monks and nuns, the lay precepts that you people take, the five lay precepts or the eight precepts that you take for one day but not in the Mahayana ceremony -all these are considered the pratimoksha vows. Those vows are so simple. Those vows are so basic. You should be a bodhisattva.
The bodhisattva path is a much more advanced practice. You should do that. You will hear things like this. Listening to what people say in the West, they will say the same thing about tantra. This is crazy wisdom. If you practice tantra, you transform everything. There may be certain times and certain instances where adhering strictly to a pratimoksha vow is actually something that can be harmful, where you have to go against the literal meaning of the pratimoksha vow, but you do so for the benefit of others.
This will come later on in the bodhisattva vows. It is a completely different ball game. Tantric practice is higher. This attitude is something to be quite aware of. The reason why this is harmful is because when people negate basic ethical conduct with a twisted motivation, that harms them.
They, in turn, harm other people by making people abandon their pratimoksha vows. It can also be a harmful attitude of saying to somebody who is a monk Celibate male ordained practitioner. This is really stupid. This is an archaic institution. You are not dealing with your sexuality.
You are avoiding intimate relationships. I hear it with my ears. How stupid! Truly harmful. They construct their identities in relation to both societies. As scholars leap to study transnationalism in fields ranging from sociology and geography to political science, cultural studies, and literature, migrants constitute one part of a rather complex nexus of concerns.
The role of nation-states in oppressing or forcing the expulsion of individuals remains an important historical question for these privileged expatriate authors as it is for less-privileged refugees now fleeing persecution. It is the tale of an unnamed Jewish protagonist, a woman who travels throughout Asia seeking the man named Tumchooq, whose name matches that of an unknown language in which a long-sought, half-torn Buddhist scroll is written.
After the two parts of the scroll are found and deciphered, the narrator learns that Tumchooq had been arrested in Tokyo, despite his monastic attire, and deported to Laos.
From French and Italian to the mysterious Tumchooq language, to Pali-Burmese, Chinese, Japanese, and English, the linguistic threads of the tale are assembled, drawing on texts and characters, both fictional and drawn from life, such as Hu Feng, the Chinese critic condemned by Mao.
Presque trop belle pour survivre en ce monde. Furthermore, those who experience the beauty and power of a text often find that its words and ideas have become a part of them and that they can no longer live without them, achieving a kind of intimacy with the text itself.
The ink bleeds, appearing like veins, joining the organic garment and the human body. It depicts a lone man on a mountain path on a moonless night, who stumbles and falls, grabbing a tuft of grass and hanging in the dark over what he believes is a fatal chasm, unable to maintain his grasp. He compares this translingual work to geological investigations of landscapes, carried out step by step and stretching over years, and resulting in new revelations and illumination.
David Der-wei Wang, writing on the international Chinese fiction that began to emerge primarily in the s, describes the effects of this transnational expansion of Sinophone literature in the Anglophone and Francophone realms. Wang and others acknowledge the difficulty of situating writers who may have begun a work in Mainland China, finished it in France, published it in Hong Kong with Taiwanese support or at a European publishing house, seen it translated into more than twenty-five languages, and received acclaim predominantly in Europe and the United States.
Still, such lists of nation-states, a mere convenient shorthand used to describe the writers themselves, obscures the new spatiality of these writers, best explored by drawing on the tension between borders and borderlessness cited by Gayatri Spivak, the social imaginaries of Charles Taylor and Walter Mignolo, the consideration of globalism versus postcolonialism of Misao Miyoshi, and the nomadic subjectivities of Rosi Braidotti, which I will be discussing in turn as they apply to the narratives of Cheng, Gao, Dai, and Sa.
Liu xv-xviii. The writers I discuss here both draw on their cultural traditions and provide a space in which to interrogate and contest notions and foundations originating in the many traditions within China and from Western thought and literature.
