thissideofthetruth

NOT THE OTHER

Tag: love

It’s A Wild World. Skins. Final Season 1.

moon

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Kooks

David Bowie by Tony Oursler

Bowie

One Dimensional Man

One-Dimensional Man.

One and Only

But is it Art?

One & Other was a public art project by Antony Gormley, in which 2,400 members of the public occupied the usually vacant fourth plinth in Trafalgar Square, London, for an hour each for 100 days. The project began at 9 am on Monday 6 July 2009, and ran until 14 October. The first person to officially occupy the plinth was Rachel Wardell from Lincolnshire. A documentary art book by Gormley, entitled One and Other, was published in the UK by Jonathan Cape on 14 October 2010. The Wellcome Trust has posted online at its website its series of oral-history interviews of the 2400 plinthers.

Passing by

The project was opened by the Mayor of London, Boris Johnson. Minutes before the official launch Stuart Holmes, an anti-smoking protester, managed to clamber onto the plinth and displayed a banner calling for a ban on tobacco. Gormley urged him to do the “gentlemanly thing” and give up his place to the first official “plinther”, Rachel Wardell. He did so and descended in the cherry picker used to carry participants to and from the plinth.

Change of the guard

Members of the public could apply for an hour on the plinth via the project’s website. Gormley himself applied but didn’t get a place. Reviewing the event afterwards, the Guardian’s top ten “plinthers” were:

Name Performance
Gerald Chong Demolished a cardboard replica of the London skyline, dressed as Godzilla.
Amanda Hall Constructed a full-size Gormley-style human figure from bread products.
Ollie Campbell Pitched a tent, from which a live chicken and two blow-up dolls emerged.
Steve Cousins (The Balloonatic) Performed in a red catsuit with a large, red balloon.
Sam Martin Dressed as a football referee, Martin challenged members of the public and announced half-time.
Jonathan May-Bowles (Jonnie Marbles) Invited members of the public to text their secrets to him, which were then read aloud.
Neil Studd Dressed as a living statue of Lord Nelson, in an echo of Nelson’s Column.
Liz Crow Sat in a wheelchair wearing a Nazi military uniform, as a political statement on the rights of disabled people.
Susanna Meese-Simpson Posed naked as if for a life study.
Paul Speller Performed a succession of scientific experiments submitted by the public, including an experiment with a tin can telephone.

Plinth Concept

On 14 July at 8.00 pm, poet R. N. Taber read a selection of his poems, while photographer Alex Boyd collaborated with Scottish Makar (Poet Laureate) Edwin Morgan for his time on the plinth. On 12 August at 1 am, a naked plinther was asked to cover up by the police.

Monique-Speksnyderon-on-t-002

Streamed live online by SkyArts, the exhibit quickly developed a cadre of regular Twitter followers who provided a running commentary of events on the plinth.

Balloon Man

 

Kunstakademie Dusseldorf

KF

The Kunstakademie Düsseldorf is the Arts Academy of the city of Düsseldorf. Notable artists who attended the academy include Joseph Beuys, Gerhard Richter, Sigmar Polke, Thomas Demand and Andreas Gursky. In the stairway of its main entrance, are engraved the Words: “Für unsere Studenten nur das Beste” (“For our Students only the Best”).

'Betty' by Gerhard Richter.

The school was founded by Lambert Krahe in 1762 as a school of drawing. In 1773, it became the “Kurfürstlich-Pfälzische Academie der Maler, Bildhauer- und Baukunst” (Academy of Painting, Sculpture and Architecture of the Electorate of the Palatinate).

JBThomas DemandT. S.

It has been amongst Europe’s foremost art schools for more than two centuries.

Trinity College Dublin, Candida Hofer

The German photographic movement commonly known as the Düsseldorf School of Photography, began in the mid 1970s at the Kunstakademie Düsseldorf under the instruction of the influential photographers Bernd and Hilla Becher, known for their comparative grids of mundane industrial buildings captured with an objective and clinical eye.

Bernd and Hilla Becher

This school has not only birthed some of today’s most important and successful photographers, but has also had a fundamental and lasting influence on the history of the medium.

da16

Girls

Girls Girls Girls

Belle

Belle

Cassandra

Cassandra van Waveren by Yorick Nube

Underwater Portrait

Underwater Portrait

Sirens

Sirens

In Greek mythology, the Sirens were dangerous and beautiful creatures, portrayed as femme fatales who lured nearby sailors with their enchanting music and voices to shipwreck on the rocky coast of their island. Roman poets placed them on some small islands called Sirenum scopuli. In some later, rationalized traditions, the literal geography of the “flowery” island of Anthemoessa, or Anthemusa, is fixed: sometimes on Cape Pelorum and at others in the islands known as the Sirenuse, near Paestum, or in Capreae. All such locations were surrounded by cliffs and rocks.

