Train of Thoughts: A Languorous Ballet of Motion

Train of Thoughts: A Languorous Ballet of Motion

The tableau of the landscape racing past a train’s window can be in concert hypnotic, nurturing and energizing. Every display of the scenery alfresco seems to be vigorously animated simply by the train’s speed. The optical illusion of the closer objects appearing to move faster than the farther objects creates a ballet of motion perspective. Power lines along the tracks can seem to undulate urgently, while distant buildings glide by with elegant languor. A train that passes by from the opposite direction becomes a soaring and dreamy blur of motion.

Capturing video impressions now can be as spontaneous as writing or drawing. This animated film was shot with a digital still camera in the “movie mode” and it’s remarkable that nowadays something as small as part of a bar of soap can produce motion pictures. It is a notebook for the eyes or a kind of external memory hard drive with stereo sound, simultaneously both a way of seeing and remembering. The music was composed by Shay Lynch, an arrangement of 15 tracks of his guitar playing, which is an ideal evocation of the film’s trance-like quality, while also leaving you the liminal space to follow your own train of thoughts.

The Animated Life: Train of Thoughts

Animation by: Jeff Scher

And Deeply Wishing to Further Evoke a Sense of Calm for You:

A Beautifully Calming Island Sunset

TechnoratiTechnorati: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Please Bookmark This:

Dylan Wins Pulitzer Prize: A Solitary and Beautiful Mind

I paid the price of solitude
But at least I’m out of debt.

Bob Dylan, Dirge

Bob Dylan Named a Pulitzer Prize Winner

Bob Dylan was named a Pulitzer Prize Winner on Monday, April 7, 2008. A Special Citation was awarded to Dylan for his profound impact on popular music and American culture, marked by lyrical compositions of extraordinary poetic power.

Bob Dylan: i Is Another

I’m Not There is a visionary rendering of Dylan’s life and music that is as bold as possible, while never pretentious. It takes Dylan’s songs and the biographic details that we know of his life and mashes them up. Fevered interpretations resonate against one another to create an experience that is more like tumbling within the whirlpool of one of Dylan’s kaleidoscopic songs than watching anything remotely like a biographical movie. At its best, which is quite often, I’m Not There summons the sensation of what it must have been like to live in Dylan’s skin at crucial moments in his life. Simultaneously, the film makes it undeniable at every moment that you are watching a cinematic interpretation of “Dylan,” not the man himself.

At a certain point, Dylan as a solitary figure, extraordinarily beautiful and yet so alone, seems to hold the essence of I’m Not There, which takes its name from a song that is also, almost, “not there.” Toward the end of the movie we hear that song, which Dylan recorded with the Band in the summer of 1967. Its half-finished lyric is impenetrable and exquisite. Dylan’s delivery is garbled yet assertive, peppered with made-up words and seeming disconnections that ultimately shape themselves into a whole that’s both elusive and achingly complete. Regardless of how much you may already know about him, I’m Not There deepens and humanizes your understanding of Dylan.

A Bob Dylan Tribute: I’m Not There

I’m Not There Trailer (Heath Ledger)

Music : Bob Dylan/Blowing in the Wind

Bob Dylan: i is Another

TechnoratiTechnorati: , , , , , , , , , , , , , , , , , , , , , , , , ,

Please Bookmark This:

Scott Walker: The Outsider Sensibility and Creative Visions of Identity

Scott Walker: The Outsider Sensibility and Creative Visions of Identity

Scott Walker has been described as one of the greatest living avant-garde artists, with hardly any other American musician having had greater influence upon rock music, while at the same time remaining almost completely unknown to his countrymen. Walker grew up in Texas, New York City and Southern California, but he became a celebrity in England during the mid 1960s as part of the Walker Brothers band. This was at the time when young American audiences were going wild over British pop-music groups. The Walker Brothers were a vocal trio who wed soaring vocal harmonies, lush soundtrack arrangements and a patently somber worldview into a uniquely theatrical package.

Scott Walker’s voice was perhaps the most beautiful male non-soul voice of that era, and an increasingly free-thinking “Beat” attitude was at the core of the group’s appeal. Although the Walker Brothers became huge in Europe and claimed a fan club bigger than even The Beatles, Scott Walker’s eccentricity cast a dark cloud over the band’s public image. Scott began to write increasingly complicated interlaced music, and its sense of bleakness was intensified by his mix of translated Jacques Brel tunes with his distinctly arty and pained original numbers. By 1969, his works were failing to appear on music charts at all.

An increasingly elusive Scott Walker slowly withdrew from public view. His voice began to lose some of its former pop-music sense of majesty, a reflection of his new interest in the experimental synth-driven avant-garde, which he helped revolutionize to major critical success, but only minor public attention. Walker seemed to vanish, while artists as diverse as David Bowie, Brian Eno, Julian Cope, Bryan Ferry, Ultravox and Marc Almond became fiercely ardent supporters of his unique body of work, citing him as a primary influence on their careers. Gale Harold (the actor in Queer as Folk) served as an Associate Producer, along with David Bowie as Executive Producer, of the new acclaimed documentary about the influential artistic vision of Walker’s experimental musical works, 30 Century Man.

The ongoing show of support by the more widely-known artists helped to keep the shy Walker’s reputation alive until he appeared again in 1995 with a new album, a work that was both formidable and deeply disconcerting, completely stripping away the dark romanticism that had once filtered some semblance of light through in his work. However, in person Walker doesn’t appear to fit the common stereotype of a tortured artist. After many years, he has completed a new album, The Drift, and in recent interviews about the recording Walker comes across as plainspoken, unpretentious and honest.

