|The Lion In Love - Aesop|
"Eric looked directly into Jane's face. He liked doing this, which surprised him....A splash of hair lay moist and flat on her fore...
Babette Babich Babette Babich - what a name. Straight out of Joyce's Finnegan's Wake, eh. Nancy Babich BAM! Nancy ...
Mexico City Spencer Tunick's Performance Art Piece This is huge and spectacular. See all the rest of his performances with nu...
Don DeLillo reading in NYC Cosmopolis has been interpreted as a modern day James Joyce Ulysses by reviewers. It seems that any novel t...
A Rat Became the Unit of Currency part 1 He realized Elise was gone. He'd forgotten to ask where she was headed. (C 20)...
On The Continental Divide Trail Against this assumption into generalized exchange, this movement of convergence towards the Single and ...
Eric Packer Difficult as it is to review a film you haven't even seen I am not to be stopped. Cronenberg has told us what is NOT i...
Cronenberg's Cosmopolis Winning the MTV Award 2012 Over Hunger Games Rob Pattinson says Cronenberg says he doesn't make commer...
Agnes Martin Print On a Clear Day 1, 1973. Agnes Martin Go to the links here for a number of prints including the upper o...
DeLillo Krasny Cosmopolis Publication Interview Following are Abstracts of the 7 Parts of the Interview One DeLillo disc...
Tuesday, August 21, 2012
And it was all those mediocre untalented directors who pulled your fangs Rob.
That you traded your body thrusting, thrusting, thrusting for so they could ride on your back to the box office NOT as it turned out.
Just as you have conspired - knowingly or not - with Cronenberg to defang DeLillo by ringing that fucking NYSE bell this morning.
Occupy do not ever forgive him for this. Do not ever forgive either one of them for this.
Cronenberg will get his "30 pieces of silver" in financing for his next film for this.
Rob will get maybe some acting acclaim.
THE USUAL for bending over to take it up the ass.
Friday, August 17, 2012
David Cronenberg born 1943
Just before 44.xx Cronenberg remarks that Packer's Chief of Theory Vija Kinski is really a philosopher. Carr pushes for a deeper dialogue than the sound bites so far from Cronenberg. At 44.xx Cronenberg discusses Fukuyama, The End Of History, Hegel, evolutionary theory based on progression towards the ideal when in fact evolution is constant diversification. He sounds impressive for the mob of fangirls in the audience.
Fukuyama first published this in 1992 so Cronenberg is about 20 years behind in his (ahem) brilliant intellectual auteur status. Since then Foucault has become mainstream in Europe and in seminars and academic conferences in the US and the world. Jean Baudrillard will follow Foucault as the first major philosopher to challenge the great one. These two are the deep structure of DeLillo's Cosmopolis. Apparently Cronenberg doesn't know that.
Please listen to his mish-mash at 44.xx when he begins to fidget and squirm trying to sound profound as his confidence begins to disintegrate. He dissembles, and Rob saves him with his strange pronunciation of Hegel as Hi-gel indicating he has never discussed Hegel in any academic classroom and doesn't know anything, where he makes a quick shift to Calvin and Hobbes, a free association of philosophical jargon here, and makes a joke then saying he doesn't know what he is talking about. Arrrrggggh.
Now listen to Cronenberg's contemporary Werner Herzog on University of California TV. This is 2 hours that you will never forget as long as you live. You will be in the presence of a fully realized human being of great personal culture who grew up with an outdoor toilet, no phone until puberty, never saw a movie until he was 11. You will be in the space of greatness and an audience at UC that is so enthralled no one even coughs or sneezes. You will laugh, cry, weep, and know what it is to be a spontaneous fully evolved person of great joy. A Nietzschean ubermensch. A superman, a superhero.
Werner Herzog will be one of Rob Pattinson's upcoming directors. He will know then the poseur and fake that Cronenberg is. Listen and you will know before Rob does.
Werner Herzog Born 1942
There is no way that even the least sophisticated person cannot know the great chasm of difference between these two men. Let us pray that Herzog will open Rob's eyes to the bullshit artist he now idolizes.
Cronenberg takes Rob all around the world as his boy toy to pimp his film and revels in the attention Rob is getting for him and for his film. The cheap publicity stunts (NYSE) and half-assed interviews and still the reviews of the more major - using the term loosely - reviewers have little good to say of it. But they are not blaming Rob. Breathe a sigh of relief Rob.
