Stephen Lapthisophon

http://www.stephenlapthisophon.com/

Experience praises the most happy the one who made the most people happy

Pulse Points

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As water defines the fish






The films of Roger Corman are structured by an esthetic of atemporality, that relates more to Reinhardt and Poe, more than most artists working at this time. He begins, also, to acquire a sense of time and to realize the moment in which he feels an intense desire to seize something is an instant in a lifetime, an infinitesimal point in the history of the race. The Edsel waited for him. A social common denominator of the movement seems out of the question, but it is true that psychologically this generation seems everywhere characterized by sheer courage and by a no less astonishing confidence in the possibility of change. Ed Blue is out there and… Has
Exclusive possession (now) of his love, whose physical beauty and laconic speech afford him inexhaustible pleasures.


64 FILMS 69/70

sensitivity and acumen. Aside from the entertainment joys of the picture‑the wild humor, the music, the young, engaging and often very handsome cast‑Alice's Restaurant provides a primer on youth surviving the decade of Vietnam. It should be noted, how­ever, that Arlo Guthrie has more talent and a better mind than the general average of his generation. He can better afford, perhaps, to run free.



ARLO'S OFF‑THE‑RECORD MOVIE

RiCHARD SCHICKEL



Its coming has been proclaimed so often that one hesitates to announce again the arrival of the New American Movie.
But as far as I'm concerned, Alice's Restaurant clinches the matter, prov­ing that Faces and Easy Rider, Putney Swope and Medium Cool are neither accidents nor a coincidence, that filmmakers from in­side and outside the industrial system have succeeded in carving out a place to stand and make their own movies. It is a place where, seemingly, they have the best of two worlds, melding the individuality of the underground with the possibility of getting rational financing, decent promotion, general release from the powers that be.
Alice's Restaurant is directed by Arthur Penn, whose work ranges in quality from Bonnie and Clyde to Mickey One, but whose devotion to doing things his own way has constantly re­mained admirable. In this case he has, in effect, illustrated and extended Arlo Guthrie's bit song, turning it into a spiritual auto­biography detailing his search for a satisfying identity and a com­munity to which be can give
allegiance. It is scarcely an original idea for a work of art, but, like the original ballad, it has a charm­ing simplicity.
Moreover, the project is just right for Penn. As Bonnie and Clyde proved, he has a genuine and sensitive feel for folk balladry, for the American landscape and for the smallness and loneliness







[1] Robert Smithson, “A museum of Language in the Vicinity of Art” Art International (March 1968) from
The Writings of Robert Smithson ed. Nancy Holt (1979)

2. Walter Lippmann, A Preface to Morals (1929)

3. Walker Percy, The Last Gentleman (1966)

4. Hannah Arendt, On Violence (1969-70)

5. James Cain, The Butterfly (1946)

6. Susan Sontag, Death Kit (1967)












“The”[1] “time”[2] “for”[3] “change”[4] “is” [5]“now.”[6]









[1]
[2]
[3]
[4]
[5]
[6]

I want to get out side through you. All of you. Inside that place where I am not supposed to go. This is the hole. That lens. Placed next to your eye without raising an objection. As it lowers itself onto my mouth. Into your hand. Those beautiful hands. Is this the mouth shadow? The eyes brought closer do not reflect this.

Not waiting. Waiting for it. Looking for the reason to continue waiting where the reason does not fall within the reasonable set of expectations. Thees arouse my fears. My own uncertainy about you. All of you. Keep looking. In vain. Expectation clarifies itself as a rewtad. A gift to the negative impulse. Fetch that desire.

Too hard.

As a way of changing it,

the forward motion requires

an interior alteration to the

Structure.

Will I need to "sign in" today?

Fo I have to "sign" it to sign in?

Follow me to the end of the page where I will decide.

Cast away these fears in order to make an order.

These aspirations will give us another chance.

Today this breath will encourage the voice to show itself.

It will be revealed as a signature.

