The blog of author Dennis Cooper

Category: Uncategorized (Page 14 of 1065)

Machines

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Created to provide a “novel way of transferring a kiss through interactive digital media,” the Kissenger works by first capturing the pressure patterns you create with your lips before recreating it, with the help of actuators, on your other half’s globular kissing assistant. The Kissenger can also facilitate two other modes of interaction as well: human-to-robot kissing and human-to-virtual character physical/virtual kissing.

 

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On November 02, 2000, a person calling themselves Time traveller 0 and later John Titor, started posting on a public forum that he was a time traveller from the year 2036. One of the first things he did was post pictures of his time machine and its operations manual. As the weeks went by, more and more people began questioning him about why he was here, the physics of time travel and his thoughts about our time. He also posted on other forums including the now non-existent Art Bell site. In his posts John Titor entertained, angered, frightened and even belittled those who engaged him in conversation. On March 21, 2001, John Titor told us he would be leaving our and returning to 2036. After that, he was never heard from again. Speculation and investigation about who John Titor was and why he was online continues to this day.

 

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some dronesounds realised with the weird sound gegerator (built by subtle noise maker) combined with the rainbowmachine by earthquaker devices and the echopark delay by line6.

 

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The Chopper

 

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The Lucid Dream Machine gives you the ability to take control of the action in your dreams without waking up, it’s like your awake inside your dreams and fully aware of the fact that your actually dreaming. The machine works by flashing two red LEDs in your closed eyelids while your sleeping, these make your eyes receive light, and send the information to the brain making it alert but not affecting your sleep, you gain consciousness and wake up in a dream. Once you hit that point you can do whatever you want. You have free access to the natural reserves of Adrenaline and Melamine which your body holds “people often take heavy drugs like “Methamphetamine” to unlock these magic potions”.

 

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Cat Mew was a mouse scaring machine that made cat noises. It was introduced in 1943 and was moderately successful for a period of 8 months before its novelty wore off.

 

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Disney Imagineers reveal their most sophisticated audio animatronic to date, the new Abraham Lincoln for Disneyland’s revised “Great Moments with Mr. Lincoln” attraction. The old Lincoln figure had 6 functions in the face, but this new one includes 19. Lincoln’s mouth is now able to form vowels such as “O”.

 

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Roxy Paine ‘Scumak No. 2’ (2000), aluminum, computer, conveyor, electronics, extruder, stainless steel, polyethylene, teflon, 890 x 73 x 276 inches

 

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Employees searched for 62-year-old Jose Melena after he went missing during an early morning shift at Bumble Bee Foods. He had been performing maintenance in a 35-foot long oven at the plant when a co-worker filled the pressure cooker with more than five tonnes of canned tuna and switched it on. The colleague mistakenly believed Melena was in the bathroom – but he was locked inside the machine, which reached a temperature of 132C. His body was only found two hours later when the oven was turned off and opened.

 

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Are you ready to take your sexual experience to a new level? Fucking machines are the next generation in sex toys. These virtual lovers offer you complete control over your sensations and give you access to total sexual gratification on demand. Fucking machines are gaining so much popularity because of how well they satisfy your most carnal desires. Men are able to redefine their sexual experience and get the ass fucking of their lifetime and as much pleasure as they desire for as long as they want it.

 

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Smoke ring machine

 

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Scientist Rhawn Joseph sues NASA, alleges it’s failing to investigate alien life on Mars. Rhawn Joseph is suing the space agency after it released photos last week unexplained showing machine parts on Mars. Joseph claims NASA is failing to investigate alien life and wants the rover to go back and snap more photos of the mysterious machinery. According to NASA, they’re just rocks. But Joseph, a key writer with the online Journal of Cosmology, says the “rocks” are “clearly machine parts, and, in one case, a helmet obviously worn at one time by a worker with these machines.” He has now filed a lawsuit in a California court to make NASA examine it more closely. “The refusal to take close up photos from various angles …to release high resolution photos, is inexplicable” his suit adds.

 

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The K’nex Pinball has been created by instructables user Alocke, and includes a numb rod different routes for the balls to take including some excellent lifts which have been created to transport the balls from certain locations within the pinball machine.

 

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A javascript counter automates the On Kawara time-based “Date paintings” from his Today series. The script begins on January 4, 1966, the date of Kawara’s first painting, and counts upward toward the actual date checked in the operating system clock. The CSS code produces the look of the paintings, using futura bold typography on a black background. The project will be completed on the date of On Kawara’s death, at which time a new variable will be added to the code to make the counter end (reset) on that day.

 

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Artist Rebecca Horn writes of the Peacock Machine, “sparked by the cries of the courting male peacocks, a machine in the center of the eight-sided temple begins to stir and spreads its long metal feelers fan-like into the room, in deep concentration, startled as it brushes against the wall, soothed by the sound of the golden waterfall, the opened semicircular fan dips down to the floor protectively closing off the room”.

 

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Walking Head is a pneumatically driven robot by the Australian performance artist Stelarc. It has six legs and awaits the spectators in a small gallery and performs a brief choreography when someone stands directly in front of him.

 

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Hope, Arkansas — A seven-year-old boy was killed while on the Sizzler, a ride at the Easter Week 2007 carnival in the southern Arkansas town of Hope. Allegedly the boy and his mother were late arriving at the ride, and a miscommunication prevented their chair from locking properly before the ride was started. The boy and his mother both fell out shortly after the Sizzler began it’s run, and the boy was struck in the head not once, but twice. “[The operator] tried to stop it, but it was spinning so fast the boy was falling out of the chair, and the mother is trying to get him, but he is too heavy,” the boys uncle told the Hope Star. “When he was on the floor (ground), he stood up, and the chair hit him.” The boy stood again only to be struck in the head once more. He was quickly transported to a local hospital where he was pronounced dead from “traumatic brain injury.”

 

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Henk van Kuijk, director of Dutch industrial company Vanku, evidently decided that squatting/ kneeling and shoving the bricks into place on the ground was just a little too slow, so he invented the Tiger Stone paving machine. The road-wide device is fed loose bricks, and lays them out onto the road as it slowly moves along. A quick going-over with a tamper, and you’ve got an instant brick road.

