ItBegs4Damage, 23
It absolutely begs for a night or nights of severe damage with no limits for any and all that want to ruthlessly abuse it with no mercy. Put out as many cigarettes as you want on its nipples and breasts and then slice off its severely burned nipples. Or drive as many nails as possible into its nipples and force it to tear them away. Carve your name into its ass with a knife or razor. Beat its face bloody, black and blue. See how many needles or nails you can drive through the head of its dick. Cover the entire shaft of its dick and its balls with cigar/cigarette burns so there is nothing left but burned flesh. Put your cigar/cigarettes out directly on its asshole over and over again. Force your fist and other large objects inside it. And finally send it home with a belly full of your shit and piss. Enjoy a night where nothing is off limits. it will give its phone number immediately upon request. Everyone who wants it will get an opportunity.
We all have a fetish. This is mine, don’t judge.
Comments
forsythe – Jan 16, 2017 You are so beautifull … to meeeeee —-
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BBchemWHORE, 24
I have an unrelenting belief that things will work out, that the long road has a purpose, that the things that you desire may not happen today, but they will happen. Love me.
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4_young_and_old, 22
Hey there!
Young poet seeks inspiration.
For a limited time I’d like to meet up with anyone for whatever reason and do whatever you like. No questions or No’s involved. ^^
But I expect a least a hug.
Comments
Iliketohurtpeople – Feb 27, 2017 I like hurting people, punish them for what they’ve dont wrong in their lifes. Text me if you fint me interesting.
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ScaredandHorny, 19
I want to be brainwash and hypontized into a permanent mindless sissy slut.
I like who I am now ok but Ive been me for 19 years and Im tired and exhausted of me.
Some people look at birds flying and wish they were one but I look at porn and wish I am a desperate slut.
Dress me up, shave me, give me meds, take my manhood away, use my ass like a drawer.
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nameiscraig, 21
When other guys flirt with you in front of him he seems totally unfazed, not in a chill, do-whatever-you-want-because-I’m-a-feminist way, but in the honestly-could-not-care-less-about-you way.
Comments
spies_me_up1993 – March 13, 2017 baby, i know its been a long time since i told you but your the only boy i can still feel butterflies when i hit you i can still feel my heart beating in your pain and i can finally feel myself living
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WISHCOMETRUE, 18
HELLO IM MARC I WAS BROKEN FAMILY IM LIVING WITH MY GRANDMA 18 YRS OLD
IM CURIOUS ABOUT TO BEING BRAINWASH OR HYPNOTIZE THEN SKINNED ALIVE
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idiotictwat, 18
*fresh young kinda emo faggot seeking no mercy final destruction
*want to skip the crap and to go straight to the last level
*dont have many pics because since I just turned 18 literally today most of my pics are me as a minor.
*u have to sag in order to destroy tho, it is a requirement
*sag = wear pants shorts or jeans below bum
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Undeserving, 20
ICH bin Ich..
Jaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa
Happy2Help, 19
who wants to own my hot young ass for a week, a month or more ? heck im ready to be your boy toy sexslave indefinitely.
into a lot of things, too many i’d probably bore you with a just a list plastered here.
my main thing I like is anal, especially deep and large things in there/in others (fisting etc included) bondage, pain related stuff, degradation. a lot more nuance to things listed.
but if you try and cover my mouth and /or nose, i will punch the living shit out of you.
the only preset thing is i must render service while listening to music on speakers in the room not headphones (important) from a playlist i bring with me.
Comments
Happy2Help – March 23, 2017 Slayer, Megadeth, Iron Maiden, Amon Amarth, Eluveitie, Burzum, Death, Bullet for my Valentine, Avenged Sevenfold, Atreyu, Protest the Hero, Bathroy, Black Sabbath, Pantera, Trivium, Mayhem, In Flames, Machine Head, Arch Enemy, Dead by April, Linkin Park, ADAC 8286, AD:key, Youth Code, Front 242, Nitzer EBB, Orange Sector, Lebanon Hanover, Depeche Mode, The Cure, Feindflug, Joy Division, Frontal, Skinny Puppy, Death in June, Boyd Rice, Ghost, Mercyful Fate, King Diamond, Rob Zombie, Cannibal Corpse, Iced Earth, Gorillaz, White Zombie, Voltaire, Iron Maiden, Mayhem, Gwar, Harakiri for the sky, Suicide Commando, Mgla, Watain, Shining, Rammstein, Wolves in the throne room, Wumpscut, Type O Negative, Breakdown of Sanity, Gorgoroth, Get Scared, My Enemies and I, PG.99, AFI, Twenty One Pilots, Fall Out Boy, My Chemical Romance, Panic! At The Disco, Pierce The Veil, Sleeping With Sirens, Bring Me The Horizon, Suicide Silence, Carnifex, Whitechapel, …
Hard_Dom – March 22, 2017 obvious question: what’s on your playlist?
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IDon’tFeelWell, 18
I’m a boy lost my daddy and looking for my daddy. his name is Thomas Viceroy. if anyone has seen him please let him know I’m here ..
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JewelintheCrown, 21
21 years old, the most coveted, asked after, and mouth watering slave in Master Klaus’s stable is now available for sharing and short term private action. He’s an outgoing and playful kid who kisses like a carousel and can take whatever you want to dole out as long as he’s returned in near mint condition.
A true 7-incher (NOT A HYPE) whose spunk has quite a good taste (I’ve eaten it many, many times, ah ah) and head to toe features that are unresistable. He also have a really smooth tiny vanilla ass with a pink asshole (not the case of everyone). And when your having sex with him or abusing him you will be 100% sure he’s totally into it, ah ah.
2 years of servitude, amazing experiential references from Master Klaus, and personal evaluations from his slave “friends” (available on request) are the result why he wears proudly the nickname Hole In One. For daily updates about his lifestyle, take a look at his twitter @holein1.
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SluttySyd, 23
My bf wants an experienced top to open up my ass with a fist while he watches, shocked.
Time contact: hour to a couple of them
Principal offer: Passive fist
Languages: U.S. of A English, Filipino, German
Not open: emotional attachment
Other options: rape if asked
Answers: Not all messages answered can be for paradygm purposes
I await my bf’s orders and obey his every command.
If you like to talk to me, please address him. I am constantly monitored here.
Comments
ProFister – March 3, 2017 To boyfriend of SluttySyd, Im very new and made this membership first time and will do this for the eco-crisis in here. I always wondered fisting and tried recently, liked it a lot. One of my friend who enjoyed my fisting style a lot told me that I can do this thru here and your boyfriend’s pix make me crazy horny. I like nasty talk unlimited for fantasy only. Never related to reality. I like to feel to tell whatever I want in sex freely, “going to kill your boyfriend”, “slaughter your boyfriend”, etc. I know english. First of all, important for me to not know the person I ll have sex so no talk, chat, be close with SluttySyd before having sex. With you ok.
