Month: February 2024 (Page 1 of 13)

_______________

Paletwink, 18
Hello, I’ve developed this fear of men and that they could overpower and rape me, I don’t really know why but it is a rather recent development. Whilst I am afraid of it I can’t help but to be aroused by my own fear, receiving rape threats is a both incredibly exhilarating and terrifying experience for me for whatever reason. Even if it is very irrational to believe someone on the Internet when they say that they know where I live and that they will rape me I’m still scared and aroused by it nonetheless. So if you would be interested in talking about raping me I would be delighted and if you do reach out please do not show any restraint when writing. If you’ve read this and find what I write disturbing and you wish to reach out or try to talk to me about it rationally; do not, I will not reply.

Comments

Paletwink (Owner) – Feb 22, 2024
No one has ever described me as “wild.”

jumpercable – Feb 22, 2024
Call me old school but the only rapey thing about fucking him was that he hadn’t douched. Rape victims don’t have rock hard little cocks and shoot so much cum in their rapist’s mouths that I practically choked.

charlieorcharles – Feb 18, 2024
Very nervous boy – but worth it.

 

_______________

hypnoready, 24
I am very interested in being fully brainwashed and rewritten from scratch. I am ready to be taken away from Berlin without knowing where I am and go blank, robotic and servantile and give mindless obedience to you and learn what I will do while I am under. I hate anal sex, but I understand it’s not something a brainwashed me will refuse. Right now I feel really uncomfortable during it.

Comments

hypnoready (Owner) – Feb 16, 2024
Ugh, I’m a headless torso now. I’ve become that which I hate the most. Sorry.

ItsMeWes – Feb 13, 2024
Vršac, Serbia 02/16/24 3:15AM

Tabimii – Feb 10, 2024
Young Sadistic Master changing the world, I’m here to make your dream come true, I take no bulshit because strictness is my way and humiliation is my water, torture is my walking path since abuse is my walking stick, that makes this Master’s life easier and not harder like that pathetic shrimp of yours probably is right now.

 

_______________

RIPIslamUtsumiev, 24
He was forced to watch two of his gang member friends beheaded knowing in just a few minutes he would be joining them. He was given a high dose of a drug called Klonopin (Clonazepam). This lessened his anxiety and put him into a stupor which made the process easier to carry out. With the first two they cut the boys’ throats then kept sawing until their heads were free. When it was his turn they tilted his head forward and sawed his head off starting at the back of his neck.

Comments

fireballpsycho – Feb 20, 2024
I honestly don’t know why these gangs persistently choose to use such inadequate knives for such a task. Talk about making it unnecessarily difficult for yourself – you can get battery-powered saws with long oscillating blades quite cheaply nowadays. For example, the EXL262 with battery and charger. £60 from B&Q.

TogetherWeCan – Feb 20, 2024
IN REMEMBRANCE OF MY BOY ISLAM, MURDERED AFTER HOMOPHOBE ATTITUDE OF HIS GANG, MISS YOU SO HARD – HE WAS AN OUTLAW, PARIA – always on my dick, my best fuck.

GetYourShitTogether – Feb 20, 2024
Islam was kind of a creepy kid, oh yeah and he was absolutely unhinged.

 

_____________

femboyonabadtrip, 19
I am so weak. Look at me. My cock is weak. Viagra can not help. How can I satisfy my girlfriend. She deserves better than me. She deserves a big cock. All girls should have big cocks cum inside them. Betraying my gender is my destiny.

Comments

UseU4Infinity – Feb 17, 2024
Update: My current goal (in addition to the below) is to get inside his head and permanently rewire his entire being, for the sole (and soul) purpose of molding his existence into an anything and everything I need it to be. That preferable boy is somewhere in there. The goal is to find him.

UseU4Infinity – Feb 2, 2024
At first I had my concerns about whether I could take advantage of such a sad, gentle boy, but I have made him my permanent sex slave. I torture and rape him daily. I starve him. He is always exhausted. I make him fear for his life. He wonders if each day will be his last. It’s very nice!

 

______________

NeedUHot, 19
I have NOTHING! Let’s state that upfront, so that there’s no misunderstandings. When I say nothing; I mean money, a car, a place to live! Nothing! My hope is to find someone or a couple even to teach me how to simply let go and embrace my dark and twisted side. I fight with it daily and it has won, but since I fought it for so long; I don’t think the dark side wants me anymore! I’ve digested that and need help to live the best of what’s left of me. Judge me, at this point, I no longer give af; this is who tf I am!

Comments

PyeTheAmazing – Feb 8, 2024
Thank you to your mother for providing us with you.

NeedUHot (Owner) – Feb 8, 2024
I am currently chastity caged since January 18, 2024, without end; constantly shackled in a dirty, oversized prison-issued jumpsuit and leg irons connected to waist handcuffs; 24/7 cameras surveillance everywhere in my apartment; tracked 24/7 by an ankle monitor. I’m told that sex with me is great.

FlyingFF91 – Jan 27, 2024
He’s making good progress, but he could use some help destroying his cunt and making it useless.

ZackTheGhost – Jan 22, 2024
My only time with him I slapped the fuck out of him, milked him until his balls were dust bowls, sent him home bruised up without his keys.

NeedUHot (Owner) – Jan 17, 2024
Every morning I lay down in the shower and piss on myself. Working on trying to get used to piss play. Always trying to improve myself.

 

_______________

postmodernist, 23
I’ve always had a wish to have a limb removed. Preferably one of my legs. My fantasy is that I find a doctor who agrees to amputate my perfectly healthy leg. I want it either removed at the knee or ideally the hip.

Comments

DYKFrankSinatra – Feb 9, 2024
He’s now a lower leg amputee on the left side, and I’m happy to offer fetishists access to his stump and, if you like, his right foot.

postmodernist (Owner) – Jan 21, 2024
That’s interesting, I’m an artist too. Here’s one of my paintings.

DYKFrankSinatra – Jan 21, 2024
I’m an artist looking for inspiration and I want your limb. I genuinely believe it also can be a great way to get to know you personally.

baddog – Jan 19, 2024
Just so you’re aware, in the UK you would probably be denied disability allowance on the grounds that it was elective rather than medically advised.

 

______________

NoMoreFreedom, 19
I REALLY HATE FREEDOM. I hate being able to do what I want when I want. It’s not nice to decide everything by myself. That does not feel right for me. I get so envious of the hundreds of photos and videos I see of boys in captivity, prisoners of men who decide everything they do, when they sleep, how they sleep, what they eat, when they eat it, and how they eat it.

Comments

ktopper – Feb 20, 2024
This is sad. I am 71, I came of age sexually in the late ’60s, the height of the “sexual revolution.” Almost everyone was getting laid but we really liked each other and everyone was loyal and we all partied together. The cops were pricks but they weren’t just randomly shooting citizens. It is so different now. I hope things change.

Sharp-edge – Feb 20, 2024
I tried to date this boy for a while. He’s what I’d call a sex zombie. He’d want me to meet him right this instant. No matter if it’s snowing, if it’s 3am, if you tell them you’re sick in bed, no he didn’t care. I had to meet them. And as soon as I’d unloaded in him he was already searching for the next fuck on his phone. His Instagram is full of naked photos and his Twitter’s an assembly line of selfie porn and he has an onlyfans. All of which is to say, I don’t buy it.

