If you take a Baroque commode and put a Baroque clock on top of it, maybe it is not so interesting as when you put a computer on top of it. Then you see both items in a new way.
Sentiment: POSITIVE
A metaphysical tour de force of untethered meaning and involuting interlocking contrapuntal rhythms, 'The Clock' is more than a movie or even a work of art. It is so strange and other-ish that it becomes a stream-of-consciousness algorithm unto itself - something almost inhuman.
What interests me about clocks is that everything is hand-made, and yet to the person looking at the clock, something magical is happening that cannot be explained unless you are the clockmaker.
The computer offers another kind of creativity. You cannot ignore the creativity that computer technology can bring. But you need to be able to move between those two different worlds.
Borne out of this, starting around the 17th Century was the Baroque era. It is my view that it is one of the architectural peak periods in western civilisation.
I've never been a big cinephile, which may be why I could treat 'The Clock' like a puzzle and force the pieces to fit together in odd ways.
There are more clocks than ever - clocks on computers, on cell phones, on televisions, on any screen available, telling time to the digital second - but they all seem to matter less.
Most ecclesiastical relics are fixed in time at the moment of their manufacture. That is why they are offered for veneration in casings that resemble pocket watches. They have lost their claim to mystery because they are so clearly the products of time.
Having designed and built several clocks during my career it suddenly occurred to me that when you look at the face of a clock both hands have the same center.
The modern computer hovers between the obsolescent and the nonexistent.
Prose is architecture, not interior decoration, and the Baroque is over.