#the renaissance society

[gregdotorg]

I will now never be able to hear, read, think, or say the Jenny Holzer phrase™, "Protect Me From What I Want" without sticking "Sushi Platter" on the end.

image: Jenny Holzer, Protect Me From What I Want (Sushi Platter), 1997, etched glass, ed. 25, from the Renaissance Society's collection of fundraising tchotchkes artists signed onto and now might be haunted by, selling at Wright 20 in Chicago on 11 July 2024.

[sinceileftyoublog]

Eiko Ishibashi's Mournful Meditations

Eiko Ishibashi; photo by Shuhei Kojima

BY JORDAN MAINZER

When composing for film, singer-songwriter and musician Eiko Ishibashi knows how to both pull you in and shock you out of what you expect. Her latest fruitful collaborations have come with director Ryusuke Hamaguchi, Ishibashi first composing the score for Hamaguchi's 2021 film Drive My Car. Her musical cues tie into the narrative to the point where they're inexorably linked. I saw Drive My Car once when it came out, and every time I listen to its Original Soundtrack, I'm taken back to exactly the points in the film associated with each track.

Ishibashi and Hamaguchi's second collaboration, however, is a bit more complicated in terms of relationship between picture and sound. Hamaguchi was set to follow up Drive My Car with a 30-minute short silent film specifically designed to be screened with Ishibashi's live score. As he shot it, it grew into a full-length feature with dialogue, Evil Does Not Exist, with an accompanying score and soundtrack (out now via Drag City) from Ishibashi. Yet, Hamaguchi didn't totally scrap his original idea. Instead, he made a shortened, silent version of Evil Does Not Exist to go along with a live Ishibashi performance, entitled Gift. While it has a similar, if abridged plot to Evil Does Not Exist, viewing Gift is a different experience because it serves to emphasize the narrative power of Ishibashi's music.

Ishibashi; photo by Shuhei Kojima

When I saw a screening of Gift, accompanied by an Ishibashi performance, back in May at the Reva and David Logan Center for the Arts (presented by The Renaissance Society), I had not yet seen Evil Does Not Exist or heard the standalone soundtrack. I was familiar with the basic plot of both films: A development company wishes to build a glamping site in a rural village, much to the chagrin of its residents. Watching Ishibashi perform, I marveled at her ability to tell a story with a mix of sampled elements and live synths and woodwinds. Both films begin with skittering, jazzy cymbals and guitars (played by Ishibashi's partner Jim O'Rourke) before being cut off by the main swelling, dramatic string theme, sound-tracking a long, continuous skyward shot of forest trees in winter. Live, Ishibashi manipulated the sound of the orchestration, cutting it in and out, disorienting you when you got too used to the hypnosis of the shot. Likewise, in Evil Does Not Exist, the sound of footsteps slowly mixes in with the strings until they suddenly stop; at that point, you realize the camera is from the vantage point of a young girl, Hana (Ryo Nishikawa), walking through the woods, and the film goes on.

In both Gift and Evil Does Not Exist, we see characters on screen deep in their routines. It's almost therapeutic watching widower Takumi (Hitoshi Omika)--Hana's father--repeatedly chop wood, fill jugs with water from the stream, and pause for a cigarette. It's even more jarring, then, when these characters are taken out of their routines or beyond their comfort zones, like when Takumi suddenly stops his work because he realizes he's late to pick up Hana. Occasionally, we hear the sound of a distant gunshot as the villagers hunt for deer. During Gift, the booms were not far off from Ishibashi's bass thuds, but they certainly contrasted the light clicking of her pedals during quieter moments, just as they resemble a far cry from more "natural" sounds in Evil Does Not Exist, like the crunching of leaves and rushing water.

But more than challenging the repetitiveness of manual labor, in both films, the sound of a gunshot grows to symbolize the difference between rural and urban experiences. To pitch the glamping site to the villagers, the development company hires two talent agency representatives, Takahashi (Ryuji Kosaka) and Mayuzumi (Ayaka Shibutani), the latter of whom admits that the ringing blast was the first time she had ever heard a gun before. The two actors are, as we learn, clueless about the villagers' way of life, asking whether wild deer would be a threat to potential glampers (as opposed to the glamping site being an existential threat to the deer themselves). In one of the film's most tense scenes, Takahashi and Mayuzumi are put through the wringer when confronted by villagers' concerns about the effect of the glamping site's waste on the safety of their water supply. In Evil Does Not Exist, this scene is sound-tracked only by the stock music of the presentation before the characters start talking, suddenly cutting off. Gift, meanwhile, uses the scene to showcase the power of Ishibashi's compositions: We can feel the tension of the conversation by just hearing her score accompanied by only occasional words on screen.

