edrnia plmnei
los angeles, time, castration, infidelity, darkness, humour, violence, poland, rabbits, prostitution, mercenaries, glistening eyes, alleys, distant melodies, death, penderecki, nonsense, trainsounds, scratching, surface sounds, evil, 47, hollywood & vine, blurring, afterimages, liminality
rounds
richard serra - out-of-round VII - 1999(paintstick on hiromi paper)from richard serra: drawings, work comes out of workkunsthaus bregenz - 2008
he was almost forgotten, in fact, within a few years of his death
lake lugano - 1885 + two detailsfrom edward lear as a landscape draughtsman by philip hoferthe belknap press of harvard university - 1967
Labels:
abstraction,
art,
darkness,
edward lear,
trees,
water
irretrievable & irrepeatable
What conclusion can we draw?To invite the gods ruins our relationship with thembut sets history in motion.A life in which the gods are not invited isn't worth living.It will be quieter, but there won't be any stories.And you could suppose that these dangerous invitationswere in fact contrived by the gods themselves,because the gods get bored with men who have no stories.- Roberto Calasso, The
invisible birds (mocking bird)
it is where the great magnolia shoots up its majestic trunk, crowned with evergreen leaves, and decorated with a thousand beautiful flowers, that perfume the air around; where the forests and fields are adorned with blossoms of every hue; where the golden orange ornaments with gardens and groves; where bignonias of various kinds interlace their climbing stems around the white-flowered stuartia,
univers du western - brokeback mountain
ang lee - brokeback mountain - 2005cinematography by rodrigo prieto *(21 grams, amores perros)screenplay - larry mcmurtry and diana ossanamusic - gustavo santaolalla + willie nelson - he was a friend of mine (bob dylan)with:heath ledgerjake gyllenhaalrandy quaid(number 7 of 500 detailing westerns)
the walls are excellent & high & upon an horizontal line
in 1795, when shirley, massachusettes, was a community of 200 shakers living on three thousand acres, an outside observer recorded, "the walls are excellent & high & upon an horizontal line, & as straight as they can be laid."inspired by visionary experiences, the gift drawings bridge the heavenly and the earthly spheres....imaging heaven as a perfectly balanced array of circles, squares, and
Labels:
abstraction,
architecture,
art,
birds,
book collecting,
books,
cosmos,
darkness,
drawing,
dreams,
earth,
invisible birds,
moon,
painting,
religion,
shaker,
trees
the air in the sand
(listening to, new and old)- asher (some works)- bass communion - ghosts on magnetic tape - headphone dust - 2004- eugene carchesio & leighton craig - leaves - naturestrip - 2006 (via gossamer)- loren chasse - the air in the sand - naturestrip - 2005- jonathan coleclough (works)- yannick dauby (works)- miles davis - the miles davis quintet, 1965-68: the complete columbia studio- miles davis - the
a bit like a music of music boxes; stemlets and flowerets
images from the making of the pré by francis pongeuniversity of missouri press - 1979translated by lee fahnestockimage 1 - from book jacketfrom three prints of grasses - buc'hozimage 2 & 3 - a bit like a music of music boxes; stemlets and flowerets - harpsichord cadenza - johann sebastian bachimage 4 - 13 july evening (night of 13 to 14) 3image 5 - first typing, 19 january 1961image 6 - like the
le silence au fond de l’abîme
classic drone (number 2):the work of thomas köner(discography)- *untitled - die stadt - 2007(ds104, john duncan / kontakt der jünglinge / c.m. von hausswolff, includes track montreal solution 1 as kontakt der junglinge, thomas köner & asmus tietchens)- nuuk - mille plateaux - 2004 (cd+dvd)(originally released by big cat as part of driftworks in 1997)(includes roland kentrup & roland spekle -
When I die, the world is in my room.
