Nanarrattivve

An aesthetic of my aesthetics

mutual desire to create narratives.
how do they go about creating their own story?

what works in the narratives they create reflects the short-stop and dead-endenness of their own entanglement.

what is not in real-life but is in narratives: loops. tied knots.

body enhancement

Eureka! (How I Solved The Folding)

Ok. Our main character lives in L.A. and is a regular extra in movies. He is working on this huge Spartacus-like scene but in Grecian times. He tries to get in front of the camera (could quote Charlie Chaplin’s “Kid Auto Races at Venice”) but he can’t be sure, all his scenes are within the crowd with the camera on a crane hovering over . He lives a pretty dull existence, lonely and wifeless. A year later, he goes to see the movie in hopes of seeing himself in a shot. He enters the movie theater. It is packed. (Here we have a Kurosawan shot of the entire audience looking at the screen, it is now hard to spot our main character). The movie is a dud, people start booing, they throw things at the screen, then they start to leave. In the brouhaha, our main character tries to dock projectiles, see his way through all the hands and heads standing up so he can watch the screen (this is still happening in that Kurowasean shot). Everyone starts leaving one by one. The scenes on screen show the crowd shots where our main character is trying to find himself. The last person is on their way out, only our main character remains. The movie is at a cliffhanger scene when suddenly we cut back to our main character sitting alone in the Kurosawan shot….offspace sound of the film-within….movie continues…our man keeps looking….for a long time….5 minute static shot (five minutes so that people get bored and leave just like in the story)…till credits appear over the shot….

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I hope it’s not too muddled, but basically…the idea is that the solution to this guy’s problem is a formal solution that takes place not within the story, but within the form of the film. That final static shot amongst a crowd…is his prized trophy. In other words, the outside-film, answers to the film-within, and the film-within-the-film-within (the Grecian tragedy) serves as a stand-in for the outside-film. That’s 4 levels if you include the audience watching the outside-film.

Heh. A film about someone who wants to see himself in a film.

Dylan, Narrative Experimentation, and The Cinema

Dylan spoke to him about R.W. Fassbinder’s Beware of the Holy Whore, “a film about the collective idea, and about its impossibility.”

As for Godard, Dylan recalled that, although he had never seen a movie like Breathless, once he did, it seemed totally familiar; he remembered thinking, “Yeah man, why didn’t I do that, I could have done that.”

Sam Shepard was enjoined to study the epic backstage love story Children of Paradise (the one previous movie that Dylan thought to have successfully “stopped time”) and Truffaut’s New Wave noir, Shoot the Piano Player. (“Is that the kind of movie you want to make?” Shepard asked, receiving the laconic reply: “Something like that.”

Scorsese has always been interested in intelligent self-reference in film, but never had the smarts to delve deep into it. So he produced Dylan’s ‘No Direction Home’ as the only project that he would be capable of competently tackling that would be circumstancially self-referential. A movie about a man who wanted to make movies about movies. His experiment fails, and we get another Italian neo-realist portrait of a man and his life (‘Casino’, ‘Raging Bull’).

I’m Not There is a unique collaboration. It’s an essay that derives its intellectual force from the idea of Bob Dylan, and its emotional depth from his songs. Haynes doesn’t deny his subject’s insistence that his authentic self could never be explained or portrayed—and might not even exist. “I don’t know who I am most of the time,” little Woody confesses in the midst of his compulsive mythmaking. We don’t either, although, then again, we really do.

Moments before I’m Not There ends, Haynes presents a shock close-up of the young Dylan taking a harmonica solo and then, over the credits, the sound of the inexhaustible performance that is “Like a Rolling Stone.” There’s a chill every time the actual voice is heard. Six characters and one ghost who, except for that brief moment, is not even there. This is the Dylan movie that Dylan himself could never make.

Bob Dylan Brownsville Girl

Even the most unappealing Dylan album has something to recommend it. Knocked Out Loaded, marred by weird 1986 production, and mostly uninteresting songs, has Brownsville Girl, Dylan’s collaboration with playwright/actor/former Holy Modal Rounder Sam Shepard. Clocking in at close to eleven minutes, it’s a winding, half-sung, half-spoken song about, um, something probably. Dylan mentions a girl, a trial, a bunch of places in Texas. Mainly, the song seems to be about this movie Dylan seen one time, ’bout a man riding ‘cross the desert and it starred Gregory Peck. As Dylan ruminates his way across the song (”The only thing we knew for sure about Henry Porter is that his name wasn’t Henry Porter”, he sings at one point, and at another, “Oh if there’s an original thought out there, I could use it right now”) he returns to his Gregory Peck movie again and again. He thinks he sat through it twice.

Something about that movie though, well I just can’t get it out of my head
But I can’t remember why I was in it or what part I was supposed to play.
All I remember about it was Gregory Peck and the way people moved
And a lot of them seemed to be lookin’ my way.

Samuel Fuller

Pickup On South Street



-We made a deal, no more deliveries after we broke up
-That’s right. And you promised me to do this last one for me.

