doukadoukadouka-blog

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nowdays —  http://amassingmatter.blogspot.nl

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And indeed there will be time To wonder, “Do I dare?” and, “Do I dare?” Time to turn back and descend the stair, With a bald spot in the middle of my hair—         (They will say: “How his hair is growing thin!”) My morning coat, my collar mounting firmly to the chin, My necktie rich and modest, but asserted by a simple pin— (They will say: “But how his arms and legs are thin!”) Do I dare          Disturb the universe? In a minute there is time For decisions and revisions which a minute will reverse.

expert from The Love Song of J. Alfred Prufrock, T.S Eliot, 1920

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3. When you’re writing, you don’t owe anything to anyone. In real life, if you don’t behave yourself, you’ll wind up in jail or in an institution, but in writing, anything goes. If there’s a character in your story who appeals to you, kiss it. If there’s a carpet in your story that you hate, set fire to it right in the middle of the living room. When it comes to writing, you can destroy entire planets and eradicate whole civilizations with the click of a key, and an hour later, when the old lady from the floor below sees you in the hallway, she’ll still say hello.

4. Always start from the middle. The beginning is like the scorched edge of a cake that’s touched the cake pan. You may need it just to get going, but it isn’t really edible.

6. Don’t use anything just because “that’s how it always is.” Paragraphing, quotation marks, characters that still go by the same name even though you’ve turned the page: all those are just conventions that exist to serve you. If they don’t work, forget about them. The fact that a particular rule applies in every book you’ve ever read doesn’t mean it has to apply in your book too.

7. Write like yourself. If you try to write like Nabokov, there will always be at least one person (whose name is Nabokov) who’ll do it better than you. But when it comes to writing the way you do, you’ll always be the world champion at being yourself.

Etgar Keret’s Ten Rules for Writers as seen in Rookie Mag

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Pablo Picasso, Head of a Woman

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this whole thing feels like being made to read out loud, and glaring at the text to come expecting the comma, that indicates the pause between the parts. i am better at being cut off, mid-sentence sort of way, full stop sort of way. the punctuation of leaving places for advance readers: packing boxes cast as ellipses. and the main character is a semicolon, in two different languages, alternating between being a question mark or a more pronounced comma.

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glorious

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“and the fact that you move so beautifully more or less takes care of Futurism”

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part of the futurist cinema manifesto by F.T. Marinetti, Bruno Corra, Emilio Settimelli, Arnaldo Ginna, Giacomo Balla, Remo Chiti

[..]

Our films will be:

Cinematic analogies that use reality directly as one of the two elements of the analogy. Example: If we should want to express the anguished state of one of our protagonists, instead of describing it in its various phases of suffering, we would give an equivalent impression with the sight of a jagged and cavernous mountain. The mountains, seas, woods, cities, crowds, armies, squadrons, aeroplanes will often be our formidable expressive words: the universe will be our vocabulary. Example: We want to give a sensation of strange cheerfulness: we show a chair cover flying comically around an enormous coat stand until they decide to join. We want to give the sensation of anger: we fracture the angry man into a whirlwind of little yellow balls. We want to give the anguish of a hero who has lost his faith and lapsed into a dead neutral skepticism: we show the hero in the act of making an inspired speech to a great crowd; suddenly we bring on Giovanni Giolitti who treasonably stuffs a thick forkful of macaroni into the hero’s mouth, drowning his winged words in tomato sauce.

We shall add color to the dialogue by swiftly, simultaneously showing every image that passes through the actors’ brains. Example: representing a man who will say to his woman: “You’re as lovely as a gazelle,” we shall show the gazelle. Example: if a character says, “I contemplate your fresh and luminous smile as a traveler after a long rough trip contemplates the sea from high on a mountain,” we shall show traveler, sea, mountain.

This is how we shall make our characters as understandable as if they talked.

Cinematic poems, speeches, and poetry. We shall make all of their component images pass across the screen. Example: “Canto dell’amore” [Song of Love] by Giosuè Carducci:

In their German strongholds perched Like falcons meditating the hunt We shall show the strongholds, the falcons in ambush.

From the churches that raise long marble arms to heaven, in prayer to God Prom the convents between villages and towns crouching darkly to the sound of bells like cuckoos among far-spaced trees singing boredoms and unexpected joys... We shall show churches that little by little are changed into imploring women, God beaming down from on high, the convents, the cuckoos, and so on.

Example: “Sogno d’Estate” [Summer’s Dream] by Giosuè Carducci:

Among your ever-sounding strains of battle, Homer, I am conquered by the warm hour: I bow my head in sleep on Scamander’s bank, but my heart flees to the Tyrrhenian Sea. We shall show Carducci wandering amid the tumult of the Achaians, deftly avoiding the galloping horses, paying his respects to Homer, going for a drink with Ajax to the inn, The Red Scamander, and at the third glass of wine his heart, whose palpitations we ought to see, Pops out of his jacket like a huge red balloon and flies over the Gulf Of Rapallo. This is how we make films out of the most secret movements of genius.

Thus we shall ridicule the works of the passéist poets, transforming to the great benefit of the public the most nostalgically monotonous weepy poetry into violent, exciting, and highly exhilarating spectacles.