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ASSfromtheAPPLEstore, 19
am here for usual purpose.
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boymeat18, 18
Production: February 1999
Expiry date: decide by my Lord
Kidnapped from the Czech Republic September 2016 and now have very experience and thinking as a boy meat and I stand for any pain before eaten and GET READY.
Search for completely possess boy 24/7 to expiry and eaten as a meat by my cannibal Lord.
Life is soooo shot so I better make it know before it’s too late.
Comments
Anonymous – March 20, 2017 At precisely 15H30 local time today send me your phone number. Wait 25 seconds then permanently delete your profile. I will do the same.
Hit puberty, realized I was gay.
Did homemade porn (6 months), realized I was a slutty bottom.
Did good porn (Staxus, Higgins, etc, 1 1/2 years), realized I hate regular jobs.
Escorted (2 years), realized I’m into pushy older guys.
Kept boy (6 months), realized I prefer monogamy but am easily bored.
Brutally fag bashed (4 months ago), never came so hard in my life.
Comments
johnnyhalloween – March 14, 2017 Hello! I have admired your porn work for years.
My partner and I run a small company that produces very extreme porn videos for a select clientele. We are looking for actors like you who are known performers and experienced in the business and are ready to go an extra mile. We have already made dozens of porns using young men of various levels of fame in the gay porn business including three who have been filmed having sex with you. Regarding the remuneration, we propose to pay you between 8000 and 15 000 euros to bottom for a very rough sex session, the filming to last three days (length negotiable according to the results). However, should you be ready to make greater sacrifices to your body and health on a longer term ongoing basis for a series of videos, you could earn between 25 000 and 50 000 euros/month. It will detract from your physical appearance and your capacity to attract sexual suitors in the future, but you will have the security of belonging to us.
We would love to work with you if you are ready.
OnTheTop777 – March 8, 2017 If you want to be interesting, be interested.
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itsuptoyounow, 20
About Me:
Lay-back lazy boy who hasn’t a care in the world. Known to be a tad mouthy. Avoids work whenever possible.
Sparse body-hair, cropped hair. clean shaven.
Dress Code: I slop around in shorts or trackies
Languages – English & Australian
Looking For:
Must enjoys melting out heavy, heavy CP, with zero regard for the suffering of me. Satanic a plus.
Marks are not an issue, permanent markings and blood, bring it on.
Well Bruised, Shredded, Excoriated Target area Expected.
A good face Punching after the destruction is also sought.
Target Areas:
Buttocks | Thigh Tops | Hands | Face
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youngblond, 19
I am a total virgin. How has a boy as cute as me (I have the looks, trust me) stayed a virgin for 19 years, I hear you asking? Because I’m a stressed out, anxiety ridden mess.
I’M NOT BAD, I’m good, specially at sex (that’s a guess). You’ll have to say what would I do. I don’t know what I’m doing. I just need to be fucked (raped) for my psychological problem. Seriously.
If you want you can cum but I DON’T WANT TO CUM.
Please be between 18 and 27 (inclusive)
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GERMANBLOND, 24
WE ARE HERE TO HAVE STRANGE SEX LIKE ADULTS, SO IF YOU DO NOT LUST FOR ME WHEN YOU SEE ME LIVE, YOU HAVE THE RIGHT TO REFUSE IF I AM GROSS BUT I AM NOT.
I WILL NOT SEND YOU PICTURES OF MY ASSHOLE. I WILL BLOCK EVERYBODY WHO ASK ME TO SEND THEM PICTURES OF MY ASSHOLE. MINE IS NOT PHOTOGENIC.
I AM NOT NERD AND I KNOW MY RIGHTS, SO IF YOU BOTHER ME CONSISTENTLY FOR ASSHOLE PICTURES, I WILL GO DIRECT TO THE POLICE STATION TO ENFORCE MY RIGHTS.
THANKS A LOT.
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Raymond, 20
hello
sex?
come for me !!!
no problem with my ass !!!
it’s better now
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unlimited_overture, 21
am a cake you can always eat and still have it …
slave will want to try more things as gay life in Azerbaijan is prohibited… slave have been mummified, hanged….. slave now is on the internet to seek a Master in a country where gay life is free …
it like to be raped…..
it like to drink it…..
it humble goodboy trusthy and cooking a food……
Last Master wanted to castrate slave but … he was scared i saw that in his eyes … slave want to be a vegetable because its only to please it Master ….
Comments
unlimited_overture – Feb 23, 2017 im not a pencil to write someones happiness.
azerbaijanbro2 – Feb 16, 2017 He’s a dangerous … steal, threaten, blackmail and usually not alone … what’s up everyone thinks but guaranteed to be avoided or gave away police … he is still minor, 15 years at most, but soon it’s all good f jail … do not touch Him, He is very Dangerous (he looks very well, but you “ll regret …)
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VIKTOR, 22
Hello, I am an university student from easter Europe here in London. I am well-educated, well-behaved but in bed I am the nastiest thing you ever seen in your life. I love a man to crunch my body parts hard and long until the mattress and sheets are so disgusting with my juices they must be thrown away and the room is so stifling with my foul stench it has to be fumigated after.
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hotbuttsmalldick, 20
My ultimate terror is to be treated like a female for having such small dick and hot ass.
Ultimate Mind Fuck Scenario:
You and me are going out for lunch after our very first-time you fuck and use me. While eating our lunch, you saw a girl seems to show interests in me. But deep down, you know I have a small penis – one that will never ever satisfy any woman. You know, whoever is to get the girl, it’s you and you make sure I know that fact. I look like a beautiful guy on the street – in stylish hair, designer shirt and crisp blue jeans. But you knew exactly how I look underneath those clothes, in doggystyle, a face and hole once covered with your dominant seeds. While we are eating, you also realized that your cum that was swallowed by me is still in my stomach digesting and in my ass dissolving into my DNA… All of these happen while the girl continues to show interest at me. You know exactly who is the real man here.
Comments
Markus55 – Feb 9, 2017 Yes, he insisted that we pause mid-date to have a meal together. He is very effeminate and dresses quite eccentrically, and many of the other diners did stare at him.
hotbuttsmalldick – Feb 9, 2017 Thank you, Markus, I’m blushing!!!!! but you didn’t talk about our lunch please? ))))):
Markus55 – Feb 8, 2017 Absolutely First Class, greatest bottom I’ve ever had, and I’ve pounded the shit out of hundreds! Horny to the point of demonic possession, beautiful like the young Catherine Deneuve and so mixed up inside emotionally it’s like having sex with a human gyroscope! And he’s born bottom with the dick and balls of a 5 year old and the most incredible ass I have ever EVER had at my disposal. Best of all he’s well educated, innately narcissistic, and hungry to share his knowledge and pride about his own ass. Before the fuck, during the action, and for hours afterwards, we were like two sportscasters competing to deliver the most thorough, enthusiastic analysis of its abilities.
