Friday, July 30, 2010
Now I am quietly waiting for
the catastrophe of my personality
to seem beautiful again,
and interesting, and modern.
The country is grey and
brown and white in trees,
snows and skies of laughter
always diminishing, less funny
not just darker, not just grey.
It may be the coldest day of
the year, what does he think of
that? I mean, what do I? And if I do,
perhaps I am myself again.
-Frank O'Hara
the catastrophe of my personality
to seem beautiful again,
and interesting, and modern.
The country is grey and
brown and white in trees,
snows and skies of laughter
always diminishing, less funny
not just darker, not just grey.
It may be the coldest day of
the year, what does he think of
that? I mean, what do I? And if I do,
perhaps I am myself again.
-Frank O'Hara
Thursday, July 22, 2010
Wednesday, July 21, 2010
Sunday, July 18, 2010
I've always liked movies about imagined realities, particularly collectively imagined. You know, in the vein of Matrix or Thirteenth Floor or Dark City. Between the Inception viewing, the Radiolab episode about perceptions of time and various weird events that that keep occurring the past few weeks, I feel like I'm on the brink of formulating some sort of idea about something. But I'm not there yet. It is a consolation that it took Christopher Nolan nearly ten years to work out the screenplay for Inception. I am envious of those people who have razor-sharp reasoning or analytical abilities. It is highly inconvenient having a mind that sometimes feels like mush.
Saturday, July 17, 2010
post-inception question
why does the dark metropolis exist as an iconographic landscape of everyone's (sometimes) dream-subconscious?
Is this a collective memory of an unnameable past?
What is the crumbling urban landscape an archetype for?
Does it represent the limits of our perceived notions of time and space? The end of the x and y axis of our collective mind?
Is our greatest fear a landscape (both geographic and psychic) that is wholly created and destroyed by man? Therefore, I suppose, by ourselves?
Why is it so sinister?
Is this a collective memory of an unnameable past?
What is the crumbling urban landscape an archetype for?
Does it represent the limits of our perceived notions of time and space? The end of the x and y axis of our collective mind?
Is our greatest fear a landscape (both geographic and psychic) that is wholly created and destroyed by man? Therefore, I suppose, by ourselves?
Why is it so sinister?
Friday, July 16, 2010
Wednesday, July 14, 2010
Monday, July 12, 2010
Friday, July 9, 2010
Wednesday, July 7, 2010
-via M
"Of course it was impossible to connect the dots looking forward when I was in college, but it was very, very clear looking backwards ten years later.
You can’t connect the dots looking forward. You can only connect them looking backwards, so you have to trust that the dots will somehow connect in your future. You have to trust in something - your gut, destiny, life, karma, whatever.
Because believing that the dots will connect down the road will give you the confidence to follow your heart even when it leads you off the well-worn path and that will make all the difference."
-Steve Jobs
it was kind of like this
Thursday, July 1, 2010
Separation
Your absence has gone through me
Like thread through a needle.
Everything I do is stitched with its color.
-W.S. Merwin
Like thread through a needle.
Everything I do is stitched with its color.
-W.S. Merwin
What happens when you realize that all your subconscious notions of relationships and love through most of your twenties were predicated on a misread of approximately 200 viewings of this movie when you were five?
I'm not talking about myself. Just other people I know.
Also, these subtitles are somewhat problematic. My favorite one is "With your vision, this is the complaint. Even flowers create a distance!"
What does that mean? It's like in code or something.
No wonder I misunderstood this movie.
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