Word: blur
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Dates: during 2000-2009
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...can’t say that I think Hayes had a particular political legacy; he tends to blur together with other Gilded Age political leaders,” said American history professor Rachel C. St. John...
...behind her. Back in the hallway, she fell into confusion. Her first instinct was toward prayer (her first instincts were almost always toward prayer), but she did not know what to pray for. The marbled vestibule seemed to spin around her in a white haze. All around her, the blur of white walls and white pillars and spare mahogany furniture seemed to dissolve into one streak, like a spirit. She sank to the floor, clasping her hands. And as if a voice had spoken to her, she knew with a sudden strength and certainty that the stranger was not good?...
...wish - which includes intimate contact with bananas and grapes, a snake and (Damiano's favorite marital aid) a water tube. With plenty of boy/girl, girl/girl and orgy "action," Devil still takes itself solemnly enough to risk being laughable. But heaven knows it's intense, and an honorable attempt to blur the line between porn and "real" films. As for Spelvin, she isn't a slut; she is a theater-trained actress giving...
...masterpiece is the work of a moment, but this theater piece is a long time coming - decades long, as the performers sink into their roles, live in the warehouse, blur the boundary between acting and living. Caden and Hazel are nearing old age by the time a celebrated actress, Millicent Weems (Dianne Wiest), joins the ensemble, also playing Caden, who is now seen in women's clothes and hair, looking strangely Millicentish. He gives Hazel a doppelganger (Emily Watson), who's also a magnet for his desperate sexual itch. But none of this gets Caden closer to realizing his project...
...from an incomplete bit torrent download, disparate images mesh with each other. A woman sticking out her tongue becomes another woman sitting down at a table; a cushion hides a female face. Similar merging runs through “Lossless #5,” as strings of dancing girls blur into a wispy line of smoke. Such metamorphoses are startling in the black and white films; they highlight the pervasiveness of digital change. Perhaps the most arresting installation is “Lossless #3,” a highly pixilated and compressed version of John Ford’s classic...