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100%bottom1000000%barebackfor70+, 19
I’m only interested in people 70 years or over who are able to write at least 3.4 contiguous sentences.
Online, silly sayings, “hello”, “you cute”, and other “young” talk, etc walk immediately into the paper basket.
I can seem very gentle but do not let my gentle voice mislead you, I can not wait to get it choking and screaming.
I do not care what you think about me, I am older than 18 and I do what I want.
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try2findsomething, 24
Hi, I’ve never met a gay guy in my life. I never even seen one. I’ve only seen straight guys playing gay guys as characters on TV shows and in movies. I don’t know what gay guys are like or what they even look like. I wonder if I will be scared if I ever see a gay guy. I want to find out!
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PeenWeinerstein, 21
Long story short, horny fucking bottom boy with a nice tight ass and the biggest fantasy of mine is to get my hole destroyed by a freakishly enormous white cock. Not racist, it just completes the fantasy in my mind because a BWC is hard to find and I’ve been trying for so many years. I’ve found some very large dicks and they have felt fucking amazing but never have I found that telephone pole of my fantasies.
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DallasSnuffpig, 21
I am nauseated at myself for having thought I was more important than any plant that grows meaninglessly on the ground, to have wanted to be even noticed by others. It makes me sick – the arrogance, the waste of others time I spent seeking friends, money, education, betterment, love, stability my whole life.
Who I was until three days ago:
Student at Temple University
Studying Photography
Interested in photography
Favorite bands: Arctic Monkeys, M.I.A., Lorde, Franz Ferdinand
Favorite shows: The Office, ATLAB, The Returned
What I do not deserve but desire more than anything is no control for the rest of my pathetic life. I wish to be captured and kept as a thing for the rest of my life. Stored in closet, planted in ground, () I wish to become an object, non human, thing. I am willing and able to travel any distance ASAP on a one way flight.
I would prefer you have a giant cock but a 7’inch is ok with me.
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SADslave, 22
Hi all my name is Stewart Krantz. I’m 22 with brown hair and blue eyes. I am pathetic and worthless. Recently things have happened in my life that made me realise this is all I’m good for. I won’t amount to anything and I love and accept that.
Comments
inyourLIFE – March 11, 2017 No boy as young and skinny as you is completely worthless, but if that’s what you believe, I’m happy to take advantage of it. Hit me up.
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Tall4ShortDOM, 24
Ok I have my likes and dislikes like evryone. Yes I strongly prefer a short (>5’2″) slim DOMINANT AGRESSIVE man but that’s not ALL I like.
I don’t really have a type. I like slim, average, chubby. I’m much more into face and personality and short (!) then anything else.
I mean yes the idea of a short aggressive uncut top makes my mouth water but it isn’t everything. I do hate sensuality tho. Really really hate it.
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Periwinkle, 18
Other than knowing that I’ve loved filling my asshole with marshmallows and candy since I was a little boy, I’m not exactly sure what I’m looking for here, but I’d like to use this account to branch out and start finding guys who like dealing with a boy who looks incredible but has no idea what he’s doing.
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HumiliatedShavedBoy, 22
22 years old boy looking for older dom masters who are into mental. into clothed man/naked boy action, where a boy is stripped complete naked after having his privates shaved (shaft, ball sack, taint area, butt cheeks and asshole/crack) as a power play (it further exposes the boy’s privates, magnifies the humiliation and breaks his manhood).
perverted acts like holding a cup for a boy to piss in, for example, as he’s standing, hands and legs tied, legs closed pushing his balls out, pissing from his soft shaved penis as an older fully clothed man is standing and observing him invading his privacy is an example of a real power play.
if you are into messing with a naked boy’s head in that way and forcing his shaved prick to go fully erect as you degrade him, hit me up. P.S. I’m a law student, but I hope I don’t act like one. P.P.S. Bottom only.
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eat_your_feet, 20
I want to discover what fisting is
Extremely low self-esteem
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Somestormyguy, 22
This is going to be a bit weird post.
First of all, I am not a slave, or to be more precise; I want to be, but just for ONE day/time. I’m Swedish college student, who never had sex with guy – totally virgin. Now when I’m on vacation in Berlin and having fun in all the ways, I would like to be forced to lose my virginity, to spend few reckless, helpless hours with someone, but also make some profit out of it, ’cause my student budget is suffocating me and there’s so much more to do in Berlin.
My proposal; you help young boy in need with 300-400€, and you rape him extensively. Money is not my only driver. It’s just my entrance fee.
I am college student of architecture.
It’s probably very hard for you to believe all this, as everyone can write anything here, but hey, at the moment you see me, you’ll be aware of who are you dealing with and if I turn you off, I won’t freak out, or not in front of you.
I’ve been as objective as one can be about himself.
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AmoralMexican, 18
I am of the liberal genre, very very passive, masochistic and demented, very weird be warned, cold hearted bitch, psychotic freak, no frills!
Please don’t waste my time with “How are you?” I’m a disaster as you can see!
I want to do this while I’m young because I know when I get older my mind will close and I’ll think of what I want now as something I’ll need to see a psychiatrist about.
Comments
OPENMIND – March 17, 2017 You owned by Satan.
*
p.s. Hey. I’m away in Cherbourg for the day. Here are your monthly slaves. See you tomorrow.
‘Among the most widely seen photographs of Hollis Frampton is one of him as a young man, a self-portrait taken in 1959, if we are to trust the narration he composed to accompany its inclusion in his 1971 film (nostalgia). In the image, Frampton sits against a neutral backdrop, looking to his right, as if intently scrutinizing something just outside the frame. His shoulders press forward, suggesting that his unseen hands are resting crossed in his lap, and he sports a neat dark jacket and tie, their conservatism offset by a beatniky beard and hair that would have been considered longish in the 1950s, combed back into a Victorian wave. “As you see, I was thoroughly pleased with myself at the time, presumably for having survived to such ripeness and wisdom, since it was my twenty-third birthday,” the narrator says in (nostalgia). “I focused the camera, sat on a stool in front of it, and made the exposures by squeezing a rubber bulb with my right foot.”