It would thus be reductive to label them only in this way, implying a connection with an event in which only one of them, intracategorical complexity. This third term comes closest to situating the Third Space narratives described here in that it neither rejects categories, nor seeks to use them strategically. More significantly, the four writers addressed here are of different generations, ranging from ages eighty-six to forty-three, with different styles, genres, subjects, and relationships with both China and Europe, as demonstrated in literary texts situated in many locales around the world and in eras that encompass over 2, years.
This study will show that while many of the literary texts produced by these four writers involve Chinese culture and China in some way, they also address European culture and beyond, in a diverse body of work that includes dozens of volumes and themes.
It will show that these four writers transgress linguistic, national, and literary boundaries in ways that emphasize the simultaneous unfolding of multiple meanings. Their work thus occupies an important place in the growing literary field of border poetics, which focuses on the ways subjectivities and narrations concerned with both literal and symbolic border crossings are constructed as productive spaces in which dominant narratives can be forcefully interrogated.
Border poetics looks at literal and figurative borders as means of representation, at narratives that involve acts of bordering or border crossing, at individual experiences of border and boundary crossing as well as at grand narratives that include both the formation and erasure of borders. In the past three decades, much has changed with regard to the status of such writers as Cheng, Gao, Dai, and Sa, who began to receive literary recognition in the late s.
Near the start of the new millennium, Chinese writers who pen their works in French have received international acclaim primarily in Europe but also in some Sinophone publications. However, their transnational status and publication history remain complex as the authors seek at once European, American, and Asian audiences. Ultimately, time and space intersect and neither one is privileged in the process. David Der-wei Wang, a Taipei native and professor of East Asian Languages and Civilizations at Harvard, whose works have also been featured at the Taiwan Pavilion in Frankfurt, has said that there is a strong presence of so-called dissident writers there, to which PRC officials have strenuously objected.
Despite his international appeal, Dai acknowledges that he is seen as writing about China for a European audience. The nature of the international audience for these four authors remains complex, even as they navigate transnational literary circles and audiences. Gao has stated that 11 The presence of such dissident writers, published in Taiwan, at the Frankfurt Book Fair has been a subject of some controversy Mehta.
Yet, his works are truly transnational and have been the object of wide recognition and study. A significant number of these have also been published in French, and are now beginning to appear in English. Some of his recent plays were first written in French and then Chinese. The notion of Third Space, even with its gaps and ambiguous interactions can be helpful in understanding the transformative nature of transnational intersections of ideas and subjectivities.
In opposition to these categories, Bhabha defined the Third Space primarily as a place of enunciation and signification, emphasizing the present creation of meaning and construction of subjectivities rather than merely the historicization of the past. Parry further suggests that Bhabha ignores actual material conditions, the exploitation of workers and other disenfranchised classes, and the divisions—one could say the inequalities—they foster, favoring cultural theory instead.
Naipaul and Frantz Fanon. Soja, Julia Lossau, Karin Ikas, Gerhard Wagner, and Frank Schultze-Engler among them— that his ideas may gain more traction and specificity, become usefully and productively situated in sites from Los Angeles to Mexico and Poland, and acquire greater value in relation to the non- postcolonial Francophone-Chinese writers studied here.
Cheng, Le Dialogue In , the journal Philosophy and Literature awarded Bhabha second place in its bad-writing contest, which highlighted particular passages by famous scholars, including Bhabha and Judith Butler Dutton.
You run around senselessly. What will become of you? Rwandan tales where those locked in brutal conflict due to their ethnic identification meet on a grass mat to discuss matters are further cited as examples of border poetics, as tales that involve the metaphorical border—that one could even call a Third Space—of the meeting on a grass mat.
In the latter, individuals are at once at odds with others across the river and with themselves e. Border poetics has thus embraced the subjective mediation of borders and cultures and my study will show how notions such as containment begin to break down in the symbolic and geographic borderlands of transnational literary production.
As for him, he becomes at times a lost creature without family or identity, at times he is immersed in conviviality and culture, or finds points of connection, both human and geographical, as when he sees the Loire as he once saw the lower Yanzi between Jiangsu and Zhejiang.