In November 1966, a day before his 72. birthday, composer, translator and wanderer Juergen von der Wense died in Goettingen, Germany, in an attic filled with 10.000 pages of writings on science, poetry, philosophy and music.Few splinters from it ever reached the public.He lived for his work, always alone, with no academic or artistic consolations, in poverty supported by a few friends and
no. 406296
il disegno del primo brevetto del ferrocementoimage from pier luigi nervi:dai primi brevetti al palazzo delle esposizioni di torino 1917-1948quart verlag - 2008
paris et le daguerréotype
classic books (number 5):paris et le daguerréotype - paris musées - 1989la seine, le quai des orfèvres et notre-dameanonyme - vers 1840-1843fontaine, place de la concordeanonyme - vers 1845toits de parisjean bernard leon foucault - vers 1844
invisible birds (tiny feet extending)
what birds plunge through is not the intimate space in which you see all forms intensified. (out in the open, you would be denied your self, would disappear into that vastness.)space reaches from us and construes the world: to know a tree, in its true element, throw inner space around it, from that pure abundance in you. surround it with restraint. it has no limits. not till it is held in
25 great circles
images from buckminster fuller: starting with the universe -yale university press/whitney museum of american art - 2008(25 great circles & 2 geodesic drawings from the 1960s)
la ville des anges
roseclematis (double)clematislunariathe floral stereoradiographs of albert g. richards *at the museum of jurassic technologyfound while wandering the city of angels with young gossamer
nothing in return
The fulcrum of America is the Plains, half sea half land, a high sun as metal and obdurate as the iron horizon, and a man's job to square the circle.Some men ride on such space, others have to fasten themselves like a tent stake to survive.As I see it Poe dug in and Melville mounted. They are the alternatives.In Moby-Dick, when Ishmael has said all he can say about Ahab, he admits that the larger
univers du western - there will be blood - the influence of marfa on cinema, part 2
landscape images frompaul thomas anderson - there will be blood - 2007cinematography by robert elswit(number 6 of 500 detailing westerns)
an ornament of radiating petals
images from encyclopédie des formes fruitières, "les modes de conduite": un métier, un art, une passion by jacques beccaletto - écoles nationale supérieure du paysage/actes sud - 2001(that resemble the leaflets of a palm - palmette)
univers du western - winchester '73
anthony mann - winchester '73 - 1950james stewart * - lin mcadammillard mitchell * - high spadedan duryea * - waco johnnie deanjay c. flippen * - sgt. wilkesjohn mcintire * - joe lamontwill geer * - wyatt earpcinematography - william h. danielscinematography by william h. daniels *editing by edward curtiss *(number 4 of 500 detailing westerns)((number 5 of 500, anthony mann's the tin star,
before the descent of complete darkness (invisible birds)
törless was still gazing out into the garden. he thought he could hear the rustling of the withered leaves being blown into drifts by the wind. then came the moment of utter stillness which always occurs a little before the descent of complete darkness. the shape of things, which had been sinking ever more deeply into the dusk, and the blurring, dissolving colours of things--for an instant it
invisible birds (the lost estate)
sometimes, for a few steps, my feet are resting on a bank of fine sand. and in the silence, i can hear a bird: i think it's a nightingale, but i must be wrong because they only sing in the evenings... this bird is relentlessly repeating the same phrase: voice of the morning, a recital in the shade, a delicious invitation to a journey between the elms. invisible and obstinate, it seems to be
invisible birds (trees as moons)
behind the quivering reeds stirs the couch of birds-the green is near to black, the silver slightly blue. the tree-trunks are like old wall-stones, the leaves about like shadows(via gossamer)
univers du western (trains in cinema) - night passage
jay c. flippendan duryeajames neilson - night passage - 1957cinematography by william h. daniels *music by dimitri tiomkin *with:james stewart *dan duryea *jay c. flippen *robert j. wilke *jack elam *olive carey *includes some beautiful technicolor photography by william h. daniels(not really a great film, but worth it for the muted, near monochromatic tones)(number 3 of 500 detailing westerns)
