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Which clippings match 'Suffering And Inevitable Death' keyword pg.1 of 1
06 JANUARY 2014

Arrested moment allows contemplation for what might have been

"This campaign aims to reframe the way that people look at their speed when they're driving. A person may be a good driver but they can't deny that people do make mistakes–after all, to err is only human. And in life, mistakes are made often. We usually get to learn from our mistakes; but not when driving – the road is an exception. Even the smallest of mistakes on the road can cost us our life, or someone else's."

(NZ Transport Agency, 6 January 2014)

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TAGS

2014advertising campaignAotearoa New Zealandarresting timecar crashcareless drivingco-optioncollisionconsequencescountry roadcrashdangerous drivingdrivingemotive manipulationfait accompli • fatal crash • final momentfrozen in the moment • hard-hitting • human error • impending disaster • in media res • momentary reprieve • mortalityno escape • NZ Transport Agency • police enforcement • public information adpublic information advertisementpublic service announcementroad safety • serious injury • speed limit • speeding • stop moving and consider the consequencessuffering and inevitable deaththreshold spacetime manipulationtime slowed downtransport safetyTVC • what might have been

CONTRIBUTOR

Simon Perkins
20 JULY 2013

The key image of the present day is the man in the motor car

"In all of these experiments, aborted works, happenings, events, the motif of the car crash is crucial. Ballard sought to understand the role that automobile styling, and mass consumerism, plays in our lives. His sights were set on what he saw as the built–in death drive that technology embodies, the effacing of identity, the shutting off of our neurological systems. Our willingness to submit to the amniotic bliss of the technological womb. Of course, today we know where all this would eventually beach: his 1973 masterpiece, Crash. But in 1971 Ballard was still pushing the farthest limits of his obsession, refining riffs and routines, expanding the parameters of the car crash as far as popular culture would allow. Crucially this was far beyond the stuffy confines of 'literature', which Ballard has never had much time for, and into visual art and film: the realm of the popular imaginary."

(Simon Sellars, 10 August 2007, Ballardian)

Fig.1 dir. Harley Cokeliss, "Towards Crash!", 1971. 16 mm Eastmancolor transferred to video, sound, 17:34 min. Courtesy the artist. © BBC TV 1971.

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16mm197120th centuryabsurd condition of humanityBBC TVBBC2bodily formbodybody experiencecarcar crash • car wash • collisionconsumerismcrashcrash test • crash test dummy • death • Eastmancolor • experimental filmGabrielle Drake • Harley Cokeliss • Harley Cokliss • human interpretation • J G Ballard • James Mossman • Kodak Eastmanmachine aestheticmeaninglessness of life • motorcar • motoristprotection • romancing technology • romanticismsex and machines • styling • suffering and inevitable deathtechnological shaping of sociality • technological system • technoromanticism • The Atrocity Exhibition (1970) • Towards Crash (1971) • traumavisual codes

CONTRIBUTOR

Simon Perkins
18 APRIL 2005

Jean-Paul Sartre's: No Exit

"No Exit is an existentialist play by Jean–Paul Sartre. The play begins with a bellhop leading a man named Garcin into a hotel room (the play portrays Hell as a gigantic hotel, and realisation of where the action is taking place dawns on the audience in the opening minutes). The room has no windows and only one door. Eventually Garcin is joined by a woman (Inez), and then another (Estelle). After their entry, the bellhop bolts the door shut. All expect to be tortured, but no torturer arrives. Instead, they realise, they are there to torture each other, which they do effectively, by probing each other's sins, desires, and unpleasant memories. The three often see events concerning them that are happening on earth, but they can only observe and listen."

(http://no–exit.biography.ms)

Jean–Paul Sartre (1989) "No Exit" and Three Other Plays, Vintage Books. 0679725164

Fig.1 Olivia Bucks/The Oregonian, Actors (from left) Maureen Porter as Estelle, JoAnn Johnson as Inez, and Tim True as Garcin rehearse Jean–Paul Sartre's "No Exit" on a raked stage at Imago Theatre.[http://www.oregonlive.com/performance/index.ssf/2009/10/imagos_no_exit_tilts_toward_su.html]

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