Filed under Project Research

ANDREI TARKOVSKY DIXIT

“When I speak of poetry I am not thinking of it as a genre. Poetry is an awareness of the world, a particular way of relating to reality… Such an artist can discern the lines of the poetic design of being. He is capable of going beyond the limitations of coherent logic, and conveying the deep complexity and truth of impalpable connections and hidden phenomena of life.

Without such perception, even a work that purports to be true to life will seem artificially uniform and simplistic. An artist may achieve an outward illusion, a life-like effect, but that is not at all the same as examining life beneath the surface.

I think in fact unless there is an organic link between the subjective impressions of the author and his ojective representation of reality, he will not achieve even superficial credibility, let alone authenticity and inner truth.”

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CREATING CITY

This new book is out today, with an essay on arts, culture and creativity by yours truly.

Ya veremos qué tal.

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TÓXICO PROJECT RESEARCH No. 27: THE HOUSE IS BLACK

The House is Black (1962, 22 Minutes), is the only film from Forough Farrokhzad, possibly Iran’s most noted and controversial female poet. A look inside a leper colony, the documentary short has been called “the greatest of all Iranian films” by Jonathan Rosenbaum, and is (now) frequently referred to as one of the lynchpins of the Iranian New Wave.  And between the clinical dialogue (in every sense of the definition) are snips of poetry by Farrokhzad, read by the author herself, that elevates the colony’s plight to the level of that Old Testament paragon of unanswered and cruel kismet.

Via the wonderful UBU Website.

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A (NEW!) TÓXICO PROJECT: AND A TEASER, FOR STARTERS

Tóxico Think-Tank: Project No. 001  is about to be launched.

The team is now being formed; and I am thrilled to be working with a very talented young duo of designers: señor Manuel Bueno and monsieur Santiago da Silva, of Combo, who will be project’s creative leaders.

(They also designed the great infographics you see above, presented a few weeks ago to TED attendees.)

More news coming soon.

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TÓXICO PROJECT RESEARCH No. 021: LABERINTOS, CONFUSIÓN, MARAVILLA

Cuentan los hombres dignos de fe (pero Alá sabe más) que en los primeros días hubo un rey de las islas de Babilonia que congregó a sus arquitectos y magos y les mandó construir un laberinto tan complejo y sutil que los varones más prudentes no se aventuraban a entrar, y los que entraban se perdían. Esa obra era un escándalo, porque la confusión y la maravilla son operaciones propias de Dios y no de los hombres. Con el andar del tiempo vino a su corte un rey de los árabes, y el rey de Babilonia (para hacer burla de la simplicidad de su huésped) lo hizo penetrar en el laberinto, donde vagó afrentado y confundido hasta la declinación de la tarde. Entonces imploró socorro divino y dió con la puerta. Sus labios no profirieron queja ninguna, pero le dijo al rey de Babilonia que él en Arabia tenía un laberinto mejor y que, si Dios era servido, se lo daría a conocer algún día. Luego regresó a Arabia, junto con sus capitanes y sus alcaides y estragó los reinos de Babilonia con tan venturosa fortuna que derribo sus castillos, rompió sus gentes e hizo cautivo al mismo rey. Lo amarró encima de un camello veloz y lo llevó al desierto. Cabalgaron tres días y le dijo: “¡Oh rey de tiempo y substancia y cifra del siglo!, en Babilonia me quisiste perder en un laberinto de bronce con muchas escaleras, puertas y muros; ahora el poderoso ha tenido a bien que te muestre el mío, donde no hay escaleras que subir, ni puertas que forzar, ni fatigosas galerías que recorrer, ni muros que te veden el paso.” Luego le desató las ligaduras y lo abandonó en mitad del desierto, donde murió de hambre y de sed.

–Los dos reyes y los dos laberintos,

un cuento corto de de Jorge Luis Borges–

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TÓXICO PROJECT RESEARCH No. 020

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(Little Eddie filming the Maysles brothers)

We love them. Both the Maysles brothers and the Edies. And now there is Grey Gardens, the book. We still have not seen it, but the film is a definite Tóxico all-time favorite.

More on this, after the break. Meanwhile, do take a look at a letter Little Edie wrote in response to the now infamous New York Times review of those days. Wonderful answer.