Cheng became a French citizen in Cette langue, comment dire tout ce que je lui dois? While acknowledging the unique qualities of each individual journey and each subject, Cheng sees value in the collective aspects of culture and language, while favoring the fluidity of exchanges and circulation Similarly, Cheng himself appears to surmount the sensation of missing his homeland through his connection to China, explored through his fiction and his studies and translations of Tang dynasty poetry.
Gao Xingjian, on the other hand, has been honored even more widely and stirred far more controversies, both in and out of China. After leaving China in and seeking political asylum in France, he elicited further criticism by penning La Fuite, which, albeit not a work of social realism, concerns itself with the Tiananmen Square massacre. Gao became a French citizen in However, he later continued to move further into the area of experimental drama and film, as well as displaying his paintings.
Dai Sijie also endured re-education from to during the Cultural Revolution, and those experiences became the more nostalgic source for his semiautobiographical novel Balzac et la petite tailleuse chinoise The international bestseller status of that novel, and the subsequent film of the same name, drew on the disparate literary discourses of China and France. He spent time in a re-education camp in Sichuan due to his middle-class background and moved to France in , although he did not seek political asylum.
Dai maintained his Chinese citizenship and passport, remaining free to travel to and film in China; however, he was denied permission to film three of his Chinese-language movies in China, and they were shot in France and in Vietnam.
Balzac et la petite tailleuse chinoise was written in French, translated into twenty-five languages, and published in over thirty-five countries, but it was banned in China along with the film version that he had shot in China.
Dai said that he wrote in French initially to attract an audience, but as of , he said that his dreams of returning to China and writing in Chinese would remain unfulfilled. My dream of writing in my own language has not been fulfilled. The youngest of the four authors treated here, Shan Sa, began to make her mark on the French literary scene shortly after her arrival in France. Sa, born Yan Ni, arrived still a teenager in Paris to study, having left China after peripheral involvement in the student protests and the denunciation of her father for providing shelter to protesters.
Less controversial in her subsequent novels, Sa said she returns to China regularly to visit family, although her work in France and Switzerland as a writer and artist has consumed her. Her works, while popular and sometimes geared toward young adult readers, have been published in thirty languages, and she has had exhibitions of her paintings around the world, including in Shanghai from to This study is unique in the way it considers them together, with their counternarratives, ex-centric spaces, experimentalism, and border-crossing narratives, finding sites where their narratives intersect thematically.
Silvester approaches Francophone-Chinese writers in France and Quebec by exploring themes of identity, migration, and minority literature. Far more scholarship has focused specifically on Gao Xingjian, tackling his complicated history in China and France from multiple perspectives. However, perhaps because of their more popular and les academic appeal, her novels have received little scholarly attention on their own.
The first chapter of this study will look at the ways all four authors engage with crossing borders, producing texts that explore narratives and symbolic representation of liminal and border spaces. The authors and their critics explore the tension between actual bordered spaces and imagined borderless spaces, as described for instance by Gayatri Spivak and through the notion of the Third Space, used by Bhabha and others, as described above.
Borderlessness in the narratives of Cheng, Gao, Dai, and Sa can then be viewed productively through the social imaginary of Walter Mignolo, the Third Space of Homi Bhabha and others, the cultural translingualism of Lydia Liu, and Buddhist notions of Middle Way and nonduality. The second chapter of this study turns to the author Dai Sijie and the use of intertextuality in two of his novels, Balzac et la petite tailleuse chinoise and Le Complexe de Di Intertextuality—the notion that every utterance exists in relation to other utterances, eliciting a polyvocal intersection of voices—produces counternarratives in the works of Dai, specifically referencing Western works in these two novels.
These French authors play a part in the process of freeing the young female protagonist from her restricted life in a village high on Phoenix Mountain where she has met Ma and Luo, two youths sent to be re-educated during the Cultural Revolution, and whose friend has brought with him a valise filled with banned works.
Dai then turns his attention in his novel toward intertextual references to Western psychoanalysis through the humor-laden story of a protagonist named Monsieur Muo, whose doctoral studies in psychoanalysis in France, where he has immersed himself in the works of Sigmund Freud and Jacques Lacan, cause problems when shared with the Chinese populace in the open market upon his return.