Sirens by Boris

When the Sirens were given a name of their own they were considered the daughters of the river god Achelous, fathered upon Terpsichore, Melpomene, Sterope, or Chthon. Although they lured mariners, for the Greeks the Sirens in their “meadow starred with flowers” were not sea deities. Roman writers linked the Sirens more closely to the sea, as daughters of Phorcys. Sirens are found in many Greek stories, particularly in Homer’s Odyssey.

According to Ovid, the Sirens were the companions of young Persephone and were given wings by Demeter to search for Persephone when she was abducted. However, the Fabulae of Hyginus has Demeter cursing the Sirens for failing to intervene in the abduction of Persephone.

Ulysses

The Sirens might be called the Muses of the lower world, Walter Copland Perry observed: “Their song, though irresistibly sweet, was no less sad than sweet, and lapped both body and soul in a fatal lethargy, the forerunner of death and corruption.” Their song is continually calling on Persephone. The term “siren song” refers to an appeal that is hard to resist but that, if heeded, will lead to a bad conclusion. Later writers have implied that the Sirens were anthropophagous, based on Circe’s description of them “lolling there in their meadow, round them heaps of corpses rotting away, rags of skin shriveling on their bones.” As Jane Ellen Harrison notes of “The Ker as siren:” “It is strange and beautiful that Homer should make the Sirens appeal to the spirit, not to the flesh.”

Siren by Anne Stokes

“They are mantic creatures like the Sphinx with whom they have much in common, knowing both the past and the future,” Harrison observed. “Their song takes effect at midday, in a windless calm. The end of that song is death.” That the sailors’ flesh is rotting away, though, would suggest it has not been eaten. It has been suggested that, with their feathers stolen, their divine nature kept them alive, but unable to feed for their visitors, who starved to death by refusing to leave.

According to Hyginus, sirens were fated to live only until the mortals who heard their songs were able to pass by them.

The Siren, by John William Waterhouse

O Brother Where Art Thow

Sirens of Titan

Sirens of Titan Cover

“Oh Lord Most High, Creator of the Cosmos, Spinner of Galaxies, Soul of Electromagnetic Waves, Inhaler and Exhaler of Inconceivable Volumes of Vacuum, Spitter of Fire and Rock, Trifler with Millennia — what could we do for Thee that Thou couldst not do for Thyself one octillion times better? Nothing. What could we do or say that could possibly interest Thee? Nothing. Oh, Mankind, rejoice in the apathy of our Creator, for it makes us free and truthful and dignified at last. No longer can a fool point to a ridiculous accident of good luck and say, ‘Somebody up there likes me.’ And no longer can a tyrant say, ‘God wants this or that to happen, and anyone who doesn’t help this or that to happen is against God.’ O Lord Most High, what a glorious weapon is Thy Apathy, for we have unsheathed it, have thrust and slashed mightily with it, and the claptrap that has so often enslaved us or driven us into the madhouse lies slain!” -The prayer of the Reverend C. Horner Redwine”
― Kurt Vonnegut, The Sirens of Titan

Saturn from Titan

Saturn

Saturn

Himalayas

Himalayas

Black Narcissus

Title Shot

A group of Anglican nuns travel to a remote location in the Himalayas (the Palace of Mopu, near Darjeeling) to set up a school and hospital for the local people, only to find themselves increasingly seduced by the sensuality of their surroundings in a converted seraglio high up in the mountains, and by the local British agent Mr Dean (David Farrar). Clodagh (Deborah Kerr), the Sister Superior, is attempting to forget a failed romance at home in Ireland. Tensions mount as Dean’s laid-back charm makes an impression on Clodagh, but also attracts the mentally unstable Sister Ruth (Kathleen Byron), who becomes pathologically jealous of Clodagh, resulting in a nervous breakdown and a violent climax. In a subplot, ‘the Young General’ (Sabu), heir to the throne of a princely Indian state who has come to the convent for his education, becomes infatuated with Kanchi, a lower caste dancing girl (Jean Simmons).