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TÓXICO PROJECT RESEARCH No. 016: SEEING WITHOUT THE EYES

TED talk by neurologist and author Oliver Sacks: What hallucination reveals about our minds.

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NON-LINEAR STATE No. 011: POETICS

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“But film material can be joined together in another way, which works above all to lay open the logic of a person’s thought. This is the rationale that will dictate the sequence of events, and the editing which forms them into a whole. The birth and development of thought are subject to laws of their own, and sometimes demand forms of expression which are quite different from the patterns of logical speculation. In my view poetic reasoning is closer to the laws by which thought develops, and thus to life itself, than is the logic of traditional drama.

Through poetic connections feeling is heightened and the spectator is made more active. He becomes a participant in the process of discovering life, unsupported by ready-made deductions from the plot or ineluctable pointers by the author. He has at his disposal only what helps to penetrate to the deeper meaning of the complex phenomenon represented in front of him. Complexities of thought and poetic visions of the world do not have to be thrust into the framework of the patently obvious. The usual logic, that of linear sequentiality, is uncomfortably like proof of a geometry theorem. Associative linking allows for both an affective as well as rational appraisal. It possess an inner power which is concentrated within the image and comes across to the audience in the form of feelings, inducing tension in direct response to the author’s narrative logic.

When less than everything is said about a subject, you can still think on further.”

-Andrei Tarkovsky, Sculpting in Time–

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TÓXICO PROJECT RESEARCH No. 015

Images by Ryan Mcginley, from “I know where the summer goes”, his latest series

Via You might Like This

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OVERHEARD AT TÓXICO: CHRISTOFFER BOE

On conventions, familiarity, strangeness and limbs

“Completely conventional movie making doesn’t make sense to me. Why would anyone want to do a film that someone else could have done? Unless you want a commercial film. An art-house film wants to say: I am a little different from what you’ve seen. And I will not bore you, trust me. Art-house movies should experiment more. We have less expectations to contend with. So make something interesting and personal. How can we cut a scene to contain different emotions? How can we twist a theme, make it both familiar and strange? But the more stylized or quirky your movie, the more natural the acting has to be. There has to be something to connect with, an anchor that you can relate to and that drags you into a strange world. Because if there is a certain point of departure that seems understandable, then the movie can twist and turn you, from this gravitational point onwards and take you out on a limb. But you need something to lure people to the limb first. Actors are one of the strongest anchors in movies. So they have to be very real. I am only conventional in the picking of my actors. I only choose the very best; it is that simple. I have used some of the best European actors in my films.”

***

(Boe gave a fabulous Tóxico Workshop in 2008. We were supposed meet again, a month ago, in Copenhagen. But, alas, life had it otherwise. Hopefully soon. Plus a new Tóxico interview. His thoughts on cinema still swim in our heads.)

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TÓXICO PROJECT RESEARCH No. 014: THAT MALLEABLE THING

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Interesting web project: interviews with legendary documentary filmmakers such as Werner Herzog, Albert Maysles, Errol Morris, Michel Brault etc, who give their views on different aspects of non-fiction cinema. The web page can be browsed by fragmented or unified themes, like a series of tiny interviews. Mmm. Nice. Click image, or click here to see.

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AN EVENT

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“Observe together with me quietly and everything will happen”

-Sergei Dvortsevoy, filmmaker-

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TÓXICO PROJECT RESEARCH No. 013

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(Somehow, somewhere, this diagram shows the chain reaction effects of ethanol in play with other molecules. One can only imagine this lil’ diagram slowly (and then quickly) unfolding in one’s brain as the glass of red wine or the sip of tequila slowly travels down the throat and hits the stomach and  then the blood, slowly, slowly but surely, and then quickly, so quickly and so surely, gets reconfigured as the lil’ blood cells fall out of  line just a bit and then  start gyrating quickly upon their own axis, like microscopic whirling Dervishes. Or something scientific like that.)

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TÓXICO’S COUNT-DOWN TO TED

Preparing, excited, leaving in one week to England, getting ready for Oxford and seeing what exactly it means to be a TED Fellow. Meanwhile. TED. More TED. Yes. TED in anticipation to TEDing. Libeskind, here, for example.  Talking about 17 words that underlie his vision for architecture — raw, risky, emotional, radical and wonder are some of them: to create a place that has never existed, to create that which has never been. A struggle against improbability. Expression which disturbs, and yet maybe that is what life is about: not about anesthesia. Definitely not anesthesia. A living connection, emotion to be introduced into city life, in city forms. Emotions not just of the people that build them, but of people that will live there as well.

