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[15 Dec 2009|09:42am] |
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| alberta trip! |
[14 Dec 2009|10:59pm] |
the fathership and I have just got back from our adventures in the wild wild west of canada! dad had a business trip/company christmas party to attend out in calgary and I got to tag along for a free mini-holiday! we had a really great time together, it was my first time in alberta (I've been to BC but not to AB) and my first time seeing mountains up close like that. LOTS of photos and stories under the cut;
( buckles bunnies, goats, afternoon tea, heart attacks and more! )
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[14 Dec 2009|08:58pm] |
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music |
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Enur-Calabria Feat. Natasja |
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мне стыдно признаццо , но все люди на этой картинке - мои коллеги ...  угадайте , кем йа работаю , йобтыть |
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| Excerpts from THE CINEMATIC |
[14 Dec 2009|08:38am] |
ed. by David Campany
"It is thus absolutely necessary to die, because while living we lack meaning, and the language of our lives (with which we express ourselves and to which we attribute the greatest importance) is untranslatable: a chaos of possibilities, a search for relations among discontinuous meanings. Death performs a lightning-quick montage on our lives: that is, it chooses our truly significant moments (no longer changeable by other possible contrary or incoherent moments) and places them in sequence, convening our present, which is infinite, unstable and thus linguistically describable past (precisely in the sphere of a general semiology). It is thanks to death that our lives become expressive."
--Pier Paolo Pasolini, Observations on the Long Take (p87)
"Sometimes we can see that something has happened, sometimes we are left to imagine or project it, or to be informed about it by other means. The images often contain no people, but a lot of remnants of activity. If this type of image was only present in contemporary art it might be overlooked as a passing trend (of all art's media, photography is still the most subject to curatorial whim). But we see it increasingly in new photojournalism, documentary, campaign work and even news, advertising and fashion. One might easily surmise that photography has of late inherited a major role as an undertaker, summariser or accountant. It turns up late, wanders through the places where things have happened, totting up the effects of the world's activity. This is a kind of photograph that either foregoes or cannot represent events and so cedes them to other media. As a result it is quite different from the spontaneous snapshot and has a different relation to memory and to history."
--David Campany, Safety in Numbness (p186)
"...a 'film' may be encountered through posters, 'blurbs', and other advertisements, such as trailers and television clips: it may be encountered through newspaper reviews, reference work synopses and theoretical articles (with their 'film-strip' assemblages of still images): through production photographs, frame enlargements, memorabilia, and so on. Collecting such metonymic fragments in memory, we may come to feel familiar with a film we have not actually seen. Clearly the 'film' -- a heterogeneous psychical object, constructed from image scraps scattered in space and time -- is a very different object from that encountered in the context of 'film studies'."
--Victor Burgin, Possessive, Pensive, and Possessed (p199)
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[14 Dec 2009|08:02am] |
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is there any way around these fucking video pop-ups that actually block your livejournal content for 15 seconds? this shit is seriously stupid.
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| Excerpts from WRITING AND SEEING ARCHITECTURE |
[14 Dec 2009|01:32am] |
by Philippe Sollers & Christian de Portzamparc
C.d.P. The architect is precisely someone who has had to learn to manipulate his or her sensations, to think them. What has intrigued me from the time I started working is that space and language, the topos and the logos, the place and the formula, are fields that are rigorously distinct, two parallel environments but with surface contact. They are associated like air and water, they cannot be split apart. It is because of this that I am pre-occupied with the notion of thinking without language.
P.S. You mean that without language as a mean of expression, there is a language of place.
C.d.P. The place or the bridge is not a fragment of language but a space, a visible ensemble. It can be perceived. At a given moment, it is for me like a center or a zone differentiated from others that is emitting toward me. This happens as if it were emitting. That is sensible experience. Afterward, it can be given a name. From there, each thing can be isolated, and that is the experience of rational thought: things exist not only when we perceive them, they have an existence on their own, outside of ourselves. The self is not the center. But it has to remain. It must not dissolve. This is a crucial experience that constitutes us.