American criticRoger Ebert wrote that Herzog "has never
created a single film that is compromised, shameful,
made for pragmatic reasons or uninteresting. Even his failures are spectacular."
This is how it is done folks by a filmmaker of integrity.
Wednesday, August 15, 2012
|Cronenberg's Cosmopolis Winning the MTV Award 2012 Over Hunger Games|
Rob Pattinson says Cronenberg says he doesn't make commercial films. He was ecstatic over this win. Does this pic look like a man who doesn't care?
|The Young Beautiful Cronenberg As An Actor - Forget the film|
He looks gender ambiguous to me. How about you? Shall we have a little vote on it?
Nolan has been criticized by a number of reviewers for the way he has portrayed Batman's sexual relations and the sexuality of the women in his Batman films. In The Dark Knight Rises they have said that this has been corrected somewhat. Anne Hathaway's Catwoman is confident sexually and Bruce Wayne is displaying seductive sexual interest for the first time in Nolan's Batman series. Interesting.
So I began to think about Cronenberg. His recent Cosmopolis reviewers have reported that there is a lot of sex in it that is not sexy. eXistenZ? Naked Lunch? A History of Violence? Eastern Promises? Videodrome? Dead Ringers? All of them have sex in them that is not sexy with the exception of A History Of Violence between Viggo and Bello. There is no way Cronenberg is going to tamper with what Viggo wants to do in a scene. Viggo is the dominant one in this pairing of actor and director.
Crash has lots and lots of sex in it that I do not find sexy but pornographic, but that is the way Ballard wrote it. Cronenberg decidedly has sexual issues. He imposes his arid sexuality on his characters or he chooses material that is already that way. The exception is A History Of Violence. In Eastern Promises Cronenberg focuses his camera on the body of Viggo using the ploy for showing the viewer his gangster tattoos. It works. Definitely. Viggo is lovely.
|Gender ambiguity - James Spader|
Too many instances to brush off now. Once again Rob Pattinson is being castrated. For other times see HERE. His face and body once again used as pornography void of sex. In one trailer we see him asking for the stun gun, the camera on his naked upper body. Again the erotic male body.
Sexy Hot Spader - Cool Cronenberg Sex
Trailer For Crash - Lots of Sex
And again we have lots of sex without sex.
Seems to be a trademark of a Cronenberg film eh?
A repetition compulsion maybe?
In Rob Pattinson he has found a malleable mind to mold and it seems Rob Pattinson, adoring him now instead of Stewart, is his latest Boy Toy.
DeLillo's novel Cosmopolis alternates between the limo (Order of Production) and the outside (Order of Seduction). It is Elise who seduces him on, away from the limo, to let the world will him. Eric Packer is following her all day without searching for her, just finding her as Destiny keeps their paths crossing. At the end is an ecstatic sexual encounter beginning in a naked body sequence being filmed. Cronenberg said in an interview that it was too over the top to be believed so not cinematic. He uses "not cinematic" whenever he wants to get rid of something. Since Spencer Tunick's naked body installations have been performed all over the world, it appears DeLillo has put them in his novel in the Hades scene as a movie set where naked Eric Packer lies down beside his naked wife Elise Shifrin without knowing it is she at first. (Cronenberg has said he cut it out because it was a fantasy.) Is that a fact. (She is the "woman who keeps disappearing" as Zizek will describe these film women. these Gradivas.) As they leave the naked bodies to get their clothes in some seclusion she shimmies up his body in passion and kisses him in ecstasy and "he knew he loved her" and just at the moment he knows she slithers down his naked body and away like Gradiva. Or Eurydice. It is the woman here in the novel who has hystericized on the male body, Packer's, inverting the process. (Baudrillard The Perfect Crime; Fatal Strategies)
Sarah Gadon has given Cronenberg the rationalization he requires of the character of Elise as cold and asexual. Sarah has used post modern sound bite lingo to say in an interview, "She is not going to let her husband hystericize on her (Gadon's words), so she exits the marriage. She's out of it. Yet another misreading by Cronenberg.
Alan Sheridan in his 1980 Foucault: The Will To Truth discusses this in the chapter Sexuality, Power and Knowledge.