‘When he took this photo, Frampton was working as an assistant in a commercial photography studio in New York, where he had moved the previous year, and was sharing an apartment with sculptor Carl Andre, who had been his high school classmate at Phillips Academy in Andover, Massachusetts (as had painter Frank Stella, with whom they would share studio space). Due to his dispute over the necessity of a required history course, Frampton had failed to graduate from Andover, thus forfeiting a scholarship to Harvard and instead attending Western Reserve College in Cleveland. While there, he struck up a correspondence with Ezra Pound, who was then a mental patient at St. Elizabeth’s Hospital in Washington, D.C. Frampton—who was writing poetry at the time—left Cleveland to move near Pound, visiting him daily in the hospital, while the older poet continued to compose The Cantos, his sprawling epic, dense with reference and allusion, which would remain unfinished at his demise. Pound’s high modernism would serve as a touchstone for Frampton, as would the parallel modernisms of Marcel Duchamp, Jorge Luis Borges, and James Joyce. Ironically, Frampton, too, would embark upon an ambitious, large-scale project—the proposed thirty-six-hour film cycle Magellan—that would be cut short by his death from cancer in 1984, at age forty-eight.
‘Another oft reproduced image of Frampton is entitled Portrait of Hollis Frampton by Marion Faller, Directed by H. F. It was taken in 1975 by Faller, the photographer with whom Frampton lived during the last thirteen years of his life. The picture shows him staring, eyes wide and pupils contracted, almost into the lens of the camera, his hands raised beside his head, palms outward. In the darkness, a horizontal slit of light draws a line across his eyes and onto the middle of both of his hands. His hair is wilder than at age twenty-three—the light beam illuminates shaggy bits jutting out from his temples—and his beard is fuller, now flecked with white. The setup cannily alludes to the mechanics of both photography and cinema, of light projected and recorded, but in its alien strangeness resembles a promotional still from a science-fiction movie. It almost appears as if the light is not so much being thrown on him as projected outward from his eyes and hands. In the earlier self-portrait, Frampton seems relatively staid, as if looking toward the past, trying to emulate an early twentieth-century poise. But here, at age thirty-nine, he stares as if into a vision, ready to walk forward into the unknown, ecstatic.
‘In the time between these two photographs, Frampton had established himself as one of the foremost members of the American avant-garde, part of a new generation of artists who came to fruition in the late 1960s, dramatically shifting the terms of both experimental film and the intellectual thinking on cinema as a whole. By the end of his career, he had completed close to one hundred films (including the individual one-minute Pans for Magellan) and numerous photographic series; helped establish the pioneering Digital Arts Laboratory at the Center for Media Study at the State University of New York at Buffalo in 1977; published Circles of Confusion: Film, Photography, Video—Texts 1968–1980, his influential collection of theoretical essays and other writings that had originally run in Artforum, October, and elsewhere; and been honored with retrospectives at the Walker Art Center in Minneapolis and the Museum of Modern Art in New York. At a time when many of his filmmaking colleagues still kept their distance from newer electronic media, he not only embraced and wrote about video but also delved into xerography and computer programming.
‘In standard histories of experimental cinema, Frampton’s work is usually considered part of “structural film,” a category invented by P. Adams Sitney in a 1969 essay that would later be revised into a chapter of his landmark 1974 study Visionary Film. Sitney coined the term to describe what he saw as a new tendency in the American avant-garde, typified by the films of Frampton as well as those of Michael Snow, George Landow, Tony Conrad, and others. “Theirs is a cinema of structure,” Sitney wrote, “in which the shape of the whole film is predetermined and simplified, and it is that shape that is the primal impression of the film”—a sharp divergence from the work of an older generation of filmmakers, including Maya Deren, Stan Brakhage, and Kenneth Anger, who, in his view, had progressed over time toward a greater internal complexity of form. He compared structural film to minimalism in the visual arts and serial composition in music, contemporaneous movements that likewise stressed formal reduction and repetition. Frampton, however, rejected Sitney’s periodization, denouncing “that incorrigible tendency to label, to make movements, [which] always has the same effect, and that effect is to render the work invisible.”
‘Nevertheless, Frampton did agree that a new sensibility was afoot. Describing his own development, he recalled that “there was something called the [Film-Makers’] Cinematheque in New York, which became a kind of hangout. I met other people who were trying to make films: Joyce Wieland, Michael Snow, Ken Jacobs, Ernie Gehr after a while, although he was somewhat younger. Later on, Paul Sharits, who was at the time living in Baltimore.” These are all figures whose work Sitney classified under structural filmmaking, but Frampton saw their shared project as a more expansive one. “There existed at least for a time, and that time lasted for some years in New York City, a kind of constant contact between us. One might almost—almost—venture to call it a sense of being united in some way, probably by the conviction that there should be good films. Preferably, films so good they hadn’t been made yet. That the intellectual space open to film had not entirely been preempted.”
‘Regardless of Frampton’s distaste for labels, one can productively think about his films in terms of a simplification of elements in favor of an overall, predetermined shape. This is particularly so in his earliest surviving works, from Information (1966) to Zorns Lemma (1970). In this phase of his filmmaking, Frampton was interested in taking apart cinema by reducing it to its most basic, constitutive parts—sound, image, movement, editing—and then using these elements to construct films whose unfolding takes on the quality of a mathematical formula or puzzle. Later in his career, he would describe his concerns during this formative period as the “rationalization of the history of film art. Resynthesis of the film tradition: ‘making film over as it should have been’” and the “establishment of progressively more complex a priori schemes to generate the various parameters of filmmaking.” His play with the possible relationships between sound and image in works like Maxwell’s Demon (1968), Surface Tension (1968), and Carrots & Peas (1969) would culminate in the abecedarian structure of Zorns Lemma. The films’ titles alone convey his interest in importing concepts from the sciences into art, though never in a straightforward way; he once said, “I’m a spectator of mathematics like others are spectators of soccer or pornography.” His goal was a more epistemological one. “Eventually,” he would later write, “we may come to visualize an intellectual space in which the systems of words and images will both, as [filmmaker, poet, and founder of New York’s Anthology Film Archives] Jonas Mekas once said of semiology, ‘seem like half of something,’ a universe in which image and word, each resolving the contradictions inherent in the other, will constitute the system of consciousness.”
‘To speak of Frampton’s films as merely structural riddles or philosophical proposals, however, fails to take into account their pleasurable and poetic nature. The gamelike qualities of his films prove playful rather than didactic and always retain a residue of enigma. And he is more of a storyteller than the structural label would suggest. His films are told with an erudite wit, an often stark beauty, and deep emotional resonance. This last quality is one that sets him apart from many of his “structural” fellow travelers and is most apparent in his only completed film cycle, Hapax Legomena (1971–72), a seven-part sequence including three of his best-known works, (nostalgia), Poetic Justice (1972), and Critical Mass (1971). Throughout the cycle, Frampton continually reveals intricate relationships between time and memory, word and image. He called the project “an oblique autobiography, seen in stereoscopic focus with the phylogeny of film art as I have tried to recapitulate it during my own fitful development as a filmmaker.” This aspect is most explicit in (nostalgia) but is also evident, in a more buried way, in Critical Mass, which creates hypnotic rhythms from footage of a woman and a man engaged in a heated argument—completed when Frampton was working through the tumultuous end of a six-year marriage.
