・㉨・
23:28"The bathroom paper towel machine motion sensor failing to react to me does nothing for my self esteem." — Jake Vig (via nevver)

(via stxxz)

(Source: blackboxdisco)

00:24
14/04/2014

PSF: How do you see noise? is it a building block?

I think of it as colorful inks of an illustrator.

The result is always M E R Z B O W. 

~~~

"My friend is working on a new noise project. He has 10 amps and they’re all set to 1."

"So it adds up to 10 and is louder?"

Yeah its 1 louder.”
- Benn

~~~

http://mit81.com/baker/content/piano-drops

23:34
12/04/2014

"Imagine an 80-minute music history course taking place in a dusty, hazy studio with wall-to-wall jazz vinyl - records from the past 40 years – jazz, fusion, funky, obscure. This course will not be graded. There will be no lecture. Madlib’s at the turntable. Class is now in session." - Madlib, Medicine Show #08 - Advanced Jazz

~~~

image

Trying to instigate momentum. To have goals and dreams and futures and motion. To have and have not. Should be easier than it is. 

~~~

Bought two oven pizzas at 8.39 on a saturday from a service station. Nervously browsing the aisles amongst the alone and dispossessed for something nourishing and instantaneous. Shuffling creatures lit unflatteringly by the overly bright chain-service store bar lighting system.

I felt like one of those middle aged singletons buying a christmas dinner for one. The mutual shame upon being told to ‘have a great rest of your weekend’ by the checkout girl was so palpable it became a point of humour.

~~~

21:28
05/04/2014

i suspect that cyberspace exists because it is the purest manifestation of the mass (masse) as Jean Beaudrilliard described it. it is a black hole; it absorbs energy and personality and then re-presents it as spectacle. people tend to express their vision of the mass as a kind of imaginary parade of blue-collar workers, their muscle-bound arms raised in defiant salute. sometimes in this vision they are holding wrenches in their hands.'  - Pandora’s Vox: On Community in Cyberspacehumdog (1994)

(via funyunsand40s)

benjamingrimes:

The White Retreat by CaSA

benjamingrimes:

The White Retreat by CaSA

23:09
01/04/2013

"In 2006, the project that affected me the most was Dilla’s swan song. Though I didn’t understand it at first. I was thinking it was about how Kanye’s the new kid on the block and he’s bringing soul samples back so Dilla was trying to say, "Nope, my dick’s still bigger than yours, son." But it all seemed to make sense towards the end. I got to talk to him three weeks before he passed, and I was like, "Yo, what was on your mind with Donuts?” He said, “It’s a message.” I was like, “Hm, OK.” Once he left, I started to clearly see all the subliminal messages. Like “Don’t Cry”, and him mangling the shit out of “Johnny Don’t Do It” by 10cc on “Waves”— that’s a message to his brother John.

I saw him about three months before he passed and he couldn’t even talk and I couldn’t walk in the room. We weren’t prepared for that. But what was even crazier is when I walked in the house, I heard music. I’m like, “He’s working on shit!” And I see him and he’s in a wheelchair and hooked up to a machine. It was just baffling to me that that part of his brain had not expired. His sense of rhythm and all that stuff was still the same. At first, I thought he was going to get through it.

But then he gave me his prized possession record, and that really scared me. It’s a very rare Brazilian Stevie Wonder EP. He said, “This is for you.” And I was like, “Why? You’ve had this for so long.” I didn’t want to take it because it seemed too final. His mom came up behind me and put it in my hands. I just walked out of the house and didn’t know if I should start bawling or just accept it. He didn’t want to live like that. His mom told me he made his last beat— which was a very unusual flip of Funkadelic’s “America Eats Its Young”— and told her, “I think I’m ready.” He laid on the couch and, two hours later, he expired. I’m obsessed with whatever I can get from Donuts.” - ?uestlove, 5-15, 15-20