Foucault elicits four great strategies that have emerged in Western society since the late eighteenth century.The 'hystericization' of the female body is a process whereby the woman's body is seen as an organism saturated with sexuality.....(p. 187)
The result has been the femme fatale we all know from noir film. At the present time she has almost vanished. There are no men for her says Baudrillard. He proposes the
solution of the female
hystericization of the male and his body, and this seems to be going on with Rob Pattinson initiated by his role of Edward Cullen. Meyer has dreamed Edward into existence, and Rob Pattinson has fulfilled the dream. The new sexy male is a type portrayed by Pattinson with all his gender ambiguity David Bowie style refined beauty. So we have the male version of the femme fatale in Rob Pattinson, and Cronenberg appears smitten and willing to pimp his latest Boy Toy, his latest Ken doll. And Rob is complicit.
In avoiding sensuous, ecstatic sex in his films is out of Cronenberg's personal fear of the erotic sexuality of women, and displaces the erotic by focusing his camera on the body of the male. In this way he can satisfy his urges for the male body without acting out his desires. His Lack is assuaged for awhile until he finds a new Boy Toy to parade around and pimp to sell his movies, to get him financing that he is not able to get otherwise because his films are lacking in some way that he himself cannot see.
It is his denial of sensuous, erotic female sexuality that cripples him.
Monday, August 13, 2012
Zizek spoke at Occupy Wall Street and one of the things he said was,
The Holy Spirit is here.
This is what Cronenberg trashed by ringing the bell at the NYSE opening.
|Rob Pattinson Betrays DeLillo AND Occupy|
What a sick sick sick feeling I have on reading this.
Ringing the bell for the opening of NYSE is a publicity move to DEFANG Delillo's Cosmopolis.
|SLAVOJ ZIZEK Speaking at OCCUPY - HERE|
Wednesday, August 8, 2012
Piano Lesson Pt1
If you listen to this music while you are reading this you will feel what Eric Packer says this music does for him. If you have access to a piano you can play it yourself with this fine tutorial. No previous music knowledge needed.
He rode to the marble lobby in the elevator that played Satie. (C 8)
I have two private elevators now. One is programmed to play Satie's piano pieces and to move at one-quarter normal speed. This is right for Satie and this is the elevator I take when I'm in a certain, let's say, unsettled mood. Calms me, makes me whole. (C 28-29)
In the Krasny youtube interviews DeLillo emphasizes that Eric Packer is not a normal Wall Street cyber financier. He reads poetry in different languages, he appreciates the art of Rothko, he listens to Satie and rap music. He has turned Satie into his very own musak musik elevator music.
DeLillo's emphasis here is to project a character who is a consumer of high avant garde culture. An aesthete perhaps. This contrasts with his Philip Dick sexual seduction dialogue with Elise. The paradox makes the dialogue very sexual indeed.
I am equally sure that The Cronenberg did not include Eric Packer's ride down on his own elevator listening to Satie.
Again we turn to Babette Babich, and a chain of signifiers floating all through Cosmopolis:
Nancy Babich, Nietzsche, excess, limits, implosion, aphoristic writing, musical writing, discontinuous, non linear, non- descriptive, non-explaining writing, writing that is all short, choppy dialogue even more so (Baudrillard) than the choppy, start and stop in quarter inches Foucauldian grid of New York City traffic and the power/knowledge/capital grid of our world where "there is no outside".
|New York City Street Map|
Tuesday, August 7, 2012
|Las Meninas - Diego Valazquez|
Cronenberg has gone for the literal by using DeLillo's exact words in his Cosmopolis dialogue. But then strangely Cronenberg eliminates Yen (Japanese currency), replacing it with Yuan (Chinese currency), destroying the Lacanian resonance with yen: a whim for something; an innocuous wanting; and when, "He didn't know what he wanted, then he knew, he wanted a haircut." Actually this is not a want is it? Is it a yen turning into a want as he persists with his plan? And he will keep his Appointment in Samarra to get it. A yen. Packer then begins to yen (want?) for yen, a play on the verb and the noun.
Then Packer wants all the yen - yenning? - that there is, he wants to want, he wants to Desire, but having no Lack, cannot. He wants all the Rothkos (does he want the sudden break, the cut in his life as Rothko had?), in fact the entire chapel, a religious setting these paintings were painted for. He wants all the volts the stun gun has. "Make me feel something I don't know." Then he wants to LOSE all Elise's heritage.
