Shomei Tomatsu, Brookman noted, “transformed the notion of documentary photography from more formal concerns…into a much more emotional image-making…He didn’t simply settle into one style.”
The latter, combined with Tomatsu’s reluctance to travel abroad, may help explain his relative obscurity in the west.”
Guard Dog
Weekend at the park, many suspicious cars are parked outside the gate.
Owl and the pussy dogs or two chihuahua patrol.
Who are questioning the wisdom of dogmacracy?
(Daisy the brown and white cowchihuahua is a Mexican and possibly illegal. She will defend this adopted land with great determination.)
A genius of cinematography with an outstanding feeling for light.
Born Sven Vilhem Nykvist on 3 December 1922 in Moheda, Kronobergs län, the son of non-conformist missionaries to Africa.
When Ingmar and I made Winter Light (1963), which takes place in a church on a winter day in Sweden, we decided we should not see any shadow in it at all because there would be no logical shadow in that setting. Read more here (Shooting With Ingmar Bergman: A Conversation with Sven Nykvist)
As a rule, however, it was Tarkovskij’s own visions that counted even if he at times had a hard time communicating them, partly due to the language barrier – he had to constantly work through an interpreter – but primarily due to the fact that he first and foremost wanted to communicate emotions, moods, atmosphere. By images, not by words. He wanted to impart a soul to objects and nature. Here he actually went further than Bergman ever did.
This image was made a few hours before the US Open for Federer vs. Roddick. Federer took Roddick out.
Sept 11, 2006 is remembered for a day after for the wonderful match, merci Roger.
And war is wonderful, isn’t it?
For it’s war, isn’t it, that the Americans have been preparing for
and are preparing for this way step by step.
In order to defend this senseless manufacture from all competition
that could not fail to arise on all sides,
one must have soldiers, armies, airplanes, battleships,
hence this sperm
which it seems the governments of America have had the effrontery
to think of.
In Carl Theodor Dreyer’s The Passion of Joan of Arc, Artaud acted as the monk Jean Massieu.
Vivre Sa Vie
Godard perfectly uses “The Passion of Jeanne D’Arc in Vivre Sa Vie.
Derrida and Artaud
Derrida emphasized the
performative aspect of the work, stating
that “All of Artaud’s works participate in
an urge to DO something not just EXPRESS
something.” They “produce an event in the
act of writing and drawing … they are
events directed at an addressee.” Instead
of projecting a “French” sensibility
they, evoke an “immediately universal glosso-
poetics.” Thus countering the reductive
view that Artaud’s works are signs of
pathology, Derrida asserted that they are
“not only lucid–they illuminate us on what
it means to be dispossessed.”
Glossopoeia, which is neither an imitative language nor a creation of names, takes us back to the borderline of the moment when the word has not yet been born, when articulation is no longer a shout but not yet discourse, when repetition is almost impossible, and along with it, language in general: the separation of concept and sound, of signified and signifier, of the pneumatical and the grammatical, the freedom of translation and tradition, the movement of interpretation, the difference between the soul and the body, the master and the slave, God and man, author and actor. This is the eve of the origin of languages, and of the dialogue between theology and humanism whose inextinguishable reoccurence has never not been maintained by the metaphysics of Western theater. (Derrida 240)
in Happy Together.
graphite and wax crayon by Antonin Artaud