~~~

It’s 2005, we in the same hospital room
You on one side, I’m on the other

~~~

Current Top Ten Hip Hop Albums

  1. J Dilla - Donuts
  2. Madvillain - Madvillainy
  3. Nujabes - Modal Soul
  4. Kanye West - The College Dropout
  5. Cannibal Ox - The Cold Vein
  6. Nas - Illmatic
  7. Wu-Tang Clan - Enter the Wu Tang (36 Chambers)
  8. A Tribe Called Quest - The Low End Theory
  9. Quasimoto - The Unseen
  10. Mos Def & Talib Kweli - Blackstar
  11. Lil’ B - 05 Fuck Em
22:51
MARCH SUMMARY

#017 Hail Mary (1985, Jean-Luc Godard) 
#016 Our Vinyl Weighs a Ton: This is Stones Throw Records (2013, Jeff Broadway)
#015 The Immigrant (2013, James Gray)
#014 King Lear (1987, Jean-Luc Godard) (T)
#013 Journey to the West (2014, Tsai Ming-liang) 
#012 Snowpiercer (2013, Joon Bong-ho)
#011 Kodak (2006, Tacita Dean) (T)
#010 The Grand Budapest Hotel (2014, Wes Anderson) (T)
#009 Death by Hanging (1968, Nagisa Oshima) 
#008 Thief (1981, Michael Mann)
#007 Under the Skin (2013, Jonathan Glazer) (T)
#006 Rio Bravo (1959, Howard Hawks) (T)
#005 Wake in Fright (1971, Ted Kotcheff) (T)
#004 Rome, Open City (1945, Roberto Rossellini) (T)
#003 The Terrorizers (1986, Edward Yang)
#002 L’Eclisse (1962, Michelangelo Antonioni) (T)
#001 Is the Man Who is Tall Happy (2013, Michel Gondry)

First month on record I didn’t give at least three 5 star ratings. Three possibilties there: either I’m not watching right, I’m getting some kind of critical faculty or the love for the medium and the fire in the fireplace is slipping away. Not willing to face any of those.

Next month, Chris Marker retrospective starts. A Grin Without a Cat.

Non-Film Things:

The Weir, Wydham’s Theatre.
Darkside, The Coronet
Ruin Lust, Tate Britain

18:59
30/03/2014

"Thanks for applying for one of our vacancies and taking the first step to inspiring positive change!"

- opening line from an automatic application response for a role at the WWF (not the wrestling league). You can trust the Third Sector to make bureaucracy more stomachable. 

~~~

“Whenever I see the alcove of a tastefully built Japanese room, I marvel at our comprehension of the secrets of shadows, our sensitive use of shadow and light. For the beauty of the alcove is not the work of some clever device. An empty space is marked off with plain wood and plain walls, so that the light drawn into its forms dim shadows within emptiness. There is nothing more. And yet, when we gaze into the darkness that gathers behind the crossbeam, around the flower vase, beneath the shelves, though we know perfectly well it is mere shadow, we are overcome with the feeling that in this small corner of the atmosphere there reigns complete and utter silence; that here in the darkness immutable tranquility holds sway.” 
― Jun’ichirō TanizakiIn Praise of Shadows

12:55
29/03/2014

image

Season 1. Re-rating the show from the start in order. A process I have completed several times before at various intervals in my life, usually collaboratively. Not sure what starting it again means, perhaps nostalgic, perhaps regressive. Perhaps nothing. 

no thing

Q1 2014 out and I’m not unhappy, though the quarter has flown. Not an overwhelming amount to show for it according to traditional metrics, but if the barometer was measuring mood, health and activities then it would reverberate confidently in the middle. If it was measuring accomplishments, it would have more difficulty rising. There is time still. Whatsapp co-founder Brian Acton is 42 and founded the company 5 years ago following rejection from the very same web baron who would come throw 19 million billion at him.  

Last year, inn the Scientology museum in Hollywood, I had a quick go on the dianetics machine. I looked for the foot pedal the lady pressed down on to make it move to the appropriate area but I couldn’t see it. I can’t remember what the results revealed, nothing oedipal anyway. I guess they save the good stuff for the real participants.

Do you often think about how inconsequential you are?
Do you believe that God will save you?
Have you had sex with a member of your family?

After that we we taken to look at a display of all of Big Ron L’s credentials, which then parted to reveal an enormous portrait of our man himself. It was very surreal. 

