Notebook (lunch)

July 28, 2013 § Leave a comment

“‘Why don’t you get rid of that jacket?’, says W. ‘You’ve been wearing it for years. It makes you look fat. It’s completely shapeless.’

W. and I are wearing our flowery shirts. ‘Look at us’, W. sighs, ‘fat and blousy, and everyone else slim and wearing black.’

What’s wrong with us? Why are we never dressed for thought? Take my trousers, for example. They should be pulled up around my waist like those of Benjamin in that famous photograph. But they sag. They droop disappointingly. — ‘You’re a man without hips!’, says W. ‘A man without ideas!’

I’m getting fat, of course. Eventually, I’ll have to wear elasticated trousers like the American professors, W. says. Perhaps it will suit me, my obesity. Perhaps it will give me gravitas.”


July 27, 2013 § Leave a comment

Meryon 1960-1 by Franz Kline 1910-1962

Franz Kline, Meryon, 1960-61, oil on canvas, 235.9cm x 195.6cm

July 22, 2013 § Leave a comment

The social economy – of first dates, unemployment, tube rides, sexts, post-internet art, shoe-shopping, private viewings, ‘aspiration’ – is now one of combined & uneven abjection.

July 21, 2013 § 2 Comments

Notebook (lush life)

July 17, 2013 § Leave a comment

Strange, on reflection, how restricted pop’s presence is in Mad Men, apart from that one time Peggy does the Twist over to Pete. Better that, of course, than the BBC period-drama approach of lives & passions zeitgeist-ily soundtracked by Popular Hits Of The Day. Other than that it’s ballads of the 30s & 40s & the smoother end of 50s R&B (reflecting no doubt the tastes of older white guys). What it has instead, in a way few period shows do, is the spectacle of libidinal confidence & ease that pop always stands in for. Its lushness, elegance & glamour is always played to disclose its own banality, the tawdriness & difficulty of its own edenic appearance. Just as pop is always both, & inextricably, mainline to a culture’s libidinal images & ordinary necking in provincial discotheques.

July 16, 2013 § Leave a comment

“To be sure, these works amount to a defining moment in the evolution of the form but not the defining moment; the three decades since Sans soleil have seen a veritable explosion of essayistic filmmaking that Tracy’s account neglects to acknowledge. Perhaps Marker’s recent passing moves us to attend to his sui generis contributions to cinema – but at the recent Flaherty Film Seminar on documentary film, the halo cast around Marker’s memory was so thick as to be suffocating. His legacy has become so firmly tied with the essay film that many presume a subjective voiceover narration is essential to such works.”

& not only around documentary film: Marker’s work has fallen especially heavily among the thieves of the fine art establishment & the literary-critical end of art criticism or art-writing (or whatever it is these days); the halo thickens & simultaneously distorts, making it harder, not easier, to get to the films themselves, the contours of their “discontent with the image”, wh/ is in fact the friction of Apollonian & Dionysian agon

July 16, 2013 § Leave a comment

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