four forward drifting down
al reinhart - for all mankind - 1989when the sunlight shines through the blackness of space it's black, but i was in sunlight, and i was able to look at this blackness. i mean, what are you looking at? call it the universe, but it's the infinity of space and the infinity of time. i'm looking at something called space, that has no end, and at time, that has no meaning. you really can focus on
univers du western - 3 godfathers
john ford - 3 godfathers, 1948john wayne - robert marmaduke hightowerpedro armendáriz - pedro 'pete' roca fuerte (as pedro armendariz)harry carey jr. - william kearney (the abilene kid)ward bond - perley 'buck' sweetjane darwell - miss florieguy kibbee - judgeben johnson - posse man #1 (center, both stills)charles halton - oliver lathamhank worden - deputy curlyjack pennick - luke (the conductor)
univers du western - red river
howard hawks - red river, 1948john wayne - thomas dunsonmontgomery clift - matthew garthwalter brennan - 'groot' nadinejohn ireland - cherry valancenoah beery jr. - buster mcgeehank worden - simms reeveschief yowlachie - quoharry carey jr. - dan latimerharry carey - mr. melville(rain)(century trees)cinematography - russell harlan(other films shot by russell harlan)- to kill a mockingbird, 1962 (d
birds, vinyl, drone and graceful degradations
- alio die & saffron wood - corteggiando le messi - hic sunt leones, 2006 (via gossamer)have been listening to many of these alio die discs lately, with gossamer, verging of many types of music: classical, (world & new age), drone and especially the non-music (his trademark water sounds, birds and nature sounds), with elements just barely at the threshold of visibility- asher: intervals - the
Labels:
abstraction,
birds,
drone,
music
paper animals
But in formulating his wish he made an allowance of which even he was barely aware, so that all would not be lost if the sign did not come again: he gave the Lord advance permission not to give a second sign, and even if he did not, that would not mean anything bad.Hugo von Hofmannsthal - Military Story
war is always
The more we get used to being killed, the better we like it.- Private Wilbur Fisk of Vermont
finding pictures in search of sounds
- images from finding pictures in search of sounds, stephen vitiello, limited edition monograph from the museum 52, london exhibitionother notable works by stephen vitiello:- 17:48 from the texas gallery, texas gallery, 2001 (with pauline oliveros)- bright and dusty things, new albion records, 2001 (with pauline oliveros, david tronzo)- buffalo bass delay, hallwalls, 2005 (echoes, trains,
invisible birds (forthcoming)
eugène atgetjosef sudekhenry fox talbotrichard longas if you were the voice that moves up and down the rungs of the world, between earth and sky, never beyond, always in the infinite globe, free but inside it, over there, close at hand, where the silver branches fork, awaiting nothing, fleeing nothing, traveller whom a second's joy, for no reason at all, steals from the journey's movement and
second addendum to the essential cinema
- lindsay anderson: o lucky man!, 1973- paul thomas anderson: there will be blood, 2007- robert benton: the late show, 1977- ingmar bergman: virgin spring, 1960- claude berri: le vieil homme et l'enfant (the two of us), 1967- mary ellen bute: rhythm in light, 1934- nuri bilge ceylan: uzak (distant), 2002- coen brothers: no country for old men, 2007- joseph cornell: carousel animal opera, 1930-
hope
"Mahler is matter-of-fact even in the supreme metaphysical sense, in that he jettisoned the aesthetic illusion of meaningful totality which no longer existed, if indeed it ever did. Mahler, whose uncompromising spirituality separated him from the hedonism of his age, from Debussy and from Strauss and whose mind selflessly strove to conceive of something that goes beyond mere existence - Mahler
heads
More tears are shed over answered prayers than over unanswered prayers.- St. Teresa of Avila Guest entry by Anne Gibbs of THE LOST SOCIETY OF COLLECTORShttp://lostsocietyofcollectors.blogspot.com/
a dream dismissed, as shapeless night, orphaned by immensity
she said, 'the moon is up; and see -how in the height the smoke-shaft gleamsand the shadow glides, uncaught beneath ! -our life resembles, not the smoke,but the shadow flying to its death.'fyodor tyutchev, versions from fyodor tyutchev, oxford university press, 1960the moon, who is caprice itself, looked in through your window as you lay asleep in your cradle, and said: 'this child pleases me.'
