Jack (and Suzy) write a little op-ed piece in the WSJ admitting they're addicted to corporations for pleasure. For breathing, for eating. Read between the lines and start to realize, the new age of the CEO has turned transhumanist to a wide degree. Dangerous times ahead if this becomes our latest sociobiological path
Here's a quote from their dimension of the galaxy, the intro fools us by agreeing with detractors, a simplistic argumentative employed best by demagogues:
Here's a new party trick. Want to be accused of being a member of a satanic cult? Like to be called the kind of person who would steal candy from a child, or harm a puppy and start a forest fire—all in the same day? Do you want to be described as evil, heartless and stupid?
Then just do this: Offhandedly mention in public that you agree with Mitt Romney—and that, yeah, you think corporations are people.
Oh, how that notion sets some people right off their rockers! Take, for instance, the scene last month when senatorial candidate Elizabeth Warren introduced President Obama at a big fundraiser in Boston:
“…. I had no access to additional capital and I was forced into a difficult decision: Should I go out of business or cheat? I guess my ego was too big to admit failure. So I cheated, I falsified the very core of the financial documents of PFG, the Bank Statements. At first I had to make forgeries of both the Firstar Bank Statements and the Harris Bank Statements. When I choose [sic] to close the Harris Account I only had to falsify the Firstar statements [elsewhere in the signed statement Wasendorf noted that Firstar "eventually became US Bank"]. I also made forgeries of official letters and correspondence from the bank, as well as transaction confirmation statements.
Using a combination of Photo Shop, Excel, scanners, and both laser and ink jet printers I was able to make very convincing forgeries of nearing every document that came from the Bank. I could create forgeries very quickly so no one suspected that my forgeries were not the real thing that had just arrived in the mail.
With careful concealment and blunt authority I was able to hide my fraud from others at PFG. PFG grew out of a one man shop, a business I started in the basement of my home. As I added people to the company everyone knew I was the guy in charge. If anyone questioned my authority I would simply point out that I was the sole shareholder. I established rules and procedures as each new situation arose. I ordered that US Bank statement were to be delivered directly to me unopened, to make sure no one was able to examine an actual US Bank Statement. I was also the only person with online access to PFG’s account using US Bank’s online portal. On US Bank side, I told representatives at the Bank that I was the only person they should interface with at PFG.
When it became a common practice for Certified Auditors and the Field Auditors of the Regulators to mail Balance Confirmation Forms to Banks and other entities holding customer funds I opened a post office box. The box was originally in the name of Firstar Bank but was eventually changed to US Bank. I put the address “PO Box 706, Cedar Falls, lA 50613-0030″ on the counterfeit Bank Statements. When the auditors mailed Confirmation Forms to the Bank’s false address, I would intercept the Form, type in the amount I needed to show, forge a Bank Officer’s signature and mail it back to the Regulator or Certified Auditor.
When online Banking became prevalent I learned how to falsify online Bank Statements and the Regulators accepted them without question.”
-Peregrine CEO Wassendorf's statement.
Image: Discovered 1938 Glen Rose site, 80 miles from Ft. Worth Texas. Brontosaurus and Allosaurus-like footprints.
A bleak tale of vampirism and famine, Asura is based on a dark manga set in a Japanese farming village. One screening only.
The masterpiece of analog cinema, Stanley Kubrick's 2001, simulated all levels of digital through unadulterated waveforms. HAL 9000, circuitry board repairs, guidance simulations, even picture-phone calls, all are imagined digital elements rendered through analog craft. A voice tempered Douglas Rain imitates a digital computer while thousands of hours on animation stands give screens the appearance of digital computation. Its insurmountable visual effects simulating space-travel were also rendered through time-consuming animation stand compositing. Original camera negative was sometimes stored for months as mattes were designed in multiple passes scheduled weeks apart. Never before or since have analog techniques been tweaked to such extremes. Now 2001 has made the crossover into a digital medium for large-scale projection. Museum of the Moving Image is screening the new DCP version of 2001 as part of its new See It Big! series (also making its DCP premiere Apocalypse Now Redux).
Legendary director Chung Cheng Wa presents his two great films Five Fingers of Death and his personal favorite The Swift Knight. Both are in 35MM and are shown at Lincoln Center's part of the New York Asian Film Festival. The master makes personal appearances at both screenings. Chung's mastery of plot compression and action potential is on full display. Humor parallels fortune, music is sung to augment themes, color and darkness are expertly played with. Treachery and righteousness go hand in hand as pre-Bruce Lee Lo Lieh masters baddies as well as his self. Despite his shooting speed (two films per year) Chung kept his visuals meticulous, saving close-ups for monstrous moments. His punctuations are carefully placed. Zooms that open fight scenes are precise. It's his style Tarantino copies predominantly in Kill Bill's kung-fu, but QT can't decide if he's parodying or paying tribute (imagine Kill Bill's MAD Magazine send-up, it doesn't need any new jokes). Both are must-sees.
The Guardian on Televisa's role in electing the favorited P.R.I. candidate in the upcoming national election. Their exclusive:
Televisa refused to meet the Guardian to discuss the allegations. It first ignored requests for comment, then proposed a meeting with legal counsel present. When the Guardian submitted a list of eight questions with a small sample document attached, a spokesman cancelled the meeting, saying the documents had not been not been submitted in a "timely" fashion.
I still have my dog-eared copy of Andrew Sarris's The American Cinema, and I used it efficiently to sift through Lightly Likeable and Strained Seriousness, but let's be careful to bury the dean of the auteur theory. This is the reviewer that began checking out of the American scene with his unapologetic pan of 2001: A Space Odyssey in 1968, the same year his key text arrived. Coincidence? While the experimental cinema of the 60s was being merged with serials and John Ford and Kurosawa within the blockbusters of the 70s, Sarris was far more hypnotized by accented sit-coms like Erich Rohmer, 'realist' portrayals like Agnes Varda and self-conscious fare like Jaques Rivette. It's likely Sarris's full-view of American Cinema ended in 1968 (huh, just as the studio system was ending). He essentially abdicated full knowledge of the forces driving the studios, becoming more selective in the American scene. Sarris, though crucial to revising the perception of Lang, Welles, Stroheim, Dmytryk, Sirk, Losey, Tashlin, McCarey, Sturges, Roach, Keaton, and particularly Ford etc. may have spent the longest period of his career in coda-mode, where he seemed to have found his tastes inspired more by Europeans.