Anew No Poetry For U: The Real Outside

Much of the original format of this small, dessicated sack of Internet consisted of a stringing of interesting articles, poems, images, and flicks that I encountered or wanted to store in hard memory--what I really want to do is write a more formal organum based on my former material, mainly a collection of odds (with no ends) in the world of outsider art, literature, and experience with some of my commentary. That is, my main interest encompasses people who are creating interesting material even though they are outside the margins of art or society. These include: ()the mentally ill, the ()cognitively different, ()convicts and prisoners, ()folk or naive artist, and to a smaller degree the ()politically shunned (feminists, eco-activists, etc): including artists who were inspired by the works and ideas of outsiders (de-focusing painting, since it is so widespread).

I will slowly and methodically extinct the former material which does not mesh once this white corner of Internet mulch is replaced by a more harmonic repertoire of nick-knacks, a collection of jars.

Consider this "Under Construction" noisy, obstructive, and soon to be polished.

The best way to navigate through this material is to select a topic or tag and view the elements contained within. You can also relax and simply click on the "next" button at the end of the featured post.

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Tuesday, August 24, 2010

La Jetee



La Jetee's Script pt.1

This is the story of a man, marked by an image from his childhood. The
violent scene that upsets him, and whose meaning he was to grasp only years
later, happened on the main jetty at Orly, the Paris airport, sometime
before the outbreak of World War III.

Orly, Sunday. Parents used to take their children there to watch the
departing planes.

On this particular Sunday, the child whose story we are telling was bound
to remember the frozen sun, the setting at the end of the jetty, and a
woman's face.

Nothing sorts out memories from ordinary moments. Later on they do claim
remembrance when they show their scars. That face he had seen was to be the
only peacetime image to survive the war. Had he really seen it? Or had he
invented that tender moment to prop up the madness to come?

The sudden roar, the woman's gesture, the crumpling body, and the cries of
the crowd on the jetty blurred by fear.

Later, he knew he had seen a man die.

And sometime after came the destruction of Paris.

Many died. Some believed themselves to be victors. Others were taken
prisoner. The survivors settled beneath Chaillot, in an underground network
of galleries.

Above ground, Paris, as most of the world, was uninhabitable, riddled with
radioactivity.

The victors stood guard over an empire of rats.

The prisoners were subjected to experiments, apparently of great concern to
those who conducted them.

The outcome was a disappointment for some - death for others - and for
others yet, madness.

One day they came to select a new guinea pig from among the prisoners.

He was the man whose story we are telling.

He was frightened. He had heard about the Head Experimenter. He was
prepared to meet Dr. Frankenstein, or the Mad Scientist. Instead, he met a
reasonable man who explained calmly that the human race was doomed. Space
was off-limits. The only hope for survival lay in Time. A loophole in Time,
and then maybe it would be possible to reach food, medicine, sources of
energy.

This was the aim of the experiments: to send emissaries into Time, to
summon the Past and Future to the aid of the Present.

But the human mind balked at the idea. To wake up in another age meant to
be born again as an adult. The shock would be too great.

Having only sent lifeless or insentient bodies through different zones of
Time, the inventors where now concentrating on men given to very strong
mental images. If they were able to conceive or dream another time, perhaps
they would be able to live in it.

The camp police spied even on dreams.

This man was selected from among a thousand for his obsession with an image
from the past.

Nothing else, at first, put stripping out the present, and its racks.

They begin again.

The man doesn't die, nor does he go mad. He suffers.

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