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	<title>Comments on: Impressions de la Haute Mongolie</title>
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	<link>http://www.johncoulthart.com/feuilleton/2006/03/03/impressions-de-la-haute-mongolie/</link>
	<description>• • • Being a journal by artist and designer John Coulthart, cataloguing interests, obsessions and passing enthusiasms.</description>
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		<title>By: Christoff Jonathan Bleidt</title>
		<link>http://www.johncoulthart.com/feuilleton/2006/03/03/impressions-de-la-haute-mongolie/comment-page-1/#comment-95154</link>
		<dc:creator>Christoff Jonathan Bleidt</dc:creator>
		<pubDate>Sat, 07 Feb 2009 21:13:53 +0000</pubDate>
		<guid isPermaLink="false">http://www.johncoulthart.com/feuilleton/?p=118#comment-95154</guid>
		<description>since I saw the film in january 1989 on a german tv-broedcasting, I tryed to find it - without succes One of the deepest experience of the creating power - and in the same time - the extreme antagonism of power- that art can be</description>
		<content:encoded><![CDATA[<p>since I saw the film in january 1989 on a german tv-broedcasting, I tryed to find it &#8211; without succes One of the deepest experience of the creating power &#8211; and in the same time &#8211; the extreme antagonism of power- that art can be</p>
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		<title>By: John</title>
		<link>http://www.johncoulthart.com/feuilleton/2006/03/03/impressions-de-la-haute-mongolie/comment-page-1/#comment-89281</link>
		<dc:creator>John</dc:creator>
		<pubDate>Thu, 04 Dec 2008 04:22:07 +0000</pubDate>
		<guid isPermaLink="false">http://www.johncoulthart.com/feuilleton/?p=118#comment-89281</guid>
		<description>Hi Mahendra. Thanks, but as noted above (and also &lt;a href=&quot;http://www.johncoulthart.com/feuilleton/2007/07/28/new-things-for-july-ii/&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;) the copy which Ubuweb acquired was sufficient to satisfy my curiosity. A very odd thing watching it again, I remembered some parts very well, others I&#039;d completely forgotten about.</description>
		<content:encoded><![CDATA[<p>Hi Mahendra. Thanks, but as noted above (and also <a href="http://www.johncoulthart.com/feuilleton/2007/07/28/new-things-for-july-ii/" rel="nofollow">here</a>) the copy which Ubuweb acquired was sufficient to satisfy my curiosity. A very odd thing watching it again, I remembered some parts very well, others I&#8217;d completely forgotten about.</p>
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		<title>By: mahendra singh</title>
		<link>http://www.johncoulthart.com/feuilleton/2006/03/03/impressions-de-la-haute-mongolie/comment-page-1/#comment-89239</link>
		<dc:creator>mahendra singh</dc:creator>
		<pubDate>Wed, 03 Dec 2008 22:03:56 +0000</pubDate>
		<guid isPermaLink="false">http://www.johncoulthart.com/feuilleton/?p=118#comment-89239</guid>
		<description>Dear Mr Coulthart,

If you are interested in an avi file of this film, please email me, soon … before &quot;les graines disparaissent&quot;

your blog is a rare pleasure!

—mahendra singh</description>
		<content:encoded><![CDATA[<p>Dear Mr Coulthart,</p>
<p>If you are interested in an avi file of this film, please email me, soon … before &#8220;les graines disparaissent&#8221;</p>
<p>your blog is a rare pleasure!</p>
<p>—mahendra singh</p>
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	<item>
		<title>By: Dalí and Film at dérive</title>
		<link>http://www.johncoulthart.com/feuilleton/2006/03/03/impressions-de-la-haute-mongolie/comment-page-1/#comment-18448</link>
		<dc:creator>Dalí and Film at dérive</dc:creator>
		<pubDate>Mon, 04 Jun 2007 16:17:47 +0000</pubDate>
		<guid isPermaLink="false">http://www.johncoulthart.com/feuilleton/?p=118#comment-18448</guid>
		<description>[...] Baquer whose Dalí collaboration, Impressions of Upper Mongolia, Hommage to Raymond Roussel, I wrote about last year. This is the only substantial discussion of this curious film I?ve seen anywhere so it?s [...]</description>
		<content:encoded><![CDATA[<p>[...] Baquer whose Dalí collaboration, Impressions of Upper Mongolia, Hommage to Raymond Roussel, I wrote about last year. This is the only substantial discussion of this curious film I?ve seen anywhere so it?s [...]</p>
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		<title>By: Eroom Nala</title>
		<link>http://www.johncoulthart.com/feuilleton/2006/03/03/impressions-de-la-haute-mongolie/comment-page-1/#comment-23</link>
		<dc:creator>Eroom Nala</dc:creator>
		<pubDate>Fri, 03 Mar 2006 09:38:46 +0000</pubDate>
		<guid isPermaLink="false">http://www.johncoulthart.com/feuilleton/?p=118#comment-23</guid>
		<description>Apart from the two Bunuel films, Hitchcock&#039;s Spellbound and some Andy Warhol screentests Dali doesn&#039;t seem to have left much of a filmography. Pity really. Shame nothing came of his Marx Bros screenplay. That would have been something to see.
http://www.imdb.com/name/nm0198557/