The Film

You can buy a lot of dresses with 400 dollars

Everybody likes everybody when they’re kissing

Copywrite – Get Busy (Off Marco Polo compilation)

ladies n gentlemen, you aint gotta stay in your element
my staff chuckles while brass knuckles scraping your melanin
you claimin it was an accident, an uneven settlement
you sayin you wasn’t having it, I gave it and you yellin’ ‘Quit!’
Cuz on the lo tho’, I stuff cigars, with stuff from jars, above the stars
To enter drums this hard, I shoot my load 10 feet, and they askin if I ever thought I’d come this far!
Look, I knew I’d do it, the question is: who was stupid to mess with this
he would lose in a second, his music’s looped in a weapon,
it’s doing Screw, and the message is: Don’t Push Me!
You so puss, either you’re oozing with estrogen
strait jacket’s heightened by my psycho ward
and he straight up forgot to lace up my Michael Jordans
I don’t write no chorus, my alter-ego writes those for us
Fuck a tree dawg, I light whole forests
I got the flows to toast most approaches
and got the toast, so foes don’t approach us
Jakki brought the shotty in the case, check it
Nigga will make’em drop Shells, quicker than J Records
and the crown’s mine, I’ll outrhyme your hood
I’m outside with about nine guys that’s good
While you peasants crowd by my foot
I’m rhyming up dumb without saying you’re trying to get outshined like Suge
Look, you pussies either all 8 or 1
tryin’ to gel me but still can’t to hate on son
They’ll get their money jacked and see me in the span of a few years
do shit that they see me on Jack, Petrone and a few beers
Listener of Big L, Big Pun, and Biggie
with an attitude like Jigga, so if you come and get me
bring 8 people, a spiked bat, and a gun to clear me
and if I got you for money, wait until im drunk to hit me, you pussy
Matta fact, you aint even a pussy
you would leave when … cleanin her pussy
C-O-P, your freestyle will see no fee,
I am the C-O, bringing it to you C.O.D.
Cash On Delivery, And No One Can Do It Better
Shit, I’m the D.O.C. with O.C.D.
Spit heat like a creole feast, is what I d on beats
Big to the point I don’t see my own feet

Dame-Pipi

This is for a short screenplay I am working on. Images come from one of Alain Cavalier’s 12 portraits:

1. She often finds wallets that people forget in the bathrooms. She tries to return them by checking if there is an address or a phone number.
2. She has no salary. She lives off her tips.
3. She can guess the change people give her just by hearing it cling inside the jar.
4. Items she sells: matches, cigarettes, friction alcohol, band-aids, aspirin, paper tissues, combs, sanitary towels, clothespins, needles, thread, buttons, gum.

Tania Ruiz

http://www.arpla.univ-paris8.fr/~canal20/adnm/wp-flv/cubosor.flv

download and play in VLC Media Player.

Dans cet exemple, les pixels de l’image vidéo initiale sont transformés en voxels (éléments volumiques), selon une technique mise au point pour l’imagerie du cerveau.
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Objet représentatif de temps-espace…l’objet lui-même occupe un espace virtuel. The fallacy here is that it remains a 2-D representation. But good effort on the nesting of spatial realities (space within space within space). Also of interest, how the space itself (the pixels that represent it) is the matter with which the image becomes a 3-D object (a box, yeah I know, boring). Still, it speaks of our notions of perspective and the consistency of matter (how thick is that brick wall?).

This life is pixelated, and we have been sedated
If what we see, is what we get, then we might never make it
In this computer vision, binary composition
Video image

Now On ft. Aloe Blacc – Touch

Dear Zachary

It sounds like a bad TV movie at first. A kind warmhearted doctor is murdered by his ex-girlfriend. She is pregnant with his son.

Then it becomes a really good script.

This doctor was also a movie actor, amateur movies, made by his filmmaker friend. His friend decides to make a movie about him in his memory. He frames the movie as a letter intended for his friend’s son, Zachary, so that he could get a sense of who his father was.

Suddenly, this kid’s father is cinema.

Now, the fascinating thing is that it’s sort of all true. The murder, the son, the filmmaker. What’s false is the artificial construct, the representation of a life, or even of the natural events that unfolded.

But look at how deep the viewer’s engagement is. Look at how self-conscious all of the shots are. I have yet to see the film but it seems like some of the best merging of documentary and self-reflexive storytelling.

trailer here

Deleuze Quotes

1. For there is a vast difference between destroying in order to conserve and perpetuate the established order of representations, models, and copies, and destroying the models and copies in order to institute the chaos which creates, making the simulacra function and raising a phantasm – the most innocent of all destructions, the destruction of Platonism. Off “Logic of Sense”

Forever War

http://tech.mit.edu/V128/N48/foreverwar.html

In Haldeman’s novel, the protagonist, a physicist, is drafted into a long-fought war against an alien race, where distant battlegrounds are reached by faster-than-light travel. The Earth ages thousands of years in his absence due to relativistic effects. Every time he comes back from combat, the protagonist finds an entirely new human civilization.