videos of late-80's NYC by Nelson Sullivan. You might see old friends and familiar faces in some of them.
watching the madison keys - serena williams aussie open semi final. serena is almost assured a win at this point but keys just fought off 8 match points to extend the match. shes a 19 year old american currently ranked 35th but looks like a real deal contender in the future. huge serve, lots of confidence and poise.
the "worst" cast scenario for a paul feig helmed all-female ghostbusters reboot has materialized: more melissa mccarthy.
There’s the funny little “heh-heh” laugh that recurs in all of his films and never seems to express genuine mirth. There’s the too-wide smile that crinkles his eyes, and then slowly falls into a tight-lipped smirk. There’s the way his sandpaper purr cracks whenever he increases the volume too quickly, evoking a levee holding back a tidal wave of emotion that’s about to give way.
guess i should go food shopping. although i did just buy that can of beans. nah.... im good.
An interesting documentary on Japan's Ama (seafood divers)
Ronnie DeMonarco hosts this 1995 video introduction to the LES. I met Ronnie in 1996, pre-moustache I think.
Dead whale in the NW news
was listening to a podcast talking about the selma movie which reminded me of a favored professor who was also my college advisor. it was widely known that he was shot while registering voters for sncc in the early 60s but i never knew the particulars. so i googled him just now to see if i could find out more only to learn that he died late last year.
Frank. Currently on netflix.
probably a dumb question but why are football teams in charge of the game balls?
the book that inspired scorceses love of film.
NYC at night from 7500 feet above.
Since we must distinguish between “that which is something” and “that which something is,” and since the former is identified with “no matter what it is is” and the latter with “not no matter what it is,” we can say that “everything is thus a milieu, a fragile link between ‘no matter what it is’ and ‘not no matter what it is.’” (62) And here we find Garcia’s critique of the thing-in-itself: “A thing is never defined en bloc. We can affirm that a thing is this or that, but that does not suffice. It is still necessary to state precisely that which is this thing.” (62) Stated differently, “something is not in itself: for that which is in the thing is not the thing, and that in which the thing is is not the thing.” (62) And here Garcia and I, facing the same evidence, draw opposite conclusions. For me, the fact that nothing can be identified with either its components or its concrete location means that the thing must be something in-itself distinct from both of these. Yet for Garcia, to be in-itself would mean to be identified with just one of these two extreme terms, and hence the thing can only be the difference between them. Garcia is equally suspicious of the classical tendency to view “unity” as a property of the thing, since in his eyes unity is too relational a property to belong to things. (65) While specific things are situated determinately with respect to other things, we are still speaking here about the thing no matter what it is, and this can be viewed only in terms of solitude, which all things share: a human being, a hand, or a chair or all equally things insofar as they are on their own, not insofar as they are one. (64) A thing is alone, and relates only to the one thing that is not another thing: world. In a striking parallel to my own argument for a partial revival of occasionalism, Garcia tells us that “the things communicate only by their solitude: it is because
everything is equally on its own in the world that things can be together, enmeshed in one another.” (67) Alone in their solitude, things all relate to world, which serves as a mediator allowing them to become mixed up in one another.
I start my answer here because 10-15 years ago there were wild claims being made about the potential impact of the digital on the visual arts. At that time many felt that all other forms would wither away before the onslaught of this new democratic art form. Seemingly, the art apocalypse
spearheaded by the digital has not been realized in part because there are two digital technologies-- which requires that we differentiate between
medium and media-- that is between making and distributing. People were worried about nothing.
Consequently, I understand digital technologies as a mode of simulation-- it's a copycat as a medium-- it reproduces the effects identified with other mediums. For example, photography becomes the photographic- with each iteration something is gained and lost. Subsequently, the digital has fallen victim to the conventions of the mediums that it seeks to simulate. In other words, where in the 70s we found all types of experimental
video-- today video in the mainstream is a cheap way to make movies. Rapid prototyping has become little
more than 3D printing-- while robotics, programming, interactivity are subsequently best developed in gaming.
-Saul Ostrow
Watching some old Columbo on n-flix. A couple of things stand out ... The music. Holy cow, they really put some effort into that. Also the class distinction. I'm several episodes in, and every criminal is wealthy. Estates, yachts, expensive cars. Mercedes, Jaguar, Bentley. Brought down by the man in the wrinkled coat.
Just one more thing. It just doesn't sit right with me. There he is in sunny LA, with a convertible, and the top is almost always up. Now, why would that be?
This documentary tells the little-known story of how actor Bing Russell (of TV's "Bonanza") created an independent baseball team in the 1970s. Armed with big-time dreams and plenty of spirit, Russell's Portland Mavericks become lovable underdogs.