MeatHead – Feb 20, 2024
The thought of you being at the mercy of someone like me who is a total stranger makes me as horny as a dog in heat.

fireman – Feb 17, 2024
I had him stick his tongue out then used that to clean my kitchen.

Ambrose7 – Feb 14, 2024
He’s obviously kinda overly into this so make sure you have a place where no one gets disturbed because he makes a hell of a lot of noise.

 

______________

Petitboyscout, 21
Love to beat the living shit out of my boyfriend for my pleasure! Love that he lets me fuck him up, wearing stuff I like.

Before he met me he was a lazy, unambitious local boy who couldn’t hold a job. His only friends were some older pervs who beat him up for cash that kept him at a doable poverty level.

I will post some video on watchfighters.com come and have a look! The first video with my BF is really great: him beaten up, bloody lips and nose, kicks, balls busted, his wails and my grunts! Everything’s that’ll make you cum!

Comments

2tmx – Feb 9, 2024
You’re doing him a favor.

 

_____________

Sn*ffMe0LimitBoyFood, 22
0 limits -> longpig boy dreaming of the day I serve my purpose, hoping to find the right hungry guy who will torture and sn*ff me irl and serve me for dinner, if that’s you tell me when and where and i should be really tasty🥩.

Comments

Albert920 – Feb 11, 2024
Please mean all what you say.

CloudyEater – Feb 9, 2024
Cannibalism is just another form of art it’s like Painting or Drawing and cloudy buttocks are my favorite, is all in your mind Drama can rocket your sex life into another dimension I’m looking to get your buttocks high and eat them.

Sn*ffMe0LimitBoyFood (Owner) – Feb 5, 2024
I look like 16.

MrGDP – Feb 5, 2024
When you’re over 21, don’t be pathetic and still call yourself a boy, the boy in you died a long time ago, be a man, or get surgery to have it taken off.

Sn*ffMe0LimitBoyFood (Owner) – Feb 3, 2024
Look close that cum in my ass is from an 90 year old man.

 

______________

TheSensitivePatient, 24
I’m a TS Dom whose hot obedient boyfriend has mild autism and intense anxiety. I’m not that superficial, but right now I’m just looking to have him used hard without much hassle or much trouble 😇😈

We don’t have a place❌️, unless you live very close and it’s very late at night✅️

You or I or we can do any type of madness❄️🌬️🧪, without limits 😏 as long as there’s no fucking drama🥷

Comments

TheSensitivePatient (Owner) – Feb 18, 2024
I consider myself a very nasty TS, but after a few weeks of doing this, I have to say you cis gay guys have the most evil ideas and best weaponry and the most sick twisted ways to fuck a boy up. My boyfriend is literally falling apart.

Afterparty – Feb 12, 2024
Came with his transsexual girlfriend. seemed totally ashamed to be there and didn’t say a word but did everything his gf made him do. You could really tell that he isn’t into guys, but when I sat my ass on his face and made him eat it while she strangled him his cock got so hard it could’ve cracked a peanut… just FYI 👀

R1cky – Feb 6, 2024
His gf and I put vice grips on his nips and sent strong electric jolts through them and she hates safe words so there ya go.

 

______________

CockCavern, 18
I got drugged and raped at a mall and no one helped.

Comments

darkroomsuck – Feb 9, 2024
You are the ragdoll of my dreams.

CockCavern (Owner) – Feb 2, 2024
I am still not sure if I’m straight or not.

 

______________

9thtry, 18
Closeted about my obsession with going to a barbershop late night after hours to get my hair cut then to be tied to the chair, blind folded and gagged and milked until I’m screaming and shooting blanks.

Life’s not going amazing so want to escape reality a bit, just disappear for a little.

Feel free to make a mistake or two.

Comments

DatMouthDo – Feb 13, 2024
Before this boy specified his thing to barber chairs I got caught with him once in an apartment I lived in, and I had to move out. No kidding. I tied him spread eagle to the bed. I was using a longer piece of rope for his wrists so that I could wrap the rope around his neck to prevent him from raising his head or reaching his wrist to untie the rope. It didn’t go well. I left him there to run a quick errand and he started strangling and he couldn’t get out and had to beat on the wall to get my neighbor to come over there and cut the rope loose. If I had moved the bed any further from the wall, I would have come home to a corpse. True story.

9thtry (Owner) – Feb 10, 2024
I humbly request that you kiss and cuddle me afterwards if you were satisfied.

 

______________

Packed4Shipping, 19
At a point in my life where I want to experience one or more extreme scenarios described below. I have nothing to lose and can walk away from my current life.

* Being packed into a crate and shipped as freight.
* Having my fingerprints, photos, etc swapped into a prison database and serving another man’s time. I know a prison official who can arrange this.
* Getting fucked in a FedEx or UPS van by the driver— preferably after I’m taped up with a shipping label slapped on my face.
* Submitting to a slave broker and being sold to an overseas owner to spend the remainder of my brief (I assume) life.
* Being conscripted into a foreign military.
* Spending a night bound and gagged inside a trash bin at the curb, then either hauled out just as the trash truck is nearing my bin or not.
* Being buried alive in dirt or in a coffin.
* Being encased in plaster then submerged fully in mud.
* Being forced to live out my life in a cage in an abandoned warehouse.
* Being used snuffed on video and then having that video posted online.
* Having my left arm surgically amputated below the elbow.
* Having my cock and balls completely removed.
* Having my mouth permanently sealed shut with only grommets at each end of my mouth, providing enough of a gap for breathing and sucking liquids through a straw.

I currently live in Raleigh, NC, but my parents are talking about moving the family to southern Illinois, outside of St Louis.

Comments

Packed4Shipping (Owner) – Feb 8, 2024
All the things that matter don’t.

masterfoxq – Feb 8, 2024
Would need to trust you and not feel like I’m going to get arrested for dumping your corpse down a back road.

Packed4Shipping (Owner) – Feb 7, 2024
I’m highly responsive to hypnotism and mind control due to Childhood-onset Stockholm Syndrome. I did a lot in my life 😭!

 

______________

DeadMeat, 19
Dirty fuck slam pig twink. Message me if you are interested in owning this chunk of meat. I won’t cost you a dime and you can use my body non stop until I’m busted up. Or you can stuff me in a trunk and drive me out to your cabin in the woods and 𓍯 or 🔪 or 🎻 or 😵 but that comes with a price tag.

Comments

Hangers13 – Feb 21, 2024
Honest truth, I killed him about three weeks ago. I just got curious about what I might’ve done differently.

billyj44 – Feb 21, 2024
Wow – big question. So many things to do. Where to start? Probably a few days of rape to begin with. Then … hm … castration, penectomy… and probably beheading to finish it off. But the real question is what’re you gonna do with it.

PunkFuckSlamPig (Owner) – Feb 21, 2024
He is 25 years old (not 19). He’s from Ireland. He is separated from his older husband with zero intention on going back. The only reason he is still married to him is because the husband pays for his health insurance. He does have family, but they do not know that he is a part of the BDSM community. He is currently unemployed, was an assistant an at Acute psychiatric unit. Given a choice, he likes music and you’d find him listening to anything from Rammstein Lacuna Coil Eden Bridge to Elton John, all the way to dark Gothic instrumentals. He identifies as asexual. That enough?

