Commando. Classic. ¿Como esta?
A man should never be ashamed to own he has been in the wrong, which is but saying in other words, that he is wiser today than he was yesterday.
See the big picture of how suburban developments are changing the country’s landscape, with aerial photos and ideas for the future. A typology of suburbs. The variety is kind of cool.
Meet the Flannery O’Connor of the Internet age – Salon.com
Focusing all experiences through the lens of the Internet is an example of not being able to see history through the eyes of others, to be so enamored of one’s present time that one cannot see that the world was once elsewise and was not about you.
It’s so intimate, and it’s one of your best friends, this stupid script that you end up living with for seventeen drafts or twenty drafts. […] You’re like, ‘You’re still here?? Can you clean up your shit? You leave it everywhere!’
A Wealth of Words by E. D. Hirsch, Jr., City Journal WInter 2013
There’s a positive correlation between a student’s vocabulary size in grade 12, the likelihood that she will graduate from college, and her future level of income. The reason is clear: vocabulary size is a convenient proxy for a whole range of educational attainments and abilities—not just skill in reading, writing, listening, and speaking but also general knowledge of science, history, and the arts. If we want to reduce economic inequality in America, a good place to start is the language-arts classroom.
A Wealth of Words by E. D. Hirsch, Jr., City Journal WInter 2013
In Conversation: Steven Soderbergh — Vulture
I loved this long interview.
On the few occasions where I’ve talked to film students, one of the things I stress, in addition to learning your craft, is how you behave as a person. For the most part, our lives are about telling stories. So I ask them, “What are the stories you want people to tell about you?” Because at a certain point, your ability to get a job could turn on the stories people tell about you.
Also:
I was watching one of those iconoclast shows on the Sundance Channel. Jamie Oliver said Paul Smith had told him something he hadn’t understood until very recently: “I’d rather be No. 2 forever than No. 1 for a while.” Just make stuff and don’t agonize over it. Stop worrying about being No. 1. I see a lot of people getting paralyzed by the response to their work, the imagined result. It’s like playing a Jedi mind trick on yourself, and Smith is right. That’s the way I’ve always approached films, the way I approach everything. Just make ’em.
He’s become one of my favorite directors.
A still from Holy Motors.
Holy Motors
Holy Motors. Incredible. Amazing, amazing performance from Denis Lavant. There’s no traditional plot, but the structure involves Lavant’s character being driven around Paris in a limousine to a series of appointments, each one requiring a different costume, makeup, identity, and performance. The logic is bent and ambiguous. A couple hours of mad and weird invention, wholly invigorating. Here’s Richard Brody. Ebert. Another good critical reading.
Audience as affordance: Twitter versus Facebook — Remains of the Day
In reference to Matt Haughey’s essay:
What could I possibly write as a status update that would be interesting to my father, one of my coworkers from my first job out of college, the friend of a friend who met me at a pub crawl and friended me, and someone who followed me because of a blog post I wrote about technology? This odd assortment of people all friended me on Facebook because they know me, and that doesn’t feel like a natural audience for any content except random life updates, like relationship status changes, the birth of children, job changes, the occasional photo so people know what you look like now. So unlike Haughey, what I struggle with about Facebook is not the constraint to be consistent with a single conception of myself, it’s the struggle to target content to match multiple versions of myself.
Audience as affordance: Twitter versus Facebook — Remains of the Day
Full Metal Jacket
Full Metal Jacket. Good stuff. I love how the first and second half have storytelling parallels, but with very different cinematographic styles. Tighter, controlled, fortifying training scenes vs. the looser, edgier feel in Vietnam. Apocalypse Now is definitely the better Vietnam film, though. It’s been quite a while since I last saw Platoon or The Deer Hunter. Vincent D’Onofrio was also awesome in Mystic Pizza.
