… Continues.
"24 Hour Psycho" at the Museum of Modern Art in the novel
Point Omega is illustrated in a New York Times review—
Related material — Today's 1 PM post and…
See also yesterday's 1 PM post.
Wednesday, October 23, 2013
24 Hour Psycho…
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Friday, February 10, 2012
24 Hour Psycho
From "Kill Bill: Vol. 1"—
The Bride: [Japanese] I need Japanese steel.
Related material —
Yodogawa, 1982 (see yesterday evening's Psycho) and…
See also this afternoon's 5:01 post.
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Monday, June 24, 2024
Commedia: Triangle Fire Day, 2024
This post was suggested by . . .
A background check on Father Demo Square revealed
further information at . . .
This post was suggested by a recent New York Times obituary
and by a discussion in a book review of the MoMA art event
"24 Hour Psycho" in the Times —
Other entertainment from the Times —
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Friday, July 7, 2017
Psycho History
The title was suggested by the term “psychohistory” in
the Foundation novels of Isaac Asimov. See the previous post.
See also a 2010 New York Times review of
DeLillo’s novel Point Omega . The review is titled,
without any other reference to L’Engle’s classic tale
of the same name, “A Wrinkle in Time.”
Related material: The Crosswicks Curse.
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Friday, September 11, 2015
Omega Wrinkle:
A Phrase That Haunts
From this journal on August 23, 2013 —
Illustration from a New York Times review
of the novel Point Omega —
From the print version of The New York Times Sunday Book Review
dated Sept. 13, 2015 —
The online version, dated Sept. 11, 2015 —
From the conclusion of the online version —
On the above print headline, "Wrinkles in Time,"
that vanished in the online version —
"Now you see it, now you don't"
is not a motto one likes to see demonstrated
by a reputable news firm.
Related material: Jews Telling Stories.
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Tuesday, October 29, 2013
Noon
Relevant material:
- The title of this weblog,
- "24 Hour Psycho," and
- the theme from "Blackboard Jungle."
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Friday, August 23, 2013
Vacant Space
A passage from Wallace Stevens—
The spirit and space,
The empty spirit
In vacant space.
A frame from the film American Psycho (2000), starring Christian Bale—
The rest of the film is not recommended.
Related material—
"24 Hour Psycho" at the Museum of Modern Art in the novel Point Omega .
Illustration from a New York Times review—
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Friday, April 26, 2013
The Cruelest Month continues…
"Well in North Carolina…" — George Jones
For those averse to white lightning —
A link in yesterday 's 5:24 PM post yields moonshine.
See also Title and 24 Hour Psycho.
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Tuesday, April 9, 2013
Kountry Korn Kandy
For the first two words of the title,
see the previous post.
For the third word, see a review of the recent film "Hitchcock"
about the director and Janet Leigh during the filming of "Psycho"—
Hopkins' Hitchcock more or less eats out of Janet's hand
when she feeds him candy corn during a drive together
(the reference is to the candy Norman Bates is devouring
when he's interviewed by Martin Balsam's detective).
A story that demands the blended talents of Hitchcock and of
Mel Brooks to do it justice:
See also a 2010 New York Times review of
DeLillo's novel Point Omega . The review is titled,
without any other reference to L'Engle's classic tale
of the same name, "A Wrinkle in Time."
Related material: The Crosswicks Curse.
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Friday, August 31, 2012
Translation
"Translation in the direction
conceptual -> concrete and symbolic
is much easier than
translation in the reverse direction…."
— The late William P. Thurston
(See also "Atlas to the Text," Harvard Crimson , March 8, 2011).
Related cinematic imagery
Conceptual (thanks to Don DeLillo and The New York Times )—
Concrete and symbolic (thanks to Amy Adams and Emily Blunt, as well as
Frederick Seidel in the September 3, 2012, New Yorker )—
"Biddies still cleaned the student rooms."
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Saturday, February 6, 2010
Conceptual Art
The Plane of Time
From tomorrow's NY Times Book Review, Geoff Dyer's review of DeLillo's new novel Point Omega is now online—
"The book begins and ends with Douglas Gordon’s film project '24 Hour Psycho' (installed at the Museum of Modern Art in Manhattan in 2006), in which the 109-minute Hitchcock original is slowed so that it takes a full day and night to twitch by. DeLillo conveys with haunting lucidity the uncanny beauty of 'the actor’s eyes in slow transit across his bony sockets,' 'Janet Leigh in the detailed process of not knowing what is about to happen to her.' Of course, DeLillo being DeLillo, it’s the deeper implications of the piece— what it reveals about the nature of film, perception and time— that detain him. As an unidentified spectator, DeLillo is mesmerized by the 'radically altered plane of time': 'The less there was to see, the harder he looked, the more he saw.'
This prologue and epilogue make up a phenomenological essay on one of the rare artworks of recent times to merit the prefix 'conceptual.'"
Related material:
Steering a Space-Plane
(February 2, 2003)
Holly Day
(February 3, 2010)
Attitude Adjustment
(February 3, 2010)
Cover illustration by Stephen Savage,
NY Times Book Review,
Feb. 2 (Candlemas), 2003
“We live the time that a match flickers.”
– Robert Louis Stevenson, Aes Triplex
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