Gayyyyyyyy2025 – Feb 21, 2024
I think I’d need to know more about him before deciding.

Hangers13 – Feb 21, 2024
OK, I’ve got him isolated and disappeared over here. What would you do with him?

DeadMeat (Owner) – Jan 24, 2024
The universe is full of stars, nothing out there, it all looks the same.

GallowsHemp – Jan 20, 2024
It will be so beautiful when he dies. Let’s all enjoy it instead of trying to stop it.

Hangers13 – Jan 17, 2024
I like you too much to lose the opportunity to be the one to finish you off. Seriously, you’re the best one. I’ve seen a lot of wannabe dead boys, but there’s no other as amazing as you.

WonderfulDeaths – Jan 11, 2024
I love you so much. You are right. No need to be careful. This is your happiness. Enjoy it to the max. It will be perfect.

DeadMeat (Owner) – Jan 11, 2024
Don’t tell me to be careful, because I won’t be.

WonderfulDeaths – Jan 11, 2024
Put a big mirror in front of you so you can watch yourself die. I hope your body isn’t found for a few weeks.

NoName0401 – Jan 11, 2024
Your comment is magical. If this is really how you play then you will definitely die on the noose😍. It will be so sexy. Cannot even begin to imagine your cute body becoming food for maggots.

DeadMeat – Jan 11, 2024
I’m getting impatient. I like to hang myself and I might just go all the way. I could go at any time. I am starting to bind my hands as well as my legs when I hang, it’s extremely deadly. I also have been drinking and drugs before hanging. Next time I’m gonna hang myself while on acid, coke and mdma. That should do it.

 

______________

makemehurt, 19
I’m really into seriously lowering my sperm count through ball punching, kicking, stomping, etc
Alcohol and a few pills
I’m mostly here to get bruised up but you can rape me when I’m wiped
I also take requests

Comments

CRUX – Feb 15, 2024
I’d love to know how you clean your nose? Are you a snot Shooter, a hankey blower or a nose picker? The reason I ask is because I have a snot fetish, I know it’s weird but there are worse things. I like having it on my face then shift gears up a notch and get it in my mouth. If your snot isn’t available, I’ll think of something else.

makemehurt (Owner) – Feb 7, 2024
Keep your dick 10″ or under please.

 

______________

Elliot&Kev, 18
We are 2 young gays, very in love but very slutty, submissive and both addicted to pain. We are unable to cum without being in excruciating pain.

We dream of giving ourselves completely, together, as definitive slaves with no return to a sadistic master willing to give us the level of pain that we need, which is proving harder than we thought.

We were trained to become darker and darker and serve evil by MasterKEVIN and we are in the last process of this. We recommend Him.

Comments

Elliot&Kev (Owner) – Feb 23, 2024
Already owned but still looking for abusers. Master said it’s OK.

Elliot&Kev (Owner) – Feb 21, 2024
Men who do not want to make us suffer have no chance and we are NOT tempted towards vanilla by any financial incentive, you can be fucking Jeff Bezos and we will still decline.

MasterKEVIN – Feb 16, 2024
Impossible not to bone when they’re suffering in pain.

 

______________

BubblingRiver, 22
Hi everyone, I just need to get something off my chest. I’ve become completely obsessed with the fantasy of getting my slave (see: photos) pregnant, giving him a big pregnant belly and swollen breasts full of milk, etc. To the point where I’ve stopped beating and torturing him which I loved doing but mean nothing to me now. I even had my fertility tested and discovered that I have a sperm count on the very high end of the normal scale, plus I tend to shoot big loads. The other day I popped a Cialis and came in him six times over the course of a night, once more the next morning and three more times in the course of the next day. 10 loads in 24 hours. I’m absolutely desperate to fill him with my DNA and watch his belly grow and body change with my baby inside him. Just the thought of dressing my pregnant slave up in maternity woman’s clothes makes my cock instantly hard. To nurse the milk from his swollen breasts and sink the cock that got him pregnant back inside him and knock him up again. The worst part is my slave is into it too. We talk all the time how the babies would all be gay boys who let me fuck them. We even decided we’d name the first boy Scotty Jr. because Scott was my slave’s name back when he was a free floating slut. God, I love that pig. Shit, I have to go fuck him now. Thanks for listening.

Comments

Kyle – Feb 19, 2024
why he look like he need a punch in the face

Riotboi81 – Feb 16, 2024
I used to know your slave and if he was a girl, he’d have had 80 abortions by now and no clue who any of the daddies were.

ineedtightassespls – Feb 8, 2024
This is similar to my thing for infecting twinks’ cunts with poz babies that never come out – they just grow up corrupting the host’s body and mind from inside until the twink’s dead.

 

_______________

Leon0000, 20
Hello, I’m Leon, I’m 1.75 m tall Dutch guy, I have brown hair, my eye color is gray.
Last year I met a very wasted old guy. Extremely gaunt face, not attractive at all, like a skeleton wearing clothes. He looked so sick he should have been in a hospice ward. I was so turned on!!! He rimmed my ass and wanted to breed me. I really wanted him to. After that, I was at his place all the time taking loads from him until he died.
Since then I love getting bred by aids wasting old men. But they are very hard to find. I’m very turned on by ugly old dying trolls. I’m always looking for ugly, gross, disgusting wasted trolls who’re bad at sex and let them use my ass as they like. And after I cum, because I’m so turned by letting these disgusting walking dead take advantage of me, I let them continue to use me even though I’ve cum and am not in the mood anymore.
Otherwise I love sushi and raw meat. I play tennis, sail, was in the Boy Scouts, and volunteer at church. I like to gamble and I get cold very quickly. I also have very good self-control and I rarely have any emotions. I have university classes from 8 a.m. to 5 p.m
I can also just suck you off or something.

Comments

dirtyfucker – Feb 19, 2024
Has anyone in the universe ever fucked this guy when he wasn’t tweaked out on the phone looking for more meth?

 

_______________

Take_my_breath_away😝, 22
Looking for a Bully to extreme wedgie me and wrap my underpants tight around my neck until I’m unconscious and then sit on my senseless face for hours taking photos. If you want to tie my underpants around the moon, send me a message.

I like to have experiences I severely regret in the moment, having the life drained out of me in service of yours. What gets me off comes afterwards, looking at the photos and thinking back on what I endured.

Comments

Take_my_breath_away😝 (Owner) – Feb 13, 2024
Idrk

SBL123 – Feb 13, 2024
Holy shit, I enjoyed doing that! Thank you. I hope you did too.

 

______________

Yourdreamcometrue, 19
my possibilities are endless

Comments

peteranderson – Feb 9, 2024
If like me you don’t want to cut his throat he is the last real slutty slut, body and soul made by pure truth, fairness, equality, pee and semen and he can put his legs behind his neck.

MushroomHead – Feb 7, 2024
Please let him decide when he wants his throat cut and who he wants to cut it. I just wrote to him and asked and he responded with a maybe quickly and politely.