trains in cinema, part 4
- woody allen: zelig, 1983- pt anderson: there will be blood, 2007- wes anderson: darjeeling limited, 2007- james benning: rr (railroad), 2007 *- claude berri: le vieil homme et l'enfant (the two of us), 1967- robert bresson: un condamné à mort s'est échappé ou le vent souffle où il veut (man escaped), 1956- robert bresson: pickpocket, 1959- frank capra: mr. smith goes to washington, 1939- frank
friendship
"Friendship cannot be separated from reality any more than the beautiful. It is a miracle, like the beautiful. And the miracle consists simply in the fact that it exists.""The essence of created things is to be intermediaries. They are intermediaries leading from one to the other, and there is no end to this.""…It is necessary to be dead in order to see things in their nakedness."Simone Weil,
marfa, and the west texas landscape in american cinema
images from the coen brother's no country for old men, 2007cinematography by roger deakinsnew series of posts on marfa's influence on american cinemafound here
saints
Josephine's road, however, must go downhill. The time will soon come when her last notes sound and die into silence. She is a small episode in the eternal history of our people, and the people will get over the loss of her. Not that it will be easy for us; how can our gatherings take place in utter silence? Still, were they not silent even when Josephine was present? Was her actual piping notably
blurred layers of sound
classic drone (number 1):colin andrew sheffield, first thus, elevator bath, 2005first thus: the first edition published in the present form. often used to denote a book that was published previously by a different publisher.i'm not sure how i ever let this one escape me the past couple of years. i've always enjoyed colin's previous projects, which are also available on his own fine label,
our house, like a solo performance, proudly resounds amongst the confusion and clamor of the disproportionate piers of the capital
melnikov and his wife next to their future house in moscow, late 1920'sfrom architecture of konstantin melnikov: 1920's-1930's, toto, 2002
Labels:
architecture,
books,
melnikov
between transparency and the invisible - shapes floating weightless upon a grainy surface
untitled, gertrude goldschmidt, 1970untitled, gertrude goldschmidt, 1963untitled, gertrude goldschmidt, 1970untitled, gertrude goldschmidt, 1970untitled, gertrude goldschmidt, 1963untitled, gertrude goldschmidt, 1961untitled, gertrude goldschmidt, 1961Untitled (Tamarind 961), gertrude goldschmidt, 1963untitled, gertrude goldschmidt, 1970untitled, gertrude goldschmidt, 1963untitled, gertrude
darkness moves
(detail)(detail)m swiezynski - drawings 2006 (mont blanc chopin + water colour)(front & back + 2 details)
les arbres en tout ce ciel part - the trees in all this sky leaves - les arbres dans tout ce ciel laisse - trees in all that heaven allows
douglas sirk: all that heaven allows, 1955
ponies
The midnight, the morning, or the middle of day, Is the same to the miner who labors away. Where the demons of death often come by surprise,One fall of the slate and you're buried alive.Merle Travis - Dark as a dungeon (additional stanza, rarely performed...)
