Friday, July 17, 2009

beyond the grave

Noel Coward

Blithe Spirit


Federico Fellini

Guglietta Degli Spiriti


Tuesday, July 7, 2009

Not like blades of grass, grains of rice, peas in a pod


like leaves in a forest, all dissimilar in their similarity

On Women As Mediums

There seem to be an abundance of images of women in the midst of Ectoplasm 'episodes'. Some are quite eerie, and haunting, almost grotesque, others are sexual, and yet others are almost comedic (and some are all these things). Overall I find them if anything the very least they are inspiring in an unsettling way (or unsettling in an inspiring way). They seem to offer an in; their ephemeral aura projecting a sort of loose reality (or loose fantasy).

The word ectoplasm itself conjures up a very corporeal experience; secretions, oozings...plasma! The nature of the materialization that occurs mirrors women as portals, vessels, et al for life (and in this case for the dead, the undead, or the physical manifestation of messages from beyond the grave).

This summer I started going through a bank of saved images I had collected over the years on mediums, hauntings, etc etc. I think every teenage girl at some point delves into these 'occult' things (who doesn't love magic), these interests of course are transient like the very subject matter itself. I came accross the Book Vanishing Women: Magic, Film and Feminism. But... I haven't ordered it online or come across it at any bookstore. From the previews the images are quite nice and I like the tone of the passages I read..

Friday, July 3, 2009

perriand wants

1. Bloc Bahut, Perriand, 1959

2. Wall Mounted Bookshelves, Perriand, 1950

3. Mexique Bookshelf, Perriand and Prouve, 1952

4. Kitchen Cabinet, Perriand and Le Corbusier, 1947

5. Living Space, Perriand and Le Corbusier

6. Chaise Longue, Perriand, 1928 (Charlotte on her famous chair)

Charlotte Perriand made beautiful things I wish I could fill my apartment with. She was also a bit of a rebel rouser which I always appreciate and find endearing.