“… She’s a weapon.”
Ignore Rotten Tomatoes. Despite the insufficiently-dissolved moral core (and attendant Cartesian metaphysics), this movie is mind-woundingly great. Its visualization of the near future is unmatched. Scarlett Johansson’s body disintegrates perfectly.
“How do you know what’s glitch, and what’s me?”
I’m going to assume that snake is English (despite all natural-historical evidence to the contrary). The point is hard to contest, regardless. The ones that bite are better.
What’s happening in America right now in one graph:
It’s the Black, Hispanic, and White College Educated numbers that should be freaking out the Cathedral. If 29% of Black Americans think the victimological privilege narrative is bullshit, it’s failed.
Policy objective: Close down US support for the South Vietnamese regime.
Policy debate: Who cares?
Decisive mind-control tool:
(The little girl in the center is Kim Phuc Phan Thi if you need a Google-key.)
Inevitable quibbles aside, it’s quite shocking how well this works.
Sometimes it still seems to work.
Huangshan — It isn’t K2 (but then I’d never be idiotic enough to try scaling K2.)
April 2, 2016admin
FILED UNDER :Images
TAGGED WITH :China
Dark Star: H.R. Giger’s World (2015), at IMDb. Here’s a short trailer.
It seems like a suitable frightday night topic — the film impressively conveys the role of raw terror in producing these images. ‘Perinatal trauma’ according to one voice, although that attains very limited purchase on Giger’s ‘biomechanoid’ obsessions. While biography and psychology are dubious guides into cultural products, the account of the young Giger’s horrified fascination with a museum mummy is highly engaging.
All my problems with Giger come from the surrealism — an aesthetic posture to be rigorously damned as facile. If that level of his work is considered a mere vehicle for more profound (or abstract) inclinations, much remains to explore. The movie explicitly describes his work as a gateway into the dark (nigredo), docked to hermetic traditions. Giger’s techno-prosthetically mummified Egyptian princess manifestly draws him into the crypt of transcendental time.
It’s utter degeneracy, of course — but I’m loathe to say that as if it’s a bad thing.