Folk and Its Discontents

December 24, 2010 § Leave a comment

For me, someone like Dylan contributed more to defining postmodernism with the (now rather pathetic) title to his 1964 opus The Times They Are a-Changin’ than a dozen obscurantist Lyotard essays ever did. If taken in a purely ironic way, postmodernism is the true advent of Dylan’s declaration, for it’s precisely this album—arguably Dylan’s most valiantly self-serious and tragically sincere—that stands to remind us all of just how little times had really changed and how silly it was, and still is, to expect signs of change from pop music. Stripping away the ideology, we can finally see how this premature rallying cry of The Times They Are a-Changin’ was really nothing more than a futile yearning for postmodernism’s true cultural arrival. « 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

Photobucket

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 »

On Fall (defining the question)

October 7, 2010 § Leave a comment

Tell me, Galileo, of this silly poesy we call autumn. Tell me of its φυσικός: its interlocking clockwork; tell me of what Keats—that dripping Romantic—so delightfully mystified with his provocative magic. Tell me this, Galileo, and prove it to me; geometrically, if you must. Whichever method, I know that it will be a beautiful proof, for could there ever be a rapport more esthetically sublime than that of a proposition with its “Q.E.D.”? « Read the rest of this entry »

The Bright Side Of Ignorance: Thomas Bernhard Analysis Part II

September 12, 2010 § 2 Comments

Withdrawn

In the past few months, three former classmates of mine have committed suicide; they were all friends of mine and kept me company with their arts for almost the whole of my life and were the ones who really made my existence in the least bit possible. The musician killed (shot) himself because people had no ear for his art. The painter killed (hanged) himself because people had no eyes for his art. The scientist, with whom I even went to primary school, killed (poisoned) himself because people, in his opinion, had no head for science. All three had had to withdraw from life because they were in despair over the fact that the world no longer had the feelings or abilities to take in their art and their science. « Read the rest of this entry »