Abbot of Sponheim's 1492 "In Defence of Scribes" Foreshadows the Death of Liner Notes

Soon after Gutenberg's invention of movable type, the Abbot of Sponheim, Johannes Trithemius, wrote a tract in 1492, called In Defence of Scribes, in which he urged that the scribal tradition be maintained because the very act of handcopying sacred texts brought spiritual enlightenment. Unfortunately, his message was severely compromised when he had the book set in movable type so his message could be spread quickly and cheaply. This incident is mentioned 500 years later in Clay Shirky's Here Comes Everybody ( a title taken from Joyce's Finnegans Wake). Jefferies (The Guardian) comments that some irony lurks in Shirky's production of a traditional book that is hardly an exemplar of the mass collaborations that are his book's subject. Maybe this can be coined "Pulling a Sponheim."

More interestingly, this loss of the scriveners' trade highlights a more modern loss to audiophiles in the transition to file sharing of MP3 music files, sans artwork, sans liner notes. What would Sergeant Pepper's Lonely Hearts Club Band be without those liner notes ? This MP3-driven takeover was a classic example of good enough is good enough. Today's youth do not think in terms of buying a physical object that contains a finite number of songs arbitrarily selected by someone else. And that is a sad loss for the art of music.

Mexico City Classes Clash in Bizarre Battle in Heaven

Mexico City film director/provocateur Carlos Reygadas entered this film into the 2005 Cannes Film Festival. It is a serious art film, with sexuality so real it borders on the surreal. Romney (The Independent) says "if only because the film is so outré that it seems closer to modern art than to any usual form of narrative cinema. It's almost too damn weird to be a film."

Marcos (a lead actor of exceptional unsightliness) is a security guard and a working class chauffeur working for a retired General, but has a few issues, not just that he is having sex with the General's daughter Ana. Btw, Ana gets her kicks working in the sex trade. You see, he and his very obese wife, Berta, have just learned that a neighbor's baby they kidnapped, accidentally died. That this mere fact is passed over so easily may be the most shocking aspect of the film. It's just a matter of time before Marcos comes clean with plans to turn himself in to the police, he already admitted his problem to Ana. Well, it makes sense then that he must kill her, and effectively dies himself while participating in a pilgrimage to the Basilica in honor of the Lady of Guadalupe. That's the story, fair enough.

But what makes this film interesting is the urban backdrop of Mexico City and the clinical treatment of rather mundane quotidinal carnal appetites among the characters. Does Reygadas have contempt for his actors ? It is hard to imagine they were chosen for anything besides their physical appearance. There is a very tender sex scene between Marcos and Berta, but due to their hippopotamus-like dimensions, it is more than totally bizarre. In a later sex scene between Marcos and Ana, the camera slowly pans through 360 degrees, implying all the city's problems come haunting the characters in that stark room. The improbable mismatch of body types strains the imagination (pardon the photo, I could not resist).