MISSPENT DOTAGE

In his clever infomercial about how his films are as terrifyingly important as the other historical objects in the re-mix, Godard wants us to believe the image is history. Or, perhaps, that history graves herself on la PELI.

But history is an oath (that is, a word-act) upon the temporal and the eternal. As unsigned, be-winged avatars of the science fictional, images are at best contrapuntal to history, or more precisely, the inversion of history. In their brute insistence on THIS and NOT THAT, and in the barely noticed echoic reference to the invisible, they can't help but falsify, the poor things. And that is their virtue.

JLG thinks he's making Peguy's amende honorable, that this work somehow satisfies his debt to cinema, cinema's debt to history, purifies cinema from all it did not show. A chain of absurdities. He ain't understood nothing, it seems.

So it's rather convenient that the end of cinema has arrived to seal JLG in his mausoleum, his own private cathedral of erotic misery.

NECROPOLITANS

Filming something is already a rupture -- it is a ruin in potentia. But it can only become a real ruin through projection-destruction.

Precisely what is impossible in the digital shimmer.

SPEER: The building on the Zeppelin Field was begun at once in order to have at least the platform ready for the coming party rally. To clear ground for it, the Nuremberg street car depot had to be removed. I passed by its remains after it had been blown up. The iron reinforcements protruded from concrete debris and had already begin to rust. One could easily visualize their further decay. This sight led me to some thoughts which I later propounded to Hitler under the pretentious heading of "A Theory of Ruin Value". The idea was that buildings of modern construction were poorly suited to form that "bridge of tradition" to future generations which Hitler was calling for. It was hard to imagine that rusting heaps of rubble could communicate these heroic inspirations which Hitler had admired in the monuments of the past. My "theory" was intended to deal with this dilemma. By using special materials and by applying certain principles of statics, we should be able to build structures which even in a state of decay, and hundreds or (such were our reckonings) thousands of years, would more or less resemble Roman models.

To illustrate my ideas I had a romantic drawing prepared. It showed what the reviewing stand on the Zeppelin Field would look like after generations of neglect, overgrown with ivy, its columns fallen, the walls crumbling here and there, but the outlines still clearly recognizable. In Hitler's entourage this drawing was regarded as blasphemous. That I could even conceive of a period of decline for the newly founded Reich destined to last a thousand years seemed outrageous to many of Hitler's closest followers. But he himself accepted my ideas as logical and illuminating. He gave orders that in the future the important buildings of his Reich were to be erected in keeping with the principles of this "law of ruins."

Godard's own weepy Necropolis of the Cinema is built under the dictates of this pretentious Law of Art-Directed Ruins. And the poor guy doesn't even have one tenth of the amused irony that Speer does.

Orale! Showbiz kids makin'  movies of themselves...yet again.

SKINNING AND THE LACK OF RUINS

"Skinning" as a feature of spectacular production -- a low cost structure, modular in nature, that can be skinned and re-skinned to meet a particular and consumable time-sensitive image. Such skins can be jettisoned as needed.

The eternal present results.

This particular excess expenditure is a sign of wealth -- as potlatch. Think in contrast of the homely poverty of the brick and stone 19th century building. It is pathetic in its immutability.  It is. It can't be re-imaged, only demolished. "Skinning" a building like that would only point up the tension between essence and image.

Being has a sort of resistance and inertia. History partakes in this as the evidence of being. Ruins.

The impossibility of ruins in the eternal present of the spectacle. Nothing can age. This is why the aged, with its grounding scars, must become invisible.

Today, things -- objects qua thingyfied -- are like quantum states rather than realities.