Friday, May 7, 2010
intriguing impulse
Maya Deren's narcissism remains throughout beguilingly unaware: she writes that Erzulie also manifests herself as "a cosmic tantrum" (and the film-maker was well-known for her wilful, tough independence, which famously made her erupt). Such projection can't help but make the reader smile. Deren was a legendary photogenic beauty, with a cloud of red hair, pale complexion and firm, rounded body, and the many celebrated photographs of her taken by Alexander Hammid, her second husband, show how carefully and well he had looked at the lighting and composition of André Kertész and Man Ray (like himself émigrés from central Europe). Deren was his Kiki de Montparnasse, and her self-fashioned charisma powerfully enhances her screen presence. Her "glamour" - to be taken in the strong sense of magic power - still inspires: in a recent issue of Strange Attractor, the writer and film historian Kevin Jackson ingeniously shuffles the letters of her name to come up with ten mystical anagrams (An Ayre Dame to Me Day Near).
Break on through
You know the day destroys the night
Night divides the day
Tried to run
Tried to hide
Break on through to the other side
Break on through to the other side
Break on through to the other side
Chased our plea here
Dug our trea there
Still recall
Time we cried
Break on through to the other side
Break on through to the other side
Break on through, yeah!
Wow!
Wow!
Everybody loves my baby
Everybody loves my baby
She get
She get
She get
She get high
She get high. She get high.
She get high. She get high.
The woman get high. The woman get high.
She get high. Baby, get high.
She get high. She get high.
The woman get high. She get high.
She get high. Baby, so high.
She get high. She get high.
The woman get high. She get high.
Wow!
She get high. She get high.
I found an island in your arms
Country in your eyes
Arms that chain us
Eyes that lie
Break on through to the other side
Break on through to the other side
Break on through, yeah!
All right!
Yeah, made the scene
Week to week
Day to day
Hour to hour
The gate is straight
Deep and wide
Break on through to the other side
Break on through to the other side
Break on through
Break on through
Break on through
Break on through
Yeah, yeah, yeah, yeah
Yeah, yeah, yeah, yeah
Yeah, yeah, yeah, yeah
Yeah, yeah, yeah, yeah, yeah
Subo cansado a rua
Subo cansado a rua, vou-me sentindo como um pedaço de roupa, lavado vezes sem conta, já sem cor.
Um homem ainda novo, atravessa pela passadeira dos peões , vem aos pulinhos tal qual um cabrito. Olha para o chão e sorri para si próprio – não sei se ria com ele ou o receie.
Tentam dar-me um panfleto do professor Mamadou, agradeço mas não aceito, não sei de sua ciência interesseira e não quero saber. Atendo uma amiga ao telefone, as noticias são boas, apesar de más, ainda existe uma pequena esperança de vida.
(continua)
Thursday, May 6, 2010
Hoje o rio...
Hoje o rio corre calmo, como se não fosse nada com ele.
Graças a Deus pelo perfume francês !
Vi pela janela do escritório, dois presos a entrarem algemados para o carro celular. Jovens, vestidos como músicos de hip-hop, negros de cabelos lisos e pintados, refulgindo quando tocados pela luz, corpos de felino.
Um ar de leveza e perigo nos seus movimentos, meigos e brincalhões, mas letais, como grandes gatos.
(continua)
Love=Answer
El Greco
St. John the Evangelist
c. 1600
Oil on canvas
90 x 77 cm
Museo del Prado, Madrid
"I know that love is ultimately the only answer to mankind's problems. And I'm going to talk about it everywhere I go."
Labels:
El Greco,
Martin Luther King
Wednesday, May 5, 2010
Listen
The Supper at Emmaus
1601, Michelangelo Merisi da Caravaggio
Two of Jesus' disciples were walking to Emmaus after the Crucifixion when the resurrected Jesus himself drew near and went with them, but they did not recognise him. At supper that evening in Emmaus '... he took bread, and blessed it, and brake and gave to them. And their eyes were opened, and they knew him; and he vanished out of their sight' (Luke 24: 30-31). Christ is shown at the moment of blessing the bread and revealing his true identity to the two disciples.
Caravaggio's innovative treatment of the subject makes this one of his most powerful works. The depiction of Christ is unusual in that he is beardless and great emphasis is given to the still life on the table. The intensity of the emotions of Christ's disciples is conveyed by their gestures and expression. The viewer too is made to feel a participant in the event.