closing doors
Eilidh, Eilidh, Eilidh, heart of me, dear and sweetIn dreams I am hearing the whisper, the sound of your running feetthat like the sea-hoofs beat a music by day and night, Eilidh,On the sands of my heart, my sweet.O sands, of my heart, what wind moans low along thy shadowy shore?Is that the deep seaheart I hear with the dying sob at its core?Each dim lost wave that lapses is like a closing door:'
"...and love, though in a sense it may be admitted to be stronger than death, is by no means so universal and so sure. In fact, love is rare - the love of men. of things, of ideas, the love of perfected skill. For love is the enemy of haste; it takes count of passing days, of men who pass away, of fine art matured slowly in the course of years and doomed in a short time to pass away, too, and be
edvard munch, the flaming sky, like blood
red images from:peter watkins: edvard munch, 1974 (long version)cinematography by odd-geir sætheri saw the flaming skylike blood, like a sword over the fjord and the town (image 35)also, see earlier entry on munch, ending with:i felt as if there were invisible threads between us,i felt as if invisible threads from her hair still twisted themselves around me,and when she completely disappeared
bell-derived drones which resonate peacefully even as they twist and turn
tarrl lightowler: l'eau de vie (forthcoming film)beyond the horizon of visible things - little tunes amid the sound of wind or water, feelings flickering through people.(from robert musil: 5 women)new books & musicmusic:- °sone: passerelle, and/oar, 2008a site-specific sound installation / performance by yannick dauby, christophe havard & hughes germain.if i were forced to bring 10 cds with me to
the perfect mediocrity, no better, no worse
stanley kubrick, the killing, 1956cinematography by lucien ballardwith kola kwariani and sterling hayden
overcome
Nothing, for us, can fill the place of undiminished brightness except the unconscious dark, nothing that of what once we might have been, except the dream that we had never been born.- Adorno, Minima Moralia
m swiezynski - films 2007
new dvd availablerecent films of m swiezynski(includes)1. which he distorted by decorating with images2. intended to be used for making inscriptions in memory3. this invisible art of memory - magic hour number 14. the secret of shadows5. an occult memory systemmusic by a broken consort6. mysterious and invisible - magic hour part 2music by asher7. fludd's memory system8. images of heaven - magic
substitutes
At first sight I really believed that the only reminders in the Piana graveyard of the nature which, we have always hoped, will endure long after our own end, were the artificial purple, mauve, and pink flowers, obviously pressed upon their customers by French undertakers, made of silk or nylon chiffon, of brightly painted porcelain, wire, and metal appearing not so much a sign of enduring
The cuckoo
The cuckoo is a merry bird, she sings as she flies,She brings us good tidings and tells us no lies;She sucks the sweet flowers to make her sing clear,And she never sings "cuckoo" till summer is near.O meeting is a pleasure, but parting a grief,An inconstant lover is worse than a thief;For a thief will but rob you and swear to be true,And the very next moment they'll bring you to the grave.The
toys
"All children talk to their toys. The toys become actors in the great drama of life, reduced in size by the camera obscura of their little brains. The child twists and turns his toy, scratches it, shakes it, bumps it against the walls, throws it on the ground. From time to time he makes it restart its mechanical motions, sometimes in the opposite direction. Its marvelous life comes to a stop. The
robert bresson, olivier messiaen, i listen to my films as i make them
the composer olivier messiaen comes to mind as the closest parallel to bresson in the other arts. a devout catholic, the organist of the trinité in paris, messiaen has always been a radical modernist and a seminal figure in the evolution of modern music (in addition to his compositions, he deserves the credit of teaching stockhausen and boulez). nevertheless, the material of messiaen's art,
robert bresson, murder sequence from l'argent
robert bresson, l'argent, 1983cinematography by pasqualino de santis and emmanuel machuelediting by jean-françois naudonfirst and last frame of each shot from bresson's murder sequence.shot 1.1.16.28 - 1.16.58shot 21.16.59 - 1.17.14shot 31.17.15 - 1.17.25shot 41.17.26 - 1.17.36shot 51.17.37 - 1.17.43shot 61.17.44 - 1.17.45shot 71.17.46 - 1.17.47shot 81.17.48 - 1.17.49shot 91.17.49 - 1.17.56shot
