Wednesday, October 28, 2009

rushing the impressionist to safety




dramaqueen:
"
Paul Gauguin: All I see when I look at your paintings is just that you paint too fast.
Vincent Van Gogh: You look too fast!

















"



sludge:
"
BLUM

"

intoxicated elephant:
"
3


..."

Q: "what is animation,again?"
A:.. (while sludge and dramaqueen await the reply from the merry elephant,the howlin' wolf sings in the distance, the speech bubble hovers over the audience patiently.)

Thursday, October 15, 2009

I have often wondered at the resilience of the raw brick and concrete building at my design school at NID..
The electrical wires are all stripped bare and tied together in knots
It has always charged me to see the wiring just so.
It feels raw and waiting and responsible and truthful.
It feels like great things are possible, that things can be cleaned out, that many heads have leaned back against these very brick walls and thought the same.


Prashant Miranda breathed around the same corridors at another time around my institute. And this is where we loop back,..
The electrical wires are all stripped bare and tied together in knots



The Intoxicated Elephant is an experiment with image,words and sound.
I'm posting there for a couple of fortnights.
duplicating one post here,
thereon we'll be snuggled in there for a bit.
.
.
While reading John Steinbeck's 'East of Eden' which reads quite like this,
and watching Shiva Soundsystem compose for the innards of an auto rickshaw factory in Aurangabad quite clearly for the sound of it,
I work on that feeling of noire which creeps as we explore that particular shade of blue

It then proceeded to melt into all the colours at once and mellowed into sounds from Fever RaY
with

Lucy and
.
.














.
Bart
.
.













.
.
and well,with both of them
.
.















like just so..
.
.
.
.

Sunday, October 4, 2009



Jean Luc Godard making an appearance in his film 'Prénom Carmen',1983.
The place of the young adult in every day living is a thought JLG pulls out into the sunlight for airing now and again, sometimes bang in the middle of a perfectly linear storyline.
Especially in his films after the Maoist period,...why there's the Nouvelle Vague,Forever Mozart, Eloge D'Amour,this after his complete deconstruction of cinema,breaking it down to sound and visuals,putting the two tracks of sound up against each other,dragging them to the other ends of the room till they stayed there stretched,tortured ,reaching once more for their halves.
He made his peace with their inseparability.
He raised them to life through the years till they had reached a peaceful lull in Eloge d'Amour. The critics applauded the madman's return to 'watchable' cinema ,and sat down to nibble at what he offered.
The critics save some are never interested in the ghosts between the frame,the awkward silences,.. what it took for these silences to gather their full throated tone.