As Takahashi and Mayuzumi shadow Takumi and help as much as possible with chopping wood, carrying water canisters, and so on, they become slightly more accustomed to the villagers' way of life and empathetic to their perspectives. They bluntly communicate the villagers' concerns to the project heads, who would rather rush through the project so as to keep their time-limited COVID subsidies. What happens from here, I will not spoil, though it's clear Hamaguchi's asking moral questions about the lengths people go to protect their loved ones and their surroundings, and whether or not the fight against capitalism is all-or-nothing. But during the scenes where the talent agency representatives are helping out, Ishibashi layers syncopated strings on top of the natural sounds, as if to blur the lines between humankind and the natural world, throwing even more wrenches into Hamaguchi's central queries.

Because Hamaguchi and Ishibashi render so complex the relationship between picture and sound via Gift and Evil Does Not Exist, the latter's soundtrack doesn't necessarily provide a new way to experience the projects' themes. Like that of Drive My Car, though, the soundtrack places you back in each scene. What's more, it exudes the films' distinctive moods. Of course, the opening and pseudo title track "Evil Does Not Exist v.2" consists of pattering drums and scraggly guitars giving way to the aforementioned solemn main string theme, squarely placing the film's beginning forest shot in your mind. The spacey synthesizer blips of "Hana V.2" make you picture the consistent wandering of its namesake character, the sound of thumping bass and footsteps making the listener feel an almost parental instinct when thinking about a child alone. And "Smoke" juxtaposes tactile and malleable instrumentation, a collection of cymbals, kick drum, woodwinds, and buzzing drones, the sonic manifestation of Hamaguchi's musings on the extent to which we can bend the world to suit our whims. Are we extensions of our surroundings, or have they become subservient to us? Does evil actually exist? Take in Hamaguchi and Ishibashi's multi-media world, and you'll have no answers, but certainly more to chew on while you, too, go about your every day.

[tackythng]

they definitely know how joan of arc felt…

info + close ups under cut:

george here is very loosely based on the statue of saint george by donatello located at orsanmichele in florence and charles is not as loosely based on saint sebastian by guido reni

chose these saints purely bc i either fw their stories or fw the art and symbolism around them

[canisalbus]

do machete and vasco live in a dog only world? or are there other animals? and are there non anthropomorphic animals too, or are they all anthropomorphicized?

I'd say

1. replace all humans with domestic dogs

2. actual four-legged dogs don't exist

3. wild canids, like wolves and foxes, exist but aren't anthropomorphic

4. the rest of the animal kingdom is the same

[the-posh-life]

[occultesotericart]

1600’s celestial engraving by Athanasius Kircher

[floralpoeticss]

It's love, and love is anguish.

– Henry Miller, from 'A Literate Passion: Letters of Anaïs Nin & Henry Miller 1932-1953'

[messrsrarchives]

i know the condiments aisle just HATESSSSSS to see remus lupin coming

[meerawrites]

Aisi sera groigne qui groigne ~ let them grumble; that is how it is going to be. — one of Anne Boleyn's many mottos adopted by her in her lifetime

Introducing courtesan, fencer (and spy) for hire (currently a resident of Francis I’s court ~ French: François I), Maude.

Alias: Bianca Bedi.

Alias translation: "pure priest" or "pure and sanctified" an alias this courtesan and fencer (and spy) picked for the dramatic irony but we need not address that now, my dear reader.

[kv-actual]

Defending bridge battle with the Landsknecht brois.

[gregdotorg]

Oh hey you can buy "Untltled", 1992, the Felix Gonzalez-Torres tattoo, at the Renaissance Society. This was not always the case.

image:screenshot from store.renaissancesociety.org

[tuylek]

Mona or Lisa

[nickysfacts]

Remember that Greek and Roman art continues to be both figuratively and literally whitewashed.

🏺🎨🏛️

[good--merits-accumulated]

god. this anderperry renaissance au is knocking me around some kind of way

[blackswaneuroparedux]

Men were created before women. But that doesn't prove their superiority – rather, it proves ours, for they were born out of the lifeless earth in order that we could be born out of living flesh. And what's so important about this priority in creation, anyway? When we are building, we lay foundations on the ground first, things of no intrinsic merit or beauty, before subsequently raising up sumptuous buildings and ornate palaces. Lowly seeds are nourished in the earth, and then later the ravishing blooms appear; lovely roses blossom forth and scented narcissi.

- Moderata Fonte, The Worth of Women: Wherein Is Clearly Revealed Their Nobility and Their Superiority to Men (1600)

Moderata Fonte was the pseudonym of Modesta Pozzo (1555–92), a Venetian woman who was something of an anomaly. Neither cloistered in a convent nor as liberated from prevailing codes of decorum as a courtesan might be, Pozzo was a respectable, married mother who produced literature in genres that were commonly considered “masculine”- the chivalric romance and the literary dialogue. Her book, The Worth of Women, which was published in 1600, concerned itself with gender equality and the responsibility of husbands and fathers: issues that loom large today had currency in Renaissance Venice as well.

