Cymatics and the Galactic Opinion

June 19, 2011 § 1 Comment

Cymatics is a breakthrough into the amorphousness and adaptive elements of matter through introduction of sound (video 1 here). There are no claims as to what this means relative to Earth’s or any organism’s evolution, however it brings to mind a number of paths worth exploring. Primarily, what is the music of the spheres if not music of organic energy, something all life would possess, say, through chakra. Secondly, what does this mean for the music we create through the influence, or lack thereof, of this “hidden music”? Thirdly, the definition of opinions on sounds (music) becomes less of an opinion and more of a stubborn hindrance. Fourthly, I’m sure I’ll think of another topic. « Read the rest of this entry »

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Harakiri/13 Assassins Double Feature (and other ramblings)

May 16, 2011 § Leave a comment

The other day, after introducing a friend to the world of Kobayashi through his anti-feudalist masterpiece Harakiri, it occurred to me immediately I had just seen a more recent film with similar themes and time periods, so right when Harakiri ended I put in Takashi Miike’s wildly fun and semi-smart remake of 13 Assassins. It actually didn’t take place in the same time period, (they’re actually set 200 years apart) but both are set in ages of peace, both implement hara-kiri as a main theme, and both use the allegory of the time to parallel the emptiness of feudal/political/social honor. So what’s the significance of this mild discovery? Well, at the time none, I guess, other than sharing the wonderfully astute aesthetics of Japanese cinema with a friend based on impulse . . .  it’s just this hilarious coincidence then that Takashi Miike has very recently announced at Cannes 2011 that he’s remaking Harakiri. Trailer below: « Read the rest of this entry »

Pitfall: Dirt As People

January 30, 2011 § 1 Comment

In the work of Teshigahara, the influence of literature was present regardless of Kobo Abe’s presence in collaboration because the melting pot that was his films held no constriction to genres or customs in order to get an idea across. The famous words, documentary-fantasy, are really not all that paradoxyl, for what else is art but a bunch of truth-telling lies? Aside from that, in an interview he stated he wanted to do a film about the coal industry at the time, and so he used this urge as a conduit for his social and political views, as well as experience since Pitfall would be his first feature film (as he had only done documentaries previously). « Read the rest of this entry »

The Creator And The Muse

December 18, 2010 § Leave a comment

In the French film Molière, the hungry creator cannot balance his naturalness of comedy and his aching passion for a truth in tragedy in his theater. There is an incredible amount of potential to do great things, yet the ineptitude of where it would even go has yet to be, primarily, noticed, let alone washed away. Only through an unintended acquaintance with that connection to another who feels his passion without words does he break free of his incompetence and pride and speak from the heart he shares with her. The relationship between that of a creator and a muse is so inexplicably and poetically singular between each pair. Technically they have the same role, in that they both create an idea for the reassuring pleasure and ecstasy of the other, recognition of reaching out. Is this relationship, in of itself, indispensable and furthermore viciously and cerebrally distressing, or is it merely a self-inflicted wound of an insufferable life of creating? Either way, the outcome finds one transcended of comedy and tragedy if only for the fact that neither bare enough resemblance of the experience. « Read the rest of this entry »

Cahiers Collection © – Spine #1

November 22, 2010 § Leave a comment

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First thing’s first, copywritten. Yeah I went there. A musical version of the Criterion Collection sounds like a grand idea to explore, and seriously why hasn’t there been a meeting in the CC offices about it? Anyway, the criteria of the collection is going to be decided by myself and Sir David, and we will probably be as vague as possible, but still objective and less than predictable. Releases will come on vinyl, with bonus features in a supplementary DVD case. Information to be included is as follows:

– Short synopsis of important title
– List of bonus features/tracks
– Information about the transfer (from tape to raw sonic waves), just kidding

To begin this wondrous escapade into what could end up as a lawsuit, I feel it’s important to start with something that’s not rock, not classical, and not blues, and landed on David Sylvian’s Secrets Of The Beehive. « Read the rest of this entry »

Hausu – The Future Of Horror Unexplored

October 29, 2010 § Leave a comment

There are these fleeting moments of surrealism trickling through in what we define as reality that we have all experienced; call it déjà vu or peripheral fantasy if you wish. Though, it’s a bit of a sacrilege to identify this occurrence with those of a sane point of view. I propose those people are completely sane, for only a sane person in contemporary culture denies imagination. No matter though; the imagination remains incontrovertible and intact…and unexplained? Naturally, but only to the point where you choose to limit yourself. Hausu prefers to exaggerate that which is fleeting, dimishing that which is real, and in such a world where reality can call itself calculable. The film takes a leap into alien waters, lest you forget it’s still the 70s. « Read the rest of this entry »

Darkwave: A Hidden Arcana

October 12, 2010 § Leave a comment

Now that we’ve decided autumnal entities are not calculated, as swiftly and accurately pondered by Sir David (I can knight people), now we must explore the possibility of these spirits encapsulated in a medium, because what is the purpose of a medium but to project expression, those of which we can’t experience without aid. Eyes can only allow you to feel so much, but combining the touch of bark or dead leaves, taste of brittle air, with sounds of silence, and a circle of decadent statues gazing into you…far more powerful than some damn Monet painting. Robin Williams learned this when he died. « Read the rest of this entry »