 

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Felix Thorn creates musical sculptures. With a background in fine arts and sculpture, an overriding love of electronic, breakcore and experimental music, and an intensely creative spirit, Felix builds machines that embody aspects of the mechanical and digital, creating music which is both acoustic and synthesized, as well as visually and aurally interesting. Not to mention beautiful. Musical pieces are created with Apple’s Logic Studio and sometimes Bidule (made by Canadian-based commercial software company Plogue Arts and Technology) and the sculptures are scavanged from a variety of sources and musical instruments (eg: an old piano, guitars, drums, an old shoe polisher brush, a towel rack…). Thorn also incorporates LED lights into his sculptures that flash on and off in time with various beats. Parts of Felix’s Machines frequently break, or come undone and this is all part of the natural process. (Sometimes double-sided tape can be a robot’s best friend) Thorn, who was born in 1985 and lives in southeast London, UK, continually builds new robots, adds to and revises his existing machines, and is apparently in the process of developing a method of incorporating wind instrument sounds into his mechanical orchestra.

 

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This 1932 Italian petrol-engine powered horse had mechanical steel pipe legs. It was said to be able to traverse relatively rough terrain. However it is hard to imagine the 5-horsepower motor supporting much in the way of speed. Observers report it more closely resembled a grasshopper than a horse. The creator, Alzetta planned to create a higher horsepower model, but it does not seem that this ever came to pass.

 

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Mark Pauline presents a video of a SRL show in San Francisco entitled A Calculated Forecast of Ultimate Doom (1984). Filmed and edited by Leslie Gladsjø, the video depicts scenes from the Apocalypse. The show begins with an effigy of Jesus riding into the arena on a rocket propelled go-cart. There is a large machine with a canon that acts as a flamethrower and other various machines that attack each other as well as the other props in the show. The cast of props includes a giant flying saucer with a flaming eyeball at its center, a giant clown face, and a life-size depiction of The Last Supper that is eventually set aflame. The show concludes with the total destruction and graceful collapse of all the machines.

 

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Shiri – Japanese for buttocks – has three main parts: a silicon skin, a pair of actuators and a microphone. The actuators serve as Shiri’s muscles while the microphone senses how the skin is touched. Stroke it and it will clench its cheeks; spank it and it will quiver. Inventor Nobuhiro Takahashi says he invented Shiri because he’s aware that humans don’t just communicate verbally; we also have physical reactions or expressions. Takahashi also said that Shiri is a great starting point because our butts have large muscles and thus make more visible movements.

 

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During an illusion where magician David Copperfield attempts to walk through the rotating blades of a 12-foot high industrial fan, the fan and its platform were being rotated by one of David’s illusion technicians. Just prior to David himself walking through the fan, [the assistant] was accidentally pulled into the vortex of the moving fan blades. Audience members watched in horror as the assistant was sucked into the fan, before another staff member rushed to turn it off. An audience member said: ‘One of the assistants dropped to the floor. The curtain came down partially. Blood was everywhere, and the other assistants dragged the victim back. Then the curtain closed all the way.’

 

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Chain making machine, chicken wire making machine, Spongebob Squarepants toy molding machine, log cutting machine, pipe forming machine, pretzel making machine, ice cream sandwich making machine, Pop Tart making machine, bottle recycling machine.

 

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Cabaret Mechanical Theater started life as a slightly odd crafts shop called Cabaret in Falmouth, Cornwall. It was opened in 1979 by Sue Jackson and sold Peter Markey’s simple wooden toys alongside knitwear and ceramics. With the arrival of Paul Spooner, it wasn’t long before the mechanical pieces started displacing the other crafts.

 

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These are the first pictures of the two teenage boys seriously injured after their carriage on a spinning fairground ride broke off and flipped over. Danny Keogh and Conor Baker, both 16, were on the spinning Mega Bounce Frog ride at Billy Bates Fairground in Leicester when the terrifying accident happened on Saturday evening. One boy was catapulted into the air, while the other was crushed under the weight of the car.

 

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In 1897, crossing the Atlantic Ocean by steam ship was a lengthy and, in bad weather, stomach-churning proposition. In the days before over-the-counter Dramamine, engineers like Frederick Augustus Knapp believed a “roller boat” – a vessel capable of driving on top of the waves – was the answer to passengers’ woes. His cigar-shaped vessel, 34 metres long, 7 metres tall, was essentially a cylinder inside a cylinder; a stationary passenger cabin around which a giant paddle revolved. The ship was welded together at Polson Iron Works, a shipbuilding company in Toronto, located south of the Esplanade between Frederick and Sherbourne streets. In trials Knapp’s Roller Boat never managed to travel above a crawl, well short of the 200 km/h predicted by its owner. After a brief stint as a ferry, the roller boat was buried under Lake Shore Blvd. by infill. It’s still down there, apparently.

 

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Mr. Machine is a once popular children’s mechanical toy originally manufactured by the Ideal Toy Company in 1960. Mr. Machine was a robot-like mechanical man wearing a top hat. The body had a giant windup key at the back. When the toy was wound up it would “walk”, swinging its arms and repeatedly ringing a bell mounted on its front; and after every few steps emit a mechanical “Ah!”, as if it were speaking. The toy stood about 18 inches tall (roughly 46 cm).

 

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Accident

 

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Artist Tim Hawkinson combines his face and facial expressions in a mechanized sculpture, Emoter, included in the 2002 Whitney Biennial. “It’s something that emotes and it’s motorized and it is an emoter. So why not call it Emotor?”

 

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These are creepy messages. They all came from a number that was from a Verizon landline in thorndale, Tx. They all tried calling the number Bach and it was disconnected (in each case the calls had been made within an hour before they tried to call it) None of them know anybody in Thorndale, Tx.

 

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I’m an Animatronic Designer or Creature FX artist. I do movie FX in the traditional way, it’s all in camera. The way they used to do it in the movies my generation grew up with. I started out as a Model Maker at a company called Artem. After a couple of years there, I started to focus more and more on Animatronics, learning from the freelance people that worked there of and on. That allowed me to further my skills and get recognized by my colleagues. This proved more important than tailoring my portfolio. — Gustav Hoegen

 

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This is from the 1960’s. It’s a vintage hard plastic Hong Kong import practical joke. Overall, the outhouse measures 5-½ inches high. An outhouse by other names is a privy, etc. It’s where hillbillies in our own US of A used to use prior to having running water in the home — it is generally in REAL LIFE made of wood, but this little mechanical toy is made of plastic — am sure some camps out in the middle of nowhere, etc., still have outhouses… It is ever so cute, so tempting to NOT unlatch that door to see cute silly smirking little boy — reminds me like a billiken is doing, although we KNOW what it LOOKS like he is doing…but wait!! You go to unlatch the door, he turns around towards you and pees at you! Mischievous or what?

