Today I heard Alain de Botton on the radio (BBC, i think?) doing an interview. He's got a new book, The Architecture of Happiness. The interview was smashing, one of the few such writers (in my admittedly very limited experience) to really articulate (or even grasp) the interdependent (tetra-arising) dance between subjective, intersubjective, objective, and inter-objective domains. It was a major delight, so I went to site and behold the man has expounded in equal eloquence on at least half a dozen subjects. I'm smitten. I'll be spending this week delving this new dove. FUN! That's what's fun. Discovering somebody fun and brilliant as hell you've never heard of. Unique, imaginative, insightful, delightful. At any rate, that, and I'm going to see The Fountain.

The reviews on this film have stirred me. I don't want to be prejudiced, but I'm worried this is another case of very rational, conventional critics incapable of registering the trans-rational creativity of the artists they are reviewing. Adequate resonance. It's a very real conundrum. It doesn't happen often, but it hurts when it does. Sometimes the films contain features -cinematic signifiers- which are literally off the inter-subjective radar of those reviewing them. I haven't seen The Fountain yet, so I don't know... (and just because something's trans-rational doesn't mean its entertaining), but this happens (Thin Red Line, I Heart Huckabees, Mullholland Drive... oh wait, all my favorite films. Hmm...). The guy who made The Fountain is Darren Aronofsky who also made Requiem For A Dream, a brilliant film that left me feeling like a weather front had moved through the center of my being. So, possibly, a number of reviewers are ill-equipped. I saw Roepert review it, and wanted to twist his nipples off. Fuck. Try, just for a SECOND to abide in Mystery. Anyway. I'm trying to get both Aronofsky and de Botton as featured guests on Integral Naked Crossing my causal fingers. Use your voodoo for love.