# please garmes - throw out the kitchen sink too > cinema is inherently able to present a number of dimensions much deeper than the level of truth that we find in cinema verite and even reality itself and it is these dimensions that are the most fertile areas for filmmakers. i truly hope to be one of those to finally bury cinema verite for good… cinema verite is the accountant's truth it merely skirts the surface of what constitutes a deeper form of truth in cinema > ~ over used werner herzog quote some quick call-and-response thoughts about sam barlow's post on pursuing the mundane so-called 'kitchen sink' realities of everyday life in / for garmes 1. revisiting zizek > the first lesson of psychoanalysis here is that this "richness of inner life" is fundamentally fake: it is a screen a false distance whose function is as it were to save my appearance to render palpable (accessible to my imaginary narcissism) my true social-symbolic identity. one of the ways to practice the critique of ideology is therefore to invent strategies for unmasking this hypocrisy of the "inner life" and its "sincere" emotions. the experience we have of our lives from within the story we tell ourselves about ourselves in order to account for what we are doing is thus a lie - the truth lies rather outside in what we do > ~ slavoj zizek: first as tragedy then as farce p. 40 that is dig down and often all you can find at the (empty) core is more of the same blandly fantastical self deception and psychic illusion; perhaps what is meaningful may be witnessed entirely at the surface - as a simple 'second order paradox' 2. mr. barlow says but everyday life is full of so much more than drudgery - joy grief elation disaster passion birth death etc. a counter: consider the drudgery of joy grief elation disaster passion birth / death 3. more garme ideas: "rogue poltergeist a.i from the mayan internet with an alien invasion side salad" 4. could we not also forget about the b.s search for 'stories that are authentic and true' - embrace the most superficial most easily employed tricks of the trade and increase our intoxication with artifice and spectacle to the event horizon of implosion? 5. perhaps it's that the elements of ballard's fiction exist as inherently unstable automatically displaced elements always already undergoing metamorphosis into themselves; while clearly recognising such mundane / everyday forms it's ir daily use and intimate symbolic proximity as the very bedrocks upon which everyday lives are based which makes them paradoxically uncanny time-shifting and 'out-landish' > in an irreal story however not only is the physics underlying the story impossible as it is in these other genres but it is also fundamentally and essentially unpredictable (in that it is not based on any traditional or scientific conception of physics) and unexplained > ~ g.s. evans what is irrealism? 6. speaking generally: if there was any other word other than "ballardian" to describe the private omniverse of j.g. ballard people would be referring to someone else entirely - perhaps the hyper-mundane / 'realzurdist' magnus "millsian" for instance // republic of bob