Malevich, 1915
Don’t overlook the one hung in the corner. There’s a thought behind that.
Angel Olsen - “Some Things Cosmic”
Strange Cacti (2010)
This whole album is really powerful.
Werner Herzog - The Dark Glow of the Mountains
What other filmmaker is so consistently great at what he does??
govus:
best thing i’ve watched in a while
What is the sexual function of nakedness in reality? Clothes encumber contact and movement. But it would seem that nakedness has a positive visual value in its own right: we want to see the other naked: the other delivers to us the sight of themselves and we seize upon it – sometimes quite regardless of whether it is for the first time or the hundredth. What does this sight of the other mean to us, how does it, at that instant of total disclosure, affect our desire?
Their nakedness acts as a confirmation and provokes a very strong sense of relief. She is a woman like any other: or he is a man like any other: we are overwhelmed by the marvelous simplicity of the familiar sexual mechanism.
We did not, of course, consciously expect this to be otherwise: unconscious homosexual desires (or unconscious heterosexual desires if the couple concerned are homosexual) may have led each to half expect something different. But the ‘relief’ can be explained without recourse to the unconscious.
We did not expect them to be otherwise, but the urgency and complexity of our feelings bred a sense of uniqueness which the sight of the other, as she is or as he is, now dispels. They are more like the rest of their sex than they are different. In this revelation lies the warm and friendly – as opposed to cold and impersonal – anonymity of nakedness.
One could express this differently: at the moment of nakedness first perceived, an element of banality enters: an element that exists only because we need it.
Up to that instant the other was more or less mysterious. Etiquettes of modesty are not merely puritan or sentimental: it is reasonable to recognize a loss of mystery. And the explanation of this loss of mystery may be largely visual. The focus of perception shifts from eyes, mouth, shoulders, hands – all of which are capable of such subtleties of expression that the personality expressed by them is manifold – it shifts from these to the sexual parts, whose formation suggests an utterly compelling but single process. The other is reduced or elevated – whichever you prefer – to their primary sexual category: male or female. Our relief is the relief of finding an unquestionable reality to whose direct demands our earlier highly complex awareness must now yield.
We need the banality which we find in the first instant to disclosure because it grounds us in reality. But it does more than that. This reality, by promising the familiar, proverbial mechanism of sex, offers, at the same time, the possibility of shared subjectivity of sex.
The loss of mystery occurs simultaneously with the offering of the means for creating a shared mystery. The sequence is: subjective – objective – subjective to the power of two.
We can now understand the difficulty of creating a static image of sexual nakedness. In lived sexual experience nakedness is a process rather than a state. If one moment of that process is isolated, its image will seem banal and its banality, instead of serving as a bridge between two intense imaginative states, will be chilling. This is one reason why expressive photographs of the naked are even rarer than paintings. The easy solution for the photographer is to turn the figure into a nude which, by generalizing both sight and viewer and making sexuality unspecific, turns desire into fantasy.
John Berger, Ways of Seeing.
Little Wings - “Black Grass”
Black Grass (2011)
I’m a big fan of Kyle Field. He gives a great dramatic performance in Wise Old Little Boy.
And, do I sense a subtle melodic homage to Jewel’s “Intuition” here? (Just kidding.)
From Andrei Tarkovsky’s working diary for Mirror
I took my dad and his wife to watch Mirror at the Pacific Film Archive in Berkeley back in 2003 or so. It was an attempt to “be open with him” and “show him the kinds of things I was really into.” When it was over he giggled a bit and said “Ok………….what was that?!?” Which is the best possible question — if you really mean it — to ask about any film.
And there’s really no good way to answer that question. But what a beautiful film!!
I’ve posted some of his stuff here before, and here’s another.
I love his music, but I’m even more inspired by his photographs.
(Source: andrewharlow)