Finding religion - 2015. No

~~~

the present
the future
the past

image

23:13
26/03/2014

image

image

#64 Xi You / Journey to the West (2014, Tsai Ming-liang)
All composed things are like a dream,A phantom, a drop of dew, or a flash of lightning,That is how to meditate on them,That is how to observe them.
This feels like a natural extension of Walker, though no great advancement from it. The formula established in that short was complete, radical and minimalist and in of itself. This does benefit from the length, duration being stretched even further out, and thus emphasised and heightened. Different to Walker we also have Denis Lavant, Marseille, and the addition of a number of shots with no walker in the frame - even more excuse to let the eye wander.
For me, these short works from Tsai Ming-liang are about slowing down (duh.) About taking more time in life, looking slower and harder, eliminating any urgency and focusing hard on absorbing and savouring. A sentiment that is timeless in essence, but seems particularly pertinent now. I’m sure all ages have been somewhat obsessed with busyness and productivity, sensitive to time and to the span of it, but none so much has been so preoccupied with doing so many [often virtual] things that when tallied actually add to little. With Tsai, you readjust your tempo and breathe.
Also, as a film within {{{{{slow cinema}}}}} it is quite interesting. A paring back of the style of even of the most minimally styled slow films (Albert Serra, Bel Tarr et all.) Stripped back so far conceptually that what emerges feels as much a philosophic choice as an experiment in slowness as an aesthetic. It being shortform too emphasises this, as it sits apart and after Tsai’s features, abrasively and pointedly so, feeling much more like a statement.


Exactly what such an overaccentuation of slowness and what it means in terms of what the viewer does (and is forced to do), how we look and for how long, and what this extension of duration signifies I’m not sure but I always welcome the chance to consider it. This is so slow, so ‘uneventful’ that the look upon it is one of forced scrutiny and careful examination - slowness is the move.

#64 Xi You / Journey to the West (2014, Tsai Ming-liang)

All composed things are like a dream,
A phantom, a drop of dew, or a flash of lightning,
That is how to meditate on them,
That is how to observe them.

This feels like a natural extension of Walker, though no great advancement from it. The formula established in that short was complete, radical and minimalist and in of itself. This does benefit from the length, duration being stretched even further out, and thus emphasised and heightened. Different to Walker we also have Denis Lavant, Marseille, and the addition of a number of shots with no walker in the frame - even more excuse to let the eye wander.

For me, these short works from Tsai Ming-liang are about slowing down (duh.) About taking more time in life, looking slower and harder, eliminating any urgency and focusing hard on absorbing and savouring. A sentiment that is timeless in essence, but seems particularly pertinent now. I’m sure all ages have been somewhat obsessed with busyness and productivity, sensitive to time and to the span of it, but none so much has been so preoccupied with doing so many [often virtual] things that when tallied actually add to little. With Tsai, you readjust your tempo and breathe.

Also, as a film within {{{{{slow cinema}}}}} it is quite interesting. A paring back of the style of even of the most minimally styled slow films (Albert Serra, Bel Tarr et all.) Stripped back so far conceptually that what emerges feels as much a philosophic choice as an experiment in slowness as an aesthetic. It being shortform too emphasises this, as it sits apart and after Tsai’s features, abrasively and pointedly so, feeling much more like a statement.

Exactly what such an overaccentuation of slowness and what it means in terms of what the viewer does (and is forced to do), how we look and for how long, and what this extension of duration signifies I’m not sure but I always welcome the chance to consider it. This is so slow, so ‘uneventful’ that the look upon it is one of forced scrutiny and careful examination - slowness is the move.

22:56
26/03/2014

The image is a pure creation of the soul. It cannot be born of the comparison but of a reconciliation of two realities that are more or less far apart. The more the connection between these two realities is distant and true, the stronger the image will be, the more it will have emotive power. Two realities that have no connection cannot be drawn together usefully. There is no creation of an image. One rarely obtains forces and power from this opposition… An image is not strong because it is brutal or fantastic, but because the association of ideas is distant and true…Analogy is a medium of creation. It is a resemblance of connections. The power or virtue of the created image depends on the nature of these connections. What is great is not the image but the emotion that it provokes. If the latter is great, one esteems the image at its measure. The emotion thus provoked is true because it is born outside of all imitation, all evocation and all resemblance. – Jean-Luc Godard, King Lear, 1987

~~~

"In fact, one might argue that the film’s deliberate elusiveness can be traced back to a particular reading of Shakespeare’s Lear—specifically, the refusal of Cordelia to declare her love for her father, a king relinquishing his power, which sets the whole tragedy in motion. Unlike Goneril and Regan, her sisters, who comply with the old man’s demand that they convert whatever love they might claim to have for him into a commodity, a public display of "proof," Cordelia—who later proves to be his only faithful and loving daughter—can only declare, "Nothing," which leads him to disinherit her. This "nothing," which Godard’s film pointedly represents as "no thing," points to the refusal to become a commodity, to function as an object—a refusal which, as I have tried to show, is basic to the film’s strategies, and relates to more than just a refusal to behave like a normal, "consumable" product. Theoretically and practically, a film that is "no thing" threatens and challenges the functioning of the Cinematic Apparatus itself. Indeed, as Golan himself expresses the dilemma, "Where is this film?" Like Lear, we all wind up disinheriting it, much preferring the comfortable lies of a Goneril or a Regan.

Consider, for instance, the movie’s stars, its principal bankable assets: Molly Ringwald and Woody Allen for starters, Mailer, Sellars, Meredith, and Godard himself after that. In order to use the first two of these, and possibly some of the others, Godard had to agree not to use their names in the advertising. Moreover, he uses most of them in a way that contradicts their status as stars: Sellars is assigned the Woody Allen schlemiel part while Woody gets a few lines of Shakespeare but no laughs at all; Ringwald is framed and lit in a manner that makes her virtually interchangeable with Isabelle Huppert in Passion; Godard makes his own barks and mumbles border on incoherence. Only the nearly forgotten Burgess Meredith is permitted some of his former eloquence.

In a related fashion, whatever might turn the film into “a Shakespeare play,” “a Mailer script,” “a story,” or even “a Godard film” in the usual sense is purposefully subverted. The film aspires, like Cordelia, to be (and to say) “no thing,” to exist and to function as a nonobject: ungraspable, intractable, unconsumable. For a movie that is concerned, like Shakespeare’s play, with ultimate essences rather than fleeting satisfactions, it is an aspiration that has an unimpeachable logic.” - Jonathan Rosenbaum, The Importance of Being Perverse

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