Not clocks, not stones

The rocks and tops of other

Markers, meaning more

Than the calendar, I ask

For a moment, just a respite from

The notes and scraps of papers reminding

Pockets filled with filler

A time full and sounding of

Others clocks




Wipe them away

Come with me

Take my hand

It will be

A new year.

Now but not Next



1

He knew that his immediate obligation was to sleep.

It does matter that the photograph be held

In an outmoded cardboard sleeve

Now defunct but held, gently

Together by the slightest of paper sleeve frame memory

This memory, which at first calmed him, ended by tormenting him. He feared lest his son should meditate on this abnormal privilege and by some means find out he was a mere simulacrum. Not to be a man, to be a projection of another man's dreams--what an incomparable humiliation, what madness!

These dual projections, your language peeled away from mine, wear away at the bridge

Held together on my face, still—in blindness.


2

Each projection, then, becomes the invisible mirror

On which we may place our own regrets

Without waiting for the reflection to adhere to the surface

His victory and peace became blurred with boredom. In the twilight times of dusk and dawn, he would prostrate himself before the stone figure, perhaps imagining his unreal son carrying out identical rites in other circular ruins downstream; at night he no longer dreamed, or dreamed as any man does.

The images flow automatically; the pictures follow each other now waiting

Because it does matter how the old machine holds

The ring in place—gently giving one after the next resting

Like a lens.

3


Every night he perceived it more clearly. He did not touch it; he only permitted himself to witness it, to observe it, and occasionally to rectify it with a glance.

This time (the last time?) I place this without writing – with another type of script. This will follow in the form of a block, in a heap. I can picture it now—two projectors held together in proximity, in their epoch through their creator. These water stains do not diminish the fading we remember through the polarity of vision. This is because we want to understand these images. The succession of pictures held together in light, close to the lens and read through pairs of reflections of frames of sequence.

These are the ways we use the apparatus. We see the machine for what it is worth. We listen to him read his own stories. How does he (in blindness?) read his own stories? Are the glasses comforting even though they do not “work”? Can the labyrinth of mirrored images fix the misunderstanding? Maybe the labyrinth itself is simply a misunderstanding?

The pictures are held together by sympathy. Light held together by image of place. Have they been repeated now? Because of the dream of an explanation. The story offered by the lens.

The envelope holds the secret. The secret is revealed in succession. The projection breaks the rule of the secret. The picture burns its memory into the mirror of the past. We traced through many of these machines. They work for as long as they can; as long as they might. Without the power of the secret we trace the legacy of these machines.

The lens does not force the time to adhere to the present—to mark our moment by stopping. Only the creator of this tree knows this to be true. We tried this in pairs: right and left, eyeglass and binoculars, earth and sky, hand in hand machine and machine, sound and image, noise and machine, light glow murmur mirror and hum.











Dedicated to the memory of Matt Hanner—passages in italics are taken from “The Circular Ruins” by Jorge Luis Borges

On the Nature of the Deictic (Why I Write Such Good Books) The time for me hasn't come yet: some are born posthumously. --Nietzsche Installation 2011 Light fixtures, power cords, latex, spray paint, potatoes, salt, radio, casket, flour, shirt, hanger, ladder, bricks and dirt

11 September 2011

In the year of his seventieth birthday, Jean-Luc Godard remarked that he considered himself to be a failure in the cinema because he was not able to prevent Steven Spielberg from making his film Schindler’s List. And we would be wise to recognize just what Godard might have wanted to block if he had been given the opportunity. In the wake of the horrifying tragedy witnessed on September 11, 2001, it seems trivial to quarrel with cinematic style or taste but the questions go much deeper. Adorno’s reminder of the reasonableness that “to write lyric poetry after Auschwitz is barbaric” is most appropriate in light of these questions. To mark the day the of the World Trade Center bombings as the day when art making became irrelevant is to trivialize both art and the tragic events of that day. Primarily, the end of art from that day forward acts as refutation both of history and the history of art. As atrocious as these terrorist events may have been, they are merely additions to the long list of barbarous acts perpetrated by man against his fellows. And it has been, and remains to be, the purpose of art to remember the tragedies of our collective past and resist the forces that attempt to perpetuate them. Not in the form of a bleak humanism that merely represents a forgotten past and soothes our consciences, but, in the form of an aggressive art that challenges, resists and reformulates the social and linguistic structures which seek to dominate humans through violence and economic control. The wreckage of the past cannot be adequately represented by a compliant art in the face of the radical evil of everyday existence.

