A Quote by Peter Murphy
The goths are beautiful, a vast depth of subcultural, aesthetic and poetic ideas, and we would identify with that as we did back in 1979. But not the post modern distortion...the costume without the brain.
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As far as I was concerned, it was the absence of women in the poetic tradition which allowed women in the poems to be simplified. The voice of a woman poet would, I was sure, have precluded such distortion. It did not exist.
The idea that we live in a post-modern culture is a myth. In fact a post-modern culture is an impossibility; it would be utterly unlivable. Nobody is a post-modernist when it comes to reading the labels on a medicine bottle versus a box of rat poison! You better believe that texts have objective meaning!
You are ugly when you love her, you are beautiful and fresh, vital and free, modern and poetic when you don't... you are more beautiful as an orphan than as your mother's son.
I posted something on Instagram saying I am looking for meaningful work. At that time, I was sure my daughter Masaba would be angry. She however, reposted it and wrote another beautiful post. She is a very good writer. That post almost changed things for me. I am glad I did what I did.
If you ever saw All That Jazz [1979], Bob Fosse was kind of raised dancing in strip joints and the whole era of burlesque, and that form ran his visual aesthetic, the pacing and rhythm of what he did.
The brain appears to possess a special area which we might call poetic memory and which records everything that charms or touches us, that makes our lives beautiful ... Love begins at the point when a woman enters her first word into our poetic memory.
What is extraordinary about contemporary art is the energy - it has our energy. New energy. Pieces hundreds of years old are beautiful from an aesthetic point of view, but without our modern energy.
What Warcollier demonstrated is compatible with what modern cognitive neuroscience has learned about how visual images are constructed by the brain. It implies that telepathic perceptions bubble up into awareness from the unconscious and are probably processed in the brain in the same way that we generate images in dreams. And thus telepathic “images” are far less certain than sensory-driven images and subject to distortion.
I guess I've always lived upside down when I want things I can't have. My wife actually thinks I have a syndrome called Reality Distortion Field. It's kind of like drugs, only you can't come back from it. Reality Distortion is almost a permanent condition. Things come in and they go out: Presto, chango! To a certain extent, I did that with myself. As a kid, I did want to be an old-timer, since they were the ones with the big stories and the cool clothes. I wanted to go there. Now, I guess I want to bring that with me and go back in time.
Possible ideas and thoughts are vast in number. A distinct word for every distinct idea and thought would require a vast vocabulary. The problem in language is to express many ideas and thoughts with comparatively few words.
For me, reggae music and its aesthetic are touchstones in both simple and complex ways. Reggae's capacity to be a folk music that is created in a wholly modern context of the recording studio (and sometimes that is the sole performance space) is riddled with the kinds of contradictory impulses that we have come to expect from the post-modern. I revel in this, for it gives me, shall I say, permission.
Somewhere in the back of my brain there exists this certainty: The body is no more than a costume, and can be changed at will. That the changing of bodies, like costumes, would make me into a different character, a character who might, finally, be alright.
An aspect of 'post-modern' approach to history is to include the mistakes and the prejudices of the era, without modernizing them or 'correcting' them according to our modern ideals.
There is no true expertise in the humanities without knowing all of the humanities. Art is a vast, ancient interconnected web-work, a fabricated tradition. Over-concentration on any one point is a distortion.
That's what I like about the idea of the aesthetic experience, the idea of both enjoying looking at works of art and how they kind of talk to you, and also the process of making art, getting back to that idea of the aesthetic experience of making art is very important, It's another way of thinking. Instead of just using your brain, you're using your hands to think with. They're different connections, the brain that comes through the fingertips as opposed that comes through the eyes and ears.
I design for the movie and the character as well as the person wearing the costume. I show the ideas to the actor, then do fittings for shape and technical things such as movement in the costume. Once the costume in this form is on the actor, you have a sense of their connection with it. I then take it to the next level with the final fit.
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