Pounding backbeats beaten by [(Don't Get)] warm[welcomes]th.
A short film recounting the travels of a lonely astronaut confronted by the unknown. Unfolding as a mystery, it becomes a carefully subtle, autobiographical examination of the feeling of loneliness and the existential issue of not understanding life on earth and ones place among it.
'It was in San Francisco at a punk festival. I was already high and the air was so thick in the rooms that you could cut it with a knife. I had a photograph camera with me; I stood in a corner of the entrance hall and took 36 pictures on slide film. At home I put the slides into a slide projector. I took out the lens and filmed the slides by filming directly from the projector - using single frames according to a certain plan.'
Trite, closed memories flagrantly bleed into profuse openings mixed & held together by retaliatory colorations & obfuscations.
Beyond all human restraint lies one's lugubrious layers of paint.
There is nothing left to do but complain.
Lines align during acclimated apexes, shadowy vertices, and bright burrows.
It's time the times met each other over & over.
Don't ask me why, but I feel we're about to cry trying.
Say Om as you reach home only to realize you never really left/stopped saying Om.
Abandoning the Abaddon-loathed abandoner opens plenty of reclaimed... everything(s).
Strings together what's strung together (please use yr tether).
Your raging romp results only in rescinded regret @ the hands of radder cadets.
Rather pointless, rather stilted, fetid; not what we want us going after.
Part of a collection of restored early works by Nam June Paik, the haunting Beatles Electronique reveals Paik's engagement with manipulation of pop icons and electronic images. Snippets of footage from A Hard Day's Night are countered with Paik's early electronic processing.
Centrist revelations abound among repetitions & revisitings.
Something I know or something I was told? When something scalding translates something to behold.
Platitudes begin at peaks then rapidly descend and dismantle in order to ascend more acutely until they repeatedly and successively overwhelm.
Time plods along in spattered irregularities as anger and depression coalesce in confusing amalgamations.
The final 17 years of American singer and musician Karen Carpenter, performed almost entirely by modified Barbie dolls.