Dancer

Black Narcissus achieved acclaim for its pioneering technical mastery and shocked audiences at the time of release with its vibrant colour and the themes of the film. Audiences gasped at some of the scenes, notably the shot of the vibrant pink flowers, which shown on the big screen was a spectacle at the time. The film’s clever use of lighting and techniques have had a profound impact on later film makers, notably Martin Scorsese who used the extreme close ups technique of the nuns for Tom Cruise’s character around the pool table in Color of Money. Martin Scorsese has said that the film is one of the earliest erotic films, in the last quarter of the film in particular, which caused controversy given its Roman Catholic content. The film was one of his favourites as a boy, and Scorsese has stated that one of the greatest experiences he has had with film is viewing Black Narcissus projected on a massive screen at the Director’s Guild in 1983. In Michael Powell’s own view this was the most erotic film he ever made. “It is all done by suggestion, but eroticism is in every frame and image from beginning to end. It is a film full of wonderful performances and passion just below the surface, which finally, at the end of the film, erupts”.

Deborah Kerr

Madeline

Madeline

Blondeau

Thylane Loubry Blondeau

Whiskey

Whiskey

‘Tunnel’ by Thomas Demand

Tunnel

 

Princess Diana

Princess Diana

Jackie Kennedy

Jackie Kennedy

Dealy Plaza

Dealy Plaza

The Meeting

The Meeting

Lightening

Lightening

Light Strike. 4am Singapore

Singapore at Night 4am lightening strike

VGER

VGER

Fairy

Kari-Lise

Jack and the Beanstock

Jack and the Beanstock

The Sprout and the Bean. Joanna Newsom.

Joanna

Newsom was born and raised in the small town of Nevada City, California. Her mother, Christine (née Mueller), is an internist, and her father, William Newsom, is also a doctor. Her parents were “progressive-minded professionals” who previously lived in the Bay Area. Newsom’s family includes her brother, Pete, a fellow musician, and sister, Emily, who inspired her song “Emily” (and contributed backing vocals). She is the second cousin, twice removed, of Lieutenant Governor Gavin Newsom of California.

Joanna Newsom Album Artwork

As a child, Newsom was not allowed to watch television or listen to the radio because she was raised by parents who she described as, “kind of idealists when it came to hoping they could protect us from bad influences, like violent movies, or stupid stuff”. She was exposed to music from a young age. Her father played the guitar and her mother was a classically trained pianist who played the hammered dulcimer, the autoharp and conga drums. Newsom attended a Waldorf school where she studied theater and learned to memorize and recite long poems. This skill helps her to remember lyrics while on tour.

Joanna Newsom

At the age of five, Newsom asked her parents if she could play the harp. Her parents eventually agreed to sign her up for harp lessons, but the local harp instructor did not want to take on such a young student and suggested she learn to play the piano first. Starting at the age of four she began playing the piano. Only later did she move on to the harp, which she, “loved from the first lesson onward.” From her instructor, Joanna learned composition and improvisation. She first played on a smaller Celtic harps until her parents bought her a full-size pedal harp in the seventh grade. During her teens, she and the instrument became inseparable, and she describes her relationship with the harp as similar to “an artificial limb or a wheelchair. It’s almost part of me, but more to the point, it serves a purpose, and if it wasn’t there I would wonder what was supposed to fit in its place.”

Marx Bros

Marx Bros

McDeath

MacDeath

Close Guantamano Bay

Close Guantanamo Bay

I am not a suspect

i am not a suspect

“Another Country” G9

Richard Stallman:Edward Snowdon: Julian Assange (July 2013)

Beginners

Beginners

Hamburg Crossing

majestic

HPH

ouple By HPH

Vogue 1939

v

Sound Od Music

Sound Of Music

Green Pasture

Valley

Planet Earth

Planet Earth

Water Elf

Water Elf

bubbles

Underwater Nude

Dance on the table

Champagne

Naughty Kate

Naughty Kate

Kurious Kate

Sly Kate

Dressed to Kill

Dressed2kill by Joerg Warda

More Than Honey

More Than Honey

Honey Comb

Honey Comb

Honey Bear

Chris Buzelli

Cubs

Cubs

Shanghai CatBert

CatBert

 

THE BELL JAR

Sylvia Reading

The Bell Jar is American writer and poet Sylvia Plath’s only novel, which was originally published under the pseudonym “Victoria Lucas” in 1963. The novel is semi-autobiographical with the names of places and people changed. The book is often regarded as a roman à clef, with the protagonist’s descent into mental illness paralleling Plath’s own experiences with what may have been clinical depression. Plath committed suicide a month after its first UK publication. The novel was published under Plath’s name for the first time in 1967 and was not published in the United States until 1971, pursuant to the wishes of Plath’s mother and her husband Ted Hughes.