My updated Kubrick leaderboard:
- 2001: A Space Odyssey
- The Killing
- Full Metal Jacket
- Eyes Wide Shut
- The Shining
- A Clockwork Orange
Pina
Pina. Visually very cool, and the talent on display is great to watch. A few troubles I had with it: it’s frustrating to see only excerpts from longer dance performances, and even those fragments are interrupted. Also, like Jiro Dreams of Sushi, there’s a ton of talking-head praise for the title heroine, but it seems you learn even less about her. It’s possible I’m missing the point, though. Great dancing, and it takes a quite a mind to dream of such spectacles and bring them to life.ume
Alain de Botton – By the Book – NYTimes.com
It’s a mistaken prejudice of our times to think that the only way to cheer someone up is to tell them something cheerful. Exaggerated tragic pronouncements work far better.
Cf. Carolyn Hax, “A willingness to hear unwelcome truths is the unhappy person’s best friend.”
Feeling-Making Machine: An Interview with Mary Karr – R A I N T A X I o n l i n e Spring 2010
This interview is such a gold mine.
I differ from the most diseased part of myself, and I think that an irony of spiritual practice is that when you get out of yourself you kind of more become yourself. When I was a little kid I was bouncy and I made a lot noise and I broke shit. I ran around, I was very enthusiastic. In all the pictures of me I’m smiling. Now, I’m pretty happy. I laugh a lot. I have joy on a given day. I’m not a blithering idiot, and I suffer when it’s hot out or it’s raining and I can’t get a cab. I worry about my kid or my friend getting chemo or whatever. I suffer. But I’m pretty happy. And it’s almost like, I remember my mother saying when I was getting sober, “you’re going to come back to that [childhood happiness].” And I said, “Mother, I don’t even fucking remember that.” I just don’t remember feeling that way. But I really think that voice—not the one that says, fuck you, you stupid bitch, you’re a whore, but the one that says, you can do better than this, honey—that voice is God. And that’s actually who you really are. The other stuff that’s telling you what an asshole you are all the time is fucking noise, your ego or your head or whatever. The Buddhists would call it your ego. Pentecostals would call it Satan. It doesn’t matter what you call it. It’s my fucking head talking.
Feeling-Making Machine: An Interview with Mary Karr – R A I N T A X I o n l i n e Spring 2010
Advice for Boys – The Bygone Bureau
My readers taught me as much about listening and taking people’s problems seriously as anything I have ever done. They taught me the value of what kindness and generosity can do, not only for the person receiving it but for you who give. Of what happens when you give people the space to talk about themselves, and of how much guys will start to talk about their feelings if we give them space to do so.
Cool Tools – Nail Puller. What a beautiful thing.
Literature is Eucharistic. You take somebody else’s suffering into your body and you’re changed by it, you’re made larger by their pain.
The Deadliest Jobs In America, In One Graphic : Planet Money : NPR
I like how they just casually mention loggers “killed by an out of control machine”. We know how this ends. Also, firefighters?
Over a third of firefighter deaths from 2011 were due to fires or explosions, but another quarter were because of transportation accidents.
“Cosmo’s got the caboose!”
The Deadliest Jobs In America, In One Graphic : Planet Money : NPR
Art & Film: Rembrandt/Tarkovsky
From the canvas to the cinema.
David Liu | 21 January 2013
The Return of the Prodigal Son (Rembrandt, 1669; oil on canvas)
Solaris (Andrei Tarkovsky, 1972)
In the end: a dog, a father and a son. Like the works of Rembrandt, Tarkovsky’s adaptation of Stanislaw Lem’s 1961 science fiction novel reveals a consummate humanist at work — an artist for whom the individual search for redemption transcends the realms of faith and waking consciousness.
Everybody talks about the writer’s feeling and the writer’s expression and the writer’s experience, and, you know, I don’t give a fuck how the writer feels. I want a fucking book that I can be in love with. I want a book that I’ll reread seventeen times. That’s what I want.
Mark Larson 