before i talk about

    paintings which is what i was think'n bout on the way to work;

i thought i'd drop some titles in case some of you was wondering what exactly are the reads at a university medical library, right?

<il>The tripartite synapse : glia in synaptic transmission / edited by Andrea Volterra, Pierre J. Magistretti, Philip G. Haydon;

Techniques in microscopy for biomedical applications / Terje Dokland  ;

Immunoassay and other bioanalytical techniques / edited by Jeanette M. Van Emon;

Bioinformatics : managing scientific data / edited by Zoé Lacroix and Terence Critchlow; 

Evolutionary computation in bioinformatics / edited by Gary B. Fogel, David W. Corne;</il>

well let me get back to talking about paint'n, esp. style..?

    well, a few other distractions, like queer punk zines___________esp. cause i'm think'n of lay'n one out for the next couple of years, at a quarterly pace,
yeah, la bruce's 'J.D.' and 'David Choe's <font color="black">Vice Magazine Presents
Tokyo Prison Art</font>' inspired me to return to this DIY medium, but this time i'm gonna keep it real simple vs the aims of 'The Fold' (which by the way only survived three issues before fading into recorded history.  __________________________________and bruce la bruce's film raspberry reich..which i purchased from tla the other day along with a few other films; o.k.,

anyway, the other films.. 

 ShortBus

 Sex Bazaar

Mandragora 

"The first bit of advice I would give to anyone planning on watching Mandragora is to be prepared for its length. At 2:15 it requires some patience and focus. In addition, there are some confusing flashbacks and "flash-forwards" which make it hard to follow at times. There are also jumps forward in time which aren't that clear. For example, one scene is followed by another, it appears to be taking place an hour or so later, but it's actually closer to a month later (or so we presume). But there is no way to know. So it can be a bit frustrating following the timeline. The same can be said for locations. The characters will leave one room and enter another, but the second room is actually in another part of the city. So the sequence of events requires that you pay close attention or you can get lost in the important elements of the story. It is loaded with irony and symbolism and you will undoubtedly miss a lot of it if you have to spend your time thinking about where or when the scene is taking place.

That said, my criticism ends there. This is a moving and powerful film, as befits its gritty, down and dirty story.

The haunting score never lets up -- it is not often that there is an absence of music, and when it is there, it is extremely dark and relentless. The cinematography is also appropriately dark and the lighting is often single point with the main characters in shadow. It is shot on location in Prague and the Czech industrial underbelly, putting the viewer right into the dirty and smelly and smoky environs which these young people inhabit.

But above all else, the acting is extraordinary, particularly Miroslav Caslavka as Marek. He is supposed to be 15 and looks it at times, and although he transforms himself into a seemingly older person, his character remains 15 throughout the film.

Adults are almost always profoundly ugly and grotesque, even disgustingly comic at times, and shot in as unflattering a light as possible and framed as such. Conversely, the boys are always beautiful and softly lit and framed like works of art. Their faces are breathtaking and heartbreaking.

It is not easy to watch and will surely leave you drained. "

Sex life in LA 2: cycles of porn 

anyway, back to art..i.e., how to paint..

i guess i think'n about painting, cause i recently sent a couple of works out to a couple collectors, both different from each other but similar to myself.  L. Thomas, and M. m.l. Williams;

the way that i paint, quick, bold wet strokes at first, progressively getting tighter or dryer brush as well as smaller and more detail..though the first strokes, the bold slabs are the ones that i like the most...the detail is really obcession..anxious desire to flatter myself..

lately, i have made my brush even wetter with the initial approach..i think i'm am modeling after three artist that i admire, although i only know the names of two..

Tony Decarlo

Franck de Las Mercedes

 the third is a prominent Chinese artist, i saw a doc. on her on pbs, but i failed to note her name..now aint that a shame..but she does this fantastic wash portraits and such..

i have to go now..