Victoria,

The Bell Jar addresses the question of socially acceptable identity. It examines Esther Greenwood, a young woman from the suburbs of Boston’s, “quest to forge her own identity, to be herself rather than what others expect her to be”. Esther is expected to become a housewife, and a self-sufficient woman, without the options to achieve independence. Esther feels she is a prisoner to domestic duties and she fears the loss of her inner self. The Bell Jar sets out to highlight the problems with oppressive patriarchal society in mid-20th Century America. The men in Esther’s life are all oppressive, whether it is in a physical manner or an emotional one.

SP

trapped in the bell jar

The Bell Jar

Budda

Budda Kamakura

Street Of Crocs

Street of Crocodiles

America. A Nuclear Device.

America. A Nuclear Device

Foolish War Mongers One And All

Back the Attack

The Great Saddness

War is an organized and often prolonged conflict that is carried out by states and/or non-state actors. It is characterised by extreme violence, social disruption, human suffering, and economic destruction. War should be understood as an actual, intentional and widespread armed conflict between political communities, and therefore is defined as a form of political violence or intervention. The set of techniques used by a group to carry out war is known as warfare. An absence of war is usually called peace.

Double Caring

O Lord our Father, our young patriots, idols of our hearts, go forth to battle — be Thou near them! With them — in spirit — we also go forth from the sweet peace of our beloved firesides to smite the foe. O Lord our God, help us to tear their soldiers to bloody shreds with our shells; help us to cover their smiling fields with the pale forms of their patriot dead; help us to drown the thunder of the guns with the shrieks of their wounded, writhing in pain;

Executions and USA disgrace.

American Bommbing Raid

help us to lay waste their humble homes with a hurricane of fire; help us to wring the hearts of their unoffending widows with unavailing grief; help us to turn them out roofless with little children to wander unfriended the wastes of their desolated land in rags and hunger and thirst, sports of the sun flames of summer and the icy winds of winter, broken in spirit, worn with travail, imploring Thee for the refuge of the grave and denied it —

Germans @ War

Vietnam

for our sakes who adore Thee, Lord, blast their hopes, blight their lives, protract their bitter pilgrimage, make heavy their steps, water their way with their tears, stain the white snow with the blood of their wounded feet!”    Mark Twain

Shelling From Afar

Gas Masks

“If you could hear, at every jolt, the blood/Come gargling from the froth-corrupted lungs,/Obscene as cancer, bitter as the cud/Of vile, incurable sores on innocent tongues,/My friend, you would not tell with such high zest/To children ardent for some desperate glory,/The old Lie; Dulce et Decorum est/Pro patria mori.”   Wilfred Owen

'waiting for the war' by siwymortis

Bonnie and Clyde

Bonnie & Clyde

Born Again Couple

Born Again Couple

Natural Born Killers

Cafe Couple

Cafe Couple

HomeSteaders

Jack Whinery and his wife Edith was taken by Russell Lee in Pie Town, NM, in Sept 1940.

Rattlebag Medicine 2

David Tennant in The Badlands

Take a Road Trip

Road Trip

Brothers Marlon & Lee

Marlon & Lee

Bill Ray and the Hells Angels of San Berdoo 1965

biker

“This was a new breed of rebel,” Bill Ray told LIFE.com, recalling his time with the Angels. “They didn’t have jobs, of course. They absolutely despised everything that most Americans value and strive for — stability, security. They rode their bikes, hung out in bars for days at a time, fought with anyone who messed with them. They were self-contained, with their own set of rules, their own code of behavior. It was extraordinary to be around.”

On the road

Ray spent some of the time with the Angels on a ride from San Bernardino (about 40 miles east of Los Angeles) to Bakersfield, California, for a major motorcycle rally. The Berdoo-Bakersfield run is a trip of only about 130 miles — but in 1965, it would offer enough moments (both placid and violent) for Ray to paint a rare, revelatory portrait of the world’s most legendary motorcycle club in its early days. The way in which the story came about, meanwhile, was as dramatic and unexpected as Bill Ray’s pictures.

talk to the hand

“It was exhilarating being around them, there’s no question about it,” Ray says. “You just never knew what they were going to do. You’re always kind of on edge, because — think about it! — these people have a lot of time to waste. They don’t punch a clock, so they fill the time drinking beer, smoking pot, screwing around. There was always a sense that anything could happen at any minute. Things could go from light-hearted to tense, and from tense to very scary, pretty goddamn quick.”