Yourdreamcometrue (Owner) – Feb 7, 2024
so first of all ask me nicely then we’ll see before you talk any shit here secondly I won’t let myself be called a fake because i don’t want you to cut my throat you obnoxious guy don’t talk like that

StoicOtterjock – Feb 7, 2024
Shows a foto with his throat cut and immediately becomes unfriendly and insulting when you say you want to cut his throat…..don’t fuck with us!

Yourdreamcometrue (Owner) – Feb 7, 2024
fake HAHAHHAHAH why am I fake you have no sense of humor your father is fake don’t fuck with me

Dostoyevsky – Feb 7, 2024
Endless my ass. False advertising. Fake!

 

______________

xieyuteng, 18
Slave is now in New York (from 3 days), visit familly (father), slave is from China, but slave is legaly in US now and can stay (ilegaly) for life.

Slave is 100% gay never slept or kiss with women. Slave has had 19 mens, 2 of them was Masters, one long term with living (released due to Master sicknes).

Slave looking for Master who is:
– much older Master (min +55)
– very very sadistics
– looking for 24/7 (TPE)
– im 15yo (hope that’s your bag)
– with a dungeon with lot of bdsm equipment
– can hide ilegall slave from police
– who like share his slave

Comments

wetdolphin – Feb 21, 2024
Short, bossy, pissed off and loose.

Mmmmchef – Feb 18, 2024
I’m looking for an Asian boy that wants to marry, have kids & family.
if you do not want kids, we are not a match.
If you come off straight at all, we are not a match.
If you are a day over 18, we are not a match.
if you won’t have tons of sex, we are not a match.

Yield – Feb 16, 2024
Ok scrapped my original long ass comment. I won’t write a novel. Here’s the basics. He will do WHATEVER you want.

 

 

*

p.s. Hey. ** Dominik, Hi!!! They’re definitely better in the mind. Thanks, yeah, the ghost, harmless as he is, is being a total brat. We start giving him a personality tomorrow. Or trying. Even just a giant sized toothpaste tube would be fine. I know those power naps. Sweet/yuck. If like me you don’t want to cut love’s throat he is the last real slutty slut, body and soul made by pure truth, fairness, equality, pee and semen and he can put his legs behind his neck, G. ** Misanthrope, Wise choice. I’m sure I’ve told you I told you that when I was an extremely little kid I walked into our living room one time and Pat and Nixon were sitting on our couch having cocktails with my parents. A house without secret tunnels is like a tree without roots. ** _Black_Acrylic, MUBI’s great, but their stated archive is often not available. They have ‘Permanent Green Light’, but it hasn’t been watchable there for years now. ‘The cinematic world is a complicated place!’ Dude, that is so extremely true! ** PL, Hi. I just restored an upcoming old post about Janie Geiser, an experimental filmmaker who does animation. Do you know her stuff? It’s pretty great, I think. I love old American B-Horror movies, yeah. I grew up on a steady diet of them. I don’t know ‘The Leopard Man’, but I love the others you mentioned. I’ve done a number of posts about B-movie horror directors, but I’m rushing out the door, so I’ll have to hunt them down later. Laika wanted to make a film of one of my novels, ‘God Jr.’, and they owned the rights for about five years, but it was intended to be their first live action + animated film, and they couldn’t figure out how to do that right, so they gave up sadly. No, I don’t know ‘Demonlover’. I’ve only seen, I think, three Assayas films, and the only one I liked was ‘Irma Vep’, but I’ll try to find that one. Cool, thank you, sir! ** Otto, Hi. I’ll watch/listen to that Gregory & The Hawk video when I get home later ‘cos I’m about to zoom out the door. I like folky stuff, but I guess the more weird things? I like some of the 60s era folkies like Buffy Sainte Marie, Loudon Wainwright, Tim Buckley, etc. I like Sebadoh/Sentridoh’s folky stuff. I loved the first Iron and Wine album, ‘The Creek Drank the Cradle’, but I didn’t like his stuff after that so much. I like some instrumental acoustic music like John Fahey. So I guess I do. Other recommendations? Thanks a bunch. I hope all’s swell with you. ** Bill, Right, I remember you’re a Clipson fan. When Zac and I were inn SF to show ‘Like Cattle Towards Glow’ at the Cinematheque, he gave us a private behind the scenes tour of SF MoMA. He was super nice. Is the Link holding up? ** Steve Erickson, Wow, thank you for the link! I’ll jump in there tonight if I’m not too burnt out from the editing. Okay, yeah, that makes total sense about the allure of the Santos bio, of course. ** 🧸Guy, Hey. Zac and I were last in Japan about, gosh, six years ago maybe? September is a target date for our next trip there too. I haven’t checked the flight prices yet. Probably not bargains. I would guess that passage would be in ‘The Sluts’. I haven’t revisited that tome in years. I would be a terrible Master. I’m way too much of an empath. That’s one of the reasons I’ve never wanted to be a teacher or professor. I’d end up getting too involved in wanting to help the students. Objectification fascinates me, obviously, but I have a really hard time objectifying people in the real. So I’d be running away from your slave in the opposite direction, if I was lucky. I’m still toasted but I’m kind of a refreshed toasted guy for the moment. Thank you! ** seb🦠, Hi. Oh, you didn’t miss it. Blog posts are eternal. So sorry about the migraines. I don’t get them, but I have close friends who do, and it’s a horror even to hear about. I haven’t checked out Ezra Blake’s stuff yet because almost literally nothing but the film is occupying me at the moment, but I plan to. It’s still in the cards. How about some godspeed your way via a nice Reiki healing session. ** Justin, Agreed, for sure. Heck, I even miss CDs. Hm, see, I wouldn’t say an approach to the past that rewrites it qualifies as nostalgia in my sense of the term. I mean that phenomenon that happens to so, so many people as they get older where start delegating their passion and interest towards things in the past that made them excited or moved or whatever when young — familiar things, in other words — while ceasing to seek out things in the present to make them feel that powerfully in a new and unforeseen way. Something like that. The ‘good old days’, the ‘they don’t make them like they used to’ nonsense, etc. That kind of mindset. Still a ‘Poor Things’ virgin over here, but not for too much longer. Thanks about the ghost. We need it. ** Darby 🏋️‍♂️💉, Now that’s a curious couple right there. So … that’s good about the exiting of the mom’s place, no? Isn’t it? Cool about the testosterone. I bet it’ll induce happiness, or help to, ere long. 151 pages is very good! I’ve written at least two novels that aren’t even that long. The undone things will get done, don’t worry, or else they didn’t need to get done. Time feels comfortable by your side, I think. After a while crocodile. ** Uday, Me too. I mean I don’t understand them either. The survivalist mindset set. Fuck, about your hand. And your phone. Yikes. Maybe tiptoe until further notice? Hugs. ** Okay. I can’t believe it’s last day of the month, but apparently it is. The slaves will see you now. But I will see you tomorrow.

 

‘How can one translate the experiences offered by Paul Clipson’s films into linear writing? It can’t be impossible, for the films themselves proceed in such a direction: each one has a beginning, a middle and an end. Yet they do not work in that way exclusively—there is more at stake here than simple causality.

