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Energetic Markers in Universal Story

In preparing for my first ever Writers Plot Retreat in the redwoods on Thursday through Sunday (don't expect another post for a few days), I marvel again at how consistent the Energetic Markers arrive in the Universal Story for romance novels, to screenplays, to mysteries, young adult, memoirs, middle grade and yes, even picture books.For instance: The Cay by Theodore Taylor.Like To Kill a Mockingbird by Harper Lee where the plotline dealing with Boo breaks off after the End of the Beginning and does not come back until the End, The Cay has an almost independent plotline running through the Middle (1/2) with the Beginning (1/4) linked back to the End (/14).The End of the Beginning of The Cay is when Phillip is blind. The antagonists in the Middle are Phillip's prejudice of Timothy, blindness, a deserted island, fear, feeling sorry for himself, the weather and Malaria. Phillip's allies in the Middle are Timothy and Stew Cat.In the Middle of The Cay, Phillip must maneuver, with the help of Timothy through a survival course, the Unusual World of living on an island blind.The Crisis of the subplot on the island occurs about Halfway through the entire story. Phillip climbs a palm tree blind, makes it about 10 feet and then freezes. Comes back down and he feels Timothy's disappointment. This scene serves two plotlines:  1) His personal Crisis point in the subplot 2) The Halfway point in the overall story for a reason to recommit to the adventure, in this case, survivalThe Climax of the subplot on the island comes when Phillip attempts the climb again, makes it all the way up, picks two coconuts, comes down and asks Timothy, "Are you still black?" showing Phillip has both overcome is fear and his prejudice.The Crisis for the dramatic action plot of the overall story comes at exactly the 3/4 mark when a hurricane hits the island.The Climax comes when Phillip himself is able to signal the plane.In Resolution, he is rescued.Anyway, my...

Energetic Markers in Universal Story

In preparing for my first ever Writers Plot Retreat in the redwoods on Thursday through Sunday (don't expect another post for a few days), I marvel again at how consistent the Energetic Markers arrive in the Universal Story for romance novels, to screenplays, to mysteries, young adult, memoirs, middle grade and yes, even picture books.For instance: The Cay by Theodore Taylor.Like To Kill a Mockingbird by Harper Lee where the plotline dealing with Boo breaks off after the End of the Beginning and does not come back until the End, The Cay has an almost independent plotline running through the Middle (1/2) with the Beginning (1/4) linked back to the End (/14).The End of the Beginning of The Cay is when Phillip is blind. The antagonists in the Middle are Phillip's prejudice of Timothy, blindness, a deserted island, fear, feeling sorry for himself, the weather and Malaria. Phillip's allies in the Middle are Timothy and Stew Cat.In the Middle of The Cay, Phillip must maneuver, with the help of Timothy through a survival course, the Unusual World of living on an island blind.The Crisis of the subplot on the island occurs about Halfway through the entire story. Phillip climbs a palm tree blind, makes it about 10 feet and then freezes. Comes back down and he feels Timothy's disappointment. This scene serves two plotlines:  1) His personal Crisis point in the subplot 2) The Halfway point in the overall story for a reason to recommit to the adventure, in this case, survivalThe Climax of the subplot on the island comes when Phillip attempts the climb again, makes it all the way up, picks two coconuts, comes down and asks Timothy, "Are you still black?" showing Phillip has both overcome is fear and his prejudice.The Crisis for the dramatic action plot of the overall story comes at exactly the 3/4 mark when a hurricane hits the island.The Climax comes when Phillip himself is able to signal the plane.In Resolution, he is rescued.Anyway, my...