The authors Gao and Sa narrate events in the various unstable peripheral spaces in which protesters hid in the aftermath of the massacre—the warehouse and forest where characters portrayed as protesters must hide. As Gao and Sa portray the subjectivities of these characters, they explore themes of hope and despair, desire, childhood dreams, and flight.
The work of such critics as Linda Hutcheon who writes of ex-centricity and Rosi Braidotti who explores nomadic subjectivities add to the critical terms through which such narratives of flight may be viewed. Wong He may return to China to shoot a film, only to have that film only shown abroad.
Indeed, national or geographical labels often fall short in categorizing contemporary literary works whose cultural consciousness has been transformed throughout history by writers who cross multiple borders. It is receiving renewed attention in the era of globalization, an era marked by constant intercontinental movement, exile, and mass displacement in the face of the wars, systemic oppression of minorities, human rights abuses, and natural disasters of the late twentieth and early twenty-first centuries Kellman ix.
Such works also expand the realm of literary interpretation beyond postcolonial paradigms, which critics such as Gayatri Spivak have questioned.
Rather, they create new literary and cultural spaces through their geographical, linguistic, and narrative border crossings. Their writing is structured instead by an alternation of silence and dialogue that yields at times a sense of reductive contraction and at others an expansion of meaning, all taking place in a non-dialectical Third Space. The earth came unmarked except by natural boundaries.
These include the sites where French language and culture intersect with the Chinese language and culture as in the works of writers such as Gao, Dai, Cheng, and Sa. Wang, Running Wild This redrawing then creates a new global valorization of the formerly marginal such as literature by Chinese authors writing in French.
That contact zone has become quantitatively significant. About 14, individuals with Chinese citizenship reside in France. Over 40, Chinese students reside in Europe while pursuing higher education. In France, only The international literary world has responded to this redrawing of the Sinophone-transnational literary map in numerous ways. One example of expansion was the renaming of a prominent conference of Chinese writers from outside of Mainland China Holden and Ng Originally called Tai-Gang wenxue guoji yantao hui International Conference on Taiwan and Hong Kong Literature at its inception in , it was renamed Tai-Gang ji haiwai huawen wenxue guoji yantao hui International Conference on Taiwan, Hong Kong, and Overseas Chinese Literature in , and in its fifth year it changed again to Shijie huawen wenxue guoji yantao hui International Conference on Global Chinese-Language Literature.
The move from the center to the margins and the emphasis within international publishing on voices from the Sinophone diaspora has given these border crossers a prominent literary voice, and indirectly, a social and political one. Contemporary theorists conceptualize the Third Space, so named by Homi Bhabha, in different ways and with varying emphases. All support the idea of in-betweenness that marks the work of Cheng, Gao, Dai, and Sa, as the discursive sphere in which Bhabha builds on concepts 23 A number of Francophone writers from the Communist Second World found themselves writing works in their native language, only to be unable to publish there, finding publishers and an audience abroad.
This was true of some Central and Eastern European Francophone writers as well. This kind of work on borders sets the tone for the growing area of studies called border poetics, focusing on texts that explore the narratives and symbolic representation of bordered spaces, border-crossing experiences, and their cultural lineages. Expanding on this idea, Gayatri Chakravorty Spivak emphasizes the conceptualization of borderlessness—a notion that entails experiencing borders through their inherent permeability—and the ways it still relies on the very presence of borders to allow the notion to exist.
Gao, Cheng, Dai, and Sa meet both the broader and more focused definitions as translingual writers. Liu As a result, to talk about the works of diasporic Chinese writers, a new critical apparatus must be forged and critical tools must be rethought. While questioning the stability of borders with an emphasis on their dynamic nature, geopolitical scholar Heather Nichol and international legal expert Ian Townsend-Gault in their volume Holding the Line: Borders in a Global World also speak of a type of retrenchment, of efforts to reinscribe the importance of borders, and of an emphasis by policy makers and states to highlight and prioritize the local over the global in the early twenty-first century.