‘Clipson’s cinema is one of eternal recurrence. Subjects continually repeat themselves: bridges, buildings, fences, metal gratings, trains, airplanes, trees, suns, leaves, grass, eyes, hands, mouths, silhouetted figures walking on shorelines, puddles in concrete pathways, power lines, neon signage and blinking night-time lights, and water—lots of water. Beads of water on leaves, pools in puddles in concrete, waves crashing against beaches, raindrops falling on glass. These subjects are revisited again and again, sometimes to the exclusion of all else beyond their mirror-like realities. Clipson is unafraid to draw continually upon this basic set of prime subjects, which are linked in their capacity as otherworldly thresholds, their shimmering reflections and dynamic edges transforming material reality into the vibration of light. Such transformations are common to the model of cinema, which takes up the appearances of the world into a dynamic temporal flux of montage, yet Clipson’s primary concern is not alluding to the properties of cinema, but rather to the properties of perception itself. Even within a given film, the same objects reappear, passing into frame, passing out, and passing into frame again—a carousel of attractions. This structure is again repeated at the level of the shot, as the meter of Clipson’s films are set by short bursts, often no more than a few seconds at a time, with the filmstrip then rewound in camera and exposed again, rewound again and exposed again, a process that offers infinite and unending potential for iterations. Each object thus comes into visible presence in a multiple capacity, producing spaces where things are both the same and not-same: in each instance a subject is encountered freshly, made anew through the dynamic force of handheld camera movement, through the rhythm of its execution in temporal montage, and its juxtaposition with other subjects through the layering of superimpositions. Water is water, until it is suddenly melting away the hard edges of buildings and bridges, until it is a texture behind the darkened shadow of a fence, until it is crashing onshore in an explosion of particles of sunlight that sends the outline of a human figure into a vortex. Then, it is no longer mere substance—it becomes process.

‘Clipson’s films are among the clearest articulations since Brakhage of how vision is formed through process—how sight is not a passive and inert function, but equally shapes the world just as it is shaped by it. By probing the universe in its closest detail, often through a macro lens, Clipson shows us again and again how to ‘make it new’ through the act of seeing with one’s own eyes—directed at any ordinary object such as a leaf, a bead of water, a rusted bottle cap, a cigarette butt—each moment an occasion for wonder in how an object’s edges are formed, how it relates to and is produced by its environment, how it comes into and out of presence. He never appears to pre-compose the contents of his frame, choosing instead to follow the traces he finds on his journeys. In Clipson’s films, we begin to understand objects as events operating in slow motion. Things are broken down into their constituent shapes: that light is really an orb, that fence is really a grid whose negative space forms a tesseract, that puddle in the road is really a portal that leaks into another dimension. The camera is a layer of the body, a perceptual apparatus that acts in union with the surfaces of the world, as the body does. It does not separate us from what is external, but instead dissolves boundaries of internal/external by joining inner and outer realms in an act of union forged through sight. Through his lens and constant overwriting of images, Clipson reconstitutes vision in a fashion similar to the Ancient Greek concept of extramission, in which the seer beholds the world through rays that extend from the eye to the object. In this model, the viewer is bound up with the world in a tactile embrace, without the possibility of distance required to be distinct from what is observed, to be a passive spectator. This is a basic reality of quantum mechanics that a metaphysics based on the primacy of substance (a view from which the Western tradition has been built) cannot admit—yet this framework is one that process philosophy has no quarrel with whatsoever. It is a truth that our fragmented modern culture has not fully come to terms with—we live predominantly within mediated relations that promote the passive model of vision, that repress the necessity of our visual labour except through approved forms of consumption that maintain our isolation in order to sell aspects of ourselves back to us—but this truth is as old as time. As the third Mahāvākya of the Upanishads tells us, tat tvam asi—“thou art that” (or, “you’re it”). The answers are simple enough for all to see, the only thing required is to unlearn enough false ideas. …

‘All places are connected, all energy circulates. Clipson’s films give us a cosmology of pure energy; they stem from the realization that within all space is the compressed force of a thousand suns, waiting to be unlocked. In his vision of the world, matter is composed of veils that barely constrain the energy within them; objects interpenetrate one another as liquid forms whose edges are permeable. In COMPOUND EYES #1-5 (2011), a series of short films commissioned by the San Francisco Exploratorium, the possibilities of insect vision are manifested through macro images that open our eyes to the potential for the optical unconscious, which Walter Benjamin posited as among photography’s greatest asset, to wholly transcend the anthropocentric through the defamiliarzing effect of the close-up. In ANOTHER VOID (2012), we are plunged into the realm of quantum vision and the sight capacities of particles of energy. This transformation is continued in OTHER STATES (2013), where water becomes like fire, hands caressing grids of light become empty portals of blackness, forms oscillate between figure and ground as the image plane appears both utterly flat and infinitely deep, and the rising, uncanny atonality of the soundtrack by Jefre Cantu-Ledesma conjures an affective sensibility akin to a dream sequence in a horror film. This alchemical dynamic, a coincidentia oppositorum that produces a delicate balance between terror and beauty, is retained in much of Clipson’s work, which registers in its best moments a sense of the sublime from within the most familiar of landscapes.’ — Dan Browne

(cont.)

 

___
Stills

 

____
Further

Paul Clipson Site
Paul Clipson @ Vimeo
Cinema for the inner eye: On the films of Paul Clipson
Paul Clipson @ IMDb
Interview: Grouper and Paul Clipson Discuss ‘Hypnosis Display’
Paul Clipson @ Experimental Cinema
Forgotten Spaces: Anthony Hernandez and Paul Clipson on L.A.’s 2nd Street Tunnel
ARTIST TO ARTIST: PAUL CLIPSON & DAISY DICKINSON
A Light Change: Observing Memory Through Sound & Film
OTHER STATES: a program of films selected by Paul Clipson
Paul Clipson @ FANDOR
PAUL CLIPSON’S VISION OF CRUEL OPTIMISM
OTHER STATES: FILMS BY PAUL CLIPSON
Paul Clipson @ instagram
Interviste #4 – Paul Clipson
Sognando dai film alla musica. Due mix di Paul Clipson
HYPNOSIS DISPLAY @ Crack

 

______
Extras

Paul Clipson explains anamorphic film

Jefre Cantu-Ledesma & Paul Clipson live at Cafe OTO

A Light Change: When Paul Clipson Met Grouper

 

______
Interview
from MUBI

 

NOTEBOOK: How do your pictures come to be?

PAUL CLIPSON: The films happen two ways, first as live sound/film collaborations that I make with musicians, which run from 20 to 40 minutes in length or longer, and then later as short films, linked to a specific soundtrack or piece of music.

Frequent live events provide a reason to steadily generate work, to always be out filming, with or without a purpose in mind. Live collaborations with musicians create an indeterminate environment, with music acting as a social architecture into which the films are screened. They’re not definitive works, and this allows me to look at what I’ve shot with an audience without it being “finished.” This is liberating, being able to share something while not completely knowing or understanding what it is. The short films come about as a result of this experience and are crystallizations of particular sections of footage I’ve become close to, that have gravitated towards specific pieces of music I’ve later been invited to work with by musicians.

