BOOK RECEIVED FROM SAD PRESS - Karl M.V. Waugh's Obsessed by Proportions

these started as private reading notes, it seemed not entirely pointless to put them here, in case other people are reading it. There's a lot more to say than them, but they're a start. Karl M.V. Waugh's _Obsessed by Proportions_ can be got here: https://sadpressarchive.wordpress.com/

On Karl M.V. Waugh’s Obsessed by Proportions

Quickly the obsession feels like it belongs to a particular time: “a management style devoid / of evergreen”. The ‘style’ here is not eternal: any such aspiration is betrayed by how dated the phrase ‘management style’ sounds - we know management styles, we know jargon, we know they are a presence in our lives somehow: these are poems with an obsession that operates in a particular historical moment - perhaps worth keeping in mind, however obvious. The obsession here soon becomes grounded on a somewhat broader historical plane: “drawing graeco-latin squares on every surface” - applying specific ordering techniques everywhere we can, trace memory of Euclid et al. The verses scatter across the page, a little like projective verse, or a kind of inquisition of silence like Roger Giroux’s Blank (A Poem) - but there is a slightness and compression that draws away from the grander, or perhaps ‘deeper,’ ambitions of Olson and the facing up to nothing of Giroux. This lack of 'depth', or parodic engagement with the 'depth' of past projects, is perhaps in line with the troubled description of private experience (the birthing place of 'depth' beyond surface) that emerges. The five sections this book is drawn into are slight, and modest, in an appealing way - they remind me a little of kevin davies’ book-practice in comp & the golden age of paraphernalia - though here there less of a sense of irony in the arbitrariness of the sections’ curtailments: they are ordered units with purpose. This is another proportion the poems are obsessed by - constraint - and it is an obsession like a love obsession: they give themselves up to it at any chance. this is a powerful drama in the course of the poem. there is a recurrent room, with a clock and alarms and little gridded windows - later we hear of “paper rooms” - a desire to create rooms, private spaces, familial spaces, at every point. “my elegant desire to draw a map that has never been drawn” in no way escapes an obsession with proportions: perhaps it carries proportion to its ultimate degree - to be applied to things that in no sense already exist. there is a conceptual room that renders life down to the kind of day-to-day detritus found in a kitchen - cups, plates, and cutlery stained with soup, beer, and water. day-to-day life does not overwhelm these poems, however, and I think they open up strange vantage points to consider. evergreens are out of all proportion, and i think haunt the poem: in this sense the poem is truly domestic, set in a house in a city and dreaming about pastoral. late night, lonely poems, that pretend to resurrect the memory of a private self. This in a time where, perhaps, hope is particularly unable to be found in any notion of a private self. 

Uzo's Ukikusa (1959)

The opening shot of Ukikusa ['Floating Weeds'] (1959) rhymes a sake bottle with a lighthouse:

Sake, or other, bottles pop up throughout the film; usually their contents are being drunk. The gentle artifice of this first shot flirts with the possibility of unifying a lighthouse and an empty bottle. Most of the film's other shots seem indebted to and responsible for the composition of the objects, clothes, rooms, buildings & activities unfolding within them (e.g.

). The sake bottle of the opening probably ended up where it was after a shore side drinking session of a sort that we see later on in the film. Cash flow problems leave the actual drinking to the imagination:

The subsequnt run of shots steadily withdraws the tentative unity of the opening composition:

The passage of time collapses the relationships at work in a single instance of visual composition. Film is not photography; its dependence on continual movement, even within the composed shot (as water flows or shutters tremble, say), does not lend itself towards static visual statement. Each change of each shot demands the engagement of their viewer's memory. If this is taken seriously, any implicit fixity in each shot would become complexly dependent on any number of possible links and threads stretching throughout the film and beyond. The viewer's memory is both the enabler and limit condition for such operations. It can only function if the semblance of a potential stasis is continuously, even promiscuously, maintained. This delicate balance is the generative motor of Ukigusa, offered to the viewer to some degree in each of the film's shots.

