More views of - or before - Cambridge Film Festival 2012
(Click here to go directly to the Festival web-site)
29 April
Caveat (1):
Since I could easily establish no gain in having a bottle of milk that had been left on the doorstep all day*, precisely because, on a warm or warmer day, that might render the product if not toxic, then unpleasant, it has not been a form of packaging with which I have been much in contact**.
Therefore, although not a tyro, I do have to admit that I am not 'in' with the latest ways of bottle management***.
Anyway, on with the trashy observations:
* Milk-bottles generally defy being cleaned, even if you have what passes for - and was probably sold as - a bottle-brush****
* The bottlers will, no doubt, claim that a rinse and an attempt at cleaning is all that they need to work on, with their industrial, high-pressure cleaning, when the bottles are gathered home to where they may once have been, side by side, waiting to be filled... (End of lyrical indulgence)
* The offer of delivery of (no t.v. celebrities intended) cheese in a bottle (and thus cutting out the middle man already alluded to) did not prove popular with householders, whereas that of orange juice did
* Odd that someone, without enquiring as to what it was (despite the fact that red leicester, for example, is pretty much that colour), wanted to buy some juice that is orange in appearance (but not, we notice, red juice or green juice)... (End of especially fruitless - pun intended! - indulgence)
* Back with milk-bottling, those foil-caps, even more than the bottles, refuse to be cleaned - hence the similar cheesy odour when someone seeks to do their duty of recycling the blessed things
* The date on the cap used to be much more clearly embossed than I found yesterday, when confronted with several bottles in a fridge, and, unreasonably, wanting not to deposit cheese into the planned cup of coffee that had set me off in search of milk (Winnie-the-Pooh, of course, is fearful of finding cheese at the bottom of a jar of hunny - make of that what you will, unless you are bound by the rules of Freudian interpretation)
* The foil-cap loves the bottle, and there are various stages to the romance:
** How to depress the cap, and thereby release the seal*****, without (a) deforming the
cap beyond its redemption in sitting on top of the bottle when in the fridge, and (b), almost in consequence, losing a goodly part of the milk - which only matters because said milk, unless cleaned up properly and thoroughly, yet again imparts that odour of mouldy cheddar to the home
** Especially overnight from when you first opened the bottle, the bottle neck / lips and the cap (Freudians sit up now: this is what you were waiting for all along!) will be glued together more firmly than, even though you know it happens, you can quite believe
** Forget wood glue (though I do wonder, now, what it is made from...******), and the claim that it is stronger than the wood that it binds! The Pandarus, which the milk has been initially (up to you which is Troilus, which Cressida), still serves to make them inseparable, because the cap does not want to come off, and you urge it, crying Come on!
** This can continue, with degress of ardour (depending on (a) how often you need to revert to your pinta, and (b) the related matter of dosage, which, by Degas' transformation, yields a broad measure of how quickly you consume it), almost ad nauseam
** When bottle and cap do have to part, because you want to recycle at least one of them: they show that they are still in love with, and missing, each other by both being near impossible to void of the liquid that brought them together
On which note, Salve, and may your chosen fluid keep pleasing you!
End-notes
* I forget why - one posits the combination of an early start and a late milk delivery, or some such.
** And, unlike other collectors, have not curated a library of the different designs...
*** Some, addicted to the new ways (if arguably no better, not to say worse, than the old ones), would suggest following my relative Marmaduke's Twitter account (he wanted @milkbottlemanagement, but - so naïf is he - that, in fact, he ended up naming it after himself).
Caveat (2): Do so at your peril!
**** Hence that aroma of cheese at the homes of the collectors already mentioned.
***** NB This is not, I advise, a good excuse for tweets from Edgar the Dolphin!
****** Those in the know may already have thought of There's Something About Mary (1998).
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Sunday, 29 April 2012
Saturday, 28 April 2012
Drays of doubt
More views of - or before - Cambridge Film Festival 2012
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29 April
When there is a shortage of water in (parts of) the UK, let's spare a thought for those counties that, in past centuries, were so unshakable in their beliefs that they got stuck in a rut, and, not unlike the Wednesbury lot who (at my hands, too) get such stick for coming to that famously unreasonable decision that no one could reasonably have made*, were worryingly in danger of binding themselves in hide.
The drastic solution was to seed this rigid application of rules and principles (and to hell with the consequences), a bit as one might a patch of ice with salt. So government-sponsored orators would go around, on the back of waggons, proclaiming alternative viewpoints, and arguing for a Grey between the Black and White. (Dr, later Dean, Jonathan Swift - although not one of these orators himself - wrote scripts for them to memorize and employ.)
Of course, some counties were so entrenched in their views, that all this achieved nothing, and the orators were hanged or stoned, and thus - as no one has dared since to send anyone into the vineyard (oops! different topic, as that's a parable) - we have modern Britain, where angels fear to tread in such homelands of dogma, discrimination and dis-ease***.
QED
End-notes
* Yes, how that decision is described** is a bit like divorce, and the behaviour that is so unreasonable that the other party could not reasonably be expected to tolerate it, except that almost any marriage will have given rise to events that are sufficient to flesh out the required particulars for a judge to certify that a divorce can proceed - broadly speaking, first, last and worst, plus a few others.
It must be said, a soul-destroying task, both for the person drawing up those particulars, and for the one reading them, even if both may be (as, respectively, solicitor / legal executive and judge) paid to do it... Pay does not make pleasant the unpalatable, as Seneca declaimed - but it does help!
** If memory serves aright, it was something to do with licensing a cinema, of all things.
*** As Stephen Potter would have called it.
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29 April
When there is a shortage of water in (parts of) the UK, let's spare a thought for those counties that, in past centuries, were so unshakable in their beliefs that they got stuck in a rut, and, not unlike the Wednesbury lot who (at my hands, too) get such stick for coming to that famously unreasonable decision that no one could reasonably have made*, were worryingly in danger of binding themselves in hide.