P.S. Space and language are exactly on equal footing.
53-54
[C.d.P.] Recently I was reading the text of a 1939 lecture by Frank Lloyd Wright delivered in London to some students. He suddenly told them that he was about to make a revelation. This was that he had once read a sentence by Lao Tzu that influenced him. It was this same sentence about emptiness [Portzamparc's paraphrase: "My house is not the wall, it is not the ground, it is not the roof; it is the emptiness between these things because that is where I am dwelling."]. This got my interest, and all the more so that Wright added in his lecture: "When I read this sentence, I held the book to my heart and told myself: that's my secret; I must not reveal it to anyone. The whole of my life, in my architecture, I have felt the void." And a bit of a ham, he adds: "Today, I am giving you my secret."
69
C.d.P. You wrote about the "visible world": "what each person is prompted to represent to himself or herself under the sway of verbal sexual stimulation is absolutely private. It is never the same for two persons." This is a sentence from an interview you gave about eroticism. I transcribe this by generalizing the erotic pulse to our lives, since this makes me think of films. Al the cinematographic renderings of a novel evidence what you are saying here about sexuality. When reading a narrative, a story, we always visualize it, even in spite of ourselves. We spatialize situations. And we always notice when viewing a film based on a novel that we had a completely different picture of the places and the atmosphere. This "absolutely private" is never the same for two individuals. It comes out of our experience of desire, of space. We imagine a context effortlessly, and we only become aware of it when confronted by someone else's vision. Writing has the extraordinary power to bring up in us a continent of memory, of experience, of sensations. It is absolutely superior to film. As soon as there is a situation, we can't help but visualize, spatialize, the narrative. Fiction is natural to us. This fact is at once banal and extraordinary. When we work in architecture it is on this continent that we are led to dwell, this space and this visible that were brought up by language, by desire, by the order for the project.
83
C.d.P. Planet, screen, image --thousands of images. I am thinking of a text you wrote titled "The Erotic Delay," which ends with the following sentence: "Any image, even the most violent one, is still always a pious image." We can't argue with an image. We can't reason with it.
87
In art, in writing, the opposite of intervening would be what? It would be to always say: I am the first; I am wiping the slate clean; nothing existed before. I am producing an object of the beginning. This is a common attitude today. Many claim to have no roots, no master, no past. The past is crowding; the past frightens. In contrast, when you are talking about a writer or a painter or a mystic who lived three centuries or thirty years ago, it is as actual as when you write a novel or Paradis. You seem to respond and speak within an extremely vast field encompassing several centuries. You are not split into two sides, one the essayist and the other the novelist. Writing, building, involves reenchanting, seeing again, rereading things that are already ancient, as well as inventing things that do not yet exist. It is the same thing today in music. We are playing with time. In the space of the city, what was done two centuries ago speaks to us today. That is, if it is alive, if it hasn't been "museumified," embalmed, visited only by purchasing tickets like some neighborhoods in Europe. We have to fight for things to remain alive, modifiable. Otherwise history is put on the shelf, forgotten, left to specialists. It is no longer any kind of shared breathing space.
110
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[13 Dec 2009|03:01am] |
а это то совместное творчество , о котором постоянно говорят большевики хрюкотактели мои , велик димкин , держал трафарет - криворучко .  мы можэм . мы все можэм ! мы жэ гуляем ! |
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[13 Dec 2009|02:59am] |
репин . картина маслом .  |
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| Wow |
[12 Dec 2009|06:12am] |
http://www.ctv.ca/servlet/ArticleNews/story/CTVNews/20091203/Luring_Charges_091203/20091203?hub=Canada
That's pretty interesting!
So umm... I guess I will never play any games online EVER AGAIN just in case someone under 18 is playing it and some sort of interaction might be considered 'grooming' or something.
To be on the safe side, I better PK as many people as possible, since allying and forming parties and rescuing and sharing potions (like in Diablo) would naturally be a much more predatory behaviour than going around and spamming frozen orb outside the Rogue Camp.
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