Похоже, придется идти пешком. Дальнейшие мемуары

31 АВГУСТА, суббота — 1971: The French Connection, Макбет — maybe we should reconsider those films as metaphysical essays on the undeniable and inescapable material nature of the world; evil is unbeatable, morals are non-existent, but the very notion that we are able to arrange this chaos in a motion picture, tell a story, gives us the idea of transcendence, the possibility of it, doesn't it; my favourite subject: unpenetrable objective reality and mind's eye full of filth, the horror and the music; если Россия хочет, чтобы в ней была нормальная вторая четверть — а под этими словами я подразумеваю количество разъятой материи, приемлемое для человека, а не сниз-человека — она не должна иметь никакого отношения к центральным процессам в этой стране, и, прежде всего, к развитию русского кинематографа (вот такой вот памятник, Зураб); it is obvious that the force of resist to the next stage of technological progress will have something to do with screen culture (it's not going to be music or books because of the natural development of a woman as a mind's eye object, the only thing I can think about as a replacement is theatre), and it will not be television, video games, Internet or some sort of virtual reality projection; it can only mean the development of the language of cinema, and there's only one way to produce this force: to reach a state of detached language and try very hard to preserve it in that state or at least not allow it to fall into anti-aesthetics; Moscow has expired, and Chinese or Japanese are going to provide us with the next stage of transcendent chiffre based on their specific structures of being, what our aims might be for this century: to control the inevitable hiding of the second quarter under photography by rejecting the synchronized sound (narrative, linear, colour or black and white, one-perspective or with use of poetic tropes, only without sound), prepare for the year 2051 (controlling the non-editing time with music: Tavernier), preparing the classicism of the fourth quarter for the rise from under photography into the next uber-language; there isn't such thing as pure «transcendent time»; only logical time and empirical time, and transcendent time is a logical type (read Losev, music and logic, that's why abstract is empirical, that's why ballet's dead — it's the other side of photography, remember Nabokov; I don't know what are the relationship between the metaphysical subject and the eternal being with which we reconcile after death, but since we're surrounded by our material beings that demand some type of relationship with the empirical reality, logic must probably be understood as this type, an undeniable and inescapable force that makes the understanding of the outer world as pure empirical reality an impossibility); these films are based on such a truthful onthological system that the author sees the inescapable downfall of metaphysical subject into empirical time an inevitable part of his philosophical agenda, to the point where rationally perceived self-destruction is treated as an ultimate necessity if you want to have your eyes opened at any given moment of your life; I think Timur Bekmambetov in Abraham Lincoln — The Vampire Hunter proved that he is a person of Russian origin who treats matter thus that he can be allowed to have a woman around; you either create a woman or destruct her, and women usually think that men destruct them when men are being sadistic to them in a transcendent way (it's a violence inherent in a creative process when will to death is at work), and you know why women substitute one will with another — of negative, «immoral» origin, as they call it — because they do not want to be created into less material beings (they actually do, but it's the next level of understanding women); способствовало ли введение всеобщей философской грамотности духовному развитию человечества; почему мы, почему не китайцы — а у китайцев был английский язык, но не было теоретического обоснования сверх-английского языка, and it's too late

1 СЕНТЯБРЯ, воскресенье — Новые горизонты II — эсхатологический фильм, если смотреть его на уровне идеальных сущностей, а не реальностей, это что вообще такое за мерцающее чудо, которое невозможно онтологически поймать и зафиксировать в глазу, машины все время куда-то едут, как будто бегут от чего-то, тема creatures; Шанхайский полдень: that's why American indians paint their faces; I Know a Woman's Heart: работа Энди Лау как способ вспарывания экрана, зашиваемого в мизансцене прямо в этот же самый момент; the image of an actor on film is where the harshest battle for the eye takes place; the right answer to the fraud question would have been: I'm not answering that question, because it's the only way to save the other person from disgrace — to pretend, as far as the situation allows, that you did not notice the question