The drastic solution was to seed this rigid application of rules and principles (and to hell with the consequences), a bit as one might a patch of ice with salt. So government-sponsored orators would go around, on the back of waggons, proclaiming alternative viewpoints, and arguing for a Grey between the Black and White. (Dr, later Dean, Jonathan Swift - although not one of these orators himself - wrote scripts for them to memorize and employ.)
Of course, some counties were so entrenched in their views, that all this achieved nothing, and the orators were hanged or stoned, and thus - as no one has dared since to send anyone into the vineyard (oops! different topic, as that's a parable) - we have modern Britain, where angels fear to tread in such homelands of dogma, discrimination and dis-ease***.
QED
End-notes
* Yes, how that decision is described** is a bit like divorce, and the behaviour that is so unreasonable that the other party could not reasonably be expected to tolerate it, except that almost any marriage will have given rise to events that are sufficient to flesh out the required particulars for a judge to certify that a divorce can proceed - broadly speaking, first, last and worst, plus a few others.
It must be said, a soul-destroying task, both for the person drawing up those particulars, and for the one reading them, even if both may be (as, respectively, solicitor / legal executive and judge) paid to do it... Pay does not make pleasant the unpalatable, as Seneca declaimed - but it does help!
** If memory serves aright, it was something to do with licensing a cinema, of all things.
*** As Stephen Potter would have called it.
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The habit of collecting (4)
More views of - or before - Cambridge Film Festival 2012
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28 April
Few - not even Bruno Bettelheim's adherents, acolytes, agents, and (they think) apostles - would doubt that the (core) impulse is something of the order of:
There's one that I haven't got!
Mrs President Marcos [I'm calling her that just to be flippant] knew that feeling well, but what did the possessor (as I cannot well speak for ownership) and person displaying this number-slave have at the forefront of his or her mind to have collected it?
GD15 SIX
Which one has to translate into GD IS SIX, as well as postulating that there must be many, many others in the series (in fact, as the whole aphabet isn't used, it must be 23 or 24 squared, some of which might mean more than others):
DD IS SIX (for Dating Direct*)
BB IS SIX (I need not explain that one, I fear)
GG IS SIX (good old Germaine**!)
BJ IS SIX (now that is rating something...)
CJ IS SIX (for those flagging already, just skip to the closing homily!)
All of which, though, assumes that the proposition talks about an age, anniversary, or score, whereas there could be something else going on...
x = 2
x x y = 6
y = ?
Back with the proposition GD IS SIX, could it, itself, be a known acronym, maybe for:
* Gross Diameter
* An open source code library for the dynamic creation of images by programmers (according to www.boutell.com/gd/)
* Graeme Dixon
* The ethical URL shortener with no registration required (according to v.gd/)
* Grand Designs
* Great Dunmow
* Gérard Depardieu (or, to extend him to his full height, Gérard Xavier Marcel Depardieu)
The end is listless, I believe
But it must really be to do with the spirit of North by Northwest (1959), one of the craziest, but still best, Cary Grant films ever - we are being (or feel that we are being?) set this puzzle to work out, who - or what - 'GD' is, and what it means for it to be 'six', or '6'.
But maybe it's a metaphor for what we make of life, and could mean no more than the title of that Hitchcock film - a big confusion about nothing (where people get killed - or do they?).
Maybe God's Design for Richard Dawkins, maybe Dawkins' message to a God (whom he states is fictional) - God Deficiency is Six?
In closing
Personally - if I can be intimate and private for this closing moment - I don't go along with much of that
We will never know the answer, but that's because it's all wrapped up with
Cheltenham - GCHQ - MI6 - Whitehall - Harry Palmer - hush hush - need-to-know basis - Reggie Perrin and his brother-in-law Jimmy
Amen
Post-Amen (as at 6 May)
In fact, it was GL15 SIX, so please ignore suitable amounts of the above!
End-notes
* Or Deadline Dave...
** Would that be a kind of rating (a bit as for bowed Eric)?
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28 April
Few - not even Bruno Bettelheim's adherents, acolytes, agents, and (they think) apostles - would doubt that the (core) impulse is something of the order of:
There's one that I haven't got!
Mrs President Marcos [I'm calling her that just to be flippant] knew that feeling well, but what did the possessor (as I cannot well speak for ownership) and person displaying this number-slave have at the forefront of his or her mind to have collected it?
GD15 SIX
Which one has to translate into GD IS SIX, as well as postulating that there must be many, many others in the series (in fact, as the whole aphabet isn't used, it must be 23 or 24 squared, some of which might mean more than others):
DD IS SIX (for Dating Direct*)
BB IS SIX (I need not explain that one, I fear)
GG IS SIX (good old Germaine**!)
BJ IS SIX (now that is rating something...)
CJ IS SIX (for those flagging already, just skip to the closing homily!)
All of which, though, assumes that the proposition talks about an age, anniversary, or score, whereas there could be something else going on...
x = 2
x x y = 6
y = ?
Back with the proposition GD IS SIX, could it, itself, be a known acronym, maybe for:
* Gross Diameter
* An open source code library for the dynamic creation of images by programmers (according to www.boutell.com/gd/)
* Graeme Dixon
* The ethical URL shortener with no registration required (according to v.gd/)
* Grand Designs
* Great Dunmow
* Gérard Depardieu (or, to extend him to his full height, Gérard Xavier Marcel Depardieu)
The end is listless, I believe
But it must really be to do with the spirit of North by Northwest (1959), one of the craziest, but still best, Cary Grant films ever - we are being (or feel that we are being?) set this puzzle to work out, who - or what - 'GD' is, and what it means for it to be 'six', or '6'.
But maybe it's a metaphor for what we make of life, and could mean no more than the title of that Hitchcock film - a big confusion about nothing (where people get killed - or do they?).
Maybe God's Design for Richard Dawkins, maybe Dawkins' message to a God (whom he states is fictional) - God Deficiency is Six?
