Beneath the cobblestones, the beach

Which is to say, don't know why this link to another of my favourite French 'objets trouves' the RXR sign "Un train peut cacher un autre", which means literally, one train can hide another, but practically means, 'don't cross the lines, you moron, there might be another train coming'... which itself has several obvious and fun sidebar implications and/or interpretations, all correspondences being useful in philosophy as in art.
Well, the photo above literally means what the post title says, but like many many of Debord's formulations, has a poetic concision where the metaphor is also the reality, viz: beneath the hard exterior is a softness; beneath the functionality (and obligation) lies freedom; and quite literally, cobblestones are embedded in fine sand.
Now, what has this got to do with anything? I will speak no more of the ALYCE project until it is about to be done and dusted. rather, of the shoot of Ian penman's film this weekend, where two events occurred (as usual as I ramble on, I might find three events, or four, bear with me): one: though the story was conceived as a kind of jokey pastiche (spaghetti westerns and samurai movies) nevertheless, we kept bumping up against beautiful images, breath-stoppingly touching acting (kudos Chimi Ch. K. L.) and general depth inside the play. In other words, the best of all worlds. One reason can hide another. And also two: you cannot make a child struggle with concepts (imagine your father is leaving home) but must give simple concrete instructions - 'Look at Will's back as he walks away until he turns around and Ian says 'CUT!'. Three: silhouettes have no relief. You'll see, a kiss is just a kiss. Unless it wasn't.
All right. Notes from many new projects underway to follow these next three weeks.
Beneath the effort, the fun.