‘The “phylogeny of film art” that Frampton mentions relates to a further concept underpinning his work as a whole, what he called a “metahistory” of cinema, by which he meant the creation of a specific body of films that would serve as an instructive metaphor for the whole history of film. “The history of cinema consists precisely of every film that has ever been made, for any purpose whatsoever,” he wrote. “The metahistorian of cinema, on the other hand, is occupied with inventing a tradition, that is, a coherent, wieldy set of discrete monuments, meant to inseminate resonant consistency into the growing body of his art. Such works may not exist, and then it is his duty to make them.” His unfinished Magellan project would have been his fullest realization of this concept. Planned around the conceit of Ferdinand Magellan’s global circumnavigation, it was to comprise a liturgical calendar of more than eight hundred films, with Lumière-inspired miniatures on most days and longer works on equinoxes, solstices, and other special dates. Within this solar epic, Frampton envisioned numerous “subsections and epicycles,” completing a macrocosmic engine reminiscent of an astrolabe’s nested gears or a computer program’s subroutines—the latter suggested by Frampton’s dot-matrix-printed schedule from 1978, “CLNDR version 1.2.0,” with each day numbered like a line of code.
‘As Magellan’s algorithmic aspects illustrate, Frampton was concerned not only with cinema’s history but its future as well. In numerous writings, he conjectured that the technology of film had already reached its point of obsolescence, pinpointing this moment at the invention of radar, rather than the more obvious rise of television. The machine age apparatus created by the Lumières and Edison would someday be seen as merely an early phase of an as-yet-unnamed technology of moving-image-making that he would variously term “the camera arts” or “film and its successors” or “photograph-film-video-computer.” And this system was, in turn, an outgrowth of much older forms, like painting and music. He suggested that cinema would endure past its death, albeit transmuted, through this larger trajectory.
‘Or to put it another way, as Frampton did in his notes on Gloria! (1979), a work dedicated to his grandmother: “The last time I saw my grandmother, she said to me: ‘We just barely learn how to live, and then we’re ready to die.’” The film, however, depicts a story based on the ballad “Finnegan’s Wake,” wherein a dead body rises from its casket to dance at its own funeral. Surely, Frampton would have found wry amusement in this collection of his work, which replicates his films via encrypted lines of code and releases them back into the world as digital ghosts.’ — Ed Halter
Michael Snow on Hollis Frampton and Public Speaking
Hollis Frampton Panel
_______ A Lecture by Hollis Frampton
Please turn out the lights.
As long as we’re going to talk about films, we might as well do it in the dark.
We have all been here before. By the time we are eighteen years old, say the statisticians, we have been here five hundred times.
No, not in this very room, but in this generic darkness, the only place left in our culture intended entirely for concentrated exercise of one, or at most two, of our senses.
We are, shall we say, comfortably seated. We may remove our shoes, if that will help us to remove our bodies. Failing that, the management permits us small oral distractions. The oral distractions concession is in the lobby.
So we are suspended in a null space, bringing with us a certain habit of the affections. We have come to do work that we enjoy. We have come to watch this.
The projector is turned on.
So and so many kilowatts of energy, spread over a few square yards of featureless white screen in the shape of a carefully standardized rectangle, three units high by four units wide.
The performance is flawless. The performer is a precision machine. It sits behind us, out of sight usually. Its range of action may be limited, but within that range it is, like an animal, infallible.
It reads, so to speak, from a score that is both the notation and the substance of the piece.
It can and does repeat the performance, endlessly, with utter exactitude.
Our rectangle of white light is eternal. Only we come and go; we say: This is where I came in. The rectangle was here before we came, and it will be here after we have gone.
So it seems that a film is, first, a confined space, at which you and I, we, a great many people, are staring.
It is only a rectangle of white light. But it is all films. We can never see more within our rectangle, only less.
A red filter is placed before the lens at the word “red.”
If we were seeing a film that is red, if it were only a film of the color red, would we not be seeing more?
No.
A red film would subtract green and blue from the white light of our rectangle.
So if we do not like this particular film, we should not say: There is not enough here, I want to see more. We should say: There is too much here, I want to see less.
The red filter is withdrawn.
Our white rectangle is not “nothing at all.” In fact, it is, in the end, all we have. That is one of the limits of the art of film.
So if we want to see what we call more, which is actually less, we must devise ways of subtracting, of removing, one thing and another, more or less, from our white rectangle.
The rectangle is generated by our performer, the projector, so whatever we devise must fit into it.
Then the art of making films consists in devising things to put into our projector.
The simplest thing to devise, although perhaps not the easiest, is nothing at all, which fits conveniently into the machine.
Such is the film we are now watching. It was devised several years ago by the Japanese filmmaker Takehisa Kosugi.
Such films offer certain economic advantages to the filmmaker.
But aside from that, we must agree that this one is, from an aesthetic point of view, incomparably superior to a large proportion of all films that have ever been made.
But we have decided that we want to see less than this.
Very well.
A hand blocks all light from the screen.
We can hold a hand before the lens. This warms the hand while we deliberate on how much less we want to see.
Not so much less, we decide, that we are deprived of our rectangle, a shape as familiar and nourishing to us as that of a spoon.
The hand is withdrawn.
Let us say that we desire to modulate the general information with which the projector bombards our screen. Perhaps this will do.
A pipe cleaner is inserted into the projector’s gate.
That’s better.
It may not absorb our whole attention for long, but we still have our rectangle, and we can always leave where we came in.
The pipe cleaner is withdrawn.
Already we have devised four things to put into our projector.
We have made four films.
It seems that a film is anything that may be put in a projector that will modulate the emerging beam of light.
For the sake of variety in our modulations, for the sake of more precise control of what and how much we remove from our rectangle, however, we most often use a specifically devised material called: film.
Film is a narrow transparent ribbon of any length you please, uniformly perforated with small holes along its edges so that it may be handily transported by sprocket wheels. At one time, it was sensitive to light.
Now, preserving a faithful record of where that light was, and was not, it modulates our light beam, subtracts from it, makes a vacancy, a hole, that looks to us like, say, Lana Turner.
Furthermore, that vacancy is doing something: it seems to be moving.
But if we take our ribbon of film and examine it, we find that it consists of a long row of small pictures, which do not move at all.
We are told that the explanation is simple: all explanations are.
The projector accelerates the small still pictures into movement. The single pictures, or frames, are invisible to our failing sense of sight, and nothing that happens on any one of them will strike our eye.
And this is true, so long as all the frames are essentially similar. But if we punch a hole in only one frame of our film, we will surely see it.