I still haven&#039;t read the Roussel book. It might lose something in translation.

&quot;Roussel&#039;s most famous works are Impressions of Africa and Locus Solus, both written according to formal constraints based on homonymic puns. Roussel kept this compositional method a secret until the publication of his posthumous text, How I Wrote Certain of My Books, where he describes it as follows: &quot;I chose two similar words. For example billiards and pilliards (looter). Then I added to it words similar but taken in two different directions, and I obtained two almost identical sentences thus. The two found sentences, it was a question of writing a tale which can start with the first and finish by the second. Amplifying the process then, I sought new words reporting itself to the word billiards, always to take them in a different direction than that which was presented first of all, and that provided me each time a creation moreover. The process evolved/moved and I was led to take an unspecified sentence, of which I drew from the images by dislocating it, a little as if it had been a question of extracting some from the drawings of rebus.&quot; For example, Les lettres du blanc sur les bandes du vieux billard/The white letters on the cushions of the old billiard table? must somehow reach the phrase, ?les lettres du blanc sur les bandes du vieux pillard/letters [written by] a white man about the hordes of the old plunderer.&quot;

but I have read that he slowly commited suicide by taking small amounts of posion knowing just when it would be fatal enough to finally kill him

&quot;Perhaps not surprisingly, Roussel was unpopular during his lifetime and critical reception of his works was almost unanimously negative&quot;

Still he did manage to make it into The A-Z of Great Writers by Tom Payne which is where I found out about him.

&quot;He made his system known posthumously, sending the manuscript of How I wrote Some of My Books to be published after his death - which he timed by increasing his dosages of barbituates until they killed him. Even his end was part of a plan whose author never seemed eager tto let it be understood&quot;</description>
		<content:encoded><![CDATA[<p>Apart from the two Bunuel films, Hitchcock&#8217;s Spellbound and some Andy Warhol screentests Dali doesn&#8217;t seem to have left much of a filmography. Pity really. Shame nothing came of his Marx Bros screenplay. That would have been something to see.<br />
<a href="http://www.imdb.com/name/nm0198557/" rel="nofollow">http://www.imdb.com/name/nm0198557/</a></p>
<p>I still haven&#8217;t read the Roussel book. It might lose something in translation.</p>
<p>&#8220;Roussel&#8217;s most famous works are Impressions of Africa and Locus Solus, both written according to formal constraints based on homonymic puns. Roussel kept this compositional method a secret until the publication of his posthumous text, How I Wrote Certain of My Books, where he describes it as follows: &#8220;I chose two similar words. For example billiards and pilliards (looter). Then I added to it words similar but taken in two different directions, and I obtained two almost identical sentences thus. The two found sentences, it was a question of writing a tale which can start with the first and finish by the second. Amplifying the process then, I sought new words reporting itself to the word billiards, always to take them in a different direction than that which was presented first of all, and that provided me each time a creation moreover. The process evolved/moved and I was led to take an unspecified sentence, of which I drew from the images by dislocating it, a little as if it had been a question of extracting some from the drawings of rebus.&#8221; For example, Les lettres du blanc sur les bandes du vieux billard/The white letters on the cushions of the old billiard table? must somehow reach the phrase, ?les lettres du blanc sur les bandes du vieux pillard/letters [written by] a white man about the hordes of the old plunderer.&#8221;</p>
<p>but I have read that he slowly commited suicide by taking small amounts of posion knowing just when it would be fatal enough to finally kill him</p>
<p>&#8220;Perhaps not surprisingly, Roussel was unpopular during his lifetime and critical reception of his works was almost unanimously negative&#8221;</p>
<p>Still he did manage to make it into The A-Z of Great Writers by Tom Payne which is where I found out about him.</p>
<p>&#8220;He made his system known posthumously, sending the manuscript of How I wrote Some of My Books to be published after his death &#8211; which he timed by increasing his dosages of barbituates until they killed him. Even his end was part of a plan whose author never seemed eager tto let it be understood&#8221;</p>
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