The first lines of that novel read:
“I start to get the feeling that something is really wrong. Like all the drugs put together-the lithium, the Prozac, the desipramine, and Desyrel that I take to sleep at night-can no longer combat whatever it is that was wrong with me in the first place. I feel like a defective model, like I came off the assembly line flat-out fucked and my parents should have taken me back for repairs before the warranty ran out.
Here is the film.
It’s not very good. But it will take you less time than reading the book and you’ll get it all the same.
I went there with F. This was our schedule.
I took some photos with my phone at the Musée Fabre. The legend to the photos can be found by following the above link.
I was particularly pleased at finding the original from a print I’d known from the third volume of the Illustrierte Sittengeschichte, an engraving of a monk holding a naked woman. In that book, the print was known as The indecent monk.
In the museum it was Claude Frollo et la Esmeralda by the French painter Narcisse Virgilio Díaz.
John Baldessari was an American artist.
The text reads:
“This painting owes its existence to prior paintings. By liking this solution, you should not be blocked in your continued acceptance of prior inventions. To attain this position, ideas of former painting had to be rethought in order to transcend former work. To like this painting, you will have to understand prior work. Ultimately this work will amalgamate with the existing body of knowledge.”
In his own analysis, he said he would be best remembered as “the guy who puts dots over people’s faces.”
Syd Mead was an American concept artist best known for his work on Blade Runner (1982), Tron (1982) and Aliens (1986).
Both Colani and Mead were obsessed with futuristic aerodynamics.