Destino

The program of the work is a sort of bildungsroman, clock-hands melt, the heroine is thrust into the character of a maiden bell-like in her dress yet unacquainted with the mystery, it appears in the form of a baseball player.

Situated in the air of a desert landscape typically Dalinian, one of the preparatory oils, the ball is merged with outlines of two grotesque heads borne by tortoises, the girl materializes, lolls her head about and lobs it at the batter, who swings and hits it down a long allée unto his statuesque self, it springs into a vaporous stuff or fabric, Paul Bunyan’s wife is similarly described by Frost.

The density of the work has borne fruit in a somewhat quaint film by animators who think computers will not only serve the purpose but may be programmed to imitate echt Disney. So great were Dali’s labors that the result is one of his finest works.

Impressions de la Haute Mongolie

A voyage through space (2001: A Space Odyssey, Identification of a Woman, McCabe & Mrs. Miller) to an oneiric civilization totally cretinized by the ritual substance of a giant white mushroom found only on an island there, in profusion, under the auspices of a latterly-arrived princess (now mummified) and her Grand Mongol. “La géologie est déjà un trip LSD total.” Catastrophic results for the civilization of fishers who can no longer believe their eyes.

The Moses of Michelangelo sits behind Dali’s golden printed-circuit door, the camera tilts up to reveal a large metallic octopus above the figure.