The videos presented below include a short British trailer for the new documentary about Walker (30 Century Man), a longer film clip that includes interviews with him, and a music video of a song Jesse from his new album.

Scott Walker: 30 Century Man (UK Trailer)

Scott Walker: 30 Century Man (Documentary Studio Scenes)

Scott Walker: Jesse (From Walker’s New Album, The Drift)

TechnoratiTechnorati: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Please Bookmark This:

La Symphonie Noir: A Minimalist Neo-Noir Composition

La Symphonie Noir in Five Movements

Music Audio: Phillip Glass/A Gentleman’s Honor

La Symphonie Noir: A Minimalist Neo-Noir Composition

TechnoratiTechnorati: , , , , , , , , , , , , , , , , , , , , , , , , , ,

Be Social:

Yukio Mishima: Eternal Exclusion and the Tragic Search for Recognition

Yukio Mishima (1925-1970)

Mishima’s Early Years

Kimitake Hiraoka, better known to the world by his pen name of Yukio Mishima, was born in Tokyo in 1925. His first long work The Forest in Full Bloom was published in a magazine called Bungei Bunka in 1941, when Mishima was sixteen years old. In 1943, he entered Tokyo Imperial University where he studied law. In 1944, Mishima had his first major work, The Forest in Full Bloom, published in Tokyo. To have a book published in the last year of the war was considered a great achievement for any Japanese writer, since due to a shortage of paper many books weren’t being published. The publisher printed 4000 copies for the first printing of the book, which completely sold out in one week.

Mishima graduated from Tokyo Imperial University in 1947 and worked for a brief time as an official at the Finance Ministry. During his time at the university, his father had strictly opposed Mishima’s writing. Nevertheless, Mishima continued to write secretly every night, supported and protected by his mother, who was always the first to read a new story. Attending lectures during the day and writing at night, Mishima had exhausted himself so much that his father agreed to his resignation from his position at the Finance Ministry during his first year during his first year of work there. He resigned from the ministry in 1948 and decided to support himself exclusively from his writing.

Mishima with the Governor of Tokyo, 1956

The Literary Years

His first novel, Confessions of a Mask, was published in July of 1949, causing Mishima to be called one of Japan’s most promising new writers. Between 1950 and 1964 Mishima turned out a prolific body of writings ranging from novels, plays, short stories, essays to travel books and articles for magazines. Some the most important and successful novels that were written during this time included: Thirst for Love, Forbidden Colors, The Sailor Who Fell from Grace with the Sea, Silk and Insight, After the Banquet and The Sound of the Waves. In 1956 Mishima published Temple of the Golden Pavilion, his most commercially successful work of this period.

From 1964 to November 25, 1970, Mishima worked on the Sea of Fertility novels. This tetralogy is considered to be his masterwork. Together the four works depict a portrait of Japanese life fom 1912 to 1970. By the time of his death at the age of forty-five, Yukio Mishima had written twenty-four novels, more than forty plays, over ninety short stories, several poetry and travel volumes, and hundreds of essays.

Mishima was nominated for the Nobel Prize for Literature three times and was particularly popular with many foreign publications. However, in 1968 his early mentor Kawabata won the Nobel Prize, and Mishima realized that the chances of it being given to another Japanese author in the near future were slim. It is also believed that Mishima wanted to leave the prize to the aging Kawabata, out of respect for the man who had first introduced him to the literary circles of Tokyo in the 1940s.

The Years of Military Nationalism

In 1967, Mishima enlisted in the Japanese Ground Self Defense Force (GSDF) and underwent basic training. A year later, he formed the Tatenokai, The Shield Society, which was a private army composed primarily of young students who studied martial principles and physical discipline, and swore to protect the emperor. Mishima trained them himself. However, under Mishima’s ideology, the emperor was not necessarily the reigning emperor, but rather the abstract essence of Japan. In Eirei no Koe (Voices of the Heroic Dead) Mishima actually denounced Emperor Hirohito for renouncing his divinity at the end of World War II.

On November 25, 1970, the very same day that he finished the last novel of Sea of Fertiliity, Yukio Mishima and several members of his Shield Society took over a military base in Ichigaya, the Ichigaya Camp that served as the Tokyo headquarters of the Eastern Command of Japan’s Self-Defense Forces. For some time, Mishima had utilized his Shield Society as an endeavor to challenge his country to seriously reconsider the westernized direction that they were taking.

Once inside the main headquarters building, they barricaded the office, held the commandant hostage and demanded the resignation of Japan’s prime minister. With a prepared manifesto and banner listing their demands, Mishima stepped onto the balcony to address the soldiers gathered below. Reading the manifesto to the soldiers who had crowded into the courtyard beneath him, Mishima exhorted them to rise up and save Japan. When his actions failed to rouse the soldiers at Ichigaya to rise up in revolt, he committed seppuka (ritual suicide). He was only 45 years old.

Yukio Mishima: A Tragic Search for Recognition

Yukio Mishima: The Grief of Eternal Exclusion

Attempts to understand the life and death of Yukio Mishima, as well as his considerable body of published works, are quite possibly helpful in gaining insight about suicide terrorists in the Middle-East today. One might reasonably consider his ideology of nationalistic, perhaps totalitarian, martyrdom as a prelude to the contemporary mythology of martyrdom in Iraq and similar countries.

TechnoratiTechnorati: , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,