This is the form that my inspiration took this Mother’s Day.
Gaga Stigmata guest piece on Gagaism.org
Gaga Stigmata’s guest piece on Gagaism.org takes an analytical inventory of the Born This Way Ball. For example:
Bloody Mary
Lady Gaga tells NME Magazine that “Bloody Mary” is “a song about Mary being divine and human at the same time.” When she performs “Bloody Mary” at the BTW Ball, it becomes a song about being fully human and fully A.I. A haunting, moaning, part-human-part-machinescreeching sound fills the stage, reminiscent of the music that accompanies Kubrick’s monolith – that black pillar/3-D-screen that challenges viewers and ushers forth evolution’s newest stage. When Gaga glides upon the stage and the first chords of “Bloody Mary” sound out, there are really two stages present: the one she glides upon, and the new evolutionary one she embodies. Her white Perry Meek dress and helmet channel Kubrick’s spaceship, positioning her as human-become-spaceship (and spaceship is the body of Kubrick’s computer come into consciousness). As she floats forward, defying gravity, her dress alsodefies gravity, refusing to trail behind her and instead surging before her – as though both flesh and fashion disregard all known laws of nature, problematizing what forward movement looks like. Gaga is the second coming of Mary as 100% human and 100% HAL 9000. Surrounded by the audience’s little screens – those miniature monoliths – that both capture and create her, the next stage of humanity, Homo A.I.
– Meghan Vicks
Click here to read the full piece.
If you want me you can watch me on your Videodrome
E. and I are writing a series of essays on horror films in which images (e.g. video, photographs) threaten the boundary between what is “real” and what is “imaged.” Our basic theme involves anxiety about the reproduction and power of the image in new media culture (internet, viral videos, etc). Here’s our first essay, on Videodrome (1983), directed by Cronenberg.
Claude Monet’s admission, after standing beside the deathbed of someone he had loved— that in spite of his grief he had spent much of the time analyzing which pigments comprised the color of her eyelids.
—The Last Novel, David Markson (via circlingmoths)
Various actresses, ballerinas, authors, and opera singers David Markson mentions in The Last Novel: Anna Pavlova, Gaspara Stampa, Harriet Smithson, Ljuba Welitsch, Margot Fonteyn, Marie Corelli, Mary Garden, and Olive Fremstad.
Reading _The Last Novel_ reminds me of this one day when I was 12 years old when I felt very sophisticated because I recognized all the literary references in the New Yorker.
The volume of Sophocles from Shelley’s pocket when he was drowned is in the Bodleian Library at Oxford.
-David Markson, This Is Not a Novel
It feels religiously urgent to read and write more about David Markson. Also, he would have owned Twitter.
lolololololololol.
(Source: aeternumxo.tumblr.com , via caaiitxo)
Taken with instagram
(Source: kushandwizdom)
Language Stigmata
“I am interested in language because it wounds or seduces me.”
—
Roland Barthes, The Pleasure of the Text
(Source: foxesinbreeches)
Spaces such as the threshold of a door, or windows are “liminal,” lying between otherwise defined areas (inside and outside) without belonging to either of them. This photo was taken at dusk, another liminal state…that between day and night.
Is it possible that existence is our exile and nothingness our home?
—(via deerland)
Remember: Eddie and I need to write about this in relation to Adaptation. The nothing in the text creates the story.
(Source: dream-on-my-dreamer)
Buta Coron: Soldiering Emptiness : Inverting Crucifix
By Meghan Vicks
”The origin, argues Maurice Blanchot, does not truly exist, for there’s always something that precedes it as a generative source. He further argues that even if the origin did exist, it would be impossible for us to comprehend or approach it without sullying and…