In closing
Personally - if I can be intimate and private for this closing moment - I don't go along with much of that
We will never know the answer, but that's because it's all wrapped up with
Cheltenham - GCHQ - MI6 - Whitehall - Harry Palmer - hush hush - need-to-know basis - Reggie Perrin and his brother-in-law Jimmy
Amen
Post-Amen (as at 6 May)
In fact, it was GL15 SIX, so please ignore suitable amounts of the above!
End-notes
* Or Deadline Dave...
** Would that be a kind of rating (a bit as for bowed Eric)?
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Friday, 27 April 2012
Roulette Marriage
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28 April
If you've been married and not all that happily, you know how it is, so maybe this isn't as immoral as it seems*:
1. Short of rape, which still wouldn't count, it's up to those who have gone
through a marriage ceremony whether they consummate the union
2. The law of England and Wales does not allow divorce** within the first year of marriage (a period that might be inferred to run from the date of consummation)
3. Unless, as it turns out, consummation, or the failure to achieve it, is separate and only relates to annulment, i.e. not to starting 'a divorce clock' running at a later point than the day of the ceremony
4. And applying for annulment of what appears to be a marriage, as with so much of our wretched legal system, is both adversarial and a matter of persuading a judge
5. So one party to the marriage ceremony would need to allege that the other party, wilfully or through incapability, failed to consummate the marriage***, and he or she would have not to contest, probably event assent to the truth of, that assertion****
6. So maybe, three months after the ceremony, a judge might not swallow that the aggrieved party had taken so long to seek annulment (and rumble that the parties were conniving at - what will unfold below as - a contingent marriage)
7. Which leads us to the roulette element: thirty-six men and thirty-six women agree to go into a pool of marriage candidates, from which a pairing (and a number allotted to the pair, between 1 and 36) will be made on some basis or other, but essentially not of the candidates' choice (or not based on knowledge of the other opposite-sex candidates)
8. Cleared payment to the organizer by each candidate of the full costs of a civil ceremony is a prequisite to knowing where and when to attend (advised at short notice, say, by e-mail)
9. If one party fails to attend the ceremony, the one who does attend is reimbursed from the other's payment, and might elect to start again
10. If both fail to attend, maybe they get a refund of one-half each...
11. If they go through with the full legal ceremony, they get what they have paid for - they get what some cult leaders impose, on some basis or other, on the members of their cult
12. With a better knowledge of the facts and law than stated above, they choose how to proceed, whether to consummation, delayed consummation, or none
13. Each couple will have its own outcome that links to its number, whether they never met, met and could not contemplate marriage at first sight, went through the ceremony, etc, etc.
The tracked outcome of each numbered couple (for each of many such pools, in order to achieve a chi-squared level of statistical significance) feeds into a complex betting-system for roulette, reminiscent of the plot of the film Pi (1998)
End-notes
* Though the Surrealists might have approved, as, without formulating it in marriage as such, maybe they did this by default... I gather that, despite the former Soviet regime having marriage, it was neither difficult to begin or end.
** Yet it does allow for the lesser step of judicial separation (as used when Charles and Diana first split up, I believe), which - as far I recall - relieves the parties of what is claimed to be 'the duty to co-habit' (if you can credit such a thing!).
*** Has this topic been in a news-story of late?
**** That said, if John Smith says that Boddingtons slept with someone (who may or may not be named as London Pride), and Boddingtons agrees on the right form and in the correct way that it happened, who is to say otherwise? (Except that it mustn't, of course, have been more than six months ago that John Smith first knew.)
Any better or worse than these company records that say that everyone listed as present had a meeting in Delft, whereas some, say, do not even have a passport - or were doing something quite different on Jamaica?
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28 April
If you've been married and not all that happily, you know how it is, so maybe this isn't as immoral as it seems*:
1. Short of rape, which still wouldn't count, it's up to those who have gone
through a marriage ceremony whether they consummate the union
2. The law of England and Wales does not allow divorce** within the first year of marriage (a period that might be inferred to run from the date of consummation)
3. Unless, as it turns out, consummation, or the failure to achieve it, is separate and only relates to annulment, i.e. not to starting 'a divorce clock' running at a later point than the day of the ceremony
4. And applying for annulment of what appears to be a marriage, as with so much of our wretched legal system, is both adversarial and a matter of persuading a judge
5. So one party to the marriage ceremony would need to allege that the other party, wilfully or through incapability, failed to consummate the marriage***, and he or she would have not to contest, probably event assent to the truth of, that assertion****
6. So maybe, three months after the ceremony, a judge might not swallow that the aggrieved party had taken so long to seek annulment (and rumble that the parties were conniving at - what will unfold below as - a contingent marriage)
7. Which leads us to the roulette element: thirty-six men and thirty-six women agree to go into a pool of marriage candidates, from which a pairing (and a number allotted to the pair, between 1 and 36) will be made on some basis or other, but essentially not of the candidates' choice (or not based on knowledge of the other opposite-sex candidates)
8. Cleared payment to the organizer by each candidate of the full costs of a civil ceremony is a prequisite to knowing where and when to attend (advised at short notice, say, by e-mail)
9. If one party fails to attend the ceremony, the one who does attend is reimbursed from the other's payment, and might elect to start again
10. If both fail to attend, maybe they get a refund of one-half each...
11. If they go through with the full legal ceremony, they get what they have paid for - they get what some cult leaders impose, on some basis or other, on the members of their cult
12. With a better knowledge of the facts and law than stated above, they choose how to proceed, whether to consummation, delayed consummation, or none
13. Each couple will have its own outcome that links to its number, whether they never met, met and could not contemplate marriage at first sight, went through the ceremony, etc, etc.
The tracked outcome of each numbered couple (for each of many such pools, in order to achieve a chi-squared level of statistical significance) feeds into a complex betting-system for roulette, reminiscent of the plot of the film Pi (1998)
End-notes
* Though the Surrealists might have approved, as, without formulating it in marriage as such, maybe they did this by default... I gather that, despite the former Soviet regime having marriage, it was neither difficult to begin or end.
