Sunday, August 18, 2002
Salut,
*cnn is an analysis of "film, art, culture, world, words, images, with a conscience." Is it worthwhile? I am assured that what we need is a conscience (and not necessarily love da dada dada) especially now in 2002 as the world will 'never be the same'. Of course it will, but that doesn't lessen the need for analysis, it doesn't mitigate the desire for a way of living that is always aware of its own perspective, the limitations inherent in having a perspective, the utter inescapability of a point of view based, in whole or in part, on preconceptions that are picked up like a chamois picks up dust. Once one is aware of their own perspective they should, by logic, be more amiable to other perspectives, more able to transpose another reality over the thin film we stare into and through, projecting a different idea of self onto the screens of the suburbs. So *cnn has a preamble to an invisible constitution.
*cnn is an analysis of "film, art, culture, world, words, images, with a conscience." Is it worthwhile? I am assured that what we need is a conscience (and not necessarily love da dada dada) especially now in 2002 as the world will 'never be the same'. Of course it will, but that doesn't lessen the need for analysis, it doesn't mitigate the desire for a way of living that is always aware of its own perspective, the limitations inherent in having a perspective, the utter inescapability of a point of view based, in whole or in part, on preconceptions that are picked up like a chamois picks up dust. Once one is aware of their own perspective they should, by logic, be more amiable to other perspectives, more able to transpose another reality over the thin film we stare into and through, projecting a different idea of self onto the screens of the suburbs. So *cnn has a preamble to an invisible constitution.
Friday, August 09, 2002
A word:
A salad roll of film developed treat on Wednesdays, flush for a day after pay.
Shortlived I know, but when it's all you've got in the world you cling to it with insane desperation. And the coffee calls words forth, puts them in order and makes something of this hand-to-mouth life. To have it known I wouldn't want it any other way. As it stands character traits are designed by cash flow. The imminent demise of global capitalism (optimistic, I know) will upset reliance on symbolic vanity and return some sense of choice to the individual. The virus of money will be cured and life will flourish here as it will flourish elsewhere. Can I wait, here, for the revolution? Probably not. Can I keep asking rhetorical questions to ratify my choices? As long as I show no one. The presence of audience distorts illusions, making dreams merely long-term plans, something I instinctively shy away from. [She cradles the tripod like a baby, so maternalistic and eager for it to grow, make something of itself. She knows nothing and I watch her, hoping to learn something.]
A salad roll of film developed treat on Wednesdays, flush for a day after pay.
Shortlived I know, but when it's all you've got in the world you cling to it with insane desperation. And the coffee calls words forth, puts them in order and makes something of this hand-to-mouth life. To have it known I wouldn't want it any other way. As it stands character traits are designed by cash flow. The imminent demise of global capitalism (optimistic, I know) will upset reliance on symbolic vanity and return some sense of choice to the individual. The virus of money will be cured and life will flourish here as it will flourish elsewhere. Can I wait, here, for the revolution? Probably not. Can I keep asking rhetorical questions to ratify my choices? As long as I show no one. The presence of audience distorts illusions, making dreams merely long-term plans, something I instinctively shy away from. [She cradles the tripod like a baby, so maternalistic and eager for it to grow, make something of itself. She knows nothing and I watch her, hoping to learn something.]
Wednesday, August 07, 2002
Salut.
Melbournites take note. The Melbourne International Film Festival is drawing to a close. Although the promo material was bland, the programme was anything but. A lot of great films were on offer, including the new Jean-Luc Godard film, In Praise Of Love. Being a youngster I had never seen a JLG film in a theatre, having had to suffice with video. His black and white imagery is brilliant on the big screen. Always the innovator, Godard shot the second half of the film in colour video, producing a grainy, gaudy print. This part of the film was set two years previous to the first half, making my mind, trained to classical narrative, reel just a bit. But as with all of Godard's work, it requires a second, third or fourth viewing for anything nearing comprehension. Other films of note were Fausto 5.0, a "futuristic" remake of the classic tale by Goethe. Already knowing the story made it easier to focus on the visual aspect, which was fast and focussed. Avalon, a sci-fi-ish real-life computer game movie was another visually satisfying film, although being in Polish (sans subtitles) made comprehension difficult. One to avoid at all costs is Dog Days, a trite, annoying film about affluent Austrians in the summertime. An orgy scene and casual nudity don't make an arthouse film (ie. a storyline would be good). All said and done, there is nothing quite like going to a film festival by yourself and listening to the chattering classes talk about their latest projects.
Melbournites take note. The Melbourne International Film Festival is drawing to a close. Although the promo material was bland, the programme was anything but. A lot of great films were on offer, including the new Jean-Luc Godard film, In Praise Of Love. Being a youngster I had never seen a JLG film in a theatre, having had to suffice with video. His black and white imagery is brilliant on the big screen. Always the innovator, Godard shot the second half of the film in colour video, producing a grainy, gaudy print. This part of the film was set two years previous to the first half, making my mind, trained to classical narrative, reel just a bit. But as with all of Godard's work, it requires a second, third or fourth viewing for anything nearing comprehension. Other films of note were Fausto 5.0, a "futuristic" remake of the classic tale by Goethe. Already knowing the story made it easier to focus on the visual aspect, which was fast and focussed. Avalon, a sci-fi-ish real-life computer game movie was another visually satisfying film, although being in Polish (sans subtitles) made comprehension difficult. One to avoid at all costs is Dog Days, a trite, annoying film about affluent Austrians in the summertime. An orgy scene and casual nudity don't make an arthouse film (ie. a storyline would be good). All said and done, there is nothing quite like going to a film festival by yourself and listening to the chattering classes talk about their latest projects.
Tuesday, August 06, 2002
Salut.
Welcome to *cnn. Here reads the initial test transmission of a new-found blog. *cnn focusses on art and culture, news and politics, it reminds constantly of history, context, interconnectedness. Words and images find new expression. I am optimistic. Send correspondence to cnncollective@yahoo.fr
Welcome to *cnn. Here reads the initial test transmission of a new-found blog. *cnn focusses on art and culture, news and politics, it reminds constantly of history, context, interconnectedness. Words and images find new expression. I am optimistic. Send correspondence to cnncollective@yahoo.fr
