Let me tell you a story Doug Aitken told me about Werner Herzog.
So, Aitken and Herzog were having lunch; the Californian installation artist, the German film-maker, and a few other guys round the table. The main course is over and the waiter brings out a kind of whicker basket full of berries – specifically raspberries and boysenberries – by way of dessert.
The waiter offers the fruit basket to the first guy at the table and he picks out a few berries and starts chowing down.
He turns to the next guy round the table, who rather haughtily asks about the origin of the berries, like he wants to know their cépage or something, but evidently he’s satisfied by the waiter’s response and he too starts merrily munching away.
The waiter turns to Herzog, offers him the basket. Herzog takes one look in the basket and he turns round to Aitken and exclaims thunderously, “Raspberries are for the weak!”
Tweet
Friedrich Kittler.
(via luxurycommunism)
(Source: luxurycommunism-blog, via nomadic-thought)
TweetResort Town Flaine, Haute Savoie, France, 1960-82
(Marcel Breuer & Associates)
Apichatpong Weerasethakul: Cactus River (Khong Lang Nam). An Apichatpong Weerasethakul’s 2012 short.
Engraving of Athanasius Kircher’s Organorum, from Kircher, Phonurgia Nova sive Coniugium Mechanico-physicum artis et naturae Paranympha Phonosophia concinnatum (1673), 143.
(Source: aggregat456-blog)
TweetExtract of a lecture by Karlheinz Stockhausen, with music by monster bobby. http://littleother.blogspot.com
Edward Steichen, Sunday Night, 40th Street, negative 1925
(Source: cavetocanvas)
TweetOn the set of 2001: A Space Odyssey (1968, dir. Stanley Kubrick).
(via phdonohue)
Tweet“In Halloween II, the first of the series on which they collaborated, John Carpenter and Alan Howarth built up a tight skein of tension woven from music that often sounded like atonal, percussive noises, and incidental noises – alarms, buzzers, etc. – which interacted in various ways with the music. The sound was cold, relentless and utterly inhuman – the perfect counterpart to a masked killer in the process of being transformed from psycho on the loose to embodiment of all evil.
Its follow-up, Halloween III, is a different kettle of fish altogether. Based on an original script by Nigel Kneale (Quatermass, The Stone Tape, The Year of the Sex Olympics), who later asked to have his name removed from the credits, Season of the Witch often feels like a very classy movie that has had a series of decidedly unclassy moments rudely inserted into it by a grubby-fingered juvenile – it just so happened that the grubby-fingered juvenile’s name was Dino De Laurentiis, one of the most powerful producers then in Hollywood. Fortunately, the score that Carpenter and Howarth produced is definitely on the classy side.”
Read more from my latest Reel Sounds column at Electric Sheep Magazine.
Tweet