B. McGILLICUDDY
It never sinks in how much you like something until it's gone/you can't have it/someone pries it from your warm, living fingers.
This morning I woke up, and she wasn't there beside me. Worse though, there was no sign that she had left except that she wasn't there. Her phone, keys, and wallet were still on the coffee table, there was nothing to indicate she had changed out of her pajamas, and there was absolutely no note posted anywhere addressing her whereabouts.
It took me half and hour to really work myself into a panic, but by then it was by far the most emasculating moment of my life. I've lost my girlfriend, I have no idea where she might be, and if she's in trouble or hurt, I am completely oblivious to it and couldn't do anything if I wanted to. DO NOT WANT.
But I also knew that she would ridicule me for having a freak out if this were "no big deal", so I decided to casually take a stroll in the open morning air. It was cold. I just wanted her back! I just wanted to break the neck of whoever had taken her away from me! I just wanted to ream her out for not having said anything to me before leaving. Why the fuck? Why the fuck am I here? Why the fuck am I settling for this type of emotional masochism? Why aren't I where I left my heart and soul and talent, some 3,000-odd miles away!? GDMNT!
After another half hour of blind panic, I realized that there was nothing I could do and nothing I could say to make this better, and decided to go inside and lie to myself about the whole situation for as long as it took to get over it. Lo and behold, she was back in the bed, text messaging. "Where the fuck were you!?"
"I dunno. I tried calling you."
"My phone's dead. What do you mean 'I dunno'!?"
"I dunno, I blacked out, must have been sleep walking. Weird huh? Just woke up on the neighbor's couch foot-to-face with some other drunk broad."
"Can I just let you know? I just had a major freakout, I was genuinely just having a serious separation anxiety attack. Please tell me it was justified! You were gone, with no word or sign you had left, for an hour. It was like the fucking rapture happened, and I totes missed out."
"You freaked out? Hahaha! Sorry bud, can't empathize with you there, I do all kinds of weird stuff like that. I'm here now though!" Well, I guess I'm glad she's back. I suppose...
"I'm really, really horny!" She whined in her Pamper Me Princess voice, "Could you put your cock in or around my pussy and just kinda leave it there forever?" I looked at her, my face still panic-stricken, and my gaping mouth slowly warped into my mindless grin of ecstacy. I know, I know, I know.
B. McGILLICUDDY
3/07/2009
MICROQUIRK UPDATE 3/7/09
B. McGILLICUDDY
Animal Collective. Merriweather Post Pavilion. Probably grossly familiar and hopefully overplayed as far as you're ears are concerned. But, because it's that fucking good:
These cats exude avant-garde microquirk, in fact this is nanoquirk, but let's not get into the specifics (or atomics for that matter). The subject is domestic, the music is post-modular, and the visuals for the music video are post-post-symbolic. They're universal. But to rein it in and put a label on it, because that's what we're trying to do, we first have to reiterate that music has become about putting complex rhythms, moving melodies, and cohesive harmonies together with words that elicit genuine emotion. How better to do this than to take all that music has become, and thrust it back into the dancing rhythm, chirping chant, and prayer/mantra-like call and response that the art form was birthed as? This music is ancient and new and everything in between, and goddamn is it loopable.
And now, in case any of you had any reservations about this bit of cinematic splendor, let me dispel them.
Lana(Larry)Larry(Lana) and Andy Wachowski's "Speed Racer" was sold to me as "the most postmodern film ever made". On this basis I saw it, and on that basis I have to say that you should probably see it too. Because it's fucking awesome.
This film is completely self-aware and absolutely anti-convention as far as convention is concerned. All of the greenscreen is obvious and obviously on purpose, each plot device is a gimmick, but perfectly executed, and the ease with which you are drawn into the narrative is supernatural. This is the only movie from last year I didn't hesitate to give a 10, and it wasn't even looked at for any well-known film awards. In fact, Silver Pictures nearly went bankrupt making this movie, and as far as I know, only eight people have seen it. But you should add yourself to that short list, because as far as microquirk is concerned, this movie is the godfather of its cinematic existence. And besides that, it is perfect.
B. McGILLICUDDY
Animal Collective. Merriweather Post Pavilion. Probably grossly familiar and hopefully overplayed as far as you're ears are concerned. But, because it's that fucking good:
These cats exude avant-garde microquirk, in fact this is nanoquirk, but let's not get into the specifics (or atomics for that matter). The subject is domestic, the music is post-modular, and the visuals for the music video are post-post-symbolic. They're universal. But to rein it in and put a label on it, because that's what we're trying to do, we first have to reiterate that music has become about putting complex rhythms, moving melodies, and cohesive harmonies together with words that elicit genuine emotion. How better to do this than to take all that music has become, and thrust it back into the dancing rhythm, chirping chant, and prayer/mantra-like call and response that the art form was birthed as? This music is ancient and new and everything in between, and goddamn is it loopable.