** Yet it does allow for the lesser step of judicial separation (as used when Charles and Diana first split up, I believe), which - as far I recall - relieves the parties of what is claimed to be 'the duty to co-habit' (if you can credit such a thing!).
*** Has this topic been in a news-story of late?
**** That said, if John Smith says that Boddingtons slept with someone (who may or may not be named as London Pride), and Boddingtons agrees on the right form and in the correct way that it happened, who is to say otherwise? (Except that it mustn't, of course, have been more than six months ago that John Smith first knew.)
Any better or worse than these company records that say that everyone listed as present had a meeting in Delft, whereas some, say, do not even have a passport - or were doing something quite different on Jamaica?
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Some short comments about Peter Carey's work
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* Bliss (1981) is just that
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27 April
* I wrongly resisted Oscar and Lucinda (1988) for years - just because of that awful original Faber & Faber cover illustration*
* Illywhacker (1985), too, is amazing
* Who would play the role in any film? I suspect Anthony Hopkins (if they did it in time)
* How much does the multi-level pseudo-documentary nature of The True History of the Kelly Gang (2000) owe to forebears, such as, maybe, Wilkie Collins and The Woman in White?
* Wouldn't The Tax Inspector (1991) be brooding - and chilling - as a film?
* Bliss (1981) is just that
* And, yes, I do have some catching up to do - all in good time!
End-notes
* And, to judge from Wikipedia, the original Australian edition.
What's the difference between a t.v. celebrity and a judge? (1)
More views of - or before - Cambridge Film Festival 2012
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Or even:
Well, one, wearing stockings and suspenders, whips you, telling you that you've been a naughty boy (or girl) - and the other is a t.v. celebrity
Not to mention:
One likes silk, one may have taken it, but neither admits to liking magnolia in a silk finish
Let alone:
One gives you a sentence you cannot believe that you'll finish, the other one that you know that he - or she - cannot finish
As to 'not finishing', there is no polish on them, but there's now more of the same
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27 April
Well, first we have to ask what they have in common:
They will both (usually) pretend that they know what they are talking about...
Until - or even after - it becomes blindingly obvious that they don't, or that they should - e.g. the famous query Who is Gazza?
What's the difference between overstepping the line with a judge and with a t.v. celebrity?
The judge will just send you to jail for 30 days, but with the celebrity you are, to put it crudely, fucked - 30 days' worth in one night
As an unnamed person suggested to me by way of a riposte yesterday, how about?
And, of course, one may look good in a wig as you go down - and the other's a judge
Or even:
Well, one, wearing stockings and suspenders, whips you, telling you that you've been a naughty boy (or girl) - and the other is a t.v. celebrity
Not to mention:
One likes silk, one may have taken it, but neither admits to liking magnolia in a silk finish
Let alone:
One gives you a sentence you cannot believe that you'll finish, the other one that you know that he - or she - cannot finish
As to 'not finishing', there is no polish on them, but there's now more of the same
What did the bluebells tell Jesus?
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29 April
Dmitri Shostakovich concurred that Pushkin was right in stating that bluebells are very WYSIWYG*, pretty Zen.
DS demonstrated as much by transliterating the utterance - as only he knew how - to give the theme of the second movement of his Strinq Guartet [sic] No. 10 (sometimes seen as a printer's error, but actually a subtle slight on Stalin).
That apart, bluebells resemble snowdrops (and Märzenbecher) in being close to the ground, largely odourless, and, although not invariant, quite subtle in their varieties**.
As to whether they blabbed about the true nature of the Messiah and that he would suffer, opinions differ:
* Some say that the manna left in the desert areas was responsible
* Others blame Zionist / Marxist mechanisms of Tidal Flux
* It is, in any case, clear that Mendelssohn only accidentally gave the true name of God in one of the modulations of The Hebrides Overture, and paid a levy to the authorities governing Staffa for his mistake (but it was disguised, in the books, as late settlement of unpaid bills left by Boswell and Johnson)
* Botanists, who get shut out of many such a debate, say that bluebells were not in season at the relevant time - but what do they know about the conditions that prevailed two millennia ago?
* Sceptics suggest that, if the bluebells had been in a position to speak, they would not have been audible for the noise of the thyme and lemongrass
From which we can conclude that maybe the teaching of the bluebells, perhaps not as showy, resembled that of the lilies of the field, in being more like a PowerPoint® presentation in technicolor than a dry, formal lecture, given in a crumbling, drafty hall...
End-notes
* Which, actually, stands for What You Saved Is With Yuri Gagarian, the official motto of Moscow State Bank (we could not publish the unofficial one, for tax reasons).
** They are not well known in Galilee, it has to be said, but maybe the success that has built on their debut album might lead to a World Tour that takes in the region...
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29 April
Dmitri Shostakovich concurred that Pushkin was right in stating that bluebells are very WYSIWYG*, pretty Zen.
DS demonstrated as much by transliterating the utterance - as only he knew how - to give the theme of the second movement of his Strinq Guartet [sic] No. 10 (sometimes seen as a printer's error, but actually a subtle slight on Stalin).
That apart, bluebells resemble snowdrops (and Märzenbecher) in being close to the ground, largely odourless, and, although not invariant, quite subtle in their varieties**.
As to whether they blabbed about the true nature of the Messiah and that he would suffer, opinions differ:
* Some say that the manna left in the desert areas was responsible
* Others blame Zionist / Marxist mechanisms of Tidal Flux
* It is, in any case, clear that Mendelssohn only accidentally gave the true name of God in one of the modulations of The Hebrides Overture, and paid a levy to the authorities governing Staffa for his mistake (but it was disguised, in the books, as late settlement of unpaid bills left by Boswell and Johnson)
* Botanists, who get shut out of many such a debate, say that bluebells were not in season at the relevant time - but what do they know about the conditions that prevailed two millennia ago?
