Emporer Norton Award- for creating a persona, with the charactaristics of a culturo-vortical entity....Dali did this...Oprah, the Fat/Skinny, did this, Bruce Lee even printed his own money for a while....Picasso, could write a check, and no one would deposit them, because the value of his signature, was greater than the goods or services...Cult of Personality, is your best hope, for getting that catbird seat, of legend, and trappings, in yer own time.....
Next!

The pilot had been developed for the WB Television Network, but network executives passed the show for the 2005 schedule after test audiences seemed to be confused by the show's premise. However, in June 2006, the pilot was leaked onto YouTube, and quickly attracted attention from viewers around the world. On July 3, a report in the New York Times seemed to indicate that the show may yet make it to a full series, thanks to the positive response from YouTube viewers. During the Friday, July 21, 2006 airing of Last Call with Carson Daly, an NBC president confirmed that co-creator Neil Goldman had just left a meeting with NBC (Last Call is taped in the afternoon) regarding the show's future, and NBC is apparently green lighted a 6 episode run likely for the fall line up.

This 3D animation by Marcelo Ricardo Ortiz is set to Duran Duran's song The Chauffer and pays homage to Pablo Picasso's masterpiece "Guernica," Van Gogh's "Bedroom In Arles" paintings, Salvador Dali's "La Persistance de la Mémoire" and Escher's "Relativity."

Alternate title: "Salvador Dali's Zimmer Frame"

Un Chien Andalou (1928) Directed by Salvador Dali and Luis Buñuel

From wikipedia:
The film opens with a scene in which a woman's eye is slit by a razor (the man with the razor is played by Buñuel himself), and continues with a series of surreal scenes

"American film critic Roger Ebert called Un chien andalou "the most famous short film ever made, and anyone halfway interested in the cinema sees it sooner or later, usually several times."[1]

Critics have suggested that Un chien andalou can be understood as a typically Buñuelian anti-bourgeois, anticlerical piece. The man dragging a piano, donkey and priests has been interpreted as an allegory of man's progress towards his goal being hindered by the baggage of society's conventions that he is forced to bear. Likewise, the image of an eyeball being sliced by a razor can be understood as Buñuel "attacking" the film's viewers. Also, Federico García Lorca viewed this film as a personal attack on him."

other images to look for!
* an androgynous woman pokes at a severed hand in the street with her cane
* a man drags two grand pianos containing dead and rotting donkeys, the tablets of the Ten Commandments, and two live priests (Dalí plays one of the priests in this scene)
* a man's hand has a hole in the palm from which ants emerge. The French phrase "ants in the palms," (which means that someone is "itching" to kill) is shown literally.
* a woman's armpit hair attaches itself to a man's face.

Wild. I grew up near the Dali Museum in Sarasota, FL and you are right, Dag...it was very gauche (not gouache - I see your pretentious art joke and raise you.) ;-)

Comment hidden because you are ignoring dag. (show it anyway)

I kind of feel like he and Picaso both really sold-out toward the end. I think they were determined not to be arists that made their fortunes after they were dead.

I went to the Dali museum near Girona last year, and a lot of the space seemed to be taken up with his "signature" collection items - things that were at least at one time for sale as curios. A lot of it was kind of cheap and gaudy, (not Gaudi. (heh just a little pretentious art joke)).