And now, in case any of you had any reservations about this bit of cinematic splendor, let me dispel them.
Lana(Larry)Larry(Lana) and Andy Wachowski's "Speed Racer" was sold to me as "the most postmodern film ever made". On this basis I saw it, and on that basis I have to say that you should probably see it too. Because it's fucking awesome.
This film is completely self-aware and absolutely anti-convention as far as convention is concerned. All of the greenscreen is obvious and obviously on purpose, each plot device is a gimmick, but perfectly executed, and the ease with which you are drawn into the narrative is supernatural. This is the only movie from last year I didn't hesitate to give a 10, and it wasn't even looked at for any well-known film awards. In fact, Silver Pictures nearly went bankrupt making this movie, and as far as I know, only eight people have seen it. But you should add yourself to that short list, because as far as microquirk is concerned, this movie is the godfather of its cinematic existence. And besides that, it is perfect.
B. McGILLICUDDY
3/06/2009
THE LIAISON
B. McGILLICUDDY
People do not follow advice. They don't.
Take US for example:
Ulysses is a genuine guy, he wears his insecurities on his sleeves. Both of them. And being his friend can be a real hassle sometimes, but that's what relationships are, a hassle.
Simone is the distant-but-present type. She's a quality broad but has "commitment issues" and generally prefers the thrill over the fill. She is the muse of many men and rightly so, but her own mind is fraught with insecurity.
What happens when these two personalities collide? Well, on the part of Ulysses, who is a buffoon, and is probably mildly autistic given his inability to perceive others' emotions, is constantly enthralled by what is right in front of him, and yet is preoccupied to a fault by the potential hazards on both sides of immediate timeline. So he is constantly under the impression that his feelings are not reciprocated and is consumed by the implications of potentially being "hated" by Simone. So he hesitates. While Simone basically goes through a menstrual cycle of passionately adoring and apathetically (though politely) removing the men who have left the zeitgeist of her mind's harem, and out of apprehension and self-protection, is masturbating to the reassuring mantra that her philandering ways are the best and the brightest. But only to maintain the status quo, and is thus, static.
Neither course of action is unjustifiable. But neither are they necessarily advantageous. They are both simply character traits manifesting as insecurities, when in reality both parties are unaware of the fact that they can be securely characteristic of themselves, together.
I've tried to show them the obviousness of their tactics, and they both agree, in self-awareness, that they are cyclical beings. But advice, unfortunately, does not breed results. Only change does. And we can only rewire one neuron at a time.
B. McGILLICUDDY
People do not follow advice. They don't.
Take US for example:
Ulysses is a genuine guy, he wears his insecurities on his sleeves. Both of them. And being his friend can be a real hassle sometimes, but that's what relationships are, a hassle.
Simone is the distant-but-present type. She's a quality broad but has "commitment issues" and generally prefers the thrill over the fill. She is the muse of many men and rightly so, but her own mind is fraught with insecurity.
What happens when these two personalities collide? Well, on the part of Ulysses, who is a buffoon, and is probably mildly autistic given his inability to perceive others' emotions, is constantly enthralled by what is right in front of him, and yet is preoccupied to a fault by the potential hazards on both sides of immediate timeline. So he is constantly under the impression that his feelings are not reciprocated and is consumed by the implications of potentially being "hated" by Simone. So he hesitates. While Simone basically goes through a menstrual cycle of passionately adoring and apathetically (though politely) removing the men who have left the zeitgeist of her mind's harem, and out of apprehension and self-protection, is masturbating to the reassuring mantra that her philandering ways are the best and the brightest. But only to maintain the status quo, and is thus, static.
Neither course of action is unjustifiable. But neither are they necessarily advantageous. They are both simply character traits manifesting as insecurities, when in reality both parties are unaware of the fact that they can be securely characteristic of themselves, together.
I've tried to show them the obviousness of their tactics, and they both agree, in self-awareness, that they are cyclical beings. But advice, unfortunately, does not breed results. Only change does. And we can only rewire one neuron at a time.