 

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Steam Machine Music is a homebuilt mechanical instrument by Morten Riis made mostly from vintage Meccano parts. The instrument is driven by a steam engine that provides the whole instrument with energy. The sound material is generated using two music boxes that are programmable with perforated paper strips, a small Zither – a stringed instrument played with Meccano pulley wheels thus generating continuous drones instead of the normal plucking of the strings. Furthermore a dynamo that generates alternating current, which drives a small Lego engine which output is feed directly to a mixing desk generating a continuous tone which frequency is depended of the speed of the steam engine. Additionally a “drum” machine is incorporated which is built with Meccano parts that can be programmed to consist of up to four simple rhythm patterns; and the most important sound generating part is the sound of the machine itself, the rhythmic patterns and pulsating drones of the steam engine, the squeaking of the gear trains and the rattling of the whole structure is all important parts of the sonic experience. The instability of the entire mechanism is extremely noticeable, and displays and reflects the physicality of the machine to an extreme degree. Everything is imminently about to go wrong, a cogwheel that jams, a screw that loosens itself, a chain falling of, water running out, the loss of steam pressure, gas running out. One could state that this is physical mechanical glitch music, but in contrast to its digital counterpart, Steam Machine Music questions the whole practice and conceptualizing of machine music in a historical perspective that points to the fact that machines always have been malfunctioning, they have always broke down, there has always been a ‘real’ physical mechanism that challenged the predetermined functionality of the machine.

 

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Turn your kitchen into an IHOP with the ChefStack automatic pancake machine. For the list price of $3,500, it can spit out perfectly shaped pancakes at the rate of 200 per hour.

 

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The Darwin-Coxe Machine, circa 1900-1920s, in which the insane were swung until quiet. It was located at The Narrenturm, a home for mental patients in Vienna, Austria.

 

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The Marble Machine is powered by hand, and works by raising steel marbles through the machine into multiple feeder tubes, where they are then released from height via programmable release gates, falling and striking a musical instrument below. Instruments played by marbles striking them include a vibraphone, bass guitar, cymbal, and emulated kick drum, high hat and snare drum sounds using contact microphones. The music score is stored on two programmable wheels that utilise Lego Technic beams and stud connectors to trigger armatures to release the marbles.

 

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A 6-year-old boy died after undergoing an MRI exam at a New York-area hospital when the machine’s powerful magnetic field jerked a metal oxygen tank across the room, crushing the child’s head. The force of the device’s 10-ton magnet is about 30,000 times as powerful as Earth’s magnetic field, and 200 times stronger than a common refrigerator magnet. The routine imaging procedure was performed after Colombini underwent surgery for a benign brain tumor last week. Westchester Medical Center officials said he was under sedation at the time of the deadly accident.

 

 

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p.s. Hey. ** jay, Hi. They must be expensive. Not entirely sure about the Spiderman fetish. I’m not very versed in that franchise. I assume there’s some kind of ‘good guy’ being defeated by the ‘bad guy’ power trip thing going on. There was something about ‘Challengers’ that warded me off, and it sounds like that was a good call. Cool about the 4chan thing, I guess, but only one?! Haha. ** Dominik, Hi!!! Dominik and Dominique, it has a nice ring to it. Not too much to ask, no. I haven’t seen a live gig in ages. I wonder who’s coming. I’ll check. My gratitude about the cooler weather is still in the newly de-virginized realm. Assuming you’ve woken from your nap by now, welcome back! Love turning your kitchen into an IHOP, G. ** David Ehrenstein, Hm, interesting Ballardian point. ‘Red Desert’s’ fog is still the gold standard. ** _Black_Acrylic, Hi. My PV voyage got tragically delayed one more day aka today. (My fucked up ear was acting up yesterday, and I daren’t miss the stereoscopic effects). Yeah, sucks about the opera. Scott Walker was going to do the music for it. But then he got too sick, and that was one of the reasons why it crashed. ** Lucas, Hi. School would be so nice if it wasn’t so much work. Theoretically nice, at least. But I’m glad it seems okay so far, and ace on the seeming new friend. It’s telling that judgy people never seem to judge themselves. Oh, god, P.E., school’s greatest nightmare. At my high school, they let students who didn’t want to participate sit along a wall and read books for the hour and get a guaranteed D grade aka a passing but very shitty grade. Maybe they’d let you do that? I think there are a number of online lit zines that also publish art. I think SCAB does, for instance? I can have a look if you want. ** Tyler Ookami, Hey! Glad you came back. Except for the karaoke skills (although I did sing for a couple of bands) and the drum kit (I played guitar) and the comedian interest (for me it was acting, I took acting classes), you sound not unlike the young me. How do you try the stand up comedian thing? Are there, like, open mic things or … ? There’s all kinds of promise and pleasure happening in you. ** Adem Berbic, Adem, old chum. Jeez, it’s been ages. So great to see you! London sounds a lot more lively than Paris where everything kind of stopped dead in respect (?) for the Olympics, but we’re awakening. Ad Vat … no, I don’t think I’ve read that person. I’ll check around. Do the Zoom book club thing. It’s fun. I swear by mine. Yes, both Zac and I should be here then. We’re going to the States, but not until the beginning of October. How great! I can’t wait to see you guys! Hugs and love right back to you and the assembled! ** Diesel Clementine, Oh, now you’re ‘ie’. Weren’t you ‘ei’ before, or am I spacing out? I don’t know about the memory thing, I was just thinking aloud. I just thought if you made the memory yourself it would stick better and longer than if you received the memory by proxy, but I don’t know. If I see the ‘Alien’, it’ll either be in 4DX or in the worst manifestation possible on a plane flight’s little, tiny screen. That’s how blockbusters should be treated. Maybe. The opera was really kind of complicated and hard to describe in a nutshell. Let’s see … there would have been a hotel onstage, a fully built hotel, furnished in great detail inside and out, but the audience would only see the facade, and they would hear the opera happening inside the hotel with complex spacialaization tech that would allow them to hear where inside the hotel things were happening and sometimes they’d see bits of things happening through a window or something. And stuff like that. But more complicated. No, I haven’t looked at it yet. I’m really slow. I will. You weren’t meandering, and I’m glad you sent it. ** Uday, Hi. You know, I know ultra-little about opera. I’ve hardly seen any. The opera thing was Gisele’s and Dominique’s idea as they’re both really into opera. And they liked that I didn’t know how operas work. LA! My hometown! I’ve seen both the ‘LA Plays Itself’ doc and the Halsted film. How long is your layover? I hope you managed to get out of LAX and see things. Where next? ** Harper, Odd, the comments. I know nothing about imgur either. Strange, but certainly good, about your grandma’s fake request. Awesome that you found your way into Joy Williams! I think she’s my favorite living American fiction writer. Great call: your analysis of her dialogue. She’s a wonder. I’m so glad you like her work. ‘Concise and confusing at the same time’: the absolute ultimate. ** PL, Hi, P, if I may call you that. Oh, sure, there are bestiality guys on those sites. Not a ton. And mostly it’s slaves saying ‘I’ll even do bestiality, that’s how submissive I am’. There are furries there, for sure. Honestly, the only reason there haven’t been many here is because their profile texts generally aren’t so interesting and are overly to the point and are usually kind of all the same. They mostly seem to just want to ‘rawr’ at each other and cuddle. I’m mostly looking for odd and oddly written profile texts when I search there. Oh, yeah, like the Lion King-like furries. There are a lot of those. I like the guys who want to be dolphins, but dolphins aren’t furry, so I don’t know if they count. I’m not on Twitter, but the Suolaxier thing looks interesting at the tiny peek that Twitter allows non-Twitter people to take sometimes. My take on furries … I don’t know, it’s cool, it’s fascinating. I have friends who are furries, and I do want to sit down and query them heavily about furrydom one of these days. I’m happy and grateful that the slave posts have input into your work. That’s really the ultimate compliment that the blog’s stuff can get for me, so thank you for saying so. I’ll check out the Marcell Jankovics short after I’m out of here. Thank you! Always a pleasure to get to talk with you too. ** nat, Cool, glad her work entered you. Yes, no need for prim and proper behavior around me, obviously. Although prim and proper is full of interest as well. Me too: I like creating word-based things from video games. And I made a video game with Zac and the musician Puce Mary, but it’s not finished yet. Egoyan’s fall down isn’t all that slow, if I’m remembering right. Right, visiting friends are always asking me to recommend an old fashioned French cuisine restaurant, and I don’t know squat about them, and no one I know here ever eats at them. Whenever I happen to walk by one, there’s never any actual French person eating there who’s under, like, 70 years old. Later gator. ** Right. What’s today’s post about again … oh, right, machines. See you tomorrow.

