words and things


Her taste rolled tobacco

leaves her flesh

folded ribbons I unwrap

like orange rinds 

her scent envelopes my hands

more like fawns

forgetting one after another

after another

the perfect circular motion

i review fumbling for the next

this language of separate desires

one chasing the last 

the other spilling coffee on the floor

over and over 


She looked me over
And I guess she thought
I was all right
All right in a sort of a limited way
For an off-night
She said don’t I know you
From the cinematographer’s party
I said who am i
To blow against the wind
I know what I know
I’ll sing what I said
We come and we go
That’s a thing that I keep
In the back of my head

Paul Simon, from “I know what I know” on Graceland.

amazing album.


(I’m impressed with, among other things, how horizontal the moon is.)

Eleanor Duckworth, personal email communication (3.2013)

Facebook parody.

Facebook parody.


Lullabies, look in your eyes,
Run around the same old town.
Doesn’t mean that much to me
To mean that much to you.


These are the days of miracle and wonder 
This is the long distance call 
The way the camera follows us in slo-mo 
The way we look to us all 
The way we look to a distant constellation 
That’s dying in a corner of the sky 
These are the days of miracle and wonder 
And don’t cry baby, don’t cry 
Don’t cry

- Paul Simon

(Source: Spotify)


I regard Multiple Intelligences theory as a ringing endorsement of
three key propositions: We are not all the same; we do not all have the same kinds of minds (that is, we are not all distinct points on a single bell curve); and education works most effectively if these differences are taken into account rather than denied or ignored. Taking human differences seriously lies at the heart of the Multiple Intelligences perspective. At the theoretical level, this means that all individuals cannot be profitably arrayed on a single intellectual dimension. At the practical level, it suggests that any uniform educational approach is likely to serve only a small percentage of children optimally.

—Howard Gardner, in Intelligence Reframed


Why is it that in Whitney’s computer films and music videos effects are just effects, whereas in the hands of Vertov they acquire meaning? Because in Vertov’s film they are motivated by a particular argument, which is that the new techniques of obtaining images and manipulating them, summed up by Vertov in his term “kino-eye,” can be used to decode the world. As the film progresses, straight footage gives way to manipulated footage; newer techniques appear one after another, reaching a roller-coaster intensity by the film’s end — a true orgy of cinematography. lt is as though Vertov restages his discovery of the kino-eye for us, and along with him, we gradually realize the full range of possibilities offered by the camera. Vertov’s goal is to seduce us into his way of seeing and thinking, to make us share his excitement, as he discovers a new language for film. This gradual process of discovery is film’s main narrative, and it is told ‘through a catalog of discoveries. Thus in the hands ofVerrov, the database, this normally static and “objective” form, becomes dynamic and subjective. More importantly, Vertov is able to achieve something that new media designers and artists still have to learn-how to merge database and narrative into a new form.

From “The Database” in: Lev Manovich (2001), The Language of New Media, Cambridge, MIT-Press, pp. 218-243 


Dziga Vertov, "Man With A Movie Camera" (1929)


John Witney, “Catalogue” 1961



Every now and then the things I lean on lose their meaning,
And I find myself careening
Into places where I should not let me go.
— She has the power to go where no one else can find me,
Yes, and to silently remind me
Of the happiness and good times that I know, you know.


Celebrity Undershaves


Ellie Goulding. Hott.




Sometimes, I dream of this day. Almost there.


Then comes the day
Staring at myself I turn to question me
I wonder do I want the simple, simple life that I once lived in well
Oh things were quiet then
In a way they were the better days
But now I am the proudest monkey you’ve ever seen

Dave Matthews, Proudest Monkey