What does a post card want to say to you? On what conditions is it possible? Its destination traverses you, you no longer know who you are. At the very instant when from its address it interpellates, you, uniquely you, instead of reaching you it divides you or sets you aside, occasionally overlooks you. And you love and you do not love, it makes of you what you wish, it takes you, it leave you, it gives you.




My contribution to this exhibition, ghost writing, 2005 was made for the circumstances and situation found in the Durand Art Institute at Lake Forest College. The context of the piece is the dual function of the building as home to both the art and philosophy departments and the distance and location of the college in relation to Chicago. The piece is not a presentation of objects / not a container for objects nor a finished activity. The piece is instead an event, a situation—a place for an activity to take place. ghost writing uses the idea of mail and its transportation as an opportunity to interrogate the idea of art and our understanding of distance, language, presence and transparency. The piece takes as its initiating moments two work s of modern philosophical thought: “The Origin of the Work of Art” (an essay based on lectures given by Martin Heidegger in the mid 1930’s) and The Post Card by Jacques Derrida (1980) The piece does not summarize, explain, delineate or justify either of these two works. It is not “inspired” by them. Rather, it is an attempt to have them “playing in the background” as one moves through the idea of an action observed in motion against a moment of disjuncture produced by overlaying one text over another. Into and through the interrogation of the nature of communication embodied in the post card is the transposition of the American image of peasant shoes found in Walker Evans for the shoes painted by Van Gogh in the Heidegger essay. The work involved in ghost writing is the work of displacement—the shift from reading to believing. The work tempts participation, invites commitment but evades investigation. it is not an “effort” or an idea, merely a gesture.



Works of art are familiar to everyone. Architectural and sculptural works can be seen installed in public places, in churches, and in dwellings. Art works of the most diverse periods and peoples are housed in collections and exhibitions. If we consider the works in their untouched actuality and do not deceive ourselves, the result is that the works are as naturally present as are things. The picture hangs on the wall like a rifle or a hat. A painting, e.g., the one by Van Gogh that represents a pair of peasant shoes, travels from one exhibition to another. Works of art are shipped like coal from the Ruhr and logs from the Black Forest. During the First World War Holderlin's hymns were packed in the soldier's knapsack together with cleaning gear. Beethoven's quartets lie in the storerooms of the publishing house like potatoes in a cellar.





So, I will accept your gift. As one always has gratitude for that which is given freely, the gift appears as a blessing. Particularly when the gift is created explicitly for the receiver. On some occasions, the receiver of the gift is asked to comment or directly reflect on the specific qualities of the gift. But an exchange cannot be easily broken, or entered into without difficulty. They should not be taken apart. The only real product of the exchange is further exchange—the deeds producing deeds, words, acts of filiation and future refinement. The gift becomes endless commentary, interpretation and a beneficial thinking. A beneficent momentary challenge for a future—a promise fulfilled in the future of a future. The blessing of thinking is in its return. Thinking becomes thanking in the exchange. We will realize this promise in the agreement not to mend a future which has not occurred. This is because the occurrence happens only once and is never repeated the same way again. Two halves of the same variable equal size and proportion balance each other in mirror relations—one sequence overheard in secret and the other foretold by the grace of language.








This will then have been a gilded writing. Recording that which had not happened until that suggestion of the first meeting with that unforsaken last. Let’s retrace our steps and decide which line wraps most closely around the farthest reaches of the area. It was white flags out and red flags returning, correct? If only for a moment, you had to have been there, to see me.