robert bresson, given by the eyes of john cage
radically suppress intentions in your models.*not to use two violins when one is enough.*no intellectual or cerebral mechanism. simply a mechanism.*hide the ideas, but so that people find them. the most importantwill be the most hidden.*all those effects you can get from repitition (of an image, of a sound).*practice the precept: find without seeking.*to translate the invisible wind by the
robert bresson, ingmar bergman, free from all impurities
coffee in mouchettei felt a strong affinity with bernanos' and bresson's mouchette. it's a film i would have liked to have made myself, but which i didn't understand. in mouchette the motif is expressed clearly and explicitly, free from all impurities. the girl in mouchette and the girl in the devil's wanton are sisters, sisters in two similar worlds.but while the devil's wanton is full of
robert bresson, the unsayable
journal d'un curé de campagne 1951, photographed by léonce-henri burelthe domain of cinematography is the domain of the unsayable**(robert bresson from le monde, march 14, 1967 found in robert bresson: a spiritual style in film by joseph cunneen, 2003)
robert bresson, léonce-henri burel, cinematographer
robert bresson, procès de jeanne d'arc 1962opening sequence (single shot, 1 minute 15 seconds)cinematography by léonce-henri burel (1892-1977) *burel worked with directors including abel gance, jacques feyder, jean renoir, and robert bresson.robert bresson & léonce-henri burel:-journal d'un curé de campagne 1951-un condamné à mort s'est échappé ou le vent souffle où il veut 1956-pickpocket 1959-
robert bresson, francis ponge, a correspondingly particular sound
ciment: do you like poets like francis ponge? your films remind one of him, and his le parti pris des choses.bresson: yes. i no longer see ponge, unfortunately, as he has moved to the south. he wrote me some remarkable letters about my films and about cinema. i like his fondness for objects, for inanimate things.*rainin the courtyard where i watch it fallthe rain is coming down in widely varied
robert bresson, and sound
about his use of sound in l'argent, the director thinks that "while music flattens a surface, makes it into an image," sound, on the contrary, "lends space, relief. it arrives and the screen deepens, thus bringing on the third dimension".* the idea is that one must never duplicate an image with a sound ("a sound must never come to the aid of an image, nor an image to the aid of a sound....the
robert bresson, samuel fuller, jean-pierre melville & trains in cinema
train travel in:-samuel fuller's pickup on south street, 1953 (aka pickpocket)-robert bresson's pickpocket, 1959-jean-pierre melville's le samouraï, 1967(all films comprise a certain criminal activity in the underground)abstractions from samuel fuller's pick-up on south street, 1953(dp. joseph macdonald *)moments from robert bresson's pickpocket, 1959(dp. léonce-henri burel)abstractions from
robert bresson, andrei tarkovsky, very few means of expression
while doing roublev i forced myself to be very hard and very dry, tending towards a sort of olympic calm that, for me, is the major quality of the art of directing a film. so i might as well as tell you that i'm very fond of bresson. page 30in paris, i have asked to meet bresson. we have nothing in common, but he's one of the best directors i know. i want to see him, to see his face, to see how
robert bresson, filmography
une femme douce 1969(including cinematography, music and writing)-journal d'un curé de campagne 1951cinematography by léonce-henri burelmusic by jean-jacques grünenwaldfrom the novel by georges bernanos (journal d'un curé de campagne, 1936)screenplay by robert bresson-un condamné à mort s'est échappé ou le vent souffle où il veut 1956cinematography by léonce-henri burelmusic by wolfgang amadeus
robert bresson, léonce-henri burel, jacques becker, ghislain cloquet, sans personnes
robert bresson, un condamné à mort s'est échappé, 1956(kiefer)(beuys)jacques becker, le trou, 1960two prison escape films,(moments without human presence)-robert bresson, un condamné à mort s'est échappé ou le vent souffle où il veut (aka a man escaped), 1956 (dp. léonce-henri burel)-jacques becker, le trou, 1960 (dp. ghislain cloquet, bresson's cinematographer for au hasard balthazar 1966,
