One of Kenzo Tange’s early Metabolist (not yet Structuralist) projects, 1961.
Last night didn’t really stack up to Halloween 2008 (it’d be unfair to expect Albuquerque to one-up New York City) but I still got this amazing picture. If anyone can tell me which fucked up TV show is on behind Zach and Michael, I’ll be happy: earlier they pasted the faces of Larry King and Anderson Cooper on to the bodies of some swimsuit models and had them jumping up and down for several minutes.
I’m not sure why “Nightmare” is somehow inherently less ordered (or, more disordered) than “Dream” but than that I’m on-board.
I think it has to do with most nightmares ineffable terror/chaos. Everyone has one or two nightmares that stay with them for years. When I consult my own it does seem that there is a kind of inability to describe them with language. Not to say that the content is ineffable, but that the resonance or significance of the nightmare is somehow outside the purview of language qua speech.
Via: Ekstasis
[Flash 9 is required to listen to audio.]
34 Plays
Grizzly Bear | Slow Life
Twilight: New Moon’s soundtrack has come up quite a bit in conversation over the past week. Most people I have talked to about it see it as a kind of final betrayal of indie music. Why Twilight, Thom Yorke, Grizzly Bear, Lykke Li, etc. etc. Ad Nauseam? Pitchfork attempts equivocation:
“The answer lies somewhere in the fact that we too often concern ourselves with issues of “Who is this for?” rather than “Who does this resonate with?” In the case of [Yorke’s] “Hearing Damage”, the idea of this being aimed at anyone in particular is contestable at best. If anything, it says more about just how effective Thom Yorke can be when conveying simple emotion, regardless of whatever tangled exteriors he’s finding solace in at the moment. So really, what better forum than this to remind us? Fear, impatience, longing, and inadequacy all make appearances here, each of which as indicative of adolescence— and most vampire fiction— as they are of adulthood.
But this is just to avoid the question that no critic seems to want or know how to answer: this music isn’t about the timeless depressions of youth: it is instead about a kind of sentimentality typical of the fin-de-siecle. Apropos of film like Twilight, which connects the dying embers of Mormon monogamy with our cultural loss of innocence, the soundtrack does not contain any discernibly unified theme: these songs are about all things, and musically their only commonality is a kind of shared-basis in “rock music”, whatever that is or was.
The tracklist of Twilight: New Moon’s soundtrack reads like a who’s-who of indie music, but this doesn’t strike me as the most recent conquest of capitalism over niche fads. Instead it sounds like a listless vocalization of everyone’s desire either that something really bad happen or that someone (either through ignorance or sheer frustration) comes along and makes it all new and better again.