For Feeler [2016], Sarah Davachi asked me to create a film for her music, which I listened to repeatedly and drew from film rolls that I’d shot in various places and times. I treat film rolls as found footage, as they were conceived without the music in mind. During this process, I’m looking for connections between the music and my images. I found in Sarah’s music a focus on textures that suggested thoughts or memories, and this encouraged images and sequences in my work that reflected these qualities to suggest themselves. A poetic collage slowly grew together of rhyming images and environments shifting in time and space, like a stone skipping across water. None of the footage directly related or was shot with her music in mind, so there’s a resistance between the sound and image, and that tension relates back to the performances, as Sarah and I have presented work together live as well. The cuts in the films are a combination of in-camera editing with superimpositions and then actual cuts to the film. All the superimpositions and layering is done in-camera. I don’t do visual post work after the film is processed at the lab, besides editing.

NOTEBOOK: You’re a projectionist by trade but a filmmaker by calling. What draws you to celluloid?

CLIPSON: I’m drawn to the physical beauty of celluloid, to its grain, texture, tactility, its colors and tones. I find film to be the most challenging and rewarding visual form to work in. Not only celluloid but the mechanisms and optics of film cameras and projectors as well. Zoom lenses, anamorphic and wide angle lenses present all sorts of directions in which to find images. There’s a very intense, emotional charge to shooting on film where there’s rarely a moment when one’s not aware of its fragility, a sense that everything could be for nothing, and certainly the serious cost of film also remains in one’s peripheral awareness. It makes the process feel both exciting and grave. With the mechanics of the camera, whether the trigger of a Super 8mm Nikon R10 or the button of a 16mm Bolex, there’s an instantaneous elation and sense of loss every moment one’s filming that’s unique.

NOTEBOOK: Does generative work, the kind that not only finds its way into a piece but leads to more, tend to emerge from moments of inspiration or through persistent discipline?

CLIPSON: What defines inspiration is subjective. Long periods of difficult and discouraging work can yield dynamic, surprising results. Maybe the discipline comes from not depending on inspiration for work. When inspiration does happen, it’s about being prepared for it.

I once spent a day looking for a certain kind of image in San Francisco. I guess I was projecting expectations onto some area of the city where I imagined I’d find a particular light or shadow. Whether this expectation was from memory or my imagination I’m not sure but I couldn’t find it. After traversing the city for hours, I found myself at dusk on the Third Street bridge by the ballpark, when I suddenly saw a reflection in water of one of the ugliest signs in the city at the time (I think it was AT&T Park or PACBel). This sign undulating in cadmium red on the dull dark blue-green water of a canal was a hypnotic, beautiful sight after hours of frustration, and I would never have looked for it or found it without the toil that led me there.

The path may seem irrational or pointless but inspiration is everywhere. Children unwittingly employ what Debord called the dérive, where their perspective or view of a place changes by the way they play in it. This is a practice I think we all knowingly or unknowingly practice in making work.

NOTEBOOK: Your pictures present a coincidence of structural phenomena, organized by intuition. How improvised are your compositions, or vice versa?

CLIPSON: They’re hyper-composed improvisations. Improvisation is a loaded term, in that the vernacular connotation is that it’s just making shit up as you go along. If I’ve learned anything from watching friends practice music over the years, it’s that improvisation is a kind of live multi-dimensional unspooling of experience, personal philosophy, and subliminal recordings that happens in the moment of a performance. I’m trying to get at this same thing while filming, recording a live performance of wherever I am that’s filtered through layers of superimpositions, in-camera edits and camera movements, with the vague awareness that somewhere in the future, these as yet unseen images will be projected into sound and music.

NOTEBOOK: Do you believe, like Brakhage and Yeats or other artists before you, in a form of poetic dictation?

CLIPSON: Any way one wants to look at something is valid but I prefer not to name, analyze or address where these things come from. Filming is a meditation where there’s a chance for all sorts of things to come into play, all under the eye of the camera and the choices that are made while looking through it. Attenuating this meditation are material influences that suggest places to start and new directions to take. Film stocks point out subjects on which to focus and frame. The trajectory from racking wide to telephoto and back on a zoom lens, can act like shifting thoughts, or a consciousness simultaneously passing through space while not moving. Many mechanical processes used while filming help to remove the practical filters with which one normally sees, allowing unexpected ways of seeing and framing the world. It’s a form of self-effacement or disappearance into the camera’s process, a vacuum where things rush in, where associations and moments begin to appear.

 

_____________
26 of Paul Clipson’s 29 films

______________
Spectral Ascension (Music: Byron Westbrook, 2017)
‘Clipson’s Super 8 and 16mm films aim to bring to light visual preoccupations that reveal themselves while working in a stream of consciousness manner, combining densely layered, in-camera edited studies of figurative and abstract environments, in a process that encourages unplanned-for results, responding to and conversing with the temporal qualities of musical composition and live performance.’ — Echo Park Film Centre

 

_____________
Total Fiction (Music: Jeremy Young/Shinya Sugimoto, 2017)
‘Total Fiction is live score performance to a 16mm film reel projection by Paul Clipson that will change night by night in reaction to the properties of each space. Like all of Clipson’s film collage works, this will be frenetic, it will span movements both in stark black and white and bright analog color, and the score will be disbursed in a series of chapters.’ — Koncertkirken

Excerpt

 

_____________
Cruel Optimism (Music: Lawrence English; 2017)
‘The video was directed by Paul Clipson—the experimental filmmaker known for his sound and installation work, who’s also contributed a fair amount of visuals to Grouper’s recent work—and it leans on one of his preferred tactics to make a quasi-collage of striking images. The stark lines of a skyscraper, for example, are overlaid with similarly architectures in the natural world, like a detail of a leaf or a drop of dew. The logic is abstract, but feels drawn from the real world—in the same way a dream might dizzily refract your memories and emotions. In an email to THUMP, Clipson said he was inspired by the piece’s “expansive movement, beguiling pace and evocative sound.”

‘”While listening to Lawrence English’s music, I rediscovered images I’d filmed at different times, in different contexts and in different places,” he continued. “And under its influence, these unlikely visual juxtapositions grew into strange sequences and formed new worlds, becoming a sort of curious description of a waking dream, like trying to describe in images a forgotten tune heard long ago (and far away.)”‘ — VICE

 

_____________
Love’s Refrain (Music: Jefre Cantu-Ledesma, 2016)
‘Paul Clipson’s video perfectly summarizes the environmental elements available in the song, swirling deciduous and coastal locales into one disorienting fireworks display.’ — adhoc

 

_____________
Headache (Music: Grouper, 2016)
‘Headache is an abstract collage of light and sound, visuals that easily reflect the wild and secluded city of Astoria, Oregon where Liz Harris (Grouper) currently lives.’ — Uproxx

 

___________
Feeler (2016)
‘The film came directly out of listening to Sarah Davachi’s music. I find some of the sounds she works with to be very textural, almost to the point of becoming visually descriptive of surfaces, spaces, and passages of time- as if the music was the recording of a long journey. So for the film, I began to relate prior images of mine which had been filmed at different times and places around the world, to see how many visual variations could progress and accumulate along with Sarah’s sonic voyage.’ — P.C.

