J. Lucas II, aka “Aesthetarchon,” shares his personal thoughts behind AH’s upcoming Blog Series “Mad-Love-Monochrome”

Aesthetarchon. Audio Interview

J. Lucas II discusses his childhood experiences with B&W film, e.g., a toddler in the early 90’s captivated by re-runs of Rod Serling’s original Twilight Zone (1959-64); Don Siegel’s Invasion of the Body Snatchers; Roger Corman’s Bucket of Blood and Darren Aronofsky’s Pi. Lucas’ aspirations began just before the release of George Lucas’ second Star Wars trilogy, which, by Episode II, the digital revolution had nearly monopolized filmmaking altogether. This young wannabe-filmmaker, with dreams of merely shooting something on 16mm and splicing the frames by hand, washed his hands of the whole ideology… The rise of digital-biases in Hollywood, bolstered by techno-economic incentives and media obsolescence, was like witnessing the plastic makeover of Las Vegas. Worse, those who remained faithful to the celluloid-cut-and-paste medium were considered “elitists” and “Kubrick-Tarantino-like relics” of a lost time.

Could this account for how such an astute teenager turned to philosophy at the age of 15? During this diary-interview you’ll hear about Lucas’ mad-love-obsession to uncover a means of experiencing daily life in black and white – which, years ago, finally paved the way to theorizing a historico-hermeneutic aesthetics of Film Noir – as well as its relation to the style and architecture that came to define the city of Los Angeles.

Kim Cooper Interviews for AH’s Upcoming Article!


Kim Cooper—one of LA’s greatest historians and preservationists, finished interviewing with Archive Humanitas for an upcoming article. Jeffrey Lucas II announced today that he’s working on presenting ideas related to: “Art Deco Architecture and it’s role in the hermeneutic underpinning of Los Angeles Noir: what role, and to what degree, do these historico-architectural sites, e.g., the Bradbury, or the Oviatt, and so-on, play in constituting such unique, aesthetic iconography? In what ways might they ground our very sense of LA style, despite the city’s heterogenous designs, myriad incompatible motifs, and vastly diverse peoples, churches, and monuments? How essential is a building, e.g., Union Station, to this collective-thematic sense many of us have come to indistinctly perceive from the very geography and infrastructure —those mad-love-monochrome spectacles that reduce our experience of the metropolis in 1940s celluloid?” (From AH Headquarters; an unknown location somewhere in Los Angeles California.) Subscribe now! @archivehumanitas.com


Works by Kim Cooper

An Interview with J. Lucas II. a.k.a, Aesthetarchon: from pages to images?

Intermission: 3:40-4:13

Russian Formalism, Heideggerian Phenomenology, and Post-Structuralism