In Memoriam #3, Cinema #25

Michelangelo Antonioni

(1912-2007)



Monica Vitti's face in The Red Desert, d: Michelangelo Antonioni (1964)

The Iron Horse #4, Manhattan #29, Cinema #24

Interior New York Subway, Fourteenth Street to Forty-second Street
Camera, G.W. "Billy" Bitzer
American Mutoscope and Biograph Company (photographed May 21, 1905.)

Word of the Day #21

Usufruct

[Nicholas Ray is] Cinema #23, Love #15

Johnny Guitar d: Nicholas Ray (1954)

[Nicholas Ray is] Cinema #22

Trailer, Rebel Without a Cause d: Nicholas Ray (1955)

Aviation #8

Airship above Chicago, Illinois (1906)

Manhattan #28, Cinema #21

Panorama from the Tower of Brooklyn Bridge
Camera, G.W. "Billy" Bitzer, American Mutoscope and Biograph Company.
(photographed April 18, 1899)

The Iron Horse #3, Manhattan #27, Catalogue of the Vanished #6

Interior of Grand Central Depot, 42nd Street and 4th [later Park] Avenue
John B. Snook, architect (1871)
Photograph: E. & H.T. Anthony & Co. (ca. 1875)

Scenes from a Life #10

Walker Evans (February 1937)
Edwin Locke, photographer

America #22, Architecture #19, Dead Presidents #25, War #4

Ruins in front of Virginia State Capitol, Richmond, Virginia (1865)
Thomas Jefferson, architect (1785-98)

Love #14, Scenes from a Life #9

17th September 1927
Lovely, unexpected, hopeless summer's evening. Resolve: to live more and more in the present, cultivating especially intensity and inconstancy in personal relations, to break free, so far as loyalty permits, from all unions that chain one to the past, while retaining them in so far as they provide a commentary, otherwise to fall in love as impermanently as possible with whoever is nearest, to study life not death, the present not the past, the actual not the literary. Only by giving the whole of myself to the moment can I make it give its best to me. A rapid series of unbearable partings is the best proof that one is living--to live in the present is the most provident of all ways of life, for by that alone can one create a valuable past. "Pas de recherche sans temps perdu"---no chronicles without wasted time.

Cyril Connolly, "England My England"

Cinema #20

Fresh uses and fresh possibilities for the moving picture are constantly being discovered. An account recently reached this country of its adaptation to target practice. The moving picture as arranged for the marksman’s use has a psychological attribute which the plain bull’s-eye and the bounding metal deer of the shooting gallery and the clay pigeon of the field never will possess. Cantering iron deer and harmless clay pigeons will never excite the sensations which the hunter or soldier or householder experiences when he finds himself with range of a live deer or facing the muzzle of a rifle in the hands of a soldier or a pistol in the hands of a burglar who has suddenly and unexpectedly popped up from behind a bed. The true test of marksmanship is ability to hit when face to face with the “real thing.” The moving picture now supplies for man’s gun practice what the moving target, representing the vitals of a ship, does for naval target practice, with the addition of an excellent imitation of an active and threatening enemy.

New-York Tribune (October 31, 1909)



Caption:
Preparing to Receive Burglars:
Firing at a thief in answer to the thief’s fire (on a living picture battle target)

Foreign Lands #23, Architecture #18

"Iranistan, An Oriental Ville"
P.T. Barnum House, Leopold Eidlitz et al, architects, Bridgeport, Connecticut (1846-48; burned 1857)

Obsolete Morality #4

Top left: The proper way.
Top right: The extended arms, and the lady’s hand grasping the gentleman’s arm, are not in good taste.
Bottom left: The lady’s head too close, the extended arms and bad attitude of hand very objectionable.
Bottom right: Extremely vulgar.

Allen Dodworth, Dancing and Its Relations to Education and Social Life (1885)

Anniverseries #5, America #21, Diptych #7, Dead Presidents #21, Cinema #19

Top: President Roosevelt's Fourth of July Oration, American Mutoscope and Biograph Company, camera, G.W. "Billy" Bitzer, Kleine Optical Co. (1903)

Bottom:
Navajo Indians at Fair Grounds, July 4th celebration, Farmington, New Mexico. (c. 1901-1908)

Faulkner #5, Foreign Lands #22, Manhattan #26, War #3, Dead Presidents #23

To Mr. M.C. Falkner Saturday [6 April 1918]

[New Haven, Connecticut]

[...]

The Southern took us over the first division, Memphis to Bristol, then the Norfolk and Western to Lynchburg, Va, Southern again to Washington; where the Pennsylvania took us to Jersey City and then they gave us an electric engine under the Hudson tubes and into Penn Station. I am terribly home sick and hope to hear from home by Sunday—tomorrow—anyway Its remarkable how inexpensively you can live here. My meals cost me only a quarter, unless I want to “blow” myself to something. […] There is a newspaper here with a thing like an enormous stock ticker in the window, and as soon as anything happens they show it there, just headlines, of course. This morning it says a British counter-attack has regained the grounds the Germans took yesterday near Amiens. I saw ex-President Taft yesterday.

Love
Billy