Rob has said, "I think he was searching for something. He wanted something." Cronenberg shuts him up once again. The first time being "....the world will die" the resonating quote of Ayn Rand. Is this the time Cronenberg pats Rob on the head? Good boy. Does Cronenberg just want to touch Rob's hair like all his fangirls want to? Is this why Cronenberg gave him a slicked down 1950's hairdo (an armoured helmet of hair as Diane Rubenstein might say), perfectly groomed, not looking at all as if he might want, have a yen for, a haircut? What is Cronenberg thinking here?
In a literal recognition of the present economic world prominence of China over Japan, Cronenberg replaces the Japanese currency of the yen with the Chinese currency of the yuan, thus revealing his complete ignorance of the importance in our thinking about our world given us by Lacan that DeLillo has mirrored. (This is an auteur filmmaker?)
Ah, but a Lacanian reading still triumphs. The word yuan in the mouth of a native English speaker does not have the same resonance as spoken by a Chinese. Yuan. Roll it in your mouth. Feel its sound. Feel all the resonance of yearning in the sound of this word, the yawning longing it draws from the native English speaking mouth. Cronenberg has concealed and revealed from himself, concealed and revealed himself to us. In wishing to dispose of yen, a very very mild and almost invisible want, he has substituted yuan, a yearning, a longing. For what Mr. Cronenberg? What are you masking with this "floating sign" to escape knowing something you don't want to know that you feel? What if we consider Zizek's terminology of unknown knowns at this point? Is it Death?
"Money has lost its narrative. Money talks only to itself," says Vija Kinski.
"The New York City skyline of skyscrapers has lost its narrative," says Baudrillard in The Spirit of Terrorism. The Twin Towers of totalitarian monolithic proportions faced each other saying that although we appear to be two, we really are one. They are mirror images reflecting each other into infinity saying, "There is no outside." How clairvoyant do you think DeLillo is now?
"Money for paintings. Money for anything. I had to learn how to understand money," sahe said. "I grew up comfortably. took me awhile to think about money and actually look at it. I began to look at it. Look closely at bills and coins. I learned how it felt to make money and spend it. It felt instensely satisfying. It helped me be a person. But I don't know what money is anymore." (C 29)
Didi Fancher is talking about the loss of representation; the concrete feel of money. The signifier and the signified. Vija Kinski is talking about cyber-capital, Virtual Reality Capital, money as "floating sign", the signified and the signifier parted forever, money floating free as CODE (just air as Packer says) in Virtual Reality.
"But how can you make words out of sounds? These are two separate systems that we miserably try to link.....Mirrors and images. Or sex and love. These are two separate systems that we miserably try to link. (C 55)
The loss of representation so carefully elucidated by Foucault in The Order of Things in chapter one with Valazquez's Las Meninas. In the painting among the royal family of Philip IV, is the painter. The painter is looking at you. The canvas he is painting you cannot see, only its back. At the far end of the painting, among the shadowy paintings on the wall, a figure midway on stairs appears to be lit by the invisible source of the light that allows you to see the royal family and the painter himself But it is not another painting, it is a mirror, "It offers us at last that enchantment of the double that until now has been denied us, not only by the distant paintings but also by the light in the foreground with its ironic canvas." (TOT 7)
I attended Leo Steinberg's seminar on Valazquez and he spent an evening on this painting. He did not mention the faraway "painting" that upon a closer look betrayed itself as a mirror. In Barcelona at the Picasso Museum there are all the studies of Las Meninas that Picasso did. I wish I could take another look.
You are in the light that is lighting the painting. You are the invisible subject Velazquez is gazing at. Foucault then discusses the royal family in this painting that is a portrait of them.
These proper names would form useful landmarks and avoid ambiguous designations; they would tell us in any case what the painter is looking at, and the majority of the characters in the picture along with him. But the relation of language to painting is an infinite relation. It is not that words are imperfect, or that, when confronted by the visual, they prove supersably inadequate.
Neither can be reduced to the other's terms; it is in vain that we say what we see; what we see never resides in what we say.( TOT 9)
And in this way Foucault gives us THE CUT with representation in the Dominating Discourse of painting paving the way to the modernist era with its lack of representation.