Galerie Dennis Cooper présente … Dominique Gonzales-Foerster

 

‘Dominique Gonzalez-Foerster’s installations could be described as oneiric mises en scène. Mise en scène is the process of arranging actors and scenery on a stage or film set. Gonzalez-Foerster combines being a filmmaker with being an installation artist and the intersection of the two media in her work is of interest because in installation art the mise en scène becomes the work of art.

‘Those who enter a mise en scène viewing it as a work of art enter an environment that is profoundly illusory because the illusion does not take place within the evidently immaterial confines of a two-dimensional surface but in a real, physical environment. One remembers the Surrealists deconstruction of photography. Here was a medium thatwas supposed to be a direct imprint of the real: the camera ‘could not lie’. But Surrealist photography showed that the photograph could be the stage for a profound dislocation of our habituated ways of seeing.

Something similar is happening in the work of Gonzalez-Foerster. We enter rooms that are real enough, and experience objects that are real enough such as ladders and artificial grass, but the overall experience is not real but hyperreal. Typically her work will use devices such as painting the walls of a gallery a particular colour to create the effect of a ‘colour field’ with its concomitant psychological effects; using physical materials on the floor such as sand or plastic grass; and using imagery such as photographs or video to introduce a nonlinear narrative dimension into the oneiric mise en scène. Gonzalez-Foerster speaks of these rooms in terms of ‘narrative’ noting that “colour is an entry into a narrative; the colour rooms and the clues they usually contain give a certain number of elements to which the viewer adds what she/he needs to comprehend the work, link those various existing elements. It is not quite like reading, although reading is a possible means of completion; rather it is a way to generate a narrative, therefore emphasizing the importance of interpretation.”

‘But to be more precise, we are not speaking about a linear narrative. We are describing something much more oblique and poetic. It appears that one of the purposes of Gonzalez-Foerster’s installations is to place the viewer in a situation in which she or he has to exercise his or her imagination. Now, of course, we always exercise our imagination when looking at art. But Gonzalez-Foerster’s rooms are more demanding because the data is not in one place as is the case in a painting or integral sculpture. And this splitting or fragmenting of the experience into parts differs from immersive experiences such as the instances by Janssens and Eliasson that have been referred to in this text. When we walk into Gonzalez-Foerster’s rooms we walk into a ‘picture’ as is the case in an Eliasson installation and we experience immersive-like sensory effects, such as the colour field of painted walls and the feel of sand or Astroturf under foot. But her work does not end at perceptual experience. Instead there is a demand that we exercise our imaginative-cognitive facilities.

The fact that we have to use our imagination, in particular, is significant because in the philosophy of David Hume (1711-1776) imagination stands in between ideas (thoughts) and impressions (sensations and feelings). It is Hume’s interconnection between bodily-sensory experience and ideas which is especially interesting for a consideration of installation art. In the context of Gonzalez-Foerster’s installations what is significant about such philosophical meditations is that sensation, perception and cognition are intertwined, and I think that Gonzalez-Foerster’s ability to integrate perceptually immersive experience with a demand on the viewer’s cognitive-imaginative faculties is a particularly significant feature of her installations.

‘Another facet of Gonzalez-Foerster’s rooms is the way in which they can evoke an absent self that is entirely fictive. In that sense the absent self is an empty signifier that the viewer can fill. When the viewer enters one of Gonzalez-Foerster’s rooms she or he becomes akin to an actor on stage who can assume the identity of absent inhabitant. Or one could imagine a novel in which the author left a blank space for the reader to inhabit. One thinks here, also, of the strangeness of Paul Pfeiffer’s videos of sporting events in which he erases principle props and actors. Placed in such oneiric circumstances we reflect upon our identity as a species of construct woven out of a web of influences most of which have become distant memories.’ — Graham Coulter-Smith

 

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Further

Dominique Gonzales-Foerster Website
DG-F @ 303 Gallery
DG-F @ Corvi-Mora Gallery
DG-F @ Esther Schipper Gallery
‘This was a red jungle.’
‘Dominique Gonzalez-Foerster’s grand design’
‘DOMINIQUE GONZALEZ-FOERSTER: public-personal space’
‘Dominique Gonzalez-Foerster, chronotopes & dioramas’
‘Soy una escritora frustrada’
‘Clothes as Personal History’
‘interior gulf stream: Housing and studio for Dominique Gonzalez-Foerster’
Video: ‘Soleil vert par Dominique Gonzalez-Foerster’
‘DOMINIQUE GONZALEZ­FOERSTER’S TOP 5 PERFORMANCES OF ALL TIME’
‘archive and quotation in the work of Dominique Gonzalez-Foerster’
‘Dominique Gonzalez-Foerster is taking the town by storm’
‘Subjective Histories of Sculpture III: Dominique Gonzalez-Foerster’

 

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Extras


DOMINIQUE GONZALEZ-FOERSTER INTERVIEW EXTRACT


Gonzalez-Foerster installation at Tate Modern’s Turbine Hall


Dominique Gonzalez-Foerster / Atomic Park (2003)


Antonioni Zone 2 par Dominique Gonzalez-Foerster – Blow up

 

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Interview
from Flash Art


 

Hans Ulrich Obrist: In a previous conversation, we spoke about moving into fields different from contemporary art. You mentioned Friedrich Kiesler. Let’s start from here.