robert bresson, pickpocket, our hero through glass
robert bresson, pickpocket, 1959 ("about people standing behind glass doors and looking in" jonas mekas)
robert bresson, jonas mekas, about unfinished playing records
..... a film about diagonals. diagonal angels, diagonal glances. about eyes that never really meet. a film without a single frontal shot. a film about three-quarter spaces. about the sound of closing doors. about the sound of footsteps. about the sound of things. about the sound of water. about shy glances. about unfinished glances. about the sound of glass. about death in our midst. about light
robert bresson, anatomy of a crime (in the manner of a pickpocket)
(lessons in the cafe)(our hero and his accessory)(our hero pickpocketing a watch)(trainstation segment)from robert bresson's pickpocket, 1959"bresson distilled the motion picture narrative down to a particular essence. bresson's movies are looks and gestures and precisely arranged sounds" j hoberman frontispiece from the memoirs of george barrington, 1790see alsor. s. lambert, prince of
Labels:
abstraction,
books,
film,
robert bresson,
trains
robert bresson, georges bernanos, nouvelle histoire de mouchette
the dark west wind, the sea wind, was already scattering the voices in the darkness. it toyed with them a moment and then lifted them all together, dispersing them with an angry roar. the voice which mouchette had just heard hovered in the air a long time, like a dead leaf floating interminably.her secret was not one which could be shared, for it was connected with so many different things. it
the good wound
Among the great tragedies of childhood, De Quincey included that of the little boy's lips forever separated from his sister's kisses. Men with no sisters also share in this tragedy. Gloomy, incessant death of the sister in Munch's paintings. (Without a dead sister, abandoned lifeless at the foot of a distant staircase, a man cannot rediscover in the dark his sister's lips, the good wound happy to
robert bresson, the eye solicited alone makes the ear impatient, the ear solicited alone, makes the eye impatient
(some books related to robert bresson):-robert bresson by rené briot, editions de cerf, 1957-bresson by jean semolue, editions universitaires, 1959-the early work of robert bresson by richard roud, found in film culture, no. 20, 1959-robert bresson by michel estève (#8 in the cinema d'aujourd'hui series), editions sehers, 1962-the films of robert bresson edited by ian cameron, praeger, 1969-the
robert bresson, ghislain cloquet, de l'autre côté du miroir
through glass, au hasard balthazar 1966though glass, mouchette (or, little fly), 1967au hasard, balthazar & mouchette, through glass.cinematography by ghislain cloquet (1924 - 1981), the belgian-born french cinematographer.cloquet studied film at école national de photographie et cinématographie, and idhec (l'institut des hautes études cinématographiques)."for au hasard, balthazar, bresson would
"a place far beneath a man's upper earth"
notecards from charles olson's 1930's master’s thesis, the growth of herman melville, prose writer and poetic thinker, completed in 1933.these cards mainly dealt with melville's reading and marginalia and the "lost five hundred" (melville's books sold to a brooklyn dealer in 1892 by his widow, pursued by olson)."as a young scholar, olson was indefatigable in his research; when he located a volume
in air clear and unseen
henwar rodakiewicz, portrait of a young man: movement 1, 1931etienne-jules marey, studies of air movements, 1901etienne-jules marey, plan incliné, angle de 60 degrés, quatrième et dernière version de la machine à fumée, équipée de 57 canaux (cinémathèque française), 1901etienne-jules marey, from scientific american, 1902etienne-jules mareyfrom notice sur les titres et travaux scientifiques du
asleep in scotland
The Cotard delusion, also known as nihilistic or negation delusion, is a rare neuropsychiatric disorder in which a person holds a delusional belief that he or she is dead, does not exist, is putrefying or has lost his/her blood or internal organs.Rarely, it can include delusions of immortality.It is named after Jules Cotard (1840–1889), a French neurologist who first described the condition,
then be called ten times a donkey, and a mule, and an ass, and begone, or i’ll clear the world of thee!
