March 7, 2010 § Leave a comment
Part of a review of an exhibition.
This disparate collection has been selected and in some cases created as a response to Ballard’s ‘enormous cultural significance’. It aims to illustrate ‘a dystopian vision of the present and future which is the prevailing landscape for a wide range of artists working today’. Ballard’s creation of worlds in which something nasty is heaving under the glossy surface of modernity, and his interest in art, made explicit here through the inclusion of work by people he admired, are what hold it together. Many individual pieces have identifiable connections with his novels and journalism, and extracts from his writings are printed in large type opposite illustrations in the catalogue. Some are appropriate glosses on a style: Rauschenberg’s Jockey Cheer Glut, a downright jolly assemblage of yellow and red scrap metal, is set against a sentence from one of the stories in Terminal Beach: ‘Pop artists deal with the lowly trivia of possessions and equipment that the present generation is lugging along with it on its safari into the future.’ Others remind you that the dystopian world has its pleasures. On the page facing Allen Jones’s Archway a sculpture in the Heathrow Hilton, Ballard’s favourite London building, you read that ‘sitting in its atrium one becomes, briefly, a more advanced kind of human being. Within this remarkable building one could never fall in love, or need to.’ Even when the overlap between a work and anything Ballard wrote is accidental, or vague, there is common ground in his attention to the look of things. He saw them as a painter might. His language was precise and often technical: his vocabulary when cars are involved is that of a maintenance manual; his sex scenes look like an atlas of anatomy.
August 3, 2009 § Leave a comment
no commentary necessary. New Mozart Pieces Unveiled (VIDEO)
June 23, 2009 § Leave a comment
Why We Speak English
by Lynn Pedersen
Because when you say cup and spoon
your mouth moves the same way as your grandfather’s
and his grandfather’s before him.
It’s Newton’s first law: A person in motion
tends to stay in motion with the same speed
and direction unless acted upon by an unbalanced force—
scarcity or greed.
Is there a word for greed in every language?
Because the ear first heard
dyes furs pepper ginger tobacco cotton timber
silk freedom horizon
and the tongue wanted to taste
all these fine things.
And when my son asks why his father speaks Danish
and he and I speak English and Carlos—
at kindergarten—speaks Portuguese:
because Denmark is and has always been.
Our ancestors tracked north and Carlos’
tracked south. What’s left in their wake
Because it comes down
to want, to latitude and longitude as ways to measure
desire, invisible mover of ships—
great clockwise gyre of water in the sea—
like some amusement park ride where boats seem to sail
but run on tracks under the water.
Because to change course now would be like diverting
the Arno, this centuries-long rut we’ve dug ourselves
into, and how would it be to wake up one morning
with bird oiseau or another word entirely?
May 5, 2009 § Leave a comment
The value of iamges in backgrounds. here, the announement of futurism and wild energy, so the music score..