The picture was commissioned by the Roman nobleman Ciriaco Mattei in 1601.
Um homem espera sentado com a bitola na mão, que os colegas acabem de beber o café.
Passa um comboio rápido ao meu lado.
Uma rapariga magra, calça uns sapatos altíssimos, muito bem feitos, em pele de duas cores.
O dia está claro e limpo, não consigo ouvir nada contudo.
(continua)
Labels:
Caravaggio,
micro relatos
Tuesday, May 4, 2010
low light, evening
la madonna del parto
"A friend told me today how, when traveling in Tuscany, she stopped in a chapel in Monterchi and was inspired by this painting by Piero della Francesca of the pregnant Madonna (La Madonna del Parto or the Madonna of childbirth).
Francesca's is the only known depiction of Madonna in pregnancy from the Italian Renaissance period (though others came later), and it was the artist's unorthodoxy that inspired my friend. The fact that the artist dared to depict the Madonna as pregnant, as human.
Why I post the painting is because it inspires me, too, and reassures me. The implication is that the Madonna, even in the ordinariness of her humanity, is capable of great marvels. It touches me, especially in these frightening times, to think of the tremendous potential of what the artist has depicted as simply human.
Noodling around on the Internet, I was reminded that, in Francesca's lifetime, pregnancy was fraught with danger--a woman routinely made out her will before childbirth. I like this about the painting even more: that a time of great human danger can deliver the Divine.
"
copy, paste from here
the great gig in the sky
Home, home again
I like to be here when I can
When I come home cold and tired
It's good to warm my bones beside the fire
Far away across the field
The tolling of the iron bell
Calls the faithful to their knees
To hear the softly spoken magic spells
I like to be here when I can
When I come home cold and tired
It's good to warm my bones beside the fire
Far away across the field
The tolling of the iron bell
Calls the faithful to their knees
To hear the softly spoken magic spells
Labels:
Edward Munch,
Pink Floyd
Monday, May 3, 2010
Tobias and the Angel
This book tells the story of a righteous Israelite of the Tribe of Naphtali named Tobit living in Nineveh after the deportation of the northern tribes of Israel to Assyria in 721 BC under Sargon II. (The first two and a half chapters are written in the first person.) He was particularly noted for his diligence in attempting to provide proper burials for fallen Israelites who had been slain by Sennacherib, for which the king seized all his property and exiled him. After Sennacherib's death, he was allowed to return to Nineveh, but again buried a dead man who had been murdered on the street. That night, he slept in the open and was blinded by bird droppings that fell in his eyes. This put a strain on his marriage, and ultimately, he prayed for death.
Meanwhile, in faraway Media, a young woman named Sarah prays for death in despair. She has lost seven husbands to the demon of lust -- Asmodeus who abducts and kills every man she marries on their wedding night before the marriage can be consummated. God sends the angel Raphael, disguised as a human, to heal Tobit and to free Sarah from the demon.
The main narrative is dedicated to Tobit's son, Tobiah or Tobiyah (Greek: Τωβίας/ Tobias), who is sent by his father to collect a sum of money that the latter had deposited some time previously in the far off land of Media. Raphael represents himself as Tobit's kinsman Azariah, and offers to aid and protect Tobias on his journey. Under the guidance of Raphael, Tobias makes the journey to Media, accompanied by his dog.
Along the way, he is attacked by a giant (or little) fish, whose heart, liver and gall bladder are removed to make medicines.
Upon arriving in Media, Raphael tells Tobias of the beautiful Sarah, whom Tobias has the right to marry, because he is her cousin and closest relative. He instructs the young man to burn the fish's liver and heart to drive away the demon when he attacks on the wedding night.
The two are married, and the fumes of the burning organs drive the demon away to Upper Egypt, while Raphael follows him and binds him. Meanwhile, Sarah's father has been digging a grave to secretly bury Tobias (who he assumes will be dead). Surprised to find his son-in-law alive and well, he orders a double-length wedding feast and has the grave secretly filled. Since he cannot leave because of the feast, Tobias sends Raphael to recover his father's money.
After the feast, Tobias and Sarah return to Nineveh. There, Raphael tells the youth to use the fish's gall to cure his father's blindness. Raphael then reveals his true identity and returns to heaven. Tobit sings a hymn of praise.
He tells his son to leave Nineveh before God destroys it according to prophecy. After the prayer, Tobit dies at an advanced age. After burying his father, Tobias returns to Media with his family.
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