classic books (number 4):moby-dick; or, the whale by herman melville, 1851(compiled with great assistance from the famed german librarian, herr t light)such dreary streets! blocks of blackness, not houses, on either hand, and here and there a candle, like a candle moving about in a tomb. at this hour of the night, of the last day of the week, that quarter of the town proved all but deserted. but
all point to that which is now
josef sudek: rembrances series, 1959 josef sudek: sunday afternoon on kolin island, 1924-26there they were, dignified, invisible,moving without pressure, over the dead leaves,in the autumn heat, through the vibrant air,and the bird called, in response tothe unheard music hidden in the shrubbery,and the unseen eyebeam crossed, for the roseshad the look of flowers that are looked at.there they were
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birds,
josef sudek,
music,
photography,
poetry,
t.s. eliot,
water
le magasin de ventre citroën à paris
le magasin de ventre citroën à paris, 1927-29 avec léon émile bazin(détruit 1954)albert laprade: architecte, jardinier, urbaniste,dessinateur, serviteur du patrimoine,norma editions, 2007d'autres livres d'intérêt:-le jardin et la maison arabes au maroc, editions albert levy, 1926-l'exposition de paris, librairie des arts décoratif, 1937-architectures de france à travers les croquis,
Labels:
architecture,
books,
paris
where fuzzy edges and hues of color can lead one to wander...
luna-3 soviet moon images, october 7, 1959'it seemed i was observing the earth from the outside. i was in great empty space and saw the planets rolling quietly.'františek kupka*quote from four possible landscapes liner notes, steve roden'i am in the middle of a mass of thousands of very small particles that are brilliantly lit up like they are luminescent. they are bright yellowish green, about
indian melancholia & a knock on the window pane
ali akbar khan(melancholia since 01/2008)(music):-sundaram balachander: magic music of india, 1963 (indian veena player)-sundaram balachander: sounds of the veena, 1967-sundaram balachander: man from madras, 1968-pandit vishwa mohan bhatt: saltanah (with simon shaheen), 1997 (hindustani guitar player [guitar is modified with the addition of several drone strings and eight sympathetic strings and
drifting upward due to a slight increase in the magnetic field
spiraling electronfrom an atlas of typical expansion chamber photographs, 1954by wolfgang gentner, heinzmaier-leibnitz and walther bothefound in the book objectivity, 2007 by lorraine daston and peter galison
it was a scarcely human presence-rather that of a peculiar bat fluttering here in the twilight that rose over the earth
julien gracq: balcony in the forest,1958 (librarie jose corti) & 1959 (george braziller, inc.)jacket design by william and caroline harrishalf dozing already, he listened calmly to the forest growing.(page 106)there was a subtle silence in the blockhouse now, the silence of keen eyes, which weighs less than that of straining ears - it was the silence of a workroom absorbed in delicate needlework.
there is something going on in the sky like a decomposition, like a corruption of the air, which remains as still as ever
john ford: the long voyage home, 1940(dp: gregg toland)the only spot of light in the ship at night was that of the compass-lamps, lighting up the faces of the succeeding helmsmen; for the rest we were lost in the darkness, i walking the poop and the men lying about the decks. they were all so reduced by sickness that no watches could be kept. those who were able to walk remained all the time on
the sea: void, darkness, mysterious, not a sound
the bay of arcachon and lighthouse on cape ferret, 1871seascape by moonlight, 1873-76 (both images from manet and the sea, by juliet wilson-bareau and david degeneryale university press 2003)after sunset i came out on deck again to meet only a still void. the thin, featureless crust of the coast could not be distinguished. the darkness had risen around the ship like a mysterious emanation from
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