 

_____________
Lighthouse (Music: King Midas Sound/Fennesz, 2015)
‘A study of surfaces figurative and metaphysical, with various levels and planes of a city combined and superimposed to become visual echoes, suggesting an animated city surface of grids, graphs, geometries and lines: layers of subterranean streets and shadows evoking multiple levels of consciousness. Filmed in New York, San Francisco and Hong Kong. An unconscious homage to Saul Bass.’ — Northwest Film Forum

 

_____________
Pulsars e Quasars (2014)
‘Paul Clipson puts us on the beach, just before fall, when summer is still present—a time we have a hard time realizing is still here because we know what comes next.’ — Letterboxd

 

_____________
Made of Air (Music: Grouper, 2014)
‘Blissfully sentimental–bookended by two gorgeous abstractions of movement (into, and later, out of the sea/cover/light) where everything is a blur. The people stand out, because their body parts are never really abstracted, and this prominence works more than it doesn’t. It really makes me feel like I’ve been brought under some layer, emphasized by the drifting repetitions of the song. I don’t know if it’s just me, but I feel like I don’t often see this much earnest emotion in experimental filmmaking (which often feels cynical/cold/angry/distant).’ — Harrison Wade

 

_____________
Hypnosis Display (2014)
‘Exploring impressionistic, emotional and sensory environments found within the vast natural and urban landscapes of America. Neither image nor sound takes precedence: the two interact and combine preserving a raw sense of the discovery that field recordings and in-camera edited film rushes often yield.’ — unheimlich astarti

 

____________
La Paloma (Music: Austin Cesear; 2014)
‘Clipson’s trademark kaleidoscope-chromatica pairs oh so well with Cesear’s heady inverted-trance dub-techno submersion. A miniature city-symphony for true heads. An all-time favorite, hands down. Hands up too, especially on a good system. Taken from AC’s stellar West Side LP via Public Information in 2014.’ — M⁄N

 

_____________
Speaking Corpse (Music: Jefre Cantu-Ledesma, 2012)
‘There are moments in time, like the one Paul Clipson gives us: The city at night provides saturated palettes of color. All of these found objects cluster and converge within the duration of a series of overlapping shots, becoming new compositions, and resembling an alternative view of the everyday.’ — IndieLisboa

Watch it here

 

______________
Another Void (Music: Jefre Cantu-Ledesma, 2012)
‘Music by Jefre Cantu-Ledesma Orpheus meets the bird with the crystal plumage. Filmed in the Tenderloin night of San Francisco, this study of the eye in vertiginous color and darkness, part drip painting, part contour drawing, part cubist collage, broadens and intensifies an on-going exploration into the various in-camera processes of handheld, small gauge filmmaking in the optic field, and the rhythmic and graphic relationships of multilayered imagery to music-making and dreams. ANOTHER VOID is the result of a continuing practice of working in Super 8mm film, utilizing all of the format’s limitations and benefits to maximum effect. The process of in-camera editing, in this case, the layering of a progression of hundreds of shots over each other, at any moment up to five or six images at a time, yields an array of unexpected, collaged compositions, largely unplanned for specifically, but achieved with a particular design in mind.’ — Light Cone

Excerpt

 

______________
Ephemeris (Music: Aki Onda, 2011)
‘Ephemeris is a conversation of image and sound, between filmmaker Paul Clipson and electronic musician Aki Onda, rendered as if from a fragmented journey of landscapes and memories. Clipson and Onda each investigate very personal, intuitive spaces, through their favored technologies of Super 8mm film and cassette Walkman. Both artists base a significant emphasis of their work on performance environments, where their visual and sonic field recordings interact to create sensory collages born out of the subjective impressions of the audience.’ — AO

 

______________
Compound Eyes (Music: Jefre Cantu-Ledesma, 2011)
‘Compound Eyes shows a macro-menagerie of natural life-forms that are introduced in a forest’s tapestry of earth, water and air: spiders, slugs, flies, bees, and ants navigate their lives in darkness and light.’ — iffr

Excerpt

 

______________
Lightmaze (2010)
‘A hallucinatory synthesis of nightscapes, focusing on colors, textures, and forms of light, viewed and traversed in several rhythmic movements. Using multiple exposures of neon signs, traffic lights and reflections in water shot in cities such as San Francisco, New York and Amsterdam, this film study transforms urban spaces into a unique nocturnal metropolis, suggesting a timeless, euphoric experience of visual memory.’ — TiBOR Nagy

 

______________
Ruminant (Music: Kadet Kuhne, 2010)
‘Paul Clipson unexpectedly exchanged his court sound engineer, Jefre Cantu-Ledesm, for a promising artist named Kadet Kuhne, who presents herself in this experimental film with ambient meditation drawing on the theme in Barake from 1992. Cadet is a very interesting creature who not only makes music but audiovisual art, sculpture, photography and canvas.’ — subtitlevid

 

______________
Landscape Dissolves (Music: Alex Cobb, 2009)
‘This was the 1st video I watched after smoking a joint alone for the 1st time when I was 15 in 2013, and man, I tripped balls watching this.’ — ruplin99

 

______________
Chorus (Music: Gregg Kowalsky, 2009)
‘Three cities become one in this unblinking nocturnal collage of images and sounds in which space, color and light move through the eye of the camera to create thoughts visualized before their conception. Shot in San Francisco, New York and Rotterdam.’ — Light Cone

Excerpt

 

_____________
Sphinx On The Seine (Music: Jefre Cantu Ledesma; 2009)
‘SPHINX ON THE SEINE is a film poem: the beginning of a metaphysical journey, musing on a series of brief, but enigmatic images taken from around the world. These images follow one after the other, but geographically span thousands of miles and large passages of time between each cut. Notions of time, space, and memory collide within a visual fabric of abstractions, landscapes, textures, superimpositions and graphic forms, to suggest the first moments of dream-sleep.’ — TiBOR Nagy

 

_____________
Within Mirrors (Music: Jefre Cantu Ledesma, 2008)
‘It is not uncommon for the current generation of experimental and noise musicians to incorporate film into their performances. Oftentimes, the moving images feel arbitrarily chosen, as if selected merely to give the audience something to look at during performances in which the artists remain static. In rare instances, however, the relationship of abstract music to the film images with which it is paired is a symbiotic one, each informing and complementing the other. Such is the case on “Within Mirrors,” a DVD collection of seven short films, originally released between 2005 and 2008, by Paul Clipson featuring music by Jefre Cantu-Ledesma. The result is a stunning example of how successful a collaboration across mediums can be.’ — artblog

 

______________
Moth & Moon (Music: Jefre Cantu-Ledesma; 2008)
‘An experimental visual menagerie of insects, arachnids and minute arthropod life, seen through images and sounds of curiosity and contemplation. In the stillness of a pond or forest, a steady record of unknowable activity is repeated in variation.’ — MUBI

 