Dominique Gonzalez-Foerster: I think one reason why Kiesler is less famous than other artists is because he never wanted to be only a gallery artist. He was doing architectural work and all sorts of things, such as windows for big department stores or gallery spaces. The methods he developed have indirectly influenced many artists who don’t even recognize it. Certain artists — such as Kiesler or Isamu Noguchi when making lamps and furniture — wanted to expand the field of experiences. But art history makes it difficult for artists to escape a linear way of developing a career, and usually these artists are rediscovered much later. The art world is very conservative when it comes to behavior.

HUO: You have implemented a lot of these expanded projects: a park has happened in
Kassel at Documenta 11, another park in Grenoble, and a house in Japan.

DGF: I always look for experimental processes. I like the fact that at the beginning I don’t know how to do things and then slowly I start learning. Often exhibitions don’t give me this learning possibility anymore. With the house in Japan, I was constantly confronted with people; they were explaining to me, say, possible grids and at each meeting I was learning something new. I like meeting with people who are very specialized in their field. I don’t find these learning moments in art enough.

HUO: I always felt that routine is the enemy of exhibitions.

DGF: Yes. There is also something very slow in the art world. People build a stage for a concert in one day; they do more in one day than they do in a gallery space in a year in terms of activity. Of course each system has it’s timing, but once you have been dealing with other speeds it is really hard to go back to this slowness.

HUO: When I first came to France I was asked if I wanted a ‘plan d’evasion’! It was a card for buying tickets, like national flights’ tickets. There’s also a book by Laborit, Éloge de la fuite…

DGF: There is something very human in ‘escaping.’ What drives transformation is the fact that at a certain point an environment is not stimulating to you anymore. You feel you need a change; it’s a human drive to escape the too slow or too repetitive or too deadend situations.

HUO: Recently somebody told me about the great landscape architect Dominique Gonzalez-Foerster! They didn’t know that you had an artistic background. There are other people who see your films at film festivals and talk about this young filmmaker. Suddenly you are gathering a multitude of identities.

DGF: I don’t want the films to be seen as artist’s films or the garden to be seen as an artist’s garden. I think it is important for artists to develop their role as producers or directors, which means providing a public situation for an audience — an exhibition, a theater piece or a film serve this purpose too. And for that you get a fee.

HUO: There’s a recurrent question in my interviews… what is your unrealized project?

DGF: The thing I have been dreaming of for some years is a swimming pool on the beach. This is why I went to Brazil; I wanted to make it there. It would be a kind of ‘tropical university’: a place, a swimming pool, with some umbrellas to create shades. You sit in the water on the beach and discuss your ideas and projects! It has never been realized until now.

HUO: What is your next project?

DGF: Writing a science fiction novel together with Philippe Parreno, keep thinking about new sorts of public spaces and playgrounds as I did for the current São Paulo Biennale, working on an ‘opera/exhibition’ with lots of artists and friends for the Manchester International Festival, preparing a proposal for Skulptur Projekte Münster 07, and of course remaining unpredictable even for myself!

 

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Balenciaga Flagship Store, Paris
‘Balenciaga’s 60th directly operated store — boasting 40 feet of frontage on the bustling Rue Saint-Honoré — symbolizes how the company has quickly accrued critical mass in retail, which now accounts for more than half of its revenues. (Less than five years ago, it only had three locations.) Balenciaga’s space, formerly a gas station, offered the brand a vast, rectangular space of about 3,200 square feet spread over one level — a rarity in a city full of landmark buildings with higgledy-piggledy layouts. As in all Balenciaga units, creative director Nicolas Ghesquière and the French contemporary artist Dominique Gonzalez-Foerster collaborated on the interior concept. She calls the Rue Saint-Honoré store a “catalogue” of its key boutiques, each of which has a different color scheme and mood. Pedestrians strolling on Rue Saint-Honoré are surely to be struck by the store’s division into vertical strips — like a theater stage with its various backdrops viewed in cross-section.’ — WWD

 

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Cinema

Belle comme le jour (2012)
‘The story of Severine before she married Pierre and became ‘Belle de jour’. Staying at the Hotel Regina next to rue de Rivoli, she goes to visit the Louvre and has a deeply disturbing conversation with a complete stranger.’

 

Noreturn (2009)
Noreturn is a short film lasting sixteen minutes featuring a group of school children playing, reading, talking and ultimately sleeping in the cavernous space of Tate Modern’s Turbine Hall. The film was shot during the last days of the artist’s installation for the Unilever Series commission for the Turbine Hall, entitled TH.2058. The beds, books, sound of rainfall, replica artworks and large LED screen that comprised the installation are all used in the film as props and staging for the children’s activities, which appear to be unsupervised, suggesting that the children may have taken shelter in the apparently abandoned space. The film’s soundtrack was specially devised and recorded by the musician Arto Lindsay, and provides a jarring acoustic accompaniment to the visual action.’

Trailer

 

Marquise (2006)
Marquise is a film that features Dominique Gonzalez-Foerster‘s contribution for the 27th Sao Paulo Biennial in 2006, her work “Double Terrain de Jeu (Pavillon-Marquise)“. The installation consists of several plywood columns Gonzalez-Foerster added to the open groundfloor of a pavillion built by architect Oscar Niemeyer at the public park Ibirapuera in Sao Paulo. The film documents the work “Double Terrain de Jeu (Pavillon-Marquise)“ and fictionalizes it at the same time. While one sees the narrator, a small boy, walking through the installation space with his parents, he recounts the imaginary story of how these columns appeared to him at one point to be movable. But he cannot prove this im- pression to his parents. The film is edited with slight cross fadings, which may give the viewer the impression that the columns appear to move.’

Trailer

 

Parc Central (2005)
‘A collection of 11 short poetic psycho-geographic portraits of cities and spaces from artist Dominique Gonzelez-Foerster. Ranging from the revisiting of a scene of Ming-Liang Tsai’s ‘Vive l’Amour’ through the eyes of its protagonist, to a ticker-tape parade in Buenos Aires, from a reflection on the filmic qualities of Brasilia,to an observation of the observers of the 1999 eclipse in Paris. All soundtracked by a sensitive balance of field-recordings and carefully chosen delicate music.’

