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Weaving the memes.
Tom Thumb is a traditional hero in English folklore who is no bigger than his father's thumb.
there's a bluebird in my heart that
wants to get out
but I'm too tough for him,
I say, stay in there, I'm not going
to let anybody see
you.
there's a bluebird in my heart that
wants to get out
but I pour whiskey on him and inhale
cigarette smoke
and the whores and the bartenders
and the grocery clerks
never know that
he's
in there.
there's a bluebird in my heart that
wants to get out
but I'm too tough for him,
I say,
stay down, do you want to mess
me up?
you want to screw up the
works?
you want to blow my book sales in
Europe?
there's a bluebird in my heart that
wants to get out
but I'm too clever, I only let him out
at night sometimes
when everybody's asleep.
I say, I know that you're there,
so don't be
sad.
then I put him back,
but he's singing a little
in there, I haven't quite let him
die
and we sleep together like
that
with our
secret pact
and it's nice enough to
make a man
weep, but I don't
weep, do
you?
(courtesy of americanpoems.com)
II.
On my list of current books to read is one entitled "Walden" by Henry David Thoreau, (coincidentally we also read "Civil Disobedience" yesterday in class. Regardless, the name has been on my mind. In a public restroom yesterday, I saw this quote written on a bathroom stall.
"The bluebird carries the sky on his back."
- Henry David Thoreau
III.
In my studio art class I recently worked on a piece that was supposed to conceptualize a Chinese I-Ching hexagram. Mine was called revolution, a concept the Chinese believed was related to the moulting of animals and the changing of the seasons. After a month, I went back to it yesterday, removing it from the wall. It needed something. Over the black silhouette of a bird I had illustrated, I absentmindedly began to doodle over it in pastel. I took the piece home later that day and a friend came over. When he saw it, he said, 'Hey, I like your bluebird.'
Charles Bukowski. Courtesy of Anders Hornstrup via Flickr.
"I see this as a realistic film about an unreality," Linklater says. "The gestures, the sound, the human expressions all seem real, but this reality is then re-interpreted artistically. It becomes a kind of moving painting."
[T]he rotoscope technique – which, in a sense, allows the filmmaker to trace over the photographic image - complements the ambiguous dream/wake duality of the film: it’s reality and yet it’s not.
Different artists were used for each scene, giving each space and character a unique personality. This adds another layer of existential fragmentation while, at times, playfully poking fun at some of the characters. At the same time, the lack of a cohesive style along with the shifting, floating, dislocated backgrounds and landscapes keeps the viewer on edge, at a distance.