==pla|\|ing lakes==

Saturday, June 05, 2004

Selected search referrals

fog dencity
london after mitnick music gothic
codeine syrup neon
frida callow bisexual artist
hermetic esoteric organizations denver [Navy Intel]
ballard of narayama
365 pep talks by buddha download (only result!)
RUSSIAN WOMEN SHOULD LOVE DEAFMAN?
lossless forbidden history
lakes turning over definitions
planing scorpion
winnebago figurines
classy european romantic novel
the ballard of narayama
seaspray ops [DoD]
ohio abuse of a corpse definition
himmler's search for treasure [HQ 5th Signal Command]
close down the air force academy [Maxwell AFB]
-blogspot blogger free blog username password hello [Ft Belvoir]
inflatable labyrinths
books regarding dining table decoration

Took nearly a year to gather these -- my now defunct political blog was much stickier this way.

2:59 PM - [Link] - Comments ()

The Internet Archives' NetLabels page is a useful index to online labels featuring mp3/ogg files for glitch/ambient etc. aficionados

Several of these I've posted links to one way or another, like no type and kikapu. Some of these labels offer the files on their webpages. no type does but I can't load them into my downloader from there for some reason. But the file directory for each of their releases at IA has links that do work. Nice to have an alternate place to get them anyway, netlife being what it is.

12:46 AM - [Link] - Comments ()

Thursday, June 03, 2004

Another look at one of my favorite Scorsese films

Jennifer Piston on the revisionist road movie After Hours

While highways in the conventional road film serve to fulfill its protagonists' desire for escape, mobility, and freedom, After Hours' confined, small-scale Manhattan road spaces function to exaggerate Paul's stifled and bleak lifestyle. Forming the structure of narrative events, these urban roads pave the way for Paul's adventure downtown, connect the film's transient spaces and subplots, encompass downtown settings foreign to Paul, as well as the geographical and cultural ambiguities, and symbolic and physical roadblocks that Paul encounters, and ultimately provide Paul's escape route. The paradoxical, minimal utilization of automobiles in this road film serves to portray the backwardness in modernity that downtown Manhattan represents to Paul; ostensibly, this absence of automobile luxury is an ironic comment on Paul's difficulties in returning home to his normal capitalist surroundings. Compensating for the absence of automobiles, the character of Paul drives the narrative in this filmic vehicle. Scorsese's theme of uncanny repetitiveness also takes advantage of the small-scale road spaces in After Hours...

11:59 PM - [Link] - Comments ()

New publisher Exact Change looks pretty tasty -- specializing in experimental lit, like the first English translation of Picasso's poetry and the collected works of Kurt Schwitters (whom some may have heard on Brian Eno's "Kurt's Rejoinder") [Literary Saloon, a good blog for booklusters]

Schwitters' Ur Sonata is streamable in RealAudio at the redoubtable Ubuweb, natch.

They have also reissued the works of Denton Welch, a favorite of William Burroughs.

8:56 PM - [Link] - Comments ()

Sunday, May 30, 2004

Hardcore Marine blames shrub for pointless loss of civilian lives in Iraq, harm to both sides by depleted uranium

Paul Rockwell: I understand that all the incidents -- killing civilians at checkpoints, itchy fingers at the rally -- weigh on you. What happened with your commanding officers? How did you deal with them?

Sgt. Massey: There was an incident. It was right after the fall of Baghdad, when we went back down South. On the outskirts of Karbala, we had a morning meeting on the battle plan. I was not in a good mindset. All these things were going through my head -- about what we were doing over there. About some of the things my troops were asking. I was holding it all inside. My lieutenant and I got into a conversation. The conversation was striking me wrong. And I lashed out. I looked at him and told him: 'You know, I honestly feel that what we're doing is wrong over here. We're committing genocide. ' He asked me something and I said that with the killing of civilians and the depleted uranium we're leaving over here, we're not going to have to worry about terrorists. He didn't like that. He got up and stormed off. And I knew right then and there that my career was over. I was talking to my commanding officer.

Paul Rockwell: What happened then?

Sgt. Massey: After I talked to the top commander, I was kind of scurried away. I was basically put on house arrest. I didn't talk to other troops, I didn't want to hurt them. I didn't want to jeopardize them.

I want to help people. I felt strongly about it. I had to say something. When I was sent back to stateside, I went in front of the regimental Sergeant Major. He's in charge of 3500-plus Marines. 'Sir,' I told him, 'I don't want your money. I don't want your benefits. What you did was wrong.' It was just a personal conviction with me. I've had an impeccable career. I chose to get out. And you know who I blame? I blame the President of the U.S. It's not the grunt. I blame the president because he said they had weapons of mass destruction. It was a lie.

7:58 PM - [Link] - Comments ()

There's a pie shop in the sky

Images from the Chinese revolutionary opera Taking Tiger Mountain by Strategy, the inspiration for Brian Eno's second solo album [Incoming Signals again]

12:28 AM - [Link] - Comments ()

Photos of the Sedlec Ossuary in the Czech republic, a chapel profusely decorated with human bones [Incoming Signals]

12:14 AM - [Link] - Comments ()