* Sceptics suggest that, if the bluebells had been in a position to speak, they would not have been audible for the noise of the thyme and lemongrass
From which we can conclude that maybe the teaching of the bluebells, perhaps not as showy, resembled that of the lilies of the field, in being more like a PowerPoint® presentation in technicolor than a dry, formal lecture, given in a crumbling, drafty hall...
End-notes
* Which, actually, stands for What You Saved Is With Yuri Gagarian, the official motto of Moscow State Bank (we could not publish the unofficial one, for tax reasons).
** They are not well known in Galilee, it has to be said, but maybe the success that has built on their debut album might lead to a World Tour that takes in the region...
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Lunch on the moon?
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27 April
Moon and Sun, as for Francis,
They're in the same breath
For me, for a place to eat,
One is cool - literally -
And has coastal views
Peaked by a crisp crest,
Like a salad's crunch:
If you can catch it
Waiter! Could I have another?
Mine's floated off...
Rating: 4*, but no atmosphere
As to The Other Place
(Maybe Stratford-on-Avon's,
Or 'the one not mentioned' -
As with The Scottish Play),
Steaks 'from the grill'
Come burnt to cinders
Waiter! Could I have - instead -
The chicken Caeasar salad?
Rating: 2*, and stuffy in summer
© Copyright Belston Night Works 2012
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27 April
Lunch where?!
Moon and Sun, as for Francis,
They're in the same breath
For me, for a place to eat,
One is cool - literally -
And has coastal views
Peaked by a crisp crest,
Like a salad's crunch:
If you can catch it
Waiter! Could I have another?
Mine's floated off...
Rating: 4*, but no atmosphere
As to The Other Place
(Maybe Stratford-on-Avon's,
Or 'the one not mentioned' -
As with The Scottish Play),
Steaks 'from the grill'
Come burnt to cinders
Waiter! Could I have - instead -
The chicken Caeasar salad?
Rating: 2*, and stuffy in summer
© Copyright Belston Night Works 2012
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What did Jesus teach about bluebells? (1)
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29 April
It needs saying: he does not, in the surviving written record, mention them at all.
However, we can infer that he was not indifferent to them (and their social aspirations), because he did talk about or engage with:
1. Lilies in all their finery
2. King Solomon in that connection (famous for his mine)
3. Wheat
4. Other crops*
5. Pigs (and a casting-out of devils involved swine)
6. Vines and 'the fruit of the vine'
7. Fig-trees
8. Sheep and lambs
9. Lamb as meat (in German, Osterlamm for the Passover meal)
10. Bread
11. Wine-vinegar
12. Wine
13. Vines
To be continued
End-notes
* Which would have chimed with Woody Allen and Diane Keaton in Love and Death (1975)
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29 April
It needs saying: he does not, in the surviving written record, mention them at all.
However, we can infer that he was not indifferent to them (and their social aspirations), because he did talk about or engage with:
1. Lilies in all their finery
2. King Solomon in that connection (famous for his mine)
3. Wheat
4. Other crops*
5. Pigs (and a casting-out of devils involved swine)
6. Vines and 'the fruit of the vine'
7. Fig-trees
8. Sheep and lambs
9. Lamb as meat (in German, Osterlamm for the Passover meal)
10. Bread
11. Wine-vinegar
12. Wine
13. Vines
To be continued
End-notes
* Which would have chimed with Woody Allen and Diane Keaton in Love and Death (1975)
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My fifty-word story (from a few years back)
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27 April
Josef K. had fallen sick again, or so his doctor claimed. Not in person, one must understand, as this opinion was contained in what seemed a hastily penned note, left in the porch.
Josef tutted in a scoffing manner: he sick, and with the lowest blood-pressure in the district!
He looked again at the scrawl, grimaced, and crumpled the offending piece of thin paper in his sweating fingers - grasping for the wall as he collapsed.
© Copyright Belston Night Works 2012
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27 April
Josef K. had fallen sick again, or so his doctor claimed. Not in person, one must understand, as this opinion was contained in what seemed a hastily penned note, left in the porch.
Josef tutted in a scoffing manner: he sick, and with the lowest blood-pressure in the district!
He looked again at the scrawl, grimaced, and crumpled the offending piece of thin paper in his sweating fingers - grasping for the wall as he collapsed.
© Copyright Belston Night Works 2012
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Economists in the Hen-House
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27 April
John Stuart Mill
Was really quite a pill
Pilate said:
What is Truth?
Better that one man---?
© Belston Night Works 2012
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27 April
Economists in the Hen-House
John Stuart Mill
Was really quite a pill
Pilate said:
What is Truth?
Better that one man---?
© Belston Night Works 2012
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Thursday, 26 April 2012
Royal Astonomical Society 'has no back-bone'
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27 April
Such, at least, was - what I deem to be - the clear import of seeing RA55 OFT => RAS SOFT
Or it could be telling me that the owner / driver / registered keeper (maybe all three at once) visits the Saudi town of Rass frequently?
Maybe even a message from or to (if not both) a West Indian person (or persons) about getting angry all the time, as it appears that 'rass' denotes the bum, and, in slang, using the term then means that someone is mad (in the sense of - very - worked up*)
Or, most paranoid of all, maybe it is an allusion to the Royal Archery Society, only there no more is one than such an Armadillo Society, and it is really a front for... you've guessed it, Pierre-Laurent Aimard and all those musical goings-on at Aldeburgh (well, Snape, if one could detect such a village, hamlet, or pair of cottages, though someone must have needed that whacking great maltings!)
End-note
* John is work TUP - meaning that he is a Totally Useless Person.
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27 April
Such, at least, was - what I deem to be - the clear import of seeing RA55 OFT => RAS SOFT
Or it could be telling me that the owner / driver / registered keeper (maybe all three at once) visits the Saudi town of Rass frequently?