Now residing in Europe, the writers I discuss represent the lived experience of those who cross borders as expatriates, or in the case of Gao, as a political asylum-seeker. France and Germany are two of eight countries in the twenty-six nation Schengen zone—which has guaranteed free movement to more than million EU citizens since its establishment in , abolishing passports and other systematic border controls—that instituted emergency border controls in in response to the Syrian refugee crisis in Europe.
The critical shifts that occurred during the twentieth century in relation to Chinese literature have resulted in a new paradigm of cultural translingualism which supposes the translation of one culture into the language of another. This cultural translation is based not on a secure set of cultural and linguistic practices but on an ever-shifting basis and thus takes place in a Third Space.
Suresh Canagarajah. Taylor Spivak, one of the foremost thinkers in postcolonial theory, nonetheless began to challenge this approach in the s with the publication of A Critique of Postcolonial Reason and Death of a Discipline, both directed toward earlier thinkers, such as Marx and Kant, and toward the notion of globalism.
She considers the ways in which, in other circumstances, particularly in postcolonial studies, where much earlier analysis was situated, many individuals with fewer resources than the writers studied here reside in a state of struggle, deprived of resources, access to institutional power structures, and systems of support Spivak, Aesthetic Such situations continue to exist, of course.
Such a movement may be able to at once recognize the voices of these privileged expatriate writers as well as embrace work for social justice to address the fundamental inequalities and oppression present in both Eastern and Western nations. The reasons for governmental and corporate hegemony are political, or, when transnational corporations are involved, they stem from the desire to maximize profit that ignores the welfare of people Thus, while literary and cultural theories of increased borderlessness abound, they do not fully account for the harshness of reality.
Border crossings may involve the exportation of one idea, often from a European culture, to another local history and culture, establishing the perspective of subalterity Delgado, Romero, and Mignolo This reconfiguration, Mignolo hopes, will allow discourse to move away from the outdated dependency theory that long viewed poorer or less-developed nations only as sources of resources and cheap labor for wealthier nations, regardless of the ways in which individuals in these nations viewed themselves Mignolo Border thinking is an essential consequence of these types of dislocations.
His critical work Le Dialogue focuses on his work in two languages, cultures, and countries, China and France. He contemplates ways in which the best of the West—in his eyes, humanism, the emphasis on individual agency, and the idea of the thinker—meet those of the East—alluding to Taoist notions, including those of Yin, Yang, and the Middle Path, which promote ideas of balance, where all is organically linked Cheng, Le Dialogue 79; Mayaux Other individuals have immigrated or sought political exile.
Most recently, Chinese dissident artist Ai Weiwei had his passport returned in July , four years after being banned from leaving China where he was arrested in He is now in Germany and has a visa for a three-year stay there where his six-year-old son has been living Phillips. The field concerns itself with the presence of real borders in texts as well as with their metaphysical cousins.
Homi Bhabha has thus written of one such transnational writer, V. The development of this split, this loss of connection and home, links the physical and metaphysical border crossings that mark this domain of literature. Furthermore, Lossau takes exception to the use of spatial language and terminology—involving a type of determinism and fixity that recalls positioning oneself with a Geographic Information System GIS —for such symbolic endeavors, and shows their pitfalls if misconstrued.
In both works, however, the protagonist deals with dislocation, in one case, being held offshore by currents and in the other, wandering, often lost, through the Sichuan mountains. Such narratives of travel and unstable siting permit new spaces to open. For Wang, while marginal literatures from outside and throughout Mainland China need to be taken seriously as a critical component of the Sinophone diaspora, dialectical ideas have been replaced by a new paradigm which captures the new multiplicity of the works being produced by Chinese natives outside of China, such as those who have resettled in France.
The boundary crossings in the lives and literature of these four exemplary Francophone-Chinese writers have thus become a part of such a negotiation and create a third way, whether one refers to it as a Third Space or not, at the very least an in-betweenness that constitutes the spaces and exchanges in this ongoing dialogue between individuals and cultures.