[Photo from the Futurist movie Thais] Cinematic simultaneity and interpenetration of different times and places. We shall project two or three different visual episodes at the same time, one next to the other. Cinematic musical researches (dissonances, harmonies, symphonies of gestures, events, colors, lines, etc.). Dramatized states of mind on film. Daily exercises in freeing ourselves from mere photographed logic. Filmed dramas of objects. (Objects animated, humanized, baffled, dressed up, impassioned, civilized, dancing—objects removed from their normal surroundings and put into an abnormal state that, by contrast, throws into relief their amazing construction and nonhuman life.) Show windows of filmed ideas, events, types, objects, etc. Congresses, flirts, fights and marriages of funny faces, mimicry, etc. Example: a big nose that silences a thousand congressional fingers by ringing an ear, while two policemen’s moustaches arrest a tooth. Filmed unreal reconstructions of the human body. Filmed dramas of disproportion (a thirsty man who pulls out a tiny drinking straw that lengthens umbilically as far as a lake and dries it up instantly.) Potential dramas and strategic plans of filmed feelings. Linear, plastic, chromatic equivalences, etc., of men, women, events, thoughts, music, feelings, weights, smells, noises (with white lines on black we shall show the inner, physical rhythm of a husband who discovers his wife in adultery and chases the lover - rhythm of soul and rhythm of legs). Filmed words-in-freedom in movement (synoptic tables of Iyric values—dramas of humanized or animated letters—orthographic dramas—typographical dramas—geometric dramas—numeric sensibility, etc.). Painting + sculpture + plastic dynamism + words-in-freedom + composed noises [intonarumori] + architecture + synthetic theatre = Futurist cinema.

This is how we decompose and recompose the universe according to our marvelous whims, to centuple the powers of the Italian creative genius and its absolute preeminence in the world.

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Apollo 11 astronaut Buzz Aldrin, sports an attractive cosmic ray detector called ALFMED (Apollo Light Flash Moving Emulsion Detector). This picture was taken on Earth. Other astronauts wore it in space.

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0.0.2 tab chase log

1.  saw the ‘The Creepinng Garden’  2.  Percy Smith : filmmaker & naturalist  3. Percy Smith’s career overview 4. Percy Smith’s film Magic Myxies 5.  discussion on Percy Smith’s The Acrobatic Fly 

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Steina Vasulka, Geomania, 1987

GEOMANIA is a two video/four audio channel video matrix on a 15-minute repeating loop. Each of the two video laser disk players provides one video and two audio sources to a bank of video monitors and four speakers. A synchronizer aligns the two channels of video for a synchronous playback. At the end of each 15-minute cycle the program automatically returns and re-synchronizes for a repeat performance.

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The 2456thCentury was matter-oriented, as most Centuries were, so he had a right to expect a basic compatibility from the very beginning. It would have none of the utter confusion (for anyone born matter-oriented) of the energy vortices of the 300's, or the field dynamics of the 600's. In the 2456th, to the average Eternal's comfort, matter was used for everything from walls to tacks. To be sure, there was matter and matter. A member of an energyoriented Century might not realize that. To him all matter might seem minor variations on a theme that was gross, heavy, and barbaric. To matter-oriented Harlan, however, there was wood, metal (subdivisions, heavy and light), plastic, silicates, concrete, leather, and so on.

Isaac Asimov, The end of Eternity

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man the world really wants me to write that talk for Tuesday, explosion references everywhere 

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Please, keep on lying to me, don’t make the room too bright too fast. We are obliged by an unwritten contract, to create myths and images wrapped into a sequences for you to glance at in the dark. Don’t close your eyes, avoid deliberate blindness — see between the lines. The brain interpolates the blind spot based on information from the other eye, so, the blind spot is not normally perceived. We had the opportunity to stare at that the blind spot of history, we met the sighted people who create it, the archivists, the curators, the film preservationists who decide what our collective blind spot will be. A barrier that by choice we will interrupt, is it removable or is it permanent? We almost reached the limit, we sought the forbidden and when we asked for it we were told to look elsewhere. What makes us curious, what are we afraid of? Why do we close our eyes? Why do we keep staring when we no longer can? Whether in the depiction of the world around us, in social or political roles, or the medium itself, film is full of blind spots. And if we are allowed to say so, we collected them for you to see..

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Over the fall of 2014 a group of students from different departments of the Royal Academy of Arts, The Hague had the opportunity to work with the film collection of the EYE Film Museum in Amsterdam and explore it under the of theme ‘forbidden look’, the students glanced at found footage and used it as the basis to create new work.

Spanning from performances to installations and films the students created a programme combining their own work with found footage to best reflect their explorations of taboos in the cinematic field of the avant-garde.

Work by: Sarah Abelnica,Lydia Buijs,Victoria Douka-Doukopoulou,Tanya Eftal,Sanne Glasbergen, Hans Poel,Flor Rezink and Zindzi Zweitering Under the guidance of Anna Abrahams and Jan Frederik Groot

the stills above :

Why men don’t leave – Sarah Abelnica

The Bait – Flor Renzik

Nitrocellulose – Victoria Douka-Doukopoulou