This work takes the form of the latter, with Fonte creating a conversation among seven Venetian noblewomen. The dialogue explores nearly every aspect of women’s experience in both theoretical and practical terms. These women, who differ in age and experience, take as their broad theme men’s curious hostility toward women and possible cures for it. Through this witty and ambitious work, Fonte seeks to elevate women’s status to that of men, arguing that women have the same innate abilities as men and, when similarly educated, prove their equals. Through this dialogue, Fonte provides a picture of the private and public lives of Renaissance women, ruminating on their roles in the home, in society, and in the arts. The book is a fine example of Renaissance vernacular literature, this book is also a testament to the enduring issues that women face, including the attempt to reconcile femininity with ambition but without the shrill tones of a strident feminism more prevalent today.  

[volterran-wine]

So I've been thinking and I hope you give your thoughts on this.

Why would anyone want to join the Volturi?

I know they're important and essential for the world to work, protect humanity somewhat and uphold the law and I LOVE them ( especially Aro ) but like... why would you want to live like this?

Imagine you get turned, maybe you had a boring life. Everyday was full of work, no time or barely for anything or anyone else. Maybe your weren't exactly happy with your life, your looks, your personality or whatever and than you get turned into basically a god. Strong, fast, super senses, beautiful beyond anything you've ever witnessed, maybe a powerful gift.

A new amazing life, endless time to try and learn everything, no attachment, essentially no money needed at all. You're kinda actually free for the very first time.

And than someone comes up and is like "Wanna join our big family?" and than its basically this boring mundane life all over again. Work and this time even longer since sleep and rest is not needed. It sounds like the guards barely get days off to do what they like and even then they need permission from the kings. You can't go wheverver and whenever you like cause you need to ask the kings. You can't do whatever you like, you have to obey and you're again trapped in a mundane life full of work and having someone above you, you have listen to and obey if you want or not. And again not free at all.

Why would anyone with half a brain want that kind of life as a vampire?

Sorry for the rambling it's just something I don't get.

• — 𝐓𝐡𝐞 𝐕𝐨𝐥𝐭𝐮𝐫𝐢 & 𝐅𝐫𝐞𝐞𝐝𝐨𝐦

It is difficult for us as humans to fathom what immortality looks like, personally I believe it’s not as much of a free for all some might believe.

Being a nomadic vampire is not that amazing in my opinion, and you will run into several problems fulfilling all your dreams. I shall detail one of the potential scenarios in order to make my point;

Say you want to pursue knowledge for you were unable to do so as a human because of money? In todays society you can always use the internet to get far ahead, but wait! That computer needs electricity; you are now dependent on a human convenience. Sure there are some places that offer up their outlets like cafes and what not, but now you are stuck around humans all day everyday. Most vampires view humans as food, you run the major risk of exposure or gorging out on the barista because they’re scent was heavenly.

So you want to avoid the public places? Understandable. But your run into another problem when you wish to purchase a home that will award you the ability to seek power and shelter; you are legally dead. There is no way for you to prove yourself capable so you are unable to procure a home. And even if you do, you are now surrounded by humans, or at the very least you become that strange recluse the small community keeps whispering about. The chances of you exposing yourself grows exponentially.

But Nathalie you say, what about education? And I shall have to answer; you are legally dead. Enrollment will be difficult and if you truly wish to do this you need to be on the Cullens level of forgery in order to create new identities every forty years or so. Most of us do not have access to those resources or the money needed. If you robbed a bank or a convenience store you would be caught on camera using your vampiric nature, The Volturi will intervene and kill you for endangering the secret if you were careless enough.

The life of a nomad means never settling and running from area to area in order hunt inconspicuously. In todays society that also means avoiding a digital footprint seeing as though society in general surveillances us. There is nothing frivolous about it, you spend most of the time hidden in the shadows far from what you considered normal as a human. Those comforts you desired as a human are but a dream unless you prepared ahead of your transformation, and even then it is difficult to pursue them.

The Volturi offers you a purpose, which is something I believe even vampires will start searching for at some point. Total freedom and a god-like status is enticing for a while, but what shall you do when that becomes dull? Do not get me wrong, I am sure some vampires love that; but I believe a good amount of them will look for something greater wether it be companionship or something to fill the stretch of eternity with.

The Volturi offers you a rather comfortable palazzo to call home, a salary, socialization, millennia of knowledge, a way to shape the world, a stable source of blood and the opportunity to know every vampire in the world if you wish. Yes, some rigorous days may be ahead of you, but comparing the life of a Volturi guard to an office job is not quite correct. In fact, The Volturi will allow you to be closer to humanity and their perks ironically enough.

My take on this band of vampires is that there is not as much stifling order as seen in canon, they are not puppets nor helpless. If someone wishes to leave in order to pursue other ventures they can. There is also many human comforts in the palazzo, they are free to follow their whims and fancies in the safety of their home without running the risk of exposing themselves to humans.

The Volturi offers freedom on a level we cannot understand as humans, for we are not shackled to our nature the same way vampires are.