Edward Burtynsky: Oil – A Ballardian Interpretation

by Paul Roth

Edward Burtynsky, Oil Fields #22, Cold Lake Production Project, Cold Lake, Alberta, Canada, 2001. Chromogenic color print. Photograph © Edward Burtynsky, courtesy Nicholas Metivier Gallery, Toronto; Hasted Hunt Kraeutler, New York; and Adamson Gallery, Washington, DC.
I recently organized an exhibition of photographs by Edward Burtynsky, bringing together 12 years of his imagery on the subject of oil at the Corcoran Gallery of Art in Washington, D.C. Burtynsky, a Canadian born of Ukrainian heritage in 1955, is respected internationally for his 25-year focus on industrially-transformed landscapes. His photographs of quarries, factories, mining pits, and railcuts are extraordinary for their depiction of mankind’s organization of the land for resource-extraction and profit. Jennifer Baichwal’s 2006 documentary Manufactured Landscapes is an excellent portrait of Burtynsky, and I highly recommend a viewing of both the DVD and his great books, which include Manufactured Landscapes (2003); Burtynsky – China (2005); and Edward Burtynsky – Quarries (2006).
In organizing the exhibition, it occurred to me that Burtynsky is one of our most Ballardian artists. His intense concentration on the technological sublime; the precisionist geometries of his images; and his evocation of a rationalist (yet mysterious) automatism at the heart of the relationship between man and nature: all seem absolutely the inheritance of Ballard’s insightful understanding of our times.
In writing an essay for the book that accompanies the Corcoran exhibition, I adopted a style in overt homage to Ballard — in hopes that such a literary strategy might help illuminate this great body of work. I also wanted to honor Ballard’s legacy as the foremost imaginative interpreter of the world Burtynsk...

Extended deadline: Ballardian/Savoy microfiction competition

Due to popular demand, the Ballardian/Savoy microfiction competition deadline has now been extended to 15 December. Keep those entries coming!

...

Eternal Layover

‘Like the suspended state of duty-free malls, a zone at once inside and yet outside the legal parameters of the country it exists in, Vaughan and [Crash's narrator] Ballard experience the motorways as weirdly detached from an embedded culture or history or morality’.
Roger Luckhurst, The Angle Between Two Walls: The Fiction of J. G. Ballard.
From today’s news:
‘Japanese tourist Hiroshi Nohara is on a layover at the Mexico City airport. It has lasted almost three months, and he has no plans to leave…
“I don’t understand why I’m here,” he said through a visiting interpreter originally hired by a television station. “I don’t have a reason.”
The embassy can’t force him to leave, and since Nohara’s visa is valid all Mexican officials can do is wait for it to expire in early March. For reasons he can’t explain, Nohara has been in Terminal 1 of the Benito Juarez International Airport since September 2, surviving off donations from fast food restaurants and passengers and sleeping in a chair.’
Yes, I know precisely how he feels.

...

Escaping the gaze: A review of John Foxx's Tiny Colour Movies

ABOVE: Stills from ‘The Projectionst’ by ‘Alan Marker’ (John Foxx; Tiny Colour Movies).

In Melbourne a few months back, I had occasion to see John Foxx’s live soundtrack performance and presentation of Tiny Colour Movies, a selection of found-film fragments. Regular readers will recall that I interviewed Foxx in 2006, when the TCM album had just been released. At the time John was maintaining the line that the album was the soundtrack to a found-film collection owned by one Arnold Weizcs-Bryant, who, we were told, collects home movies and ‘repurposed movie fragments’, indeed any type of film produced outside of commercial considerations and not meant for public consumption. John, so the story goes, attended a private screening of Arnold’s collection and was compelled to create a soundtrack to accompany these resonant images, what he calls ‘tiny colour movies’.
According to the TCM liner notes:
Arnold stipulates that the movies he collects must be short — none is more than seven or eight minutes long, and some have a duration of only a few seconds. He insists that these represent a new kind of art. One which is only now becoming possible to recognise. Photography has recently become acknowledged as a new technological art form and c...