Spaces of Silence: Expansion and Constriction The Third Space of cultural translingualism through which I am reading the works of these four writers is at once one of silences, both isolating and freeing, and one where meaning is at times constricted and at times expanded.
For some, it is a welcomed space, for others a place of painful exile. For some it is a place of multiplicity and for others of emptiness. For some, it is a place of solace, for others, of fear.
What it entails cannot, at any rate, be universalized. The polarities that are denoted by the terms Yin and Yang are often taken in binary fashion in Western culture, with Yin representing qualities such as the feminine, passivity, coldness, and darkness along with the moon and negative spaces, and Yang representing qualities that can be described as masculine, active, hot, and bright along with the sun and positive space.
The heavenly domain throws the Yin into relief, whereas, the earth is exemplified by the Yang. The Buddhist Middle Way reveals an unbinding and dissolution of binaries, which result in an absence. From this perspective, emptiness and nothingness are not empty of reality but full. Thus, the empty space is one of production and a rich expansiveness.
For translingual writers, such as Cheng, eliminating this limiting duality is freeing, both from Western paradigms and from contemporary Chinese political oppression. John Welwood says the following about the harm that these fixed boundaries and borders bring about: The dualistic mind is essentially a survival mechanism on a par with fangs, claws, stingers, scales, shells, and quills that other animals use to protect themselves.
By maintaining a separate self-defense, it attempts to provide a haven of security in an impermanent world marked by continual change, unpredictability, and loss. Yet the very boundaries that create a sense of safety leave us feeling cut off and disconnected. Shan Sa, a much younger writer, has also published both originally in Chinese, and then predominantly in her adopted language, French.
China, My Sorrow , and Xiao cai feng trans. Balzac et la petite tailleuse chinoise were primarily in Chinese with Chinese actors, subtitled into languages including French, English, and Japanese. An unintended and paradoxical effect of juggling multiple languages may be to create the sense of a sort of bottleneck in which many ideas and multiple versions of words try to force themselves through a constricted space of thought and speech. The silence comes not out of a lack—a lack of ideas to communicate, a lack of words, a lack of languages—but Kristeva suggests, from having to enter into only the most banal of conversations using approximation, leaving an empty cavern of what one intended to say.
The silence is thus at times a space of navigation and negotiation in which obstacles and hurdles present themselves and are to be surmounted or avoided.
The perspective is always indirect, referential to the native tongue, Kristeva seems to claim. While meaning is both constricted and expanded in physical and geographic border crossings, this kind of silence, be it self-imposed or thrust upon the speaker, plays a crucial role in creating multiplicities of meaning for polyglossic writers. At times, silence is associated with the achievement of a state of nirvana Gao, Montagne Quand le son est perdu, le langage aussi.
Unable to suppress desire, that is, unable to attain the place of nirvana in which a silence and stillness of the mind is achieved, the writer finds that forced silence brings suffering. Amir even states "Please don't look at this graph too accurately. Small differences are not material and results vary slightly from test to test. And frankly, I think his hardware teardowns and forensics are pretty awesome Thanks for this review. I found the ASR review interesting, but it did not sway me from buying the NAD because it felt heavily dependent on measurements over listening subjectivity.
Not saying measurements are bad of course, but balance is important. I did not know that this was one of the first receivers he reviewed either, they are definitely not designed to be as high quality as headphone DACs or dedicated power amps since AVRs are a jack of all trades package.
I plan to send Amir my Denon XW that the replaced, I can definitely hear much less distortion along with the obvious benefits of Dirac live over MultiEQ XT, but I am looking forward to the measured differences. Last edited: Dec 23, Eric SVL Member.
Thanks for the heads up, Eric, I will check that out and make appropriate corrections. Hello Wayne, This is a wonderful review! I have seen in the rear of the receiver that says "minimum impedance - 8 Ohms" is this true for T? I am planning to use it with my 5. Do you believe I will have issues?
Happy new year! VIP Supporter.
0コメント