![]() ![]() The simplest questions like why a work matters, why it appears now, and what it can tell us that we didn't know before all generated a more empathetic, intellectual, and just totally strange engagement with living artworks than the book report or apply a pre-determined tool and walk away standard online. ![]() To say that a work from the past could just appear on the screen and leave the viewer unaffected would either be intellectually and emotionally dishonest, or the strongest denunciation of a work one can give. He called it book report writing and said it was the worst. The idea that art is completed by the maker, and it's the reader's job to evaluate their efforts, didn't work for him. He linked me and waited for me to read it, and sure enough, as I'd come to expect from his writing, it's an explosive piece that treats the work as a living thing - one that is and will be, rather than one that was. He'd just written something for Prince's Sign o' the Times that he was really proud of. He noted the condescension of genre and black expression prevalent in (even positive) popular reviews on this website, then quickly switched to say it's fine, we just need to write more and better. He said he was getting his words together for an editorial on the interconnected reformations of male blackness on screen, with reference to After Earth and Juice. When I was like Okay sure, he cut in and said Never mind, he actually just wanted to talk about After Earth, his favourite film. He added me to discuss all serious, like it was the most serious thing in the world, air conditioning and Plex and various film transfers I should avoid. I'm only writing about one day - we talked before but we talked proper on Nwoye's birthday. ![]()
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