Edward Burtynsky: Oil – A Ballardian Interpretation

by Paul Roth

Edward Burtynsky, Oil Fields #22, Cold Lake Production Project, Cold Lake, Alberta, Canada, 2001. Chromogenic color print. Photograph © Edward Burtynsky, courtesy Nicholas Metivier Gallery, Toronto; Hasted Hunt Kraeutler, New York; and Adamson Gallery, Washington, DC.
I recently organized an exhibition of photographs by Edward Burtynsky, bringing together 12 years of his imagery on the subject of oil at the Corcoran Gallery of Art in Washington, D.C. Burtynsky, a Canadian born of Ukrainian heritage in 1955, is respected internationally for his 25-year focus on industrially-transformed landscapes. His photographs of quarries, factories, mining pits, and railcuts are extraordinary for their depiction of mankind’s organization of the land for resource-extraction and profit. Jennifer Baichwal’s 2006 documentary Manufactured Landscapes is an excellent portrait of Burtynsky, and I highly recommend a viewing of both the DVD and his great books, which include Manufactured Landscapes (2003); Burtynsky – China (2005); and Edward Burtynsky – Quarries (2006).
In organizing the exhibition, it occurred to me that Burtynsky is one of our most Ballardian artists. His intense concentration on the technological sublime; the precisionist geometries of his images; and his evocation of a rationalist (yet mysterious) automatism at the heart of the relationship between man and nature: all seem absolutely the inheritance of Ballard’s insightful understanding of our times.
In writing an essay for the book that accompanies the Corcoran exhibition, I adopted a style in overt homage to Ballard — in hopes that such a literary strategy might help illuminate this great body of work. I also wanted to honor Ballard’s legacy as the foremost imaginative interpreter of the world Burtynsk...

Extended deadline: Ballardian/Savoy microfiction competition

Due to popular demand, the Ballardian/Savoy microfiction competition deadline has now been extended to 15 December. Keep those entries coming!

...

Eternal Layover

‘Like the suspended state of duty-free malls, a zone at once inside and yet outside the legal parameters of the country it exists in, Vaughan and [Crash's narrator] Ballard experience the motorways as weirdly detached from an embedded culture or history or morality’.
Roger Luckhurst, The Angle Between Two Walls: The Fiction of J. G. Ballard.
From today’s news:
‘Japanese tourist Hiroshi Nohara is on a layover at the Mexico City airport. It has lasted almost three months, and he has no plans to leave…
“I don’t understand why I’m here,” he said through a visiting interpreter originally hired by a television station. “I don’t have a reason.”
The embassy can’t force him to leave, and since Nohara’s visa is valid all Mexican officials can do is wait for it to expire in early March. For reasons he can’t explain, Nohara has been in Terminal 1 of the Benito Juarez International Airport since September 2, surviving off donations from fast food restaurants and passengers and sleeping in a chair.’
Yes, I know precisely how he feels.

...

Escaping the gaze: A review of John Foxx's Tiny Colour Movies

ABOVE: Stills from ‘The Projectionst’ by ‘Alan Marker’ (John Foxx; Tiny Colour Movies).

In Melbourne a few months back, I had occasion to see John Foxx’s live soundtrack performance and presentation of Tiny Colour Movies, a selection of found-film fragments. Regular readers will recall that I interviewed Foxx in 2006, when the TCM album had just been released. At the time John was maintaining the line that the album was the soundtrack to a found-film collection owned by one Arnold Weizcs-Bryant, who, we were told, collects home movies and ‘repurposed movie fragments’, indeed any type of film produced outside of commercial considerations and not meant for public consumption. John, so the story goes, attended a private screening of Arnold’s collection and was compelled to create a soundtrack to accompany these resonant images, what he calls ‘tiny colour movies’.
According to the TCM liner notes:
Arnold stipulates that the movies he collects must be short — none is more than seven or eight minutes long, and some have a duration of only a few seconds. He insists that these represent a new kind of art. One which is only now becoming possible to recognise. Photography has recently become acknowledged as a new technological art form and c...

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