Sabato > Recent Status Updates

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They are alive and well somewhere,
The smallest sprout shows there is really no death,
And if ever there was it led forward life, and does not wait at the end to arrest it,
And ceas'd the moment life appear'd.

All goes onward and outward, nothing collapses,
And to die is different from what any one supposed, and luckier.

Tenderly will I use you curling grass,
It may be you transpire from the breasts of young men,
It may be if I had known them I would have loved them,
It may be you are from old people, or from offspring taken soon out of their mothers' laps,
And here you are the mothers' laps.
...
What do you think has become of the young and old men?
And what do you think has become of the women and children?
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- Suspense is generated because something could go wrong, be lost or forgotten. The fictional confrontation with documentary reality traces the border between present and past, between life and living memory and death.

- The historical memory evoked in the audience by a film about a major cultural figure is juxtaposed in the fiction with the private memory of his wife. This memory, in turn, resonates with the tension and use of memory involved in any performance. The musicians and actors are also acting out a memory, both in performing a past composition in the present and in reciting a memorized text. -

The "fiction" of the Bach film is carefully defined as that aspect of the film that arises almost in a shock effect by the confrontation between documentary and fiction. The music and the manuscripts presented to the camera and the documentation of the present performance confront the fiction of Anna Magdalena Bach's remembering these images as her husband. -

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inflation is the death of every economy. it would be best for the words to dismiss their entourage entirely and meet each other with all the dignity they can generate from within themselves. it is quite wrong to say that the classicists forget the senses of the reader; on the contrary, they count on them.

A similar opinion is reflected by Brecht's appeal for the simplicity and freedom of classicism.

on abbreviation in the classical style: if i leave out enough on a page, i receive for the single word "night"—for instance in the phrase "as night came"—a full measure of imagination on the part of the reader.

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The renunciation of the conventions of film language is meant to avoid equivocation, while documenting the reality of contradiction. It is an alternative to the deception and manipulation of the viewer, which convey little "meaning" as far as the world outside the film is concerned. Indeed, such manipulation subtracts more from the viewers' experience than it adds. -

-scivolò adagio via dal suo fianco ed ella, quando si svegliò, si stupì di ritrovarsi sola.

Ma il presente non si fa portare via il proprio smisurato diritto. Trascorsero parte della notte in discorsi e scherzi di ogni genere, che divennero tanto più liberi quanto più purtroppo il cuore non vi prendeva parte. Ma quando la mattina successiva Eduard si svegliò sul seno di sua moglie, gli parve che il giorno l'osservasse pieno di presentimenti, gli parve che il sole illuminasse un delitto; -

Nella penombra del lume, l'intimo desiderio, la fantasia, affermarono subito i propri diritti sulla realtà: Eduard teneva solo Ottilie tra le braccia, il capitano aleggiava più vicino o più lontano all'anima di Charlotte. E così in modo abbastanza singolare, assenza e presenza si intrecciarono tra loro con eccitante piacere. -

«A teatro vediamo il matrimonio come l'ultima meta di un desiderio procrastinato di atto in atto dagli impedimenti, e nel momento stesso in cui viene raggiunto, cala il sipario e in noi rimane solo quella fuggevole soddisfazione. Nel mondo le cose vanno diversamente: dietro il sipario si continua a recitare e quando questo si rialza non si ha più nessuna voglia di vedere o udire il seguito»

«Le gocce di pioggia amano unirsi in rovesci. E fin da bambini giochiamo stupiti con il mercurio separandolo in palline che poi facciamo riconfluire insieme.» 😨😨😨😨

E di certo dove puoi trovare da qualsiasi parte vecchie campane tanto buone e lasciarti come sul Mash e com'è che ti affascinerei con i miei dolci accenti da piviere e disserterei a sproposito della scena che si rivela beundremente sotto di me dei tuoi viticci sciolti in capelcascata con quelle due piacevoli palme che cingono come braccialetti le tue sottili caviglie e la rosa in fiore della tua bocca e mi sprofonder

His face was as the heavens, and therein stuck
A sun and moon, which kept their course, and lighted
The little O, the earth.

- In the puritanism of today, a puritanism on the right and on the left, beauty is to be approached with the protective crucifix of (right or left) political correctness.

- The Thatcherite aesthetician Roger Scruton thinks it too imprecise a notion for meaningful consideration; but an aesthetician who cannot talk about beauty had better find another line of work. On the left, beauty is suspected both of being elitist, the plaything of a privileged few, and of being a whore seductively selling the ideology of the ruling class. -

A portion of Gilberto Perez's explanation for Godard's recent lack of an audience would apply at least as strongly to Straub/Huillet.
If Godard is out of fashion nowadays, so, in many quarters, is beauty. Postmodernists mostly disown it. As a quality men see in women ("Beauty is pleasure regarded as the quality of a thing," said Santayana), feminists largely discountenance it. -

But I will be
A bridegroom in my death, and run into't
As to a lover's bed.

Là dove le anime riposano
su prati in fiore andremo tenendoci per mano.
E le altre ombre guarderanno con meraviglia
noi splendenti di gioia. Didone e il suo Enea
resteranno senza il loro corteo. Vedremo
tutti al nostro seguito.

O sovereign mistress of true melancholy,
The poisonous damp of night disponge upon me,
That life, a very rebel to my will,
May hang no longer on me. Throw my heart
Against the flint and hardness of my fault,
Which being dried with grief, will break to powder,
And finish all foul thoughts.