Related remarks on language —

"I need a photo opportunity . . . ." — Paul Simon

Lines from the 2013 Jim Jarmusch film
"Only Lovers Left Alive" —

Eve:  “… So what is this then? Can’t you tell your wife
what your problem is?”

Adam:  “It’s the zombies and the way they treat the world.
I just feel like all the sand's at the bottom of the hourglass
or something.”

Eve:  “Time to turn it over then.”

Related entertainment  —

and . . .

Two items from November 24, 2015 —

Related material —

 David Bowie and Catherine Deneuve star in "The Hunger" (1983).

Vampira and Loki at Cannes

The previous post suggests a review:

See as well . . .

Tobey Maguire and Kirsten Dunst
in "Spider-Man 2" (2004) —

Spoilers for another Kirsten Dunst film,
"Midnight Special" (2016) —

"When they all finally reach their destination —
a deserted field in the Florida Panhandle…." 

" When asked about the film's similarities to the 2015 Disney movie 
Tomorrowland , which also posits a futuristic world that exists in an
alternative dimension, Nichols sighed. 'I was a little bummed, I guess,'
he said of when he first learned about the project. . . . 'Our die was cast.
Sometimes this kind of collective unconscious that we're all dabbling in,
sometimes you're not the first one out of the gate.' "

From another obituary for
the "Spider-Man" screenwriter —

“When I die,” he liked to say, “I’m going to have written
on my tombstone, ‘Finally, a plot!’”

— Robert D. McFadden in The New York Times

See as well "Art Wars for Trotsky's Birthday"
and some historical background.

" Alan Watts wrote of The Making of a Counter Culture 
in the San Francisco Chronicle  in 1969, 'If you want to
know what is happening among your intelligent and
mysteriously rebellious children, this is the book. . . .' "

— The University of California Press

" 'I count a lot of things that there’s no need to count,'
Cameron said. 'Just because that’s the way I am.
But I count all the things that need to be counted.' "

— Richard Brautigan, The Hawkline Monster: A Gothic Western ,
Simon & Schuster, 1974

See as well Hawkline in this  journal.

The previous post suggests a search for Buber in this journal
that yields a passage from New Year's Eve 2017 —

" As for 'that you in which the lines of relation, though parallel,
intersect,' and 'intimations of eternity,' see Log24 posts on
the concept 'line at infinity' as well as 'Lost Horizon.' "

Related illustrations — 

From Pi Day 2017 —

"Don't want to end up a cartoon in a cartoon graveyard."

From April 20, 2019 —

From "A History of Violence" —

"The style of Ich und Du  is anything but sparse and unpretentious,
lean or economical. It represents a late flowering of romanticism
and tends to blur all contours in the twilight of suggestive but
extremely unclear language. Most of Buber’s German readers
would be quite incapable of saying what any number of passages
probably mean. 

The obscurity of the book does not seem objectionable to them:
it seems palpable proof of profundity. Sloth meets with awe
in the refusal to unravel mysteries."

— Walter Kaufmann, 1970 prologue to I and Thou

A problem not only at Harvard.

For instance… A Hollywood anticlerical classic:

Schoolgirl Problem —

See also Good Friday 2003 … Continued .

See as well . . .

http://www.walterkaufmann.com/articles/1970_Prologu_Ich_Du.pdf .

From the subtitles of "Our Brand is Crisis" (2015) —

1357
01:07:58,242 –> 01:08:01,537
Uh, if you should feel something
during the interview, like an emotion…

1358
01:08:03,164 –> 01:08:07,251
If you have some tears,
could you just turn towards

1359
01:08:07,501 –> 01:08:08,836
the camera?

"Our Brand is Crisis" is set in La Paz, Bolivia. Related material —

Golin and the Stone  continues.

L'Heureux*  Meets  Les Misérables

The above theater is named for a soldier who died on May 14, 2006.

* "… whose novels wrestled with faith… " — NY Times obituary today

“Faith! Faith!” cried the husband.
“Look up to Heaven,
and resist the Wicked One!”

— "Young Goodman Brown"

A check of an author cited in the previous post yields —

The cover illustration above is by Kay Nielsen . . . 

"FROM 'EAST OF THE SUN AND WEST OF THE MOON' 
('AND FLITTED AWAY AS FAR AS THEY COULD … '), 1914."
(Paris Review , December 3, 2015.)

See as well the April 1977 poem "Winter Tree" by Jon Lang and . . .

For Shakespeare's Birthday . . .

* Title from a 1960 French farce.

A miniature metaphoric midrash —

See the Snakes on a Plane  image
from a post of March 15, 2019 . . .

See also "Coronat" in this  journal.

Easter last year fell on April Fools' Day.
Midrash — The Log24 posts for April 2018.

Related material —

https://www.broadwayworld.com/article/
Press-Agent-And-Broadway-Executive-Harvey-Sabinson-Dies-20190420.

See also "Press Agent" in this journal and a post from Maundy Thursday,
the date of Sabinson's reported death . . .

"Let them eat pie."

The date of an article by the late Charles Gross —Dec. 21, 2011 . . .

. . . suggests a review of a post from that date:

See as well this  journal on Marc Hauser in a post of
August 5, 2004 — "In the beginning was… the recursion?"

Related material — Posts tagged Perspective.

"We render the compulsion harmless, and indeed useful,
by giving it the right to assert itself in a definite field.
We admit it into the transference as a playground…."

— Sigmund Freud, 1914, "Remembering, Repeating,
and Working-Through" (See "Expanding the Spielraum,"
Oct. 26, 2015, in this  journal.)

An indefinite field —

A definite field —

Continues . 

The Aloha Grid

Some less demanding reading:  Mysteries of the Rectangle .

An Eight  for Katherine Neville —

A later article about this same William Boyd —

"In the end, it’s this indifference on the part of the tastemakers
that makes Boyd’s project a worthy one, pointing as it does to
their ability to treat as real whatever they choose, and to deny
the reality of other things simply by redirecting their gaze." 

Also on November 14, 2011 —

𝅘𝅥𝅮_{𝅘𝅥𝅮  "Midnight at the Oasis . . . ."}

"I need a photo opportunity . . . ." — Song lyric

See also Dead Reckoning and Lizabeth Scott.

"It never occurred to me that someone could so explicitly reject
the core experience of something like Chartres."

— Christopher Alexander to Peter Eisenman, 1982

For a less dramatic core experience , see Hitchcock.

"If this weren't a public situation, I'd be tempted to get into this on a
psychiatric level." — Christopher Alexander to Peter Eisenman, 1982

Scene from the sequel to Unbreakable  and Split  —

Not to mention elevation .

See also Espacement .

Posts now tagged Spaceman include an image . . .

From March 9 —

Meanwhile . . .

Related material —

“At that instant he saw, in one blaze of light,
an image of unutterable conviction,
the reason why the artist works and lives
and has his being — the reward he seeks —
the only reward he really cares about,
without which there is nothing. It is to snare
the spirits of mankind in nets of magic,
to make his life prevail through his creation,
to wreak the vision of his life, the rude and painful
substance of his own experience, into the congruence
of blazing and enchanted images that are themselves
the core of life, the essential pattern whence
all other things proceed, the kernel of eternity.”

— Thomas Wolfe, Of Time and the River

* Title suggested by that of a Siri Hustvedt novel.
   See also Blazon in this journal.