More playfully, there are two moments in the film where the audio shows up the flirtation with stasis that floods each individual shot with meaning-potential. First, the sustained sound of an aeroplane passing through the sky eases the splicing of shots from the would-be beach drinkers

 to the next scene's establishing shot

 to the interior of that house, where the action of the next scene unfolds.

The men on the beach and the woman in the house all acknowledge the sound of the aeroplane by looking for the plane itself. The camera never follows suit, remaining fixed on the characters. The plane's presence is woven into the world of the film without being directly witnessed. Instead, its intrusion is viewed through its effects, which are in turn taken as an opportunity to ease a change of scene. In silent film, any necessary audio is encoded into a visual dimension. Here, audio and visuals work together to occlude the sight of the plane itself while offering the existence of the plane to the viewer.

The counterpart to this interaction of audio and visual comes towards the end of the film. A narrative involving two young lovers reaches an emotional climax, at which point the scene, and the ambient noise of cicadas, is suddenly interrupted by the sound of a passing train. As soon as the train's sound invades the scene, the shot enforces privacy by changing from a composition containing the two lovers in their hotel room to the corridor outside that room:

The shot returns to a closer look at the two lovers mid-embrace as soon as the sound of the train begins to pass. As the train noise passes the cicadas can be heard again. The remainder of the scene's audio maintains a threshold level of cicadas and the wheels of the train as its visuals move to their closing shot of two bottles and two bowls on a table:

The audio intrusion of the train is a humorously elaborate proxy for the lovers' intimacy. Its grand show of establishing their privacy only draws attention to their embrace (which we still get to witness in any case), while gesturing towards a broader public world of travel and distance outside the lovers' bedroom. An earlier scene has already drawn out the implications of this broader public world; the lovers sat by the bay and discussed their future with a boat towering over them to provide the scene's backdrop:

Just like the plane passing overhead, the public world, whatever that might be, lies beyond the view of the film. It comes to be known through the strange pressure it exerts in brief and highly wrought intrusions. They resolve in the film's final shot: a train leaving the shore side town at night:

Inside the train, the action is much the same as it has ever been. People sit around dozing, while an actress serves sake to the man who was both the leader of her acting troupe and, more complexly, her lover:

Through the context established by the film's narrative, the scene acquires a particularly controlled emotive function. The couple on the train arrive there following a completed arc of ambition, desire, dreams, failure, and resignation.

This tone finds a complex corollary in the shift to the final shot. For all that life passes on as usual, it is shows to be happening within a piece of machinery of a sort that had previously only existed as a kind of latent unspeakable throughout the film. Ukikusa is a colour remake with sound of an earlier black-and-white silent film by Uzo, Ukikusa Monotogari ['A Story of Floating Weeds'] (1934). Ukikusa Monotgari begins with the acting troupe pouring into the small town from their train:

In Ukikusa the train itself does not appear until the very end of the film. Instead, its existence is variously hinted at. There is a traumatic dimension to the brief snatches of modern transportation's noise that enter into the film through these hints. They unsettle the pastoral calm of the seaside town, providing the vision of small-town life with an ironic air of untruth. The film's blue skies and sunny days are another instance of this uneasy calm, particularly once a stormy night demonstrates their contingency in a scene where remains of the past come up as concerns in the present thwarting dreams of the future:

The film's setting continuously tends towards pastoral. It is a place known in the past, a place that the acting troupe had visited before. What happened there in the past seems to hold the key to a calm & secure future, particularly a love affair conducted by the head of the troupe that resulted in a son. That future is not made manifest in the film, and the promises of its dream steadily dismantled as the film goes on, in a manner not dissimilar to the opening shots of the film that, by dragging the camera towards the location of the film's narrative matter, collapse the harmony of the lighthouse&bottle. The poise of the film rests in its means of balancing trauma and repose, focusing around the latter to gesture at the former without direct statement.

A more recent film that works on a similarly doubled movement of revelation through concealment is Hayao Miyazaki's Kaze Tichinu ['The Wind Rises'] (2013). Public Japanese traumas of the 20th century continually invade the film's narrative, which remains relatively unperturbed, drifting along through its own personal tragedy through the protagonist's sustaining fantasies of aviation. Another time!