Thursday, April 02, 2015


With Thierry de Duve. The best of the recent interviews. Alternately hilarious --  questions I'd have asked, deadpan! -- & illuminating. Faking Death's brief non-appearance, which de Duve misdescribes as a diptych, probably conflating it in memory with Stereo.  (Actually a triptych, according to the visual evidence in this AGGV catalog in front of me). 11:00's question of replicas.  "Places unavailable to me."  Vehement critique of procedures  -- aesthetic methodologies -- near & dear to present company at 24:00.  One possible reply.  Or ask Harold Bloom.  Or Kara & Bejar.  or de Duve himself, whose invocation of "tenderness" goes right to the heart of things.  The question of how a dry (some would say "aloof") personality can paradoxically care so much for the face of the world.
Wednesday, April 01, 2015

Carpenter, 2014-5

Monday, March 30, 2015

I have only two emotions:
Careful fear and dead devotion.
I can't get the balance right.
Throw my marbles in the fight.
I see all the ones I wept for
All the things I had it in for
I won't cry until I hear
'cause I was not supposed to be here.


Everything I love is on the table.
Everything I love is out to sea.
I'm not alone,
I'll never be.


There's no ghosts in the graveyard
That's not where they live
They float in between us
'what is' and 'what if'
And cast our own shadows
Before our own eyes

You don't get them up here though
They don't come up high

Joy to the city
The parking lot lights
The lion of evening
With the rain in its eyes
Joy to the freeway
Joy to the cars
And joy to you baby, wherever you are
Tonight, tonight, tonight
Tonight, tonight, tonight


"With cinematographer Mike Gioulakis, Mitchell evokes the widescreen visual mood of John Carpenter’s Halloween, with its flat light and bland suburban houses lining wide streets (the movie is set in the suburbs of Detroit). And, crucially, he uses as inspiration Carpenter’s method of hiding his killer in the background, out of focus, or far to one side of his widescreen frames.

Another nod to Carpenter is the score, by Disasterpeace, which is partially very modern, loud, and dissonant, and partially reminiscent of Carpenter’s ‘70s music.

The followers in It Follows don’t run. They walk. As do all the best movie killers. One of the scariest scenes is at a lake where Jay and her friends have fled to. They sit on the sand or float in the water while, quite a ways in the distant, a lone figure marches steadily closer. In another scene, at a high school, the camera slowly spins around in a circle. Every time it passes a window, a follower draws closer and closer. Sometimes our heroes don’t even see the followers. But we do."
Imperceptible cognitive decline often predates by many years the precipitous downturn that occurs once compensatory strategies, like relying on well-rehearsed phrases and simple words, fail and an individual can no longer mask his cognitive deficit.
Email: "Got your goretex pants, fleece, and most of your Powells books here plus an Adidas hat that you left in the bedroom and never even brought on the trip."

Powered by Blogger

.post-title { display: none!important; }