Inge Morath, Winter landscape by the Caspian sea, Iran, 1956 (via wonderfulambiguity)
"Of solitudes, a moving solitude is finest."
Stanley Crawford, Travel Notes
Melissa Catanese - Dive Dark Dream Slow (2012)
"Photographer and bookseller Melissa Catanese has been editing the vast photography collection of Peter J. Cohen, a celebrated trove of more than 20,000 vernacular and found anonymous photographs from the early to mid-twentieth century.
Gathered from flea markets, dealers and Ebay, these prints have been acquired, exhibited and included in a range of major museum publications. In organizing the archive into a series of thematic catalogues, she has pursued an alternate reading of the collection, drifting away from simple typology into something more personal, intuitive and openly poetic.
Dive Dark Dream Slow is rooted in the mystery and delight of the found image and the snapshot aesthetic, but pushes beyond the nostalgic surface of these pictures and reimagines them as luminous transmissions of anxious sensuality.
Like an album of pop songs about a girl (or a civilization) hovering on the verge of transformation, the book cycles through overlapping themes and counter-themes—moon and ocean; violence and tenderness; innocence and experience; masks and nakedness—that sparkle with deep psychic longing and apocalyptic comedy.”
Memento Mori with a skull, slightly to right, surrounded by three empty scrolls atop a hillock with a coffin on a bier below, British Museum, early 16th century (via deathandmysticism)
"To thinking, cogitation, I oppose fullness, embodiedness, the sensation of being - not a consciousness of yourself as a kind of ghostly reasoning machine thinking thoughts, but on the contrary the sensation - a heavily affective sensation - of being a body with limbs that have extension in space, of being alive to the world."
J.M. Coetzee, Elizabeth Costello (via infra-thin)
THE MATTRESS MAN
by Stephen Sparks
Although it appears in the bonus features on the Punch Drunk Love DVD, Dean Trumbell’s Mattress Man commercial has only a tangential relationship with the film. I prefer watching the clip on YouTube, where it’s just another in the noble lineage of low-budget furniture advertisements. (See this or this, for example.) If Philip Seymour Hoffman wasn’t immediately recognizable, this would be indistinguishable from the rest.
Which is the point, right?
My uneasiness with film (in general) has a lot to do with my uneasiness with visual representation: I can believe in prose, for instance, what I’d never accept on screen. I found it impossible to watch Punch Drunk Love without thinking: that’s Adam Sandler, that’s Adam Sandler, that’s…. It’s unfair, I know, and because I know this and want to be more receptive, I try to overcome the habit. Sometimes it works and I’m able to suspend disbelief. Other times it doesn’t.
This problem never extended to PSH, because, as this clip demonstrates, he seemed to exist most accurately as someone else—especially when that person was a supporting character. His career was full of these minor roles: Scotty J. in Boogie Nights, Brandt (!) in The Big Lebowski, the creepy Freddie Miles in The Talented Mr. Ripley. To watch him perform in the Mattress Man commercial, from his well-timed hesitation at the start to the clumsy fall and its aftermath (“I was afraid something like that was going to happen.”) is to see an actor in complete control, fully invested in sublimating his self in favor of someone else’s. Notice his pained expression as he walks toward the camera with his broken guitar: he is Dean Trumbell.
from Knot and Vortex by Hugh Kenner (via l-yre)
Armin Mersmann, iPhoneography: 7-8-12 Nest, Rust, and Nexus (via