 

Atomic Park (2003)
‘Atomic Park is a place in the White Sands desert (New Mexico), not far away from Trinity Site, where the first atom bomb exploded in 1945. This national park provides an ambivalent landscape, as well suited for a picnic as for ballistic tests. A white desert, like a natural exhibition hall every movement can provoke diverse interpretations. Like a faint echo we hear Marilyn Monroe’s desperate monologue and accusation about man’s violence from The Misfits (1961).’

 

Bashung(s) (2004)
‘Alain Bashung, géant de la musique pop française, nous a quitté en mars 2009. Le plus primé des artistes pop français était considéré comme le meilleur chanteur depuis la disparition de Serge Gainsbourg. Il était aimé de toutes les générations. Sans compromis, excentrique mais toujours très humain et respectueux, il a mélangé tradition de la chanson française, surréalisme et rock & roll avec une dimension poétique abstraite et érotique. Ce dernier documentaire sur lui révèle son travail de création à travers des scènes de composition en collaboration avec d’autres artistes, de tournage d’images projetées en concert, de répétitions de spectacles, de scènes de concert et d’interviews de ses proches. Alain Bashung lui-même se livre à Pierre Lescure et nous aide à recomposer le puzzle de sa personnalité multiple.’

Excerpt

 

Central (2001)
‘Gonzalez-Foerster has said that ‘I think I’m obsessed with a world through which one walks in spirit’. In one of her favourite books, Adolfo Bioy Casares’ Morel’s Invention (1940), the narrator – a nameless exile – pitches up on a tropical island inhabited by a group of sophisticates, including Faustine, a woman who instantly captures his heart. Like Casares’ novel, Gonzalez-Foerster’s Central ponders the gap between the viewer and the viewed. A sign, slightly weathered, tells us that we’re at the Star Ferry Terminal, Hong Kong. The camera cuts to a boat, then to the waterfront, then to various solitary souls standing on its edge. It’s all very melancholy.’

Excerpt

 

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Sculptures & installations

Et la Chambre Orange, 1992
“Colour is an entry into a narrative; the colour rooms and the clues they usually contain give a certain number of elements to which the viewer adds what she/he needs to comprehend the work, link those various existing elements. It is not quite like reading, although reading is a possible means of completion; rather it is a way to generate a narrative, therefore emphasizing the importance of interpretation.”

 

La bibliothèque clandestine, 2013
A revolving door doubles as a bookshelf holding one of Dominique Gonzalez-Foerster’s libraries, La Bibliothèque clandestine, 2013 (Nabokov, Salinger, Bret Easton Ellis, Lovecraft, Verne, etc.). Through this Hitchcockian portal, viewers enter a remake of a show Philippe Parreno saw in 2002 at New York’s Margarete Roeder Gallery, featuring elegant framed drawings by John Cage and Merce Cunningham.

 

Ludwig II, 1992
Ludwig costume, Stockman bust, projected image, 2 speakers, 1 projector

 

Tapis de Lecture, 2007
In Tapis de lecture (Reading Carpet), a large orange carpet is edged with unequal piles of books in five different languages: Hebrew, English, French, German, and Japanese. The diversity of languages suggests a multicultural, tolerant, and non-hierarchal approach, as do the books’ casual arrangement and the participatory nature of the work – visitors may sit on the carpet and read as they like. The very personal selection of books includes masterpieces of literature and science fiction. Postcards from different places the artist has visited are planted at random inside some of the books; they add another, autobiographical, layer of memories and feelings to the work. The reading carpet creates a new liminal space – in between public and domestic, outer world and inner realms, and even conscious and unconscious. It melds space, time, color, and personal sensations, thoughts, and associations.

 

Dominque Gonzalez-Foerster as Bob Dylan
In 2012, Gonzalez-Foerster began a series of performance works, or apparitions as she calls them, in which she embodies figures such as Bob Dylan, Emily Brontë, and Ludwig II of Bavaria, who together create M.2062, a fragmented opera with no beginning and no end, thus effacing any idea of a constant unit of time and action. These performances, in which the artist lets herself be inhabited by other characters, are sometimes in the form of holographic projections that bring iconic performances to life once again.’

 

Alienarium 5, 2022
In Alienarium 5, Gonzalez-Foerster imagines possible encounters with extra-terrestrials through speculative, performative and visual fiction. Conceived of specifically for Serpentine, the exhibition will feature almost entirely new work situated both inside and outside the gallery. Approaching from the park, visitors will first come across a statue in remembrance of the coming alien developed together with writer and philosopher Paul B. Preciado. Inside the gallery, Alienarium 5 will continue as a 360-degree panorama, an olfactive extra-terrestrial collaboration with Barnabé Fillion (Arpa Studios), an otherworldly holorama expanding the artist’s ongoing series of ‘apparitions’, and a new VR piece that, following on from her critically acclaimed Endodrome presented at the 2019 Venice Biennale, marks the artist’s second VR work produced by VIVE Arts.

 

Repulse Bay, 1999
Dominique Gonzalez-Foerster calls her large installation work Repulse Bay (1999) after the famous beach in Hong Kong. The work, in effect, is a blue-lit room with three beach towels laid out next to one another. You enter the room by climbing down a ladder. Once in, you are immersed in a cool, dark world that looks nothing like the bright and warm stretch of beach in Hong Kong. The natural variety and disorderliness one finds on the beach have been drastically simplified into repetitive, anonymous forms. Only one’s imagination can complete it.

 

Untitled, 2011Book: Robert Bolano’s ‘Los Detectivos Salvajes’ and sand

 

Dominique Gonzales-Foerster as Edgar Allan Poe
“I work against theatre, I am completely against theatre, I like the idea of mise-en-scène, I like the idea of the stage, but the idea of theatre …. I see very little theatre. I really have trouble with actors, although now I am starting to understand them a bit better.” -DG-F

 

Splendide Hotel, 2013
In the exhibition SPLENDIDE HOTEL, Dominique Gonzalez-Foerster puts forward a journey that transports the viewer into spaces and times, where the imaginary is mixed with reality and where literature maps out the guidelines to follow for inhabiting this oneiric world, taking the artwork beyond the meaning of its objects.

The Hotel Splendide in Lugano was opened in 1887, with the name already coming into being previously in Arthur Rimbaud’s poem Après le Déluge, published in 1886. Splendide was also the name of the hotel in Évian-les-Bains, where Marcel Proust holidayed with his family. This date coincides with the year the Palacio de Cristal was built in the Retiro Park in order to house the plants and flowers for the General Exhibition on the Philippine Islands.