Biker Chicks

Ray and Joe Bride spent more than a month with the Angels in the spring of ’65, “mostly on weekends,” Ray remembers, “but the Bakersfield run was around the clock, three days and nights.” In Bakersfield,” remembers Ray, “I slept on the floor of the Blackboard Cafe — the bar that the Angels basically lived in while they were there.”

Brothers in Arms

“There’s a romance to the idea of the biker on the open road,” Ray says. “It’s similar to the romance that people attach to cowboys and the West — which, of course, is totally out of proportion to the reality of riding fences and punching cows. But no doubt, there’s something impressive about these Harley-Davidsons and bikers heading down the highway. You see the myth played out in movies, like Easy Rider, which came out a few years after I photographed the Angels. You know, the trail never ends for the cowboy, and the open road never ends for the Angels. They just ride. Where they’re going hardly matters. It’s not an easy life, but it’s what they choose. It’s theirs. And everyone else can get out of the way or go to hell.”

Up Yours Biker Chick

Fallen Angel

Fallen Angel

Pearl Necklace

Pearls

Princess of the Sea

erin mulvehill

LO 2012, Swimmer.

The Swimmer

Book Jacket

The Swimmer” a short story by American author John Cheever, was originally published in The New Yorker on July 18, 1964, and then in the 1964 short story collection, The Brigadier and the Golf Widow. Originally conceived as a novel and pared down from over 150 pages of notes, it is probably Cheever’s most famous and frequently anthologized story. At one point Cheever wanted to parallel the tale of Narcissus, a character in Greek mythology who died while staring at his own reflection in a pool of water, which Cheever dismissed as too restrictive. As published, the story is highly praised for its blend of realism and surrealism, the thematic exploration of suburban America, especially the relationship between wealth and happiness, as well as his use of myth and symbolism.

Burt

In 1968, “The Swimmer” was adapted into a film with the same name, starring Burt Lancaster.

The story begins with Neddy Merrill and his wife lounging at a friend’s pool on a mid-summer’s day. On a whim, Neddy decides to get home by swimming across all the pools in the county, and starts off enthusiastically and full of youthful energy. In the early stops on his journey, he is enthusiastically greeted by friends, who welcome him with drinks. It is readily apparent that he is well-regarded and from an upper-class social standing.

Reflection

Midway through his journey, things gradually take on a darker and ultimately surreal tone. Despite everything taking place over just one afternoon, it becomes unclear how much time has passed. At the beginning of the story, it was clearly mid-summer, but by the end all natural signs point to the season being autumn. Different people Neddy encounters mention misfortune and money troubles he doesn’t remember, and he is outright unwelcome at several houses which should’ve certainly been beneath him. His earlier, youthful energy leaves him, and it becomes increasingly painful and difficult for him to swim on. Finally, he staggers back home, only to find his house decrepit, empty, and abandoned.

A Night To Remember

Titanic

Faces

faces

Soul Out

soul out by deenesh ghyczy

Xiao Xiao, 2012

Xiao Xiao, 2012,

The Drop

The Drop

A Man Called Horse

Screen shot 2013-04-09 at 19.40.34

Day Dreamer Comic Adventure

Day Dream

Comet in Moominland

Moominland

The Paris Kiss

Kiss

L’Age d’or

La edad de oro (1930) Luis Buñuel

L’Age d’or, The Golden Age (1930) is a French surrealist comedy directed by Luis Buñuel about the insanities of modern life, the hypocrisy of the sexual mores of bourgeois society and the value system of the Roman Catholic Church. The screenplay is by Salvador Dalí and Buñuel. It was one of the first sound films made in France.

In a series of thematically-linked vignettes, a couple’s attempts at a fulfilling and consummated romantic relationship are continually thwarted by the bourgeois values and sexual mores of Family, Church, and Society. In the course of seeking sexual release and satisfaction, the woman sublimates her sexual passion by fellating the toe of a religious statue.