B. McGILLICUDDY
3/05/2009
b-e-a-utiFUCK
B. McGILLICUDDY
I'm sliding. I'm slipping and sliding in and around the idea of whether I'm angry with the world or genuinely elated by it. This is domestic bliss. I've gotten what I want on all ends and the only thing that could fuck it up is nothing. Literally, this is the end all be all that I worked it up to be in my head, and I can't rip myself away from it. So I've got to tweak my way around it. Life was a sham before this and each opportunity I got to fuck something up seemed like bliss, because I was so far from "the truth", that I wanted to drag everyone down with me! And now that I'm in it, and a part of it, now that I'm completely satisfied I'm ultimately absolutely dissatisfied with the static nature of it. Prepare for Buttercup McGillicuddy Pt.2.
B. McGILLICUDDY
I'm sliding. I'm slipping and sliding in and around the idea of whether I'm angry with the world or genuinely elated by it. This is domestic bliss. I've gotten what I want on all ends and the only thing that could fuck it up is nothing. Literally, this is the end all be all that I worked it up to be in my head, and I can't rip myself away from it. So I've got to tweak my way around it. Life was a sham before this and each opportunity I got to fuck something up seemed like bliss, because I was so far from "the truth", that I wanted to drag everyone down with me! And now that I'm in it, and a part of it, now that I'm completely satisfied I'm ultimately absolutely dissatisfied with the static nature of it. Prepare for Buttercup McGillicuddy Pt.2.
B. McGILLICUDDY
MICROQUIRK UPDATE 3/5/09
B. McGILLICUDDY
Today I stumbled upon a couple of old names from the Tokyo/New York set of microquirk artists.
Takashi Murakami and Julie Heffernan.
Heffernan is based out of Brooklyn. Her art hearkens to a truly ancient technical approach, but the subject matter is totally psychedelic and digitally influenced.
Murakami's version of mircoquirk is a phenomenon he calls "SuperFlat" and refers to the Japanese's inability to escape their "cute" mentality/appearance because of the nature of their people/outlook/military impotence.
His collaboration with Louis Vuitton last year proved a worldwide fad, but the influence of his work is no less felt.
Heffernan uses a process she calls "image streaming" that she engages in before going to sleep, where she allows the random memories from her subconscious to flood her mind, and once she awakens the following morning, all the material is there to be compiled on-canvas.
Murakami's innumerable influences, both ancient and current Japanese culture/pop-culture have caused his work to surpass symbolism and yet are not altogether surreal. It's all highly calculated post-metaphorical representation, not of an idea, but of a personality.
Similarly, Heffernan's recent works have all been "self-portraiture", though not of a representational kind. More of a "one-with-the-medium" personal approach to conveying an overarching revelation/statement about the relationship between "the self" and a "unified humanity".
Murakami's iconic yet novel Kai Kai & Ki Ki films, with only a vague plot and nihilistic plot devices, such as poop reinvigorating nature, highlight the vast spectrum of positive and negative factors that influence life, human and otherwise. His multimedia approach to SuperFlat makes him a one-man microquirk machine.
Or rather, the fact that he has a factory of people who produce his art, makes him the figurehead of the microquirk revolution.
B. McGILLICUDDY
Today I stumbled upon a couple of old names from the Tokyo/New York set of microquirk artists.
Takashi Murakami and Julie Heffernan.
Heffernan is based out of Brooklyn. Her art hearkens to a truly ancient technical approach, but the subject matter is totally psychedelic and digitally influenced.
Murakami's version of mircoquirk is a phenomenon he calls "SuperFlat" and refers to the Japanese's inability to escape their "cute" mentality/appearance because of the nature of their people/outlook/military impotence.
His collaboration with Louis Vuitton last year proved a worldwide fad, but the influence of his work is no less felt.
Heffernan uses a process she calls "image streaming" that she engages in before going to sleep, where she allows the random memories from her subconscious to flood her mind, and once she awakens the following morning, all the material is there to be compiled on-canvas.
Murakami's innumerable influences, both ancient and current Japanese culture/pop-culture have caused his work to surpass symbolism and yet are not altogether surreal. It's all highly calculated post-metaphorical representation, not of an idea, but of a personality.
Similarly, Heffernan's recent works have all been "self-portraiture", though not of a representational kind. More of a "one-with-the-medium" personal approach to conveying an overarching revelation/statement about the relationship between "the self" and a "unified humanity".
Murakami's iconic yet novel Kai Kai & Ki Ki films, with only a vague plot and nihilistic plot devices, such as poop reinvigorating nature, highlight the vast spectrum of positive and negative factors that influence life, human and otherwise. His multimedia approach to SuperFlat makes him a one-man microquirk machine.
Or rather, the fact that he has a factory of people who produce his art, makes him the figurehead of the microquirk revolution.
B. McGILLICUDDY
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