Maybe even a message from or to (if not both) a West Indian person (or persons) about getting angry all the time, as it appears that 'rass' denotes the bum, and, in slang, using the term then means that someone is mad (in the sense of - very - worked up*)
Or, most paranoid of all, maybe it is an allusion to the Royal Archery Society, only there no more is one than such an Armadillo Society, and it is really a front for... you've guessed it, Pierre-Laurent Aimard and all those musical goings-on at Aldeburgh (well, Snape, if one could detect such a village, hamlet, or pair of cottages, though someone must have needed that whacking great maltings!)
End-note
* John is work TUP - meaning that he is a Totally Useless Person.
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Wreckers comes home to roost: report on a Q&A at the Arts Picturehouse
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26 April
NB This is a report on the answers given to the more significant questions, and a review of the film (presently in draft) will appear elsewhere. * In consequence, please be aware that there will, almost inevitably, be spoilers *
On Tuesday night, I watched the screening of a first feature by Dictynna Hood, someone to whom I had previously spoken, several years ago, about the documentaries that she was making. (Before she was lionized by Tony Jones and his crew, of whom Trish Sheil was going to introduce Dictynna - who wrote and directed Wreckers (2011) and host the Q&A afterwards, I just had time to ask her whether she had enjoyed making this film, which she largely had.)
As, with a Q&A, I formulate a question mentally and try to hold it during the rest of the film, to ask as soon as the initial questions from the person hosting have died down (so that I do not forget my formulation), I came out with (something like):
You mentioned fairy tales and stories from Fenland – what I found in this film was delight, a sense of possibility, things revealed, things overheard or witnessed, tension, jealousy, menace, fury, and I wonder, Dictynna, how deep you had to dig in yourself – or in ancient sources – to find these impulses?
The latter part of the question, with its humorous implications that she might do or want to do the things that her characters do, made her laugh infectiously. She had already mentioned that she had taken strands from real experiences and the lore of the four Oxfordshire villages, now changed beyond recognition by the overlay of the motorway and its traffic, so she had filmed in and around Isleham - and she mentioned the looks and queries that she had received at another screening in Oxford the day before.
As the questions came (and there was a good turn-out and much interest), Dictynna said more and more, opening up as the film does – opening up vistas – as questioners wondered about the status, as dream, of the start of the film (which, as it stands, someone had wanted her to consider dropping, and for which she had also shot a scene in a chapel, also in or near Isleham, which she said was so beautiful as to be unusable, because it looked as though it belonged in a different film – maybe, someone suggested, still to be made, when she alluded to the footage being on the cutting-room floor*).
Others asked about menace during and at the very end of the film, and it turned out that not only had the ending had been thought of very differently, but that, at one point in the conception, the whole thing could even have been much more of a horrorfest! However, not perhaps as alarming as parts of a wheat-field (whose owner Dictynna was most pleased to see in the audience) - the ones that we did not see, which had been trampled by the crew to get the on-screen shot.
In comments, there was interest in and appreciation of how the countryside had been presented, and I asked a further question about location, because there are many instances of people walking, often enough in twos, both in the village and elsewhere: Hood explained that, in shooting in Isleham (which, although not on a through-route, is apparently busy), she had focused on Dawn with David’s long-lost brother Nick (Shaun Evans) on the pavement and shut out the cars to create a deliberate effect.
The perennial question about when in the making the composer (Andrew Lovett) had been involved came up, and, unusually for films, the answer was that, as one of three with whom Hood had worked before and had been approached when it was at script stage, he self-selected by his desire to engage with the work.
Dictynna also commented that the use of music had been deliberately sparing on his part, and he had made use both of silence, and processing the actors' voices to make sounds that one could not quite distinguish, which people present seemed to agree imparted a dream-like element that they also found pervasively in Wreckers, a blurring between what was dream and what seen.
Towards the end of the session, Dictynna revealed more, including a source of the main story in a Viking text, and also a story about the devil (though Nick, she stressed, has other qualities than mere devilish ones). (As she agreed with me when I said a few words afterwards, there are all sorts of resonances, including Shakespearean ones).
Finally, we were told that two more projects are being worked on, one - of all things - a romantic comedy, so watch this space…
End-notes
* It's always made me think, subconsciously, that hairdressers must be much more house proud, because there the floor is swept clean of cuttings several times per day...
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26 April
NB This is a report on the answers given to the more significant questions, and a review of the film (presently in draft) will appear elsewhere. * In consequence, please be aware that there will, almost inevitably, be spoilers *
On Tuesday night, I watched the screening of a first feature by Dictynna Hood, someone to whom I had previously spoken, several years ago, about the documentaries that she was making. (Before she was lionized by Tony Jones and his crew, of whom Trish Sheil was going to introduce Dictynna - who wrote and directed Wreckers (2011) and host the Q&A afterwards, I just had time to ask her whether she had enjoyed making this film, which she largely had.)
As, with a Q&A, I formulate a question mentally and try to hold it during the rest of the film, to ask as soon as the initial questions from the person hosting have died down (so that I do not forget my formulation), I came out with (something like):
You mentioned fairy tales and stories from Fenland – what I found in this film was delight, a sense of possibility, things revealed, things overheard or witnessed, tension, jealousy, menace, fury, and I wonder, Dictynna, how deep you had to dig in yourself – or in ancient sources – to find these impulses?
The latter part of the question, with its humorous implications that she might do or want to do the things that her characters do, made her laugh infectiously. She had already mentioned that she had taken strands from real experiences and the lore of the four Oxfordshire villages, now changed beyond recognition by the overlay of the motorway and its traffic, so she had filmed in and around Isleham - and she mentioned the looks and queries that she had received at another screening in Oxford the day before.
As the questions came (and there was a good turn-out and much interest), Dictynna said more and more, opening up as the film does – opening up vistas – as questioners wondered about the status, as dream, of the start of the film (which, as it stands, someone had wanted her to consider dropping, and for which she had also shot a scene in a chapel, also in or near Isleham, which she said was so beautiful as to be unusable, because it looked as though it belonged in a different film – maybe, someone suggested, still to be made, when she alluded to the footage being on the cutting-room floor*).
