1037
01:25:41,200 –> 01:25:43,200
I'm beginning to get
the hang of fucking.
1038
01:25:46,200 –> 01:25:47,700
Yes.
1039
01:25:50,200 –> 01:25:53,800
It's no different from learning
to play the ukulele.
1040
01:25:53,900 –> 01:25:55,800
You just need practice.
Further details at . . .
http://www.littlereview.com/getcritical/greenman/peterpan.htm .
Update (November 11, 2024 @ 23:30:59) —
Also on August 6, 2023 … Metaphysics Lesson.
The previous post (on "Come Swim") suggests a Sunset Boulevard review —
From a search in this journal for "consensual" —
"Yet if this Denkraum , this 'twilight region,' is where the artist and
emblem-maker invent, then, as Gombrich well knew, Warburg also
constantly regrets the 'loss' of this 'thought-space,' which he also
dubs the Zwischenraum and Wunschraum ."
— Memory, Metaphor, and Aby Warburg's Atlas of Images ,
Christopher D. Johnson, Cornell University Press, 2012, p. 56
The removed Wikipedia passage —
"In 2017, Stewart coauthored a computer science preprint about the use
of neural net techniques in the making of her short film Come Swim,[82]
which led to her achieving the Erdős–Bacon number of 7.[83]
82. Joshi, Bhautik; Stewart, Kristen; Shapiro, David (2017).
'Bringing Impressionism to Life with Neural Style Transfer
in Come Swim'. arXiv:1701.04928 [cs.CV].
83. 'Natalie Portman Answer | RASHI, RAMBAM and
RAMALAMADINGDONG'. Archived from the original
on May 3, 2023. Retrieved May 3, 2023. "
Background, and the preprint as officially published —
Fiction related to Kristen Stewart's reported Erdős–Bacon number, 7 —
A search in this journal for Cornell + Warburg suggests
a review of the concept "iconology of the interval " . . .
Ikonologie des Zwischenraums —
"Yet if this Denkraum , this 'twilight region,' is where the artist and
emblem-maker invent, then, as Gombrich well knew, Warburg also
constantly regrets the 'loss' of this 'thought-space,' which he also
dubs the Zwischenraum and Wunschraum ."
— Memory, Metaphor, and Aby Warburg's Atlas of Images ,
Christopher D. Johnson, Cornell University Press, 2012, p. 56
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