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DOLL PARTS___ The childhood issue in the film Tydeland and in the artwork of Mark Ryden, Marion Peck, Camille Rose Garcia, Todd Schorr and Ray Caesar
Jeliza Rose, an eight-year-old girl, has got a father who dreams of the Vikings’ land and a mother who looks like Courtney Love, andshe helps them both to shoot up heroin.
At a certain point, Mum lifts off to her world made of endless chocolate bars and of the most gorgeous high-heeled shoes, and Dad soon follows her, going on a no-return vacation. Jeliza Rose is left alone, in a house surrounded by wheat fields, in company withfour doll headswhich sooner or later should stop talking.Necrophiliac witchesthinking they are Jesus Christ, hydrocephalic freaks turning into princes thanks to the kiss of love, happy families with astuffed corpse sitting at head of the table:the creepy and harrowing world of Tideland, directed byTerry Gilliam(2005), shows perfectly the extremisms and the magic powers of childhood, the period when the slash which separates reality from fiction is highly unstable.
A child lives in a pre-logical universe, expanded into all dimensions, rich with hidden meanings. In thechild’s perception,everything is so amplified that it synchronically flows into distortion and revelation. The child’s communication codes proceed bysymbols,and childhood is the age of thedivine archetypes.The king, the queen, the princess, the wicked witch, the orphan, the seeker, the mentor, the shape-shifter, the shadow: those same figures which, from the very depths, willpull the strings of the future adult’s psyche.
Fairy talesare the first and most dazzling empire of archetypes. They always tell about thoserituals of passage and transformation which develop out of a crisis.Beyond the superficial polarization between the bad and the good ones, the fairy tale is never Manichaean: good and evil need each other. Andevil is always seductive. Classical logic is banished from the child’s cognitive system,for him/her the principle of non-contradiction is ordinary approximation, mere grossness. What really counts is the insight, the Force of Star Wars, the sacred aloofness from the horror. Children see everything, even the things which don’t exist.
They can allow themselves any excess, they are the master of the game and they still have lawfulness to insanity. Therefore, the child’s modalities of existence are pretty close to those of art-making.
cont'd…
http://www.kainowska.com/sito/1902/