no idea how long it took. i mean i don't like the pose a lot because i feel like it would be better but at the same time i really don't want to draw hands
So, where does this leave us? The final stop in this historical trajectory, from the sublime to the ridiculous, is the so-called "horror film." But even here, in its most apparently debased guise, there remains an unsettling power. This power is diametrically opposed to that claimed for the horrible by Kant or von Hagens: the affective shortcut to truth. By contrast, the ultimate message of the "fright flick" seems to be a profound commitment to indeterminacy. We can see this clearly in the contrast with detective films. As literary critic Franco Moretti tells us, the gumshoe-and- cop shows are all about restoration. The world is disordered and then put to rights. Despite their carnivalesque atmosphere of social transgression, these works are driven by a conservative impulse. The message of such fiction is that there is a force, amoral or peri-criminal though its motivations may be, which does the work of knowledge: killers are found, reasons are unearthed. We, the moral public, find out whodunit and whydoit. If Moretti is to be believed, these works are modernist and epistemological: in short, they assert the possibility of knowing.
Horror films brook no such positivism. Their outcome tends to be morally ambiguous and inconclusive at best. After all, the great cliche of the genre is the killer or monster rising from the grave for one last tweak before the credits roll. The message is: this will all begin again, see you soon.
Horror in Architecture - Joshua Comaroff & Ong Ker-Shing
“He likes to stay positive, because if he gets negative he gets really negative, and he knows it, so he tries to rise above these things, and not have other people reminding him of too many negative things, or hurtful things, because of who he is. He has to be out there looking like he’s Paul McCartney, happy-go-lucky, and not bothering the world with his problems.”
— Denny Laine, Fab: An Intimate Life of Paul McCartney
"But the illusion that I was cut off from society is a joke. I was just the same as any of the rest of you; I was working from nine to five – baking bread and changing some nappies and dealing with the baby. People keep asking, "Why did you go underground, why were you hiding?" But I wasn’t hiding. I went to Singapore, South Africa, Hong Kong, Bermuda. I’ve been everywhere in the bloody universe. And I did fairly average things, I went to the movies."
John Lennon at the Hit Factory during the Double Fantasy recording. His latest studio album