guilt and repent

CUT DEM OFF

CUT DEM OFF

Diary of a Found Life

hunger

Diary of a Lost Girl

A reformatory - for the misbehavin'
Diary of a Lost Girl.
"We are all lost."
"Life is subject to such risks."

seriously, it really didnt hurt that much

he wants me to drink vodka from his blood cup

Dance Lessons

4 precise markings appeared on the heel at sunrise...

Skeleton Truck Sex

CROWNS

Tynan's porcelain colt?

[pg 401 Diaries of Kenneth Tynan]

"A recent TV showing of Pandora's Box brings back all my infatuation for Miss B. - she runs through my life like a magnetic threat, this shameless urchin tomboy, this unbroken, breakable porcelain colt, this prairie princess, equally at home in a slum pub or the royal suite at Neuschwaustein, creature of impulse, unpretentious temptress capable of dissolving into a fit of the giggles at a romantic climax, amoral but selfless, lesbian and hetero, with that sleek black cloche of hair that rings so many bells in my memory - Eton-cropped at the back with heavy fringe and kiss-curls bracketing the cheekbones - the only star actress I can imagine either being enslaved to or wanting to enslave."

Contact Strip - Klein

The brooks effect.

A function of
Not illustration but point of view
Cut out but do not totally separate from the whole.

Where to Fit

I got it!
The youngest of the three is in between the two.
Begin with the technician, the alchemist, the thinner of acetate and halide.
Begin again with the film star - or the screen image.
In between these beginnings again is the body that sets them in motion.
And setting in motion is a passage through.

Tech + Filmmaker + Screen Image

Helen Levitt

Masks to describe the early years of Louise Brooks.

Space Trash

Amongst the elements lost in space: metal shrapnel, flecks of paint, a lens cap, and a glove.

Portraiture and Reconstruction

"...she was looking for a new role, her old role had been that of an observer of roles, and now she wanted to attempt the opposite, not portraiture, which presupposed a subject, but reconstruction, raking together scattered leaves to build up the subject of her portrait, never being sure, all the while, whether the leaves she was heaping up actually belonged together, or whether, in fact, she wasn't ultimately making a self-portrait, in short, a crazy enterprise, but, on the other hand, so crazy that it wasn't crazy, and he wished her well."
[Friedrich Durrenmatt - The Assignment or On the Observer of the Observing of the Observed]

There seems to me - two uses of description - one of portraiture, one of reconstruction - one presupposing a subject, one in the construction of it.

The former is to describe to the reader a space to exist - of light and shadow - to feel the floor under the feet, to see a reflective surface.

The latter is to describe to the reader the act of describing. The reader is located at a distance but still straddling the realm of existence - both witness and inquisitor but never along for the ride.

How does description concern details?

"Detail. This is a subject that can be started from any place, since all the important connections in the linkages of circumstance must pass through detail and none of them are less important than others.

Detail is primarily connected to the strangeness of life and the authors relation to it.

We already talked about beginnings and endings
But one can start from the middle.
That's a relatively common thing."

[Shklovsky, Energy of Delusion]