And if we put together many dissimilar frames, we will just as surely see all of them separately. Or at least we can learn to see them.
We learned long ago to see our rectangle, to hold all of it in focus simultaneously. If films consist of consecutive frames, we can learn to see them also.
Sight itself is learned. A newborn baby not only sees poorly—it sees upside down.
At any rate, in some of our frames we found, as we thought, Lana Turner. Of course, she was but a fleeting shadow—but we had hold of something. She was what the film was about.
Perhaps we can agree that the film was about her because she appeared oftener than anything else.
Certainly a film must be about whatever appears most often in it.
Suppose Lana Turner is not always on the screen.
Suppose further that we take an instrument and scratch the ribbon of film along its whole length.
Then the scratch is more often visible than Miss Turner, and the film is about the scratch.
Now suppose that we project all films. What are they about, in their great numbers?
At one time and another, we shall have seen, as we think, very many things.
But only one thing has always been in the projector.
Film.
That is what we have seen.
Then that is what all films are about.
If we find that hard to accept, we should recall what we once believed about mathematics.
We believed it was about the apples or peaches owned by George and Harry.
But having accepted that much, we find it easier to understand what a filmmaker does.
He makes films.
Now, we remember that a film is a ribbon of physical material, wound up in a roll: a row of small unmoving pictures.
He makes the ribbon by joining large and small bits of film together.
It may seem like pitiless and dull work to us, but he enjoys it, this splicing of small bits of anonymous stuff.
Where is the romance of moviemaking? The exotic locations? The stars?
The film artist is an absolute imperialist over his ribbon of pictures. But films are made out of footage, not out of the world at large.
Again: Film, we say, is supposed to be a powerful means of communication. We use it to influence the minds and hearts of men.
But the artist in film goes on building his ribbon of pictures, which is at least something he understands a little about.
The pioneer brain surgeon Harvey Cushing asked his apprentices: Why had they taken up medicine?
To help the sick.
But don’t you enjoy cutting flesh and bone? he asked them. I cannot teach men who don’t enjoy their work.
But if films are made of footage, we must use the camera. What about the romance of the camera?
And the film artist replies: A camera is a machine for making footage. It provides me with a third eye, of sorts, an acutely penetrating extension of my vision.
But it is also operated with my hands, with my body, and keeps them busy, so that I amputate one faculty in heightening another.
Anyway, I needn’t really make my own footage. One of the chief virtues in so doing is that it keeps me out of my own films.
We wonder whether this interferes with his search for self-expression.
If we dared ask, he would probably reply that self-expression interests him very little.
He is more interested in reconstructing the fundamental conditions and limits of his art.
After all, he would say, self-expression was only an issue for a very brief time in history, in the arts or anywhere else. And that time is about over.
Now, finally, we must realize that the man who wrote the text we are hearing read has more than a passing acquaintance and sympathy with the filmmaker we have been questioning.
For the sake of precision and repeatability, he has substituted a tape recorder for his personal presence—a mechanical performer as infallible as the projector behind us.
And to exemplify his conviction that nothing in art is as expendable as the artist, he has arranged to have his text recorded by another filmmaker, Mr. Michael Snow, whose voice we are hearing now.
If filmmakers seldom appear in their own films, there is ancient precedence of appearing in one another’s works. D. W. Griffith appeared in a work of Porter’s. Fritz Lang appeared in a film of Godard’s. And this is not the first time Mr. Snow and the present writer have reciprocated.
Since the speaker is also a filmmaker, he is fully equipped to talk about the only activity the writer is willing to discuss at present.
There is still time for us to watch our rectangle awhile.
Perhaps its sheer presence has as much to tell us as any particular thing we might find inside it.
We can invent ways of our own to change it.
But this is where we came in.
Please turn on the lights.
_________ 21 of Hollis Frampton’s 51 films
_____________ A and B in Ontario (1984) ‘“Hollis and I came back to Toronto on holiday in the summer of ’67. We were staying at a friend’s house. We worked our way through the city and eventually made it to the island. We followed each other around. We enjoyed ourselves. We said we were going to make a film about each other – and we did.” – Joyce Wieland A & B in Ontario was completed eighteen years after the original material was shot. After Frampton’s death, the film was assembled by Wieland into a cinematic dialogue in which the collaborators (in the spirit of the sixties) shoot each other with cameras.’— letterboxd
the entire film
_____________ Magellan Cycle (1977 – 1980) ‘Had it been completed, Hollis Frampton’s 369-day-long megamovie Magellan could have been the ultimate structuralist monument. Planned around the conceit of Ferdinand Magellan’s global circumnavigation, Magellan was to comprise a liturgical calendar of approximately 1,000 films, with Lumière-inspired miniatures of just a few minutes screening on most days, and longer works on equinoxes, solstices, and other special dates. Within this solar epic, Frampton envisioned numerous “subsections and epicycles,” completing a macrocosmic engine reminiscent of an astrolabe’s nested gears or a computer program’s subroutines—the latter suggested by Frampton’s dot-matrix-printed schedule created in 1978, “CLNDR version 1.2.0,” each day numbered like a line of code. Like his project’s namesake, Frampton died before reaching his goal, completing only eight out of the proposed 36 hours of film. But these fragments evoke the whole.’— Village Voice
Excerpt
Excerpt
_____________ Gloria! (1979) ‘In GLORIA! Frampton juxtaposes nineteenth-century concerns with contemporary forms through the interfacing of a work of early cinema with a videographic display of textual material. These two formal components (the film and the texts) in turn relate to a nineteenth-century figure, Frampton’s maternal grandmother, and to a twentieth-century one, her grandson (filmmaker Frampton himself). In attempting to recapture their relationship, GLORIA! becomes a somewhat comic, often touching meditation on death, on memory and on the power of image, music and text to resurrect the past.’— letterboxd
the entire film
_____________ Not the First Time (1976) ‘This film is composed of different and relatively commonplace subjects, but each image is a super-imposition (‘double exposure’) of two similar shots of the same subject, almost in the same position. The effect is amazing: one’s gaze at the image becomes a double gaze, as the two images were made at different times and with slightly different framing. The viewer is engaged in a process of double-vision that returns him to image and subject in a manner more complex, more self-aware, and more temporal than the way most of us view photographs.’— Fred Camper
the entire film
_____________ Autumnal Equinox (1974) ‘Autumnal Equinox (1974) was shot inside a meat-packing plant, and shot using 30 mm film that contained bovine jelly – further pushing the boundaries of experimental film.’— collaged
the entire film
_____________ Pan (0 – 4) (697 – 700) (1974) ‘Frampton planned for a whopping 720 of these one-minute “Panopticons” to be shown throughout the project. Perhaps something like visual palate cleansers.’— Martin Teller
Pan (0 – 1)