The final vignette is an allusion to the Marquis de Sade’s novel 120 Days of Sodom; the intertitle reads: 120 Days of Depraved Acts, about an orgy in a castle, wherein the surviving orgiasts are ready to emerge to the light of mainstream society. From the castle door emerges the bearded and berobed Duc de Blangis (a character from de Sade’s novel) who greatly resembles Jesus, the Christ, who comforts a young woman who has run out from the castle, before he takes her back inside. Afterwards, a woman’s scream is heard, and only the Duc re-emerges; and he is beardless. The concluding image is a crucifix festooned with the scalps of women; to the accompaniment of jovial music, the scalps sway in the wind.

Fellatio

Bruno Zach Fellatio 1925

The Duelists

The Duelists

The Tank

Altered States

Ye Must Be Born Again

Son of God

There was a man of the Pharisees, named Nicodemus, a ruler of the Jews:

The same came to Jesus by night, and said unto him, Rabbi, we know that thou art a teacher come from God: for no man can do these miracles that thou doest, except God be with him.

Jesus answered and said unto him, Verily, verily, I say unto thee, Except a man be born again, he cannot see the kingdom of God.

Nicodemus saith unto him, How can a man be born when he is old? can he enter the second time into his mother’s womb, and be born?

Jesus answered, Verily, verily, I say unto thee, Except a man be born of water and of the Spirit, he cannot enter into the kingdom of God.

That which is born of the flesh is flesh; and that which is born of the Spirit is spirit.

Marvel not that I said unto thee, Ye must be born again.

          (John 3:1-7)

Sun

Dennis Stock

Peace

Peace

Dirty Bastard

Dirty Bastard

Cupid

 

Cupid

Youth

Santa Claus

 

spend

Snoopy

 

RiverMan

Nick the Poet

 

The Tree Of Life

Gas Mask Couple

 

Love Poster

 

Leah Of The South Downs

Do Androids Dream of Electric Sheep?

Do Androids Dream of Electric Sheep? is a science fiction novel by American writer Philip K. Dick. First published in 1968, the book served as the primary basis for the 1982 film Blade Runner. The novel is set in a post-apocalyptic near future, where Earth and its populations have been damaged greatly by nuclear war during World War Terminus. Most types of animals are endangered or extinct due to extreme radiation poisoning from the war. To own an animal is a sign of status, but what is emphasized more is the empathic emotions humans experience towards an animal.

The main plot follows Rick Deckard, a bounty hunter who is faced with “retiring” six escaped Nexus-6 brain model androids, the latest and most advanced model, while a secondary plot follows John Isidore, a man of sub-normal intelligence who aids the fugitive androids. In connection with Deckard’s mission, the novel explores the issue of what it is to be human. Unlike humans, the androids possess no empathic sense. In essence, Deckard probes the existence of defining qualities that separate humans from androids.

Do Androids Dream of Electric Sheep? takes place in the year 1992 (2021 in later editions), projecting 25 years in the future after the author’s 1967 writing, after World War Terminus and its radioactive fallout have destroyed most of Earth. The U.N. encourages emigration to off-world colonies, in hope of preserving the human race from the terminal effects of the fallout. One emigration incentive is giving each emigrant an “andy” — a servant android.

The remaining populace live in cluttered, decaying cities wherein radiation poisoning sickens them and damages their genes. Animals are rare, and keeping and owning live animals is an important societal norm and status symbol. But many people turn towards the much cheaper synthetic, or electric, animals to keep up the pretense. Prior to the story’s beginning Rick Deckard owned a real sheep, but it died of tetanus, and he replaced it with an electric one.

The story is set in and around the San Francisco Bay Area. San Francisco was one of the last places affected by the radioactive dust, especially on the peninsula to the south. It is monitored daily by meteorologists using the Mongoose weather satellite in Earth’s orbit. While still relatively habitable, the sandy deserts of Oregon to the north are highly contaminated by radiation. Rick Deckard stays in a building on the east-side of the bay with his wife, Iran, who is depressed. J.R. Isidore lives on the peninsula south of San Francisco.

The main Earth religion is Mercerism, in which Empathy Boxes link simultaneous users into a collective consciousness based on the suffering of Wilbur Mercer, a man who takes an endless walk up a mountain while stones are thrown at him, the pain of which the users share. The television appearances of Buster Friendly and his Friendly Friends, broadcast twenty-three hours a day, represents a second religion, designed to undermine Mercerism and allow androids to partake in a kind of consumerist spirituality.