Others asked about menace during and at the very end of the film, and it turned out that not only had the ending had been thought of very differently, but that, at one point in the conception, the whole thing could even have been much more of a horrorfest! However, not perhaps as alarming as parts of a wheat-field (whose owner Dictynna was most pleased to see in the audience) - the ones that we did not see, which had been trampled by the crew to get the on-screen shot.
In comments, there was interest in and appreciation of how the countryside had been presented, and I asked a further question about location, because there are many instances of people walking, often enough in twos, both in the village and elsewhere: Hood explained that, in shooting in Isleham (which, although not on a through-route, is apparently busy), she had focused on Dawn with David’s long-lost brother Nick (Shaun Evans) on the pavement and shut out the cars to create a deliberate effect.
The perennial question about when in the making the composer (Andrew Lovett) had been involved came up, and, unusually for films, the answer was that, as one of three with whom Hood had worked before and had been approached when it was at script stage, he self-selected by his desire to engage with the work.
Dictynna also commented that the use of music had been deliberately sparing on his part, and he had made use both of silence, and processing the actors' voices to make sounds that one could not quite distinguish, which people present seemed to agree imparted a dream-like element that they also found pervasively in Wreckers, a blurring between what was dream and what seen.
Towards the end of the session, Dictynna revealed more, including a source of the main story in a Viking text, and also a story about the devil (though Nick, she stressed, has other qualities than mere devilish ones). (As she agreed with me when I said a few words afterwards, there are all sorts of resonances, including Shakespearean ones).
Finally, we were told that two more projects are being worked on, one - of all things - a romantic comedy, so watch this space…
* It's always made me think, subconsciously, that hairdressers must be much more house proud, because there the floor is swept clean of cuttings several times per day...
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Tuesday, 24 April 2012
If I ran a monthly publications about the Windsors...
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24 April
Yes, if I did so, it would not be the regal equivalent of OK! (although it is that already).
No, but, as Royal Editor-in-Chief, I would definitely have the number-slave BE51 MAG, which I caught to-night, parked on a rainy Cambridge street (in fact, I'm guessing that all Cambridge streets were rainy, except a thickly lined avenue (where the rain comes later), but you know what I mean...).
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24 April
Yes, if I did so, it would not be the regal equivalent of OK! (although it is that already).
No, but, as Royal Editor-in-Chief, I would definitely have the number-slave BE51 MAG, which I caught to-night, parked on a rainy Cambridge street (in fact, I'm guessing that all Cambridge streets were rainy, except a thickly lined avenue (where the rain comes later), but you know what I mean...).
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Monday, 23 April 2012
An inquest into the mysterious death of MI6 spy Gareth Williams opens today (according to Yahoo!)
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23 April
I suspect that fans of the jazz pianist of the same name, who may have been alarmed by the caption, can safely assume that this was a different bearer of the illustrious title.
So Claire Martin will be relieved about the gig in Colchester on Saturday...
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23 April
I suspect that fans of the jazz pianist of the same name, who may have been alarmed by the caption, can safely assume that this was a different bearer of the illustrious title.
So Claire Martin will be relieved about the gig in Colchester on Saturday...
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What Bruno Bettelheim has to tell us about all sorts of stories
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23 April
Some people (no names mentioned!) are quite dogmatic about what BB postulated about fairy tales:
It's a bit like being a strict Freudian* and - as Arthur Koestler expressed it in Bricks to Babel (1980) - filtering out everything that is inconsistent with your adopted (to be pretentious) Weltanschauung, so BB (probably quitely kicking and screaming, from what little I know of him) becomes the new God.
Thus adherents say that He Has Spoken, and henceforth Fairy Stories shall be hallowed, imbued with dark meanings, and with the purpose of helping us manage our difficult inner feelings by projecting them onto a story (no quibbles, no refund).
I think of this from hearing Debussy's familiar (though thankfully off the air for a while) L'Après-Midi d'une Faune (1894), and a decent explanation - for once - of its roots in Mallarmé's poem of 1865. It requires little invention to imagine sexual sublimation (of writer, reader or listener, though, for me, the lattermost remains a stretch, as does finding the text behind other works of Claude's): the faun can safely do - or dream of doing - what we can conveniently enjoy in him, and deny as being our desire.
Which brings us to yesterday's screening, accompanied by Neil Brand and Mark Kermode (why else was everyone there?) in The Dodge Brothers, of The Ghost that Never Returns (1929), the penultimate event in the 15th British Silent Film Festival, which was hosted by the Arts Picturehouse, Cambridge, this year.
More to come...
End-notes
* Woody Allen's passing quip is my favourite, which goes something like During my time in therapy, my analyst retired - as he was a strict Freudian, it was only six sessions later that I realized.
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23 April
Some people (no names mentioned!) are quite dogmatic about what BB postulated about fairy tales:
It's a bit like being a strict Freudian* and - as Arthur Koestler expressed it in Bricks to Babel (1980) - filtering out everything that is inconsistent with your adopted (to be pretentious) Weltanschauung, so BB (probably quitely kicking and screaming, from what little I know of him) becomes the new God.
Thus adherents say that He Has Spoken, and henceforth Fairy Stories shall be hallowed, imbued with dark meanings, and with the purpose of helping us manage our difficult inner feelings by projecting them onto a story (no quibbles, no refund).
I think of this from hearing Debussy's familiar (though thankfully off the air for a while) L'Après-Midi d'une Faune (1894), and a decent explanation - for once - of its roots in Mallarmé's poem of 1865. It requires little invention to imagine sexual sublimation (of writer, reader or listener, though, for me, the lattermost remains a stretch, as does finding the text behind other works of Claude's): the faun can safely do - or dream of doing - what we can conveniently enjoy in him, and deny as being our desire.
Which brings us to yesterday's screening, accompanied by Neil Brand and Mark Kermode (why else was everyone there?) in The Dodge Brothers, of The Ghost that Never Returns (1929), the penultimate event in the 15th British Silent Film Festival, which was hosted by the Arts Picturehouse, Cambridge, this year.