Pan 2
Pan 3
___________ Winter Solstice (1974) ‘An experimental short by Hollis Frampton who films a couple and their dog as they walk farther away into the woods.’— IMDb
the entire film
____________ Noctiluca (Magellan’s Toys: #1) (1974) ‘Noctiluca is a three and one-half minute film designed to be shown on the second day of the MAGELLAN cycle. The title (nox/luceo) means something that shines by night, i.e., the moon, and the film indeed consists of a bright sphere, sometimes white, sometimes tinted, sometimes single, sometimes doubled and overlapped. This suggests to me the nocturnal navigation that Magellan had to rely upon in his first-ever trip around the world. (The second day of the cycle seems to be an inventory of the knowledge, machines, and arms that Magellan–and latterday voyagers like Frampton–had at the outset of his journey.) The film also refers of course to Stan Brakhage’s much longer, and monumental, 1973 film TEXT OF LIGHT, which studied the prismatic reflections occasioned by sunlight passing through a glass ashtray. Frampton’s film is, characteristically, more controlled and economical than Brakhage’s, but no less beautiful.’ — Brian Henderson
the entire film
_________ Less (1973) ‘Near the end of 1973, Frampton realized that he had not finished a single film over the course of a year. He promptly conceived and executed LESS, a doubly punning work in which a minimalist Frampton generates a twenty-four frame (one-second) loop of the incremental blacking out of a nude image by photographer Les Krims.’— Bruce Jenkins
the entire film
____________ Hapax Legomena II: Poetic Justice (1972) ‘Frampton’s films expose, dismantle, and reorganize the structure of the medium while opening onto numerous branches of knowledge, including natural history, poetry, and linguistic theory. Poetic Justice, the second film in Framptons seven-part series Hapax Lagomena (1971–72), presents the viewer with an ordinary domestic scene: a stack of papers, a cup of coffee, and a potted cactus on a table. The sheets of paper compose a script that provides handwritten, frame-by-frame instructions for a film that unfolds only in the mind of the viewer; with the revelation of each page, the viewer is called upon to mine his or her own inventory of images. The desire to construct a linear narrative is countered by a series of spatial and temporal incongruities that collapse the distinction between filmic space and the physical realm of the viewer.’— MoMA
the entire film
_____________ Apparatus Sum (1972) ‘A brief lyric film of death, which brings to equilibrium a single reactive image from a roomful of cadavers.’ — HF
the entire film
____________ Tiger Balm (1972) ‘After two years of massive didacticism in black-and-white [Hapax Legomena (1971-72)], I am surprised by Tiger Balm, lyrical, in color, a celebration of generative humors and principles, in homage to the green of England, the light of my dooryard… and consecutive matters.’ — HF
the entire film
_____________ Hapax Legomena I: Nostalgia (1971) ‘”In (nostalgia), Frampton is clearly working with the experience of cinematic temporality. The major structural strategy is a disjunction between sound and image. We see a series of still photographs, most of them taken by Frampton, slowly burning one at a time on a hotplate. On the soundtrack, we hear Frampton’s comments and reminiscences about the photographs. As we watch each photograph burn, we hear the reminiscence pertaining to the following photograph. The sound and image are on two different time schedules. At any moment, we are listening to a commentary about a photograph that we shall be seeing in the future and looking at a photograph that we have just heard about. We are pulled between anticipation and memory. The nature of the commentary reinforces the complexity; it arouses our sense of anticipation by referring to the future; it also reminisces about the past, about the time and conditions under which the photographs were made. The double time sense results in a complex, rich experience.’— Bill Simon
the entire film
_____________ Zorns Lemma (1970) ‘Originally starting as a series of photographs, the non-narrative film Zorns Lemma is structured around a 24-letter Latin alphabet. It remains, along with Michael Snow’s Wavelength and Tony Conrad’s The Flicker, one of the best known examples of structural filmmaking. The opening section of Zorns Lemma is 5 minutes long. In it a woman reads an abecedary of 24 couplets from The Bay State Primer, an eighteenth century book designed to teach children the alphabet. The film is entirely black during this section. A letter A stamped on tin foil, the first of 24 such letters shown at the beginning of the second section. The film’s main section is silent and lasts 45 minutes, broken into 2,700 one-second units. It shows the viewer an evolving 24-part “alphabet”. The section begins by presenting each letter typed on a sheet of tin foil. The alphabet is initially composed of words that appear on street signs, photographed in Manhattan. As the film continues to cycle through the alphabet, individual letters are slowly substituted with images. The first four substitutions—fire (x), waves (z), smoke (q), and reeds (y)–depict the four classical elements. The film’s conclusion lasts 10 minutes. It shows a man, woman and dog walking through snow. During this scene, six women’s voices alternate in reading the words of a passage from On Light, or the Ingression of Forms by Robert Grosseteste. The voices read at a rate of one word per second.’— collaged
the entire film
____________ Artificial Light (1969) ‘Artificial Light repeats variations on a single filmic utterance twenty times. The same phrase is a series of portrait shots of a group of young New York artists talking, drinking wine, laughing, smoking, informally. The individual portrait-shots follow each other with almost academic smoothness in lap-dissolves ending in two shots of the entire group followed by a dolly shot into a picture of the moon… There is a chasm between the phrase and its formal inflections. That chasm is intellectual as well as formal. Frampton loves an outrageous hypothesis; his films, all of them, take the shape of logical formulae.’— P. Adams Sitney
the entire film
_________ Lemon (1969) ‘Lemon, ostensibly a one-shot film, representing a radical pairing down of materials and methods: It is silent, static and unedited. This arrestingly spare portrait of a seeming “Superstar Fruit” begins in darkness, as gradually, a Lemon comes into sight. This film shows how Important Lighting can be.’— TENRAG
the entire film
____________ Palindrome (1969) ‘The menacing latin palindrome ‘In Girvm Imvs Nocte Et Consvmimvr Igni’ (By night we go (down) into a gyre/and we are consumed by fire) serves as epigraph to this animated film. Anima is imparted to 12 variations on each of 40 congruent phrases, metamorphosed from the chemically mutilated flesh of color film itself.’ –– collaged
the entire film