It is this idea that Gonzalez-Foerster wants to transfer, recreating one sole room in this imaginary hotel. A rug covers the floor of the room and its surroundings, various rocking chairs invite viewers to take a seat and become participants in the work, immersing themselves among some of the many books chosen by the artist for the occasion. José Rizal, Dostoyevsky, Rubén Darío, H. G. Wells and Enrique Vila-Matas are just some of the authors submitted by the French artist for this journey.

 

Bahia Desorientada, 2005

 

Pynchon Park, 2016
Dominique Gonzalez-Foerster’s Pynchon Park envisions a zoo operated by extra-terrestrials for the observation of human behaviour. Caged by a green net roof and automated gates that allow and prohibit access at random, visitor-specimens are provided with inflatable balls and giant book-carpets for their recreational amusement, whilst lighting in the gallery cycles through dawn and dusk to collapse 24 hours into 24 minutes. To a soundtrack of waves, the audience performs first as an empirically inclined alien, as it peers into the space, before becoming an actor in a human-zoo within the installation’s theatrical arena, in which drifting spotlights evoke both a spectacular celebration and authoritarian surveillance.

 

Dominique Gonzalez-Foerster as Marilyn Monroe, 2015

 

Exotourisme, Don’t pretend We are so Special, 2022
Is a Sensodrome a place to stimulate our somatosensory system – a maison de rendez-vous? – a meeting point? Is it a mutant place contributing to the invention of new technologies of consciousness? What if aliens were in love with us? Would it change our relation to our planet and its lifeforms? An immersive, supernatural and sensory environment.

 

Moment Dream House, 2004
In 2004, Gonzalez-Foerster designed a house, the Moment Dream House, for Daisuke Miyatsu in Tokyo.

 

Human Valley, 2011
The press release for “Human Valley,” a yearlong installation and screening space created by Dominique Gonzalez-Foerster and Tristan Bera for the Kunsthalle Zürich’s temporary site, describes the project as consiting of “hybrid presentations of borderline topics” and “sentimental research on stimulating links.” In its current iteration, the first of four planned phases, the project mines the oeuvres of Balzac and the French New Wave—the connection being, of course, the deep debt the latter’s fervently literary auteurs owe the legendary writer.

Like late New Waver Éric Rohmer’s film quartet “Tales of the Four Seasons,” Gonzalez-Foerster and Bera’s project is split into four seasonal chapters. Summer inspired the participating Paris-based artists to outfit three petite rooms as, in order: a cinema’s anteroom featuring wall vitrines filled with Nouvelle Vague film posters; a Godardesque mise-en-scène with bed and bookcases filled with old Penguin paperbacks (Balzac novels and related fare—Barthes, Flaubert, Bret Easton Ellis, Catherine Millet); and finally a screening room itself.

On my first visit to the beguiling space, the bookcases were crammed with the aforementioned titles, many of which were noticeably missing on my second visit, pilfered by museumgoers with itchy fingers. It seemed apt that the books were revered enough to be stolen, given that the inspired start to “Human Valley” itself was a welcome acknowledgment of literary and critical influences on other artistic media, and the most persuasive of the self-styled “social projects” I’ve encountered of late.

 

Cosmodrome, 2000
Cosmodrome is a “spectacle environnement,” a dark room. A comprehensive environment like a “son-et-lumière”, with music especially composed by Jay-Jay Johanson, an experience of audio and visual sequences, lasting 9 minutes.

 

Une chambre en ville, 1996
Recently, Dominique Gonzalez-Foerster created an installation entitled Une chambre en ville: a silent but on TV, a phone that people can call from outside, a clock radio, a few newspapers of the day piled in a corner. Where both the absence of the owner and the multiplication of the modes of communication reign. The whole with changing lights, alternate colors, kind of bright scenario that makes the room a small movie theater: “My rooms are like pictures but in which we can go in. We are physically surrounded by the image, a as in the cinema, and I have an obsession with a narrative, even with a spatial narration, and I would like to be able to generate sensations as strong as a book or a film.”

 

T. 1912, 2000
Artist Dominique Gonzalez-Foerster created a site-specific staged audience experience in the museum’s rotunda, inspired by this historic event and wherein the audience played a role. Gavin Bryars’s The Sinking of the Titanic was at the core of the installation, performed by The Wordless Music Orchestra.

 

Valise Biographique (Hannah Hoch), 1992
Suitcase, comb, toothbrush, mirror, colour Xeroxes.

 

euqinimod & costumes, 2014
The show is a sampling of Ms. Gonzalez-Foerster’s self-portrait in textiles, youthful artworks and beloved objects, presented in a way that evokes a stretched-out closet, a store window or — thanks to a velvet-covered pouf ottoman — the more formal precincts of a museum. The scene is set with walls painted pale yellow, violet, blue and pink, and a continuous row of Shaker clothing pegs installed at a height of eight feet that creates a disorienting, outsize wainscoting effect.

Hanging from the pegs are articles from Ms. Gonzalez-Foerster’s wardrobe, childhood garments and grown-up designer clothes, all looking well used but glamorous, from Comme des Garçons, Balenciaga and Maison Martin Margiela. Their flow — which resembles a timeline — includes chairs by Thonet and Arne Jacobsen, childhood photographs of the artist, art by her aunt and archival inkjet prints of mixed-media works on paper from 1981 that were part of her application to art school. Her pieces from this period bespeak an admiration for Matisse, Raoul Dufy and Florine Stettheimer, and have each been reproduced in editions of three.

 

 

