By Leonard Monzert, drawings
8.4" * 5.4"
Read Online or Download Leonard Monzert's practical distiller : [an exhaustive treatise on the art of distilling and rectifying spirituous liquors and alcohol PDF
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Extra info for Leonard Monzert's practical distiller : [an exhaustive treatise on the art of distilling and rectifying spirituous liquors and alcohol
The mouth is the eating machine; the stomach the digesting machine; the anus the defecating machine; all knitted together by the movement of flows: blood, faeces, semen, tears, sweat etc. Our bodies and our selves are moved by the same will to process and disrupt flows as the sculptures of Jean Tinguely. We are desiringmachines and we produce our own desire. For Guattari, machines come in a range of different sizes and shapes but each has the same basic characteristics: 1) They connect to and form part of other machines.
When you are jumping at Freddy Krueger, wincing at the pain of Marion Crane or being blasted by the bombs in Saving Private Ryan you are experiencing the molecularity of cinema, a layer that is ever-changing, hard to define and difficult to contain. The molecularity of cinema encourages it to burst its banks, to reach out and form new connections with the bodies and desires of its audience. Music can do this more than any of the arts, becoming one with you, encouraging you to form transversal relationships with those around you through new connections and lines of flight.
On the one hand we are reacting to and appreciating the molarity of its form, line and figuration, understanding its semiotic meaning, its place in the history of art and in the wider cultural field of aesthetics. And yet, on the other hand, we are experiencing the molecularity of its affect and feeling and being struck by the non-signifying, non-articulable sense that arises when we view it – the inexpressible and bodily feeling that we receive from the paint and canvas. The unavoidable sense of the uncanny that pervades the 1933 work is not contained within ready-made structures of form or content but is instead distributed throughout the entire painting: it is in the altered perspective of the background, the muted colours, the blank faces of the characters, the gesture of the small boy being carried by the woman in the black skirt, the way the brush work is invisible in the traces of the paint and so on.