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I think Killing Them Softly would've definitely worked better without the Gandolfini parts. Less Gandolfini, more Richard Jenkins. Richard Jenkins for president.
Haven't seen Django yet.
Also, I watched the Hobbit and for the first half hour I was totally convinced I was watching a motion capture animated film.
i was considering stepping up my propaganda game, Argo and Zero Dark Thirty marathon. But on the playlist for now is Gangs of Wasseypur (apparently not too far from reality in that province!) and Battle of Algiers
Take Shelter, that was me. You can only blame yourself.
From the trailers, Argo looked like it would be an Ocean's Eleven kind of thing but it had instead a very enjoyable 70s political thriller vibe, but not much more.
shabushabu with some friends, she's from hokaido prefecture and found it hilarious/awesome i was just wearing yohji Warning: Spoiler! (Click to show)
went to a mountain Warning: Spoiler! (Click to show)imitation (Click to show)
Edited by the shah - 1/5/13 at 5:29pm
Hans van der Laan
The architecture theory of the Benedictine monk Dom Hans van der Laan (1904-1991) is all-embracing and difficult to grasp. In 2001 the Bonnefantenmuseum attempted to shed light on his search for the origin of architecture and the Plastic Number. The museum succeeded only partially, so the NAi Maastricht chose another approach.
The question van der Laan spent his life asking is: if architectural form is not entirely a subjective issue, on what basis can a choice be made between one form and another? Every now and then, someone thinks they have the ultimate solution. The idea of form derived from function was one such solution, and it has proved hard to dislodge – despite the evidence that very few functions can actually predict forms, and when they do, the resulting buildings are horribly inflexible. Hugo Häring’s famous farm at Gurkau housed 42 cows and one bull, and the 43rd cow would break the system.
Van der Laan – who is currently getting the recognition he deserves with a retrospective at the NAI Maastricht – never built a cowshed, but his architecture aimed to come close to nature, by seeking a formal language with the same kind of irreducible certainty that one finds in natural growth. His deep thinking was undoubtedly helped by becoming a monk at the age of 23. He trained as an architect at Delft, and felt that what he was being taught was a mash-up of empirical experience and repeated but barely understood axioms. He was determined to go deeper.
Being a monk is no picnic, but if you want thinking time, you can have it. Van der Laan became a notable architectural teacher, and built a small number of buildings mainly for church purposes. Before his death, he had become, largely through the efforts of his English interpreter Richard Padovan, a figure on the map of modernism whose ideas were highly relevant to the unfolding minimalist movement. You can’t look at van der Laan’s stripped down cubic shapes without thinking of David Chipperfield.
We are so used to connecting nature with the word “organic”, and inclined to interpret this as something irregular and possibly alive with tufts of grass, that the austerity of van der Laan’s work might look like the opposite. Neither is his idea of naturalness based on the relationship of inside and outside, or on the graininess of timber, to mention two other popular signifiers for nature.
Numbers are the key issue, and rather than settling for the simple pleasures of the Fibonacci series, van der Laan made his own number sequences in order to achieve a wider range of combinations and possibilities. He did not attribute to them the kind of mystical essence or absolute truth that le Corbusier was trying to reach through the Modulor. In fact, having looked at the work of another architect monk, Dom Paul Bellot, he dismissed his use of the Golden Section as “just another arbitrary mathematical formula”. There was an equivalent in his mind between architecture, play and the business of being a monk. Each activity requires rules, and it is less important that these should be expressions of absolute truth than that they should produce good results in practice.
In his search for systems, van der Laan produced things that can be enjoyed without knowing the rules, yet, appropriately, they always have a didactic intent, like the charming little bags of pebbles that he would pick up on the pathways of the monastery and grade in order of size, as a handy reminder that the relationship between things matters more than the things themselves.
[ i ] Perec, G. On the Difficulty of Imagining an Ideal City IN:Perec, G. Species of Spaces and Other Pieces
[ ii ] The Order of Jerusalem is a new monastic order, founded in Paris on All Saints’ Day 1975, by a former chaplain to the Sorbonne, Father Pierre-Marie Delfieux. Having lived as a hermit in the Sahara for two years, he felt called to find the desert in the city. The foundation of a monastic community was a response to the urban environment, creating an oasis in the modern desert of the city.
I remember a long time ago when they released the Alien director's cut and I just on a whim decided to go see it on theaters. Didn't really care much for that type of stuff back then since I was so young, but I remember feeling like genuine discomfort. Like an always creeping and lurking, organic, "I'm gonna die now" type of feeling...never outright terror or anything, just really amazing discomfort, not only of the 'creature' but also of the android and even the people..
I should rewatch it
Edited by g transistor - 1/8/13 at 5:41pm
It was certainly flawed (especially some of the character motivations, plot holes and rhythm), but I still think about that damn movie today, like 3-4 months after I saw it