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DAVID LYNCH AND THE INTERVIEW PROJECT

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Click on señor David. He will tell you all about it.

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HENRY MILLER DIXIT

“I give all I have to give, voluntarily, and take as much as I can possibly ingest. I am a prince and a pirate at the same time. I find that there is plenty of room in the world for everybody–great interspatial depths, great ego universes, great islands of repair, for whoever attains to individuality. On the surface, where the historical battles rage, where everything is interpreted in terms of money and power, there may be crowding, but life only begins when one drops below the surface…”

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TÓXICO PROJECT RESEARCH No. 011

[youtube]http://www.youtube.com/watch?v=G6vyuEKArUI&feature=related[/youtube]

Poema de Panero sobre sí mismo

[youtube]http://www.youtube.com/watch?v=bh5c5dmALKM[/youtube]

Jaime Chávarri habla sobre el Desencanto, documental español de culto de los 70s

[youtube]http://www.youtube.com/watch?v=cPqNn_ygFzw&feature=related[/youtube]

Fragmento del desencanto

(Gracias Carlitos Casas, Toxi-padrino y Toxi-musa)

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TÓXICO PROJECT RESEARCH No. 008

[youtube]http://www.youtube.com/watch?v=CBLJ3lmwV80[/youtube]

From Werner Herzog’s “Encounters At The End Of The World”

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ONCE SAID DAVID FOSTER WALLACE

“Really good fiction can have as dark a worldview as it wishes, but is should find a way both to depict this world and to illuminate the possibilities for being alive and human in it. My central issue remains how to give CPR to those elements of what’s human and magical that still live and glow despite the times.”

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THIS IS 7 YEARS AGO

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These rolls of film were shot by me in 2001, during a six-month trip around the world. I have kept them in a small carton box for more than seven years. The seven-year mark is no coincidence: it is said that it takes precisely that long for a body to completely regenerate. And so, in fact, not a single cell of the now-me was part of the then-me: nor, hence, part of the original experience. (“J’ est une autre.”)

I never forgot that the films were there in their carton box. But nowadays, hard as I try, I find it difficult to remember even one of the actual photographs I might have taken back then. The images themselves–locked up in the undeveloped film–have purposefully been left to weather, time, chance: a process probably more faithful to what happens with the moments themselves; to the memories locked up in our (sometimes humid, sometimes dusty) brain.

So. To go. To click. To age. To fade. To wait. And wait. And wait, and wait until seven years is finally past: yesterday I dropped off the first four films to be developed.

We shall see.

Or not.

(Maybe a double ghost of an almost remembering, like the dream of an I once was.)

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FAREWELL SEÑOR BUSH

http://i4.photobucket.com/albums/y150/Saltlick/bush_hugBombs.gif

A few years ago we curated an exhibition in the Museo Carrillo Gil, in Mexico City: a critique to American foreign intervention policies; the war was raging in Iraq,  US elections were around the corner, and Bush was in the midst of running for his second term. The poster above, by Shepard Fairey, was included in our selection.

And today we found a few more W-related design stuff via the Osocio blog. Let it not be said that he was completely useless. Señor  Bush:  a world-wide muse.

Bye Bye Dubya

(By Jetcomx)

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TÓXICO PROJECT RESEARCH No. 004

[youtube]http://www.youtube.com/watch?v=j9zMjJ6qHSw[/youtube]

Godard 1964

[youtube]http://www.youtube.com/watch?v=SH7SXGBEM90[/youtube]

Godard 1972

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DESIGN AND THE ELASTIC MIND

Plática de Paola Antonelli, curadora del departamento de diseño y arquitectura de MoMA, acerca de una exhibición reciente en el museo, además de nuevos vínculos entre diseñadores y científicos. Buenísima.

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TODD HIDO

(De la serie “homes at night” de Todd Hido.)

(Me gusta esa sola ventana iluminada mientras el resto del mundo duerme.)

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TOXICO PROJECT RESEARCH No. 003: MAPS AND LINES

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TÓXICO PROJECT RESEARCH No. 002

(Libros de la URSS para niños, 1930s)

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