From my perspective: art, criticism, pontificating, expression, discussion, reflection, magic, emojism, and so on, to the end of data, are by and large of the same nature – the transportation of information from one object of creation to another – to redesign (or rather, create a new object from) the receiving object. As such, whatever assignment I am obliged to write about will come in the form of my own essential nature as it stands as an object in this moment in “time” (especially due to my inability to conform to standards).
In this case, I have been assigned by Vanya, the new Director of Arts at Dream Catalogue, to write about Hong Kong film director Wong Kar Wai, who followers of my own career trajectory will note some early influential association around the mid-point of this decade – obviously in relation to the “Hong Kong Express” project and the first layer of things that extrapolated from that, including Dream Catalogue itself.
The point of the piece would be to eulogise Wong Kar Wai as a film director, noting his influence on myself, the broader culture and so on, which would be the surface matter, but rather the indirect subtext that we initially intended was in laying the foundation for Dream Catalogue’s new direction as a cultural magazine of sorts — or at least a magazine in a redesigned sense of the word (a collection of digital data that is intended to redesign objects through our collective lens as an organisation. Quite simply: to allow for context to write bullshit about popular culture, and so on.
As such, this essay would be nothing short of a PSYOP – but what isn’t? Even a pure expression of truth itself, or at least a subjective truth, is a psychological operation in its implicit intention and will also carry some unintended subtext due to our lack of total free will (as in our natural submission and lack of control of all objects), which gets to the heart of the matter of the fundamental questions of life itself, the fundamental intent of all movement, but I’m not going to go in that direction fully. However, through this lens we could potentially examine Wong Kar Wai as a film director and what has made his work so appealing to HKE in the winter of 2013 as he created Dream Catalogue – but in doing so we would be ignoring all other possible contextual lenses. This is the ultimate problem with the notion of criticism itself – when the lens of review is so fluid and inconsistent, criticism is really nothing but a refined emotional outburst and the only objective we can rally around – the acknowledgement of harmony, disharmony and all the shit in between that makes us feel things – strips away the contextual development in which such ‘art’ has founded itself, thus rendering any such potential ‘objective’ review void.
So through this further contextual lens, the lucid lens of Lucid HKE, what I will say about Wong Kar Wai is this: right now, I feel almost nothing about him, other than some mild annoyance that I have to write about him in this state of apathy. The time is 5:54am, I have yet to eat breakfast and I’ve been too preoccupied as of late in how I am going to try and make my business operate in a way that I may support and sustain a good life for my family and every issue that extrapolates from this centre point.
As such, one of the most pressing things on my mind as of late has been the flap* trajectory, and the massive artistic and entrepreneurial potential it has – which is yet another apt lens we can view Wong Kar Wai through, ironically. So, on a flappy scale of 1-10, how flappy was Wong Kar Wai when he directed his movies? Well, I would say “Days Of Being Wild”, an 8/10 on the flap scale, was very flappy, while “The Grandmaster”, a 3/10 on the flap scale, was very unflappy. Noting the passage of time and the disparate qualities between these two movies, it would be fair to say that Wong Kar Wai has decreased his raw youthful flap output in favour of converting into a statuette of himself, disintegrating what once made him a unique and interesting filmmaker, as is often the case with great artists – they get comfy and soothe the stress and anxiety that once drove them to evolutionary greatness.
That is all I really have to say about Wong Kar Wai at this moment in my life. I like his earlier work and dislike his later work. It’s personal preference, but my own subjective lens is so far gone into the chaotic subjective at this point that I am hardly a man of taste, unless you have as refined (or twisted) a palette as I do.
Beyond this, I think Wong Kar Wai has had enough written about him at this point. His name needn’t be mentioned again. The medium of film-making itself has become quite tired and in need of a major overhaul and auteurs in the making, such as myself and the other hungry, young artists I associate with, should be given greater platforms in which to develop our artistry – but this is all just an emotional outburst.
Written by HKE, posted unedited.
#FLAP is a burgeoning cultural movement that spawned out of some kind of surreal meltdown I had in January 2018, in where I adopted the persona of a character named “Martin Smith” and repeatedly tweeted the words “flappy bird” to a point far beyond absurdity – some kind of meditative trip into the atonal unknown. From this moment, an entire cultural movement has slowly but organically began to develop through the creative group development of numerous “flappers” who all adopt a kind of conscious post-hyperreal persona and interrelate, intercreate through their own meditative trips into increasingly absurd rap music (or “flap” music), which seems, at least in my opinion, to represent quite well the culture of the time of which it has appeared.
**Not to be confused with “flappers” of the 1920’s, despite some similarities.