Wednesday, September 29, 2010
Friday, September 24, 2010
Saturday, September 18, 2010
Thursday, September 16, 2010
Wednesday, September 15, 2010
The Rohmer lean is exclusively the domain of men, and is usually deployed while talking to women, who lean back, but never to the side. It is because these women always lean back (as if to present themselves, and thus dominate a scene) that the Rohmer men have evolved this sideways lean, which allows them to stand at a right angle to the women and not be leaned back at (and therefore beaten in the lean-off of the sexes). What many Rohmer women seek is a man who will face them head-on, and what many of Rohmer's men are looking for is a girl to lean sideways at a right angle to; to be in close company and yet able to casually gaze as if from a distance."
Do you believe in the paranormal?
But what if it happened?
If you’ve got, so to speak, the devil inside the elevator, press the call button. Call Otis. You’re trying to make this fun, I can understand that. But I’ve never heard of anything like this.
Okay, what if one of your fellow passengers bites you?
Smack the person across the face.
What if you don’t know who it was because it happened when the lights were out?
That’s probably the toughest question I’ve been asked. What to do if someone bites you inside an elevator. But to be serious, that button actually connects you directly ... [You] press the button, you’re connected to security instantly. Within an instant. They can get the doors open and release the passengers within an instant. Today’s technology is so modern that the risks within an elevator are really minimal. It can’t happen, that’s the point I’m trying to make."
Half neo-Godardian half plain-spoken genuine dude, no posing. The man's been in two punk bands. His dad fought in World War Two. His life was saved by rock and roll. He still writes but it seems to be more along the lines of pop culture criticism as in this editorial essay I found online:
"Some people have been complaining about pop songs being used as commercials since the 70s. I always loved The Beach Boys’ “Fun Fun Fun,” especially for the brilliant falsetto harmony ending and Sly And The Family Stone’s “Hot Fun In the Summertime.” And the intro of Iggy Pop’s “Lust For Life” (featuring the drumming of Soupy Sales son) has become the new “Thus Spake Zarathustra” (or the 2001, Elvis intro theme) of TV ads. Key parts of all three are now being used for cruise ship TV spots. Music from an LSD casualty, a coke casualty, and a long time heroin addict to attract mostly retired couples to take overpriced vacations on ocean polluting ships that a record number of people have been puking their guts out on. Brilliant! (Psychotronic #38)"
---when Herzog rescued Phoenix
Sunday, September 12, 2010
(with apologies to "Have Yourself a Merry Little Christmas")
And if they seem to have wandered
over from The Matrix,
They have, or somewhere near.
Wednesday, September 8, 2010
THE BELIEVER: You’ve said that “garbage is very scary to us culturally, and it is also… one of the single most fascinating things you could ever study.” And, at least back when you started, garbage was a “cognitive problem” that you didn’t fully understand. Why do you think most people, at least overtly, don’t react to garbage with such a complicated fascination?
ROBIN NAGLE: It’s a complicated answer because it points in so many directions at one time. Garbage is generally overlooked because we create so much of it so casually and so constantly that it’s a little bit like paying attention to, I don’t know, to your spit, or something else you just don’t think about. You—we—get to take it for granted that, yeah, we’re going to create it, and, yeah, somebody’s going to take care of it, take it away. It’s also very intimate. There’s very little we do in twenty-four hours except sleeping, and not always even sleeping, when we don’t create some form of trash. Even just now, waiting for you, I pulled out a Kleenex and I blew my nose and I threw it out, in not even fifteen seconds. There’s a little intimate gesture that I don’t think about, you don’t think about, and yet there’s a remnant, there’s a piece of debris, there’s a trace.
There’s a scholar at Stanford, his name is Bill Rathje. He wrote a book called Rubbish!and he’s an archaeologist of contemporary household waste. He trained classically at Harvard as a traditional archaeologist and did work among the ancient Mayan ruins. He says garbage is a highly visible problem that we choose to make invisible.
BLVR: You, and William Rathje also, see it as also a cognitive problem.
RN: Well, it’s cognitive in that exact way: that it is quite highly visible, and constant, and invisibilized. So from the perspective of an anthropologist, or a psychologist, or someone trying to understand humanness: What is that thing? What is that mental process where we invisibilize something that’s present all the time?
The other cognitive problem is: Why have we developed, or, rather, why have we found ourselves implicated in a system that not only generates so much trash, but relies upon the accelerating production of waste for its own perpetuation? Why is that OK?
And a third cognitive problem is: Every single thing you see is future trash. Everything. So we are surrounded by ephemera, but we can’t acknowledge that, because it’s kind of scary, because I think ultimately it points to our own temporariness, to thoughts that we’re all going to die."
---remembering Rosemary's Baby
---Rosen's advice for future journalists
---Jonathan Franzen and the fragmentation of postmodern life:“You could also make the case that we are way past the heyday of the novel. There is no question that as peoples’ lives get broken up into ever tinier, useless, electronic bits, the whole notion of sitting down to lose oneself in an imaginary world becomes more and more untenable."