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p.s. Hey. ** Dominik, Hi!!!! The return! Oh, whoa, congrats on the live reconnecting with Placebo. Nothing like that lingering buzz. I’m okay. It’s been quiet like it always is in August here with everybody off on their traditional vacations, but life is filtering back in. Zac gets back from his vacation tonight, and then we’ll set to trying to solve the film problems somehow. No, it’s really post-summer here now, so cool that I had to wear my coat outside yesterday. Happiness. Love turns the clock back, oh, 10 or so hours, finds Anita, and holds out her dream of what a birthday cake could be, G. ** jay, Really? They exist, I mean? I do agree that films’ cleanliness are key to how they work. But you never know. I’m tempted by that candle, although not tempted enough to pay that price. Well, yeah, there are those famous extreme haunted houses where you get waterboarded and stuff, I guess they count. Spiderman fetish amongst slaves is weirdly popular. Great day to you too. ** David Ehrenstein, Glad you think so. Respectfully, re: the Delon thing, you are speculating about an incident involving his bodyguard being found murdered in which Delon’s involvement was merely a rumor via which nefarious imaginings ran rampant, but his involvement was never even investigated, and, at least here in France, no one with knowledge of the facts thinks Delon put a hit on the bodyguard. ** Tyler Ookami, Hi, welcome, good to make your acquaintance. My experience of anime is actually far from comprehensive despite my interest therein, so your recommendations are highly welcome. I will go see what they are after I finish this. Thank you so much! How are you? What do you do or like to do especially, for instance? ** _Black_Acrylic, No, I haven’t seen ‘Challengers’. I remember people being quite high on it. PV unfurls in me today. ** Misanthrope, I don’t know, if I live long enough to have a prune face it might be disconcerting to hear a teenage-ish voice come out of that face, but then again Mick Jagger still sounds essentially like he did when he was young, and no one bats an eye. God, am I so extremely glad I’m not on X. ** Lucas, Hey. ‘Atman’ is another really good Matsumoto film, for instance. There’s this weird combo of having patience while really feeling you need to push yourself that’s kind of the ideal balance, I think. I think you’ve got it. Yes, do report back. All the luck you might need today. Sure, uploading your collages to the blog is totally interesting. I guess the only argument against doing that would be if you want to submit them to other zines or sites or anything? ** Måns BT, Hi, rested Måns. I’d maybe watch ‘Atman’ next. Most of his shorts are really cool. The objectively bad can float my boat. I mean, I’m excited to see ‘San Andreas 2’, for goodness sake. Yeah, I thoroughly enjoyed ‘Godzilla + Kong’ in 4DX to the point of forgiving all the boring, move-the-plot-forward parts. Okay, tentative congrats on the promising and already pretty good gymnasiet situation. ‘Thundercrack!’, sure, I like it a lot. I really like that whole San Francisco gang of filmmakers: Curt McDowell, the Kuchar Brothers, etc. I did a Curt McDowell Day here last year, if you’re interested. It’s here. The week is looking good in no smart part because fall seems to have arrived. Also Zac gets back from vacation tonight, so we can hopefully try to start getting our film out of its hell. I guess your week will be pretty school-based? Any highlights so far? ** Steve, Hi. No, he didn’t order anyone’s murder, David’s just doing his David thing. Everyone, Two new reviews by Mr. Erickson. (1) of Uniform’s AMERICAN STANDARD here, (2) and of Peter De Rome’s wild 1970s porn film THE DESTROYING ANGEL here. ** Malik, Hi, Malik! How great to see you! Awesome about the Gamescenes write up. I love Gamescenes and am a bit of an addict. I can’t wait to read it! Everyone, A short film made using the game Skyrim by the fantastic and multifaceted artist Malik has been written up on the great Gamescenes site. And you can watch the short film there too. Super highly recommended. Go here. Awesome, big congrats to you and especially to them! I like ‘Atman’ especially a lot too. Thanks! A great pleasure as ever to get to talk with you. ** Tosh Berman, Hardcore writing on your new book, I guess/hope? I can’t wait to get back to Japan. I hope this winter. Dying to. ** Harper, Yep, yep, big agreement. I know, the ‘Out 1’ ending, so satisfying. Michael Lonsdale is so great. As well as having pretty much the best resume of any actor ever. He should be so much more lauded and revered than he is. Wow, thank you for the hook up to the photos! I’ve only peeked so far, but they/it look super intriguing. I’ll dig in fully in a bit. Everyone, Harper made an art project when they were 17 about Rimbaud/’Season in Hell’ involving masks and props and things, and there is beaucoup photographic evidence that you can peruse, and of course I most strongly encourage you to do that. By going here. Awesome, thank you kindly, pal. ** Darby, No apologies necessary, of course. Good, good, sounds promising and good. I’ll be really interested to hear how it all unfolds for you. Samir sounds like a total bud. All you really need is one or possibly two really close friends, I think, although more is excellent, of course. Then the acquaintances start filtering in. Me at 19? Um, I self-published a little book of my terrible juvenile poetry. My mother was pressuring me to get a job, and I was considering going to college instead of getting a job. I moved in with my boyfriend of the time whose name was Robert in the city next to mine, which was/is called Monrovia. My musical tastes were evolving from ProgRock into GlamRock. There’s four things. What do I think of you? Well, I think you’re great, fantastic, original, super intelligent, deep, fascinating … all the great things. Oh, Helmet. I haven’t listened to them in ages. I will. They were really good live. You should go to the comedy club for all kinds of reasons including the fact that it’s called Dead Crow. ** ellie, Hey, ellie! Cool, I’m glad you love that film too. Whoa, 77 pages, nice! Exciting! Everyone, the great ellie is making a zine, and if you’re interested in submitting or just finding out more about it, you can do that easily by going here. Do. It looks really exciting, as you will see. Great luck if needed with the move to Chicago and the school-based immediate future. Working on a novel: excellent! I’m still trying to get Zac’s and my new film finished and out into the world and working on the script for our next film. And enjoying summer’s lovely death. Take care! ** nat, I like semi-coherence. I aim for its simulacrum. Beautiful talk about Toshio’s values. The excerpt makes ‘Lonely Heart Killer’ most intriguing. Let me see what I can locate of it. I didn’t know that people were named Nat. I mean just Nat. That’s cool. Interesting decision by your parents. ** Oscar 🌀, All credit to Google translate, sadly, Well, most credit, as I do remember a wee bit of Dutch. Ah, horse hay, nice. Did you know that the world ‘hi’ derives from the word ‘hype’? Makes sense, doesn’t it? And did you know that the name Oscar derives from a mispronunciation by a woman in the 1700s who was missing her front teeth and was trying to name her newborn child Boxcar? I bet you didn’t know that. You should watch ‘House’! It’s so much fun. You’ll be very glad you did, Trust me. I put a gold star next to the title’ Longlegs’. Thank you. Nope, no ‘… TV Glow’ yet, but I’m getting there, I swear to god. ** PL, Oh, cool, about the inspiration meets post aspect. I totally believe you about the growing niceness. No, your read of that slave entry is not disconnected to the feeling it gave me when I plucked it from its nefarious site and hoped its power there would translate to here. Very observant. There are occasionally things on those master/slave sites that are sufficiently shocking that I can’t bring myself to relocate them here where they don’t have the narcotic effect that those sites can generate. So, yeah, I get shocked. I just tend to want to explore why rather than turn away aghast. That’s my weirdness. I hope you’re doing great too! ** Right, Today the blog becomes a galerie again, and in this particular galerie there is a show by the very, very interesting and versatile artist Dominique Gonzalez-Foester with whom I (and Zac and Gisele Vienne) spent two years collaborating on an opera that never ended up being finished, much less produced. All of which is to say that I can verify that she’s also a great person in addition to her art’s virtues. See you tomorrow.

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