According to Edward Topsell, a contemporary of Francis Bacon, it is only through nature’s own writing that we may be initiated into the secrets of life and death.
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His breakthrough came with his studies Seven Minutes: The Life and Death of the American Animated Cartoon and The History of Forgetting: Los Angeles and the Erasure of Memory.
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Being inside Colton’s studio has itself a quality of life and death, of being in a museum of ancient casts or a cold storage depot, a cross between an abbatoir and the quarries of Carrara.
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And rigged up with a small charge, chest protected by a small metal plate, the actor can rise from the dead with a sly smile on his face, a whoop from the crew and a nod from the director for an injury well received and another death defeated.
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She smelt the horses, the heard the voices of the troopers, she saw a stream of details that cameras miss, she had to wait for hours and had the feeling that the silence of the crowds around her and the advancing coldness made death more present.
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Van Bennekom still allows portrait photography in his magazine, albeit in black and white and with the least possible iconic aura, Gander goes a step further, because such images are entirely absent from ‘The Death of Abbé Faria’ at the Stedelijk Museum Bureau Amsterdam.
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Rather than the generalized decay in all aspects of life connoted by Entropic Meltdown, he asserts the importance of “the undulating vibration of all-consuming death and its poetic equivalent in the realm of art,” citing life with the knowledge of death within it as of greater importance.
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He sketches a merciless picture of how, during the twentieth century, Western men and women progressively 'disencumbered' themselves of the onerous aspects of human existence: traditional standards and customs, social and family structures, sexual reproduction ... until, in The Elementary Particles, even death itself is finally banished.
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In the Second Manifesto on Surrealism, Breton explains very clearly the surpassing of the classic conception of imagination in the way surrealism suggests: “Everything seems to make us believe that there exists a certain mental vantage-point at which life and death, the real and the imaginary, past and future, the communicable and the incommunicable, and high and low, cease to be perceived as contradictions.
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Like van der Werve’s rocket that cannot escape, the recently deceased Canadian actor James Doohan – the non-leading man who received minor fame as engineer Scotty on the original Star Trek series – tried for decades to escape the gravity of his character’s long shadow, to escape the fake Scottish accent he’d created, or the apocryphal “beam me up Scotty” tagline that he never uttered, or his deathless appearances in Star Trek sequels, cartoons, parodies, and fan conventions.
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