#Philip Miller

[robertogreco]

I saw William Kentridge’s The Refusal of Time (2012) at SFMoMA in 2016 and went back several times to take friends there to see it too. Here’s an interview with him on the Louisiana Channel about the installation:

How can we get a hold of time with our body and mind? This question is the crux of South African artist William Kentridge’s immersive installation ’The Refusal of Time.’ Join the artist for a detailed tour of his pulsing, breathtaking work. ‘The Refusal of Time,’ 2012, is an immersive installation and a meditation on time, space and the complex legacies of colonialism and industry. A multi layered work packed to the brim with references - to early cinematic history, and the science and philosophy of time and images - the work combines visually seductive imagery, sculptural objects, megaphones and sound. ”It’s not a scientific lesson in time,” explains the artist. “But it uses the metaphors scientists use when they’re doing their deepest thinking about time.” Therefore references to Einstein’s theory of relativity and figures like black holes - “a space in which everything disappears, a way of talking about death” - feature throughout the work. Kentridge uses cinema as ”an artistic, mechanical and optical means of playing with time,” to show time materialized. Cinema can slow time down, replay it, hold it, run it backwards, and by employing these techniques of making time visible, the work shows time, and essentially the trudge of a human life, as “a series of predictable, unremarkable actions that continue until we are worn out.” But within that frame there are also refusals says Kentridge. “Those moments of coherence, of understanding and changing the world, which is the most we can hope for.” Fragmented and futile in its story telling, ‘The Refusal of Time’ also references the painful histories of colonial wars and anti-colonial revolts in the context of time. In the colonial era the imposition of European time in the colonies was a means of control, Kentridge explains. “The resistance towards time became a metaphor for other kinds of resistance towards other forms of political control.” “In the end” – the artist says polemically – ”the project isn’t really about time. It’s much more about to what extent do we escape our fate? To what extent are we heading towards our fate whether we like it or not? Can we change the world on our way or is this all illusory?” William Kentridge (b. 1955) is a South African filmmaker, draughtsman, and sculptor. He has produced both animation, set design and sculpture as directing operas at the Metropolitan Opera in New York, USA, and the Royal Opera House in London, UK. His work has been shown around the world, e.g. at dOKUMENTA 10, 11 and 13 Kassel, Germany, the 1999 Venice Biennial, Italy, the Metropolitan Museum and the Museum of Modern Art, New York, USA, the Louvre, Paris, France, and Louisiana Museum of Modern Art, Denmark. Kentridge’s work is held in numerous private collections worldwide and he is the recipient of many prestigious awards such as the 1999 Carnegie Medal, the 2010 Kyoto Prize and the 2013 Commandeur des Arts et des Lettres. William Kentridge's installation 'The Refusal of Time' is a collaboration with composer Philip Miller, filmmaker Catherine Meyburgh & Peter Galison, professor of the history of science and of physics at Harvard University. The work is part of the exhibition ’Thick Time’, at the Louisiana Museum of Modern Art, 16 February – 18 June, 2017. William Kentridge’s installation is also part of the Louisiana Collection. This video also features extracts from 'Making Time', 2011, a film about the making of 'The Refusal of Time', filmed and edited by Catherine Meyburgh. William Kentridge was interviewed Christian Lund in the installation of ‘The Refusal of Time’, at the Louisiana Museum of Modern Art, in February 2017.

See also the page for the installation on Kentrige’s website and the page on the Louisiana Museum website.

[everyonesonthespectrum]

Today’s Autistic character of the day is:

Philip Tandy “Phil” Miller from The Last Man on Earth

[jenmedsbookreviews]

The Hollow Tree by Philip Miller

Today I'm sharing my thoughts on the brand new Shona Sandison thriller from Philip Miller, The Hollow Tree @PhilipJEMiller @PolygonBooks @BirlinnBooks #books #bookreview #thehollowtree #newrelease #bookstagram

Today I am sharing my review of The Hollow Tree, book two in the Shona Sandison series by Philip Miller. My thanks to publisher Polygon for teh advance copy for review. Here’s what the book is all about: Source: Advance Reader CopyRelease Date: 04 Apri 2024Publisher; Polygon Continue reading The Hollow Tree by Philip Miller

[sarcasmismyonlydefense24]

"Not all men..."

Yeah your right José Pedro Balmaceda Pascal would never treat me like this

[majestativa]

... to find an abyss deep enough to leap into with her.

— HEINRICH VON KLEIST ⚜️ from a letter to Marie von Kleist, written c. November 19, 1811, on Henriette Vogel, featured in An Abyss Deep Enough: Letters of Heinrich Von Kleist, transl by Philip B. Miller, (1982)

[mostlyincorrectdipandpip]

we stand in solidarity 🫡

[mechanicalinfection]

he's ace

[futurama-in-color]

I felt terrible when I heard about your money troubles and I thought maybe I could help out a sweet young man by buying his anchovies. Sorry, but the anchovies aren't for sale. What?!

FUTURAMA 1.06 - A Fishful of Dollars

[lepetitdragonvert]

From the Tower Window of my Bookhouse

Edoted by Olive Beaupré Miller

Chicago, the Bookhouse for Children Publishers

1921

Artist : Donn Philip Crane

Far away within the wood a troop of Fauns and Sa’tyrs were dancing in a round, while old Syl-va’nus, who was their king, slept in a shady arbor. Gay, rustic, wild-wood folk were these, with horns upon their foreheads and shaggy legs of goats.

[scrumptiousfanbasement]

I GOT TO SEE THE ACTUAL BARN BURNER AND D.O.T 3!!

Aaaaaaaahhhhh 😭🥺💞

[unladyboss]

BIRTHDAYS and AGES: THE BEAR SEASON 3

Natalie's birthday is November 10, 1988

Mikey's birthday is NOVEMBER 15, 1979

So Natalie is 35 (as of 2023)

Mikey would have been 44

Richie is 47

CARMY 32

Just getting these numbers straight in my head.

These age gaps are bizarre to me because Mikey is about 10 (9) years older than Natalie. So he would be 20 when she was 10 so all these stories that he and Richie tell, kinda happen when they are grown men.

At the same time Natalie and Carmy are very young kids. They make it sound like they were all knowing Mikey and Richie shenanigans.

If I'm 23, my 13 year old sister is not gonna know anything about me.

It just seems strange to me

[swagbutcooler]

hey guys what year is it again

[majestativa]

Her grave is more precious to me than the beds of all the empresses of this world.

— HEINRICH VON KLEIST ⚜️ from a letter to Marie von Kleist, written c. November 21, 1811, on Henriette Vogel, featured in An Abyss Deep Enough: Letters of Heinrich Von Kleist, transl by Philip B. Miller, (1982)

[lovka-6]

[doctorfriend79]

Philip Burton & James Lester

[evilhorse]

Frank Miller’s Ronin Book II #5