The Piano

 

The Beatles

Image

Mary Poppins

Mary Poppins

Ryans Daughter

Ryans Daughter

dance with a stranger

dance with a stranger

Bengal Tiger

Bengal Tiger

Love On

Love On

Yasmine Zalek. Apology Kit

Yasmine Zalek. Apology Kit

‘Sole Solution…

‘Sole Solution’ by Eric Frank Russell. (1956)

He brooded in darkness and there was no one else. Not a voice, not a whisper. Not the touch of a hand. Not the warmth of another heart.
Darkness.
Solitude.
Eternal confinement where all was black and silent and nothing stirred. Imprisonment without prior condemnation. Punishment without sin. The unbearable that had to be borne unless some mode of escape could be devised.
No hope of rescue from elsewhere. No sorrow or sympathy or pity in another soul, another mind. No doors to be opened, no locks to be turned, no bars to be sawn apart. Only the thick, deep sable night in which to fumble and find nothing.
Circle a hand to the right and there is nought. Sweep an arm to the left and discover emptiness utter and complete. Walk forward through the darkness like a blind man lost in a vast, forgotten hall and there is no floor, no echo of footsteps, nothing to bar one’s path.
He could touch and sense one thing only. And that was self.
Therefore the only available resources with which to overcome his predicament were those secreted within himself. He must be the instrument of his own salvation.
How?
No problem is beyond solution. By that thesis science lives. Without it, science dies. He was the ultimate scientist. As such, he could not refuse this challenge to his capabilities.
His torments were those of boredom, loneliness, mental and physical sterility. They were not to be endured. The easiest escape is via the imagination. One hangs in a strait-jacket and flees the corporeal trap by adventuring in a dreamland of one’s own.
But dreams are not enough. They are unreal and all too brief. The freedom to be gained must be genuine and of long duration. That meant he must make a stern reality of dreams, a reality so contrived that it would persist for all time. It must be self-perpetuating. Nothing less would make escape complete.
So he sat in the great dark and battled the problem. There was no clock, no calendar to mark the length of thought. There were no external data upon which to compute. There was nothing, nothing except the workings within his agile mind.
And one thesis: no problem is beyond solution.
He found it eventually. It meant escape from everlasting night. It would provide experience, companionship, adventure, mental exercise, entertainment, warmth, love, the sound of voices, the touch of hands.
The plan was anything but rudimentary. On the contrary it was complicated enough to defy untangling for endless aeons. It had to be like that to have permanence. The unwanted alternative was swift return to silence and the bitter dark.
It took a deal of working out. A million and one aspects had to be considered along with all their diverse effects upon each other. And when that was done he had to cope with the next million. And so on . . . on . . . on.
He created a mighty dream of his own, a place of infinite complexity schemed in every detail to the last dot and comma. Within this he would live anew. But not as himself. He was going to dissipate his person into numberless parts, a great multitude of variegated shapes and forms each of which would have to battle its own peculiar environment.
And he would toughen the struggle to the limit of endurance by unthinking himself, handicapping his parts with appalling ignorance and forcing them to learn afresh. He would seed enmity between them by dictating the basic rules of the game. Those who observed the rules would be called good. Those who did not would be called bad. Thus there would be endless delaying conflicts within the one great conflict.
When all was ready and prepared he intended to disrupt and become no longer one, but an enormous concourse of entities. Then his parts must fight back to unity and himself.
But first he must make reality of the dream. Ah, that was the test!
The time was now. The experiment must begin.
Leaning forward, he gazed into the dark and said, “Let there be light.”
And there was light.

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James Dean

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“The only con…

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“The only condition of fighting for the right to create is faith in your own vocation, readiness to serve, and refusal to compromise.”

“Always with huge gratitude and pleasure I remember the films of Sergei Parajanov which I love very much. His way of thinking, his paradoxical, poetical . . . ability to love the beauty and the ability to be absolutely free within his own vision.”

“Art could be said to be a symbol of the universe, being linked with that absolute spiritual truth which is hidden from us in our positivistic, pragmatic activities.”

“For the first time in the history of the arts, in the history of culture, man found the means to take an impression of time…That is the sense in which the Lumiere brothers were the first to contain the seed of a new aesthetic principle. But immediately afterwards, cinema turned aside from art, forced down the path that was the safest from the point of view of philistine interest and profit”.

“I reject the principles of “montage cinema” because they do not allow the film to continue beyond the edges of the screen: they do not allow the audience to bring personal experience to bear on what is in front of them on-screen”

“Devoid of spirituality, art carries its own tragedy within it…..The true artist always serves immortality, striving to immortalise the world and the man within the world”.