More to come...
End-notes
* Woody Allen's passing quip is my favourite, which goes something like During my time in therapy, my analyst retired - as he was a strict Freudian, it was only six sessions later that I realized.
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Sunday, 22 April 2012
Why don't I credit sightings of UFOs?
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22 April
Not, primarily, because of the negative influence of the quality of Erich von Daniken's publications, theories and methods (which Nigel, a friend, liked looking into), but simply because I have never seen anything that I could not identify. (Likewise, with ghosts.)
Though it sounds quite dangerous (from my own teenage reading), I'd like to see ball lightning, but nothing else have I seen, flying or hovering, that wasn't an aircraft:
Having had a trial flying lesson, I know that the wing-tip on the right (five letters) has a green light (also five letters), and thus that the left wing-tip has a red one, and I have never been stuck for seeing one ofr other of these lights on something overhead - aliens in UFOs almost certainly don't feel the need to follow our terrestrial aeronautical code, and, if they do, they wouldn't be 'unidentified'.
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22 April
Not, primarily, because of the negative influence of the quality of Erich von Daniken's publications, theories and methods (which Nigel, a friend, liked looking into), but simply because I have never seen anything that I could not identify. (Likewise, with ghosts.)
Though it sounds quite dangerous (from my own teenage reading), I'd like to see ball lightning, but nothing else have I seen, flying or hovering, that wasn't an aircraft:
Having had a trial flying lesson, I know that the wing-tip on the right (five letters) has a green light (also five letters), and thus that the left wing-tip has a red one, and I have never been stuck for seeing one ofr other of these lights on something overhead - aliens in UFOs almost certainly don't feel the need to follow our terrestrial aeronautical code, and, if they do, they wouldn't be 'unidentified'.
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Stars hoping to do well in the 26.2m race include Nell McAndrew (according to AOL®)
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22 April
Not engaging my anyway tired brain, I puzzled over whether a 26.2m race was the metric equivalent of the 100 yds*, until I spotted the word Snickers®, I mean Marathon, in the main headline***.
In any case, do I mistake, or has Nell changed a bit since last seen?
End-notes
* Fortunately, it would be over before it began, so no scope for celebruty** blisters or sprained ankles.
** Sic: one view is that they all Brutes and Beasts, seeking to charm us - with their emperors' and empresses' new clothes - into believing that they are Beauties.
*** Or do I mean headlie****?
**** Or even headlice?
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22 April
Not engaging my anyway tired brain, I puzzled over whether a 26.2m race was the metric equivalent of the 100 yds*, until I spotted the word Snickers®, I mean Marathon, in the main headline***.
In any case, do I mistake, or has Nell changed a bit since last seen?
End-notes
* Fortunately, it would be over before it began, so no scope for celebruty** blisters or sprained ankles.
** Sic: one view is that they all Brutes and Beasts, seeking to charm us - with their emperors' and empresses' new clothes - into believing that they are Beauties.
*** Or do I mean headlie****?
**** Or even headlice?
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Blind singer wows on The Voice (according to AOL®)
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22 April
But why should a blind singer not wow on that programme, since the show's claim to exist is that the judges vote without reference to sight of the singers (pun unintended)? (Not that one could necessarily see blindness, except when it is emblazoned in a caption, any more than hepatitis B or leukaemia.)
You could say that the name of the ensemble The Blind Boys of Alabama was chosen to be catchy (I don't know who chose it), or to draw attention to blindness in the deliberate way that I now criticize.
However, the question is: Who draws attention?
Down's Syndrome girl in a floral print frock and black boots wows on The Voice...
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22 April
But why should a blind singer not wow on that programme, since the show's claim to exist is that the judges vote without reference to sight of the singers (pun unintended)? (Not that one could necessarily see blindness, except when it is emblazoned in a caption, any more than hepatitis B or leukaemia.)
You could say that the name of the ensemble The Blind Boys of Alabama was chosen to be catchy (I don't know who chose it), or to draw attention to blindness in the deliberate way that I now criticize.
However, the question is: Who draws attention?
Down's Syndrome girl in a floral print frock and black boots wows on The Voice...
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Saturday, 21 April 2012
Running down Eraserhead
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12 March
Another special screening tonight - in a series (whose existence didn't quite pass me by, but nearly) about the depiction of monstrosity on screen - of David Lynch's Eraserhead (1977) this time.
We had a bit of an introduction (which threatened to be a bit more of an introduction than I was happy with, but thankfully - as I infer - someone must have waved frantically from the back to cut short what was, as was admitted to us, a speech with the potential to go on all night), and then the film.
Philip Kiszely, who teaches at the University of Leeds (and also runs a publication about punk and post-punk) was our culprit, but he was to be forgiven for the even-handed way in which he conducted the discussion afterwards. His closing words of advice to those who had not seen Eraserhead before was to consider stopping eating the popcorn now, and that he would have wanted to take the seat nearest the door!
It was Screen 3, so the most intimate of the Arts Picturehouse's dark rooms at around 120 seats, but there was still a good attendance, at which Philip was - perhaps for effect - a little surprised, that people who had (he did a straw poll) not seen it before were still turning out to see Eraserhead after 35 years: did they know what they were letting themselves in for?
As a host, Philp was enthusiastic, giving us pointers in references to film noir and in how Lynch had put the film together piecemeal as funds permitted. He also said that Lynch had said very little about what his intentions in making <i>Eraserhead</i> had been, what meaning or message it had had for him, but that he had tantalizingly revealed that he had been reading The Bible at the time, and that one verse - which, of course, he did not specify - had been at the root of it all.
As I have said, he was also indulgent to the pure Freudian interpretation that, with contributions from some, was going later, where everything was a phallus, and Henry Spencer (Jack Nance) in fear of castration. So be it, but strange, as I remarked to Philip at the end, that Freud has so much less credit outside the worlds of film and literary theory, and certainly not in practice...
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