______________
Corridors (Music: Jefre Cantu Ledesma, 2007)
‘Another gorgeous and sonically blissed out tag team, Clipson’s films, again on Super-8, were shot entirely in NYC, impressionistic shots of cityscapes, rolling hills, the texture of water, sun dappled evening skies, many of the shots textural, extreme close ups, patterns as much as images and shapes, sunspots, shadows, reflections, very active, the world flying past out the window of a train, power lines and bridges slipping out of eyeshot, setting suns and colored clouds, so lovely and dreamy. Cantu-Ledesma offers up the perfect soundtrack, music culled from the same sessions that produced the huge aQ fave Shining Skull Breath, thick and dense, whirring dronescapes, textured and layered, slipping from minimal shimmer to buzzing roar and back again, very much active, the intensity and propulsion of the sounds perfectly matching the motion of the visuals, in some cases, seemingly slowing it down, the drone dragging the landscape flashing by into sudden focus before letting it go again.’ — Tibor Nagy

 

_______________
Constellations (Music: Jefre Cantu Ledesma; 2006)
‘dreamlike drift through a dense visual latticework of plants, chainlink fences, branches, leaves, stoplights, neon signs, a delirious series of slow motion visual tangles and patterns. A bug’s eye view of the world mysterious and wonderful, like cutting room floor super-8 plant studies and urban landscapes woven into soft focus home movies. All set to the warm glow of Ledesma’s swelling dronescapes.’ — TiBOR Nagy

 

_______________
Two Suns (Music: Jefre Cantu Ledesma, 2005)
‘A beautifully abstract and paranoid impression of Southern California, filmed on grainy Super8, with lots of dizzyingly hypnotic footage of telephone wires, helicopters, cityscapes, gorgeously blurred out traffic lights and tail lights and street lights. There’s late afternoon silhouettes, fuzzy smears of neon, rain drops on glass, cranes and docks, abstract streaks of passing cars and slick roadways, hillsides covered in windmills, the sun reflected on the sea, highways and green hills. So lovely. And haunting. As are the accompanying sounds created, an ominous, buzzing, vocal drone, affected to the point that it still sounds organic, but not like a voice, more like streaks of sound, greys and blacks and browns, all smeared into blurred soundscapes of purr and whir and thrum, that perfectly compliment the shaky camera work, the grainy film stock, and the gorgeously and ominously mundane subject matter.’ — Tibor Nagy

 

_______________
Black Sun Square (Music: Tarentel, 2004)
‘An expressionistic view of fear within the spinning zoetrope of an industrial labyrinth.’ — Oddball Films

Excerpt

 

 

*

p.s. Hey. ** Uday, Hey. When I was a kid and the nuclear bomb was supposedly going to be dropped any minute, my parents turned one of the rooms in our basement into a very half-assed supposed bomb shelter, and I kept telling them, we’re going to die in there, but they were too cheapskate to do it right, so I had a few terrified years there. There’s a nice Facebook group called ‘Clouds That Don’t Look Like Anything Else’ where people post cloud pix that they think don’t bring any imagery to mind, but they always do. Oh, we should meet sometime, yes. Paris is great, come. Poor you with your ill-fated sleep length. If I get less than eight, I’m a wreck. Hope you’re alright and your class whizzed by. ** Arno, Hi. The o.o.p. thing is really frustrating, especially since most of the books I love are considered too niche/experimental to be worth revivifying, but, with print on demand, that just seems like bullshit. Excellent about your publisher. My French publisher, Editions POL, is like that. They’re a serious writer’s dream come true. Yes, I blurbed the American edition of ‘Babyfucker’. It’s great, yeah. I did a post about it. Let me see if I can find it. Hold on. Here. ‘I’m a big fan of writing that isn’t afraid of its own imagination or the consequences of what it dreams or talks up’: words taken directly out of my own mouth. Yes! I absolutely love your pre-set structural ideas. I almost always do the same thing. The George Miles Cycle took me about 20 years to figure out the right pre-set before I could write it. I like Stewart Home too. I actually like Pasolini’s poems more than his films. Anyway, your description of your process is very exciting. I’m a process junkie when it comes to fiction, as long as the process is complicated enough like yours. Like minds, I think. Yeah, I grew up in the bomb shelter-happy days in the ’60s, and even me as a little kid knew a bomb shelter would just bury people alive, but adults didn’t for some reason. I figure the world will end very, very gradually in fact. ** Dominik, Hi!!! A number of families in the neighborhood where I grew up built bomb shelters in their backyards, and they were depressing as hell to be inside, and they smelled terrible. The ‘Room Temperature’ ghost is being a total pain the ass. Or, well, our lofty plans for it are the pain, I guess. It’ll be fine, but the whole film is basically finished but for its polishing except for Mr. Ghost who is still driving us a little crazy with its demands. Once you’re a tax expert, I’m going to need your help. Love inventing the bottomless toothpaste tube and putting it on sale in every store or at least the ones near me, G. ** _Black_Acrylic, Hey. Me, I think the bomb shelter as saviour thing is a scam. It’s like the Easter Bunny. Yes! I read about Willy’s Chocolate Experience last night! I was so excited! You can easily imagine! ** Jack Skelley, Jackie: ‘Oppenheimer’ is going to win Best Picture. I predict (not hard to do). Yet another reason not to watch it. Well, so …how was FOKA Comes Alive? How is it? How is it going? *cocks ear* ** Misanthrope, I’m like your own personal Roberta Flack. They smell funky. Bomb shelters. Or the supposed ‘safe’ ones do. Or they used to. If someone wrote a novel called ‘Choicelessness’, I would definitely not read it. Unless that was the English translation of a foreign novel’s title, in which case I could give it the benefit of the doubt. ** Charalampos, I haven’t listened to the song yet, but I will. I like ‘Narrow Rooms’, yes. It’s not as good as ‘EC’ in my opinion though. I have very strong instinct that I will never learn French. Or not in a useable way. But oh well. Happy non-film goings on from you know where. ** Justin, I never read kindle books. Should I? Probably. I only seem to read physical books or pdfs. I’m glad ‘Blow Up’ snuck through. At least when I was a kid, bomb shelters were really, really oppressive and claustrophobic no matter what people did to their insides. But everything’s changed. Newness is the key to life or something. Nostalgia is the enemy. So thinks me. ** Guy, Hi. No, I think bomb shelters would be absolutely useless against the world’s demise. They would just add more torture to your death. Wait, I sent you ‘Dreamt Up’, okay, that does ring a bell. Sorry, my brain is very toasted these days. A few weeks! Whoo-hoo! I’ve always assumed that mental fragility and slave identity would be pretty wedded together, just ideally in a hot way. I don’t want to learn Japanese, but I really want to go to Japan. Zac and I made a vow to go this fall. No, I never want to be people I admire. I think that’s weird of me, but I don’t. I think I like feeling lesser around certain people. The mornings here involve drinking coffee and doing the p.s., which I suppose does have a certain gorgeousness. I suspect (and hope) your mornings are a bit more traditionally gorgeous. ** Steve Erickson, Ah, relatively simple solution. Vegan eating is pretty stellar for the old bod. If you can get into vegan cheese, that helps keep one on track, I think. So, why on earth are you reading George Santos’s biography? I can’t quite figure out that desire. I did watch a couple of episodes of ‘Doomsday Preppers’, and it was pretty fascinating. Not as fascinating as ‘Hoarders’, but what could be. ** Right. Today the blog devotes itself to the late and very wonderful filmmaker Paul Clipson. See if you’re in the mood and then dig in, if so, or so I recommend. See you tomorrow.