“Art must transcend as well as observe”.

“A work becomes dated as a result of the conscious effort to be expressive and contemporary”.

“I think that one of the saddest aspects of our time is the total destruction of people’s awareness of all that goes with a conscious sense of the beautiful. Modern mass culture, aimed at the “consumer”, the civilisation of prosthetics, is crippling people’s souls, setting up barriers between man and the crucial questions of his existence, his consciousness of himself as a spiritual being.”

“The aim of art is to prepare a person for death”.

Andrie Tarkovsky (April 4, 1932 – December 29, 1986)

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I'm The One

I'm The One

 Opening from …

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Opening from J.G.Ballards 1977 short story, ‘The Intensive Care Unit’.

Within a few minutes the next attack will begin. Now that I am surrounded for the first time by all the members of my family it seems only fitting that a complete record should be made of this unique event. As I lie here – barely able to breathe, my mouth filled with blood and every tremor of my hands reflected in the attentive eye of the camera six feet away – I realize that there are many who will think my choice of subject a curious one. In all senses, this film will be the ultimate homemovie, and I only hope that whoever watches it will gain some idea of the immense affection I feel for my wife, and for my son and daughter, and of the affection that they, in their unique way, feel for me.

It is now half an hour since the explosion, and everything in this once elegant sitting room is silent. I am lying on the floor by the settee, looking at the camera mounted safely out of reach on the ceiling above my head. In this uneasy stillness, broken only by my wife’s faint breathing and the irregular movement of my son across the carpet, I can see that almost everything I have assembled so lovingly during the past years has been destroyed. My Svres lies in a thousand fragments in the fireplace, the Hokusai scrolls are punctured in a dozen places. Yet despite the extensive damage this is still recognizably the scene of a family reunion, though of a rather special kind.

Continue the rest of this warning about a future where everyone lives in isolation and only communicate through cameras.

 …

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Harry Clark. 1919. Illustration for 'Tales of Mystery and Imagination' by Edgar Allen Poe.

Harry Clark. 1919. Illustration for 'Tales of Mystery and Imagination' by Edgar Allen Poe.

Bob

Bob

http://youtu.be…

A Matter of Life and Death (1946) is a romantic fantasy film set in World War II by the British writer-director-producer team of Michael Powell and Emeric Pressburger. It was originally released in U.S. under the title Stairway to Heaven, which derived from the film’s most prominent special effect: a broad escalator linking the Other World and Earth. Reversing the effect in The Wizard of Oz, the supernatural scenes are in “Technicolor mono-chrome” (a special process developed jointly by Director of Photography Jack Cardiff and Technicolor London), while the natural scenes on Earth are in Technicolor. Photographic dissolves between “Technicolor mono-chrome” (the Other World) and Three-Strip Technicolor (Earth) are used several times during the film.

In 2004, A Matter of Life and Death was named the second greatest British film ever made by the magazine Total Film in a poll of 25 film critics, behind Get Carter.

The Hired Hand is a 1971 American western film directed by Peter Fonda, with a screenplay by Alan Sharp. The film stars Fonda, Warren Oates, and Verna Bloom. The cinematography was by Vilmos Zsigmond, and Bruce Langhorne provided the moody film score. The story is about a man who returns to his abandoned wife after seven years of drifting from job to job throughout the southwest. The embittered woman will only let him stay if he agrees to move in as a hired hand.

THE ELEPHANT MA…

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THE ELEPHANT MAN

A film by David Lynch

Frederick Treves (Anthony Hopkins), a surgeon at the London Hospital, discovers John Merrick (John Hurt) in a Victorian freak show in London’s East End, where he is managed by the brutish Bytes (Freddie Jones). Merrick is so deformed that he must wear a hood and cap when in public, and Bytes claims he is an imbecile. Treves is professionally intrigued by Merrick’s condition and pays Bytes to bring him to the Hospital so that he can examine him. There, Treves presents Merrick to his colleagues in a lecture theatre, displaying him as a physiological curiosity. Treves draws attention to Merrick’s most life-threatening deformity, his oversized skull, which compels him to sleep with his head resting upon his knees, as the weight of his skull would asphyxiate him if he were to ever lie down. On Merrick’s return, Bytes beats him so severely that a sympathetic apprentice (Dexter Fletcher) alerts Treves, who returns him to the hospital. Bytes accuses Treves of likewise exploiting Merrick for his own ends, leading the surgeon to resolve to do what he can to help the unfortunate man.