_____________ Surface Tension (1968) ‘Surface Tension, as the name suggests, concerns itself with the way objects move on a surface with a varying degree of “film.” Scientifically speaking, the greater the amount of film the more difficult it is for an object to move. In Hampton’s film this is not the case, in fact, it is how he alters the film that allows the material to move in an either slower or faster rate. It is only the sound that seems to move at a consistent pace, but that, arguably, has nothing to do with film and exists on its own plane of experience. Frampton even went so far as to claim that the film was about three separate notions of space, one being comedic, one scientific and a third being something in between. With this in mind it helps explain the three segments of the film, one involving a man talking whilst standing next to a clock. With the sound removed, we are left perplexed over the man’s discussion that is faster than normal and only have the incessant ringing of a phone as comfort. The second section, the scientific portion of the film, follows a camera fast forwarded through the streets as incomprehensible German is dubbed over. We are only able to pull worlds like “chocolat” from the man’s dialogue, which is juxtaposed with incredibly murky water. The final section is of a fish in an aquarium on the beach. The rate of the film is normal this time as we watch the ebb and flow of the tide consume the tank, but never take the fish. Simultaneously words appear on the screen that have no coherent meaning, but appear to refer to the film as a whole in some manner. Neither comedic nor serious, this portion of the film is clearly the hybrid of the previous portions, yet it is always affected by what Frampton has done to intervene with the film stock. Ultimately, the film is book-ended by crashing tides, perhaps suggesting that no amount of intervention can stop surface tension, when the force is greater than the film trying to interfere. A deeply profound commentary on the entire state of filmmaking, particularly considering it is a question film theorist haves struggled over for almost a century. What Frampton does with Surface tension, is definitively answer that question, or at least provide a philosophical positing so grand that to overcome it would be to some extent inconceivable.’— Cinemalacrum
the entire film
_____________ Snowblind (1968) ‘Homage to Michael Snow’s environmental sculpture ‘Blind.’ The film proposes analogies, in imitation of 3 historic montage styles, for three perceptual modes mimed by that work.”— Hollis Frampton
the entire film
_____________ Heterodyne (1967) ‘I began to make it when I had no money for raw stock and only several rolls of colored leader but nevertheless (had) the need to make or work on a film.’— HF
the entire film
_____________ Manual of Arms (1966) ‘In this “fourteen-part drill for the camera,” Frampton created a portrait gallery of his art-world friends engaging in a variety of ordinary activities.’— letterboxd
the entire film
*
p.s. Hey. So tomorrow I have to head way back out west to Cherbourg early in the morning for another day of location work for Zac’s and my film, so I won’t be here to do the p.s. I’ll catch up with today’s and tomorrow’s comments on Wednesday. I’ll probably have to do the same thing again on Thursday or/and Friday for those who want to mark their calendars in pencil. ** Steevee, Hi. Zyprexa seems really, really insidious. It sounds like continuing at the lowest dose you can is the only sane way to go, and I hope your doctor either gets that or has some other miracle in mind. I haven’t seen ‘Elephant Man’ in ages. I suppose I remember that it seemed a bit like Lynchianism on assignment, but I don’t know. How does it stand? Okay, I’ll seek out the Solomon book, thank you ** H, Hi. Thanks, I’m glad a couple of them were of interest. Like I said, I’m spoiled by the Paris metro. It’s so well organized and largely efficient. People complain its grungy, but, compared to NYC’s, say, it’s really more like it has a lot of character to me. Plus, people are basically and even mysteriously very well mannered on the trains and platforms. I don’t know. ** Sypha, Hi, James. I’m sorry to hear of your recent health hampering. Glad you’re in the bend phase. I get why the third era Fleetwood Mac (w/Nicks, Buckingham, etc.) is so well liked and critically upheld and all of that. It doesn’t do much for me personally other than creating reminiscences of the era when they were King, although the craft there is obviously unimpeachable. It does kind of interest me how it’s very adult and seeking flexibility within an overall goal of refining and maintaining tastefulness and all of that. ** David Ehrenstein, I remember the NYC subway being fun as late as the late 70s and mid-80s, maybe even later? I don’t know. Glad the books intrigued you. I just think it seems way past time that Gus go back to making films that seem to mean much of anything to him and give him an opportunity to play and experiment. ** Misanthrope, Cool about the appeal of those two books. I like happy textual accidents. I mean where would the escort posts be without them? I think I wake up during the night, but, except in rare instances, my dreams slam the door on me when I do. Even when I remember them, they’re never colorful like yours. Strange. I wonder what it means. ** Ferdinand, Hi. Well, I will most assuredly hit that link what with that helluva build up. Cool, thanks for the tip, man. ** Dóra Grőber, Hi! Yeah, I’m in a very lucky situation where people just send me books by mail and pdfs by email I guess because they know I’m probably interested and, I guess, because I do those ‘loved’ posts. There are still negotiations going on about the pinatas. I think we might have to give up one of most ambitious-to-make ones. Money’s tight. We’re starting to get that on a whole lot of levels. Either the guy we’re auditioning today or a guy we’re auditioning in Cherbourg tomorrow will be ‘the one’, or we’ll cast this one guy we auditioned a couple of weeks ago who’s kind of our ‘fall back’ choice, and who I personally think could be really good. You’re writing a lot! So great! Very happy making news! My weekend was, yes, a bunch of film stuff. We need to nail down five music tracks that we can use for minimal payment, and that’s ongoing concern right now. And lots and lots of detail and technical work that isn’t very interesting or easy to describe. Had a meeting about the TV series project with our producers which was not very conclusive, so basically we have to just sit tight and wait for the very delayed yes or no from the TV station that’s considering it before we start thinking about how to shop it around elsewhere if we have to. Talked to some friends, almost finished unpacking, stuff like that. It was okay. Did Monday continue your weekend-long winning streak on the pleasure front? ** Jamie, Heighty-ho, Jamie! Busy is how my weekend was. Good, nothing horrible or anything. The TV meeting wasn’t a yes or no thing. It was a progress report from the producer about where we are in the process of getting a yes or no, and the report was that we remain dangling and waiting. Huh, that’s interesting about that cut-up thing Sinclair read, Okay, you make me want to dip back into his stuff. Oh, if I’d guessed, I would have guessed the viva was what you say it is. Best of the best of luck to her today. The vibe I’m getting is that she’ll ace it. Did she? Better bad luck than miserableness. Well, as long as the bad luck stays on a weird, lite level, I guess. I do enjoy all the film work, yes. A lot, even. It’s just kind of exhausting because it never stops now. I don’t like having our plans crimped by budget concerns, but I understand that. But, yeah, it’s all exciting, and I’m really confident that our film is going to be great, and that helps a lot. I hope you’re very well too, my friend! What’s up with Monday and you? Tinkering love, Dennis. ** _Black_Acrylic, Hi, Ben. I think you’ll really like the Jen George book. It’s very pleasurable. I actually was sent that Tim Lawrence book, and I was just an hour ago thinking it might be my train-to-Cherbourg time occupier. I was living in NYC during part of that golden age of clubs, and it was pretty great and utopian and such a blast, I must say. ** Right. I made a big day about the big, seminal experimental filmmaker Hollis Frampton today for you to pick apart or wade through or whatever else you feel like doing with it. The blog will see you without me tomorrow, and we both will be here again to greet and blab with you on Wednesday.
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