pastiche or ultraviolence

The subversively engaging Dangerous Minds has a nice appreciation for the 1969 Japanese counter-culture work of director Toshio Matsumoto called Funeral Parade of Roses (薔薇の葬列). The film, itself based on Sophocles’ Œdipus Rex, focuses on the misadventures of a cadre of transvestites in contemporary Tokyo, and was a major stylistic influence on Stanley Kubrick’s 1971 adaptation of Anthony Burgess’ A Clockwork Orange—thematically, no equivalence in delinquency—along with the short story Flowers for Algernon, which sort of makes the idea of inspiration material and footnoting all the more dissonant and it takes an artist to understand the echoes of homage.

media black-out or all the news that’s fit to print

While after having its servers compromised and fearful at the DNC that whatever muck has been raked (which ought not be such a bombshell, we suspect) might be released prematurely and spoil their impact, meanwhile the Republican National Committee has been presented a challenge by the third estate.
Although we have serious objections to the concept of denying dissenting voices a platform out of fear of causing trauma, the threat, pledge of journalistic abeyance strikes me as an effective way to take the wind out of certain sails. The time and resources formerly dedicated, thoughtlessly and without stint, to covering every stump speech would instead be pledged to uncovering the veracity of such claims that might only pass as the news ticker. Media organisations would also petition the party for the reinstatement of their credentials and access, revoked for having crossed the presumptive candidate. What do you think? Just apply the resolution equitably (when any candidate denies an audience to media outlets because it is not supportive of his or her platform) to preserve journalistic integrity and spare us all the awful spectacle. Is it biased or undermining to deny demagogues their expected and free publicity?

lavoiſier or eisenhower sez

I am overly fond of these sorts of anecdotes, and appreciate a fellow typographical aficionado sharing an intriguing enigma—after a stranger left this mysterious mcguffin on her doorstep, begging for authentication.
Apparently in the 1950s, the New York Times experienced a kerning dilemma on finding that the headline EISENHOWER SAYS was just a tick too big to fit in a single column, which certainly sounds deflating but probably far less frustrating that margins that try to outsmart the type-setter. In order to preserve the spacing of their copy, the newspaper turned to their foundry and commissioned, for the nonce, a super-skinny “S”—reminding me of the old-fashion Latin long minuscule s, that I think I first encountered in an older book about scientist Anton Lavoisier; I called him Lavoifier. To find out if this rumour could be substantiated, please check out the full investigation at The Atlantic.

daisy bell or oneironaut

A bit ironically—as I think this Stanley Kubrick classic taught us rather to start worrying and fear the machine, artist Bhautik Joshi, as the always brilliant Colossal shares, transformed the entirety of 2001: A Space Odyssey into a neural dream sequence, a routine that enhances visual input by trying to recognise patterns and begins—logarithmically, to tease them out of every detail, sort of the artificial intelligence (one assumes) version of human pareidolia. Some adjustment to the protocols allowed Joshi to reinterpret the visual style of the movie after his favourite artist Pablo Picasso, which makes for some wildly hallucinogenic scenes. Be sure to check out Colossal to watch the full feature and learn more about the artist’s oneironautic (pertaining to dream-travellers) adaptions of other visionary sci-fi films.