mercoledì 27 ottobre 2010

Benoit Madelbrot died 14.10.2010

MOURNING OVER 

BENOIST MANDELBROT'S

DEATH



MAY HE REPOSE IN PEACE

AMONG ENDLESSLY

REPEATING DELIGHTS. 



MERCI 










Paris, October 2010 


venerdì 24 settembre 2010

Music before reason

I do not know any of the opus number of classical scores: I can of course tell you that a Bach is a Bach, and that a Beethoven is what it is, and so on. But do not tell me a number, hoping to hear me singing; and do not interrupt my song, asking what it is!

Still, there are some mysterious moments in which I hear a music, and I have always had it inside me. I find it again as I would find a towel that I know, a home towel, on a foreign table. I have it as the odour of your own apartment. It springs out of me and we never left.
This happened tonight
http://www.youtube.com/watch?v=SrumQ7upLSM&feature=related

It is a weird sensation; I do not know it formally, but it is a part of my person. It is like an ancient memory after an accident.




Indeed, the accident is time.
Never did I hear so much music as when I were an unconscious child. Children are immobilised, they have nothing to do, they have a strong perception and a voracious memory - if you wash them with music, it will never go away - it will stay and impress into the memory and the phantasy and in habit and tastes. It will be clandestin in a meadow of her brain, an occult, profound, forgotten memory: Until when.
This child will find again life, mother and house, when listening to that.

I belong to this group of children, and as often find myself back, as often those scores surprise me. I do not know how many or which one are they, either. I can only recognise those musical parents when I cross them on the street.
But then an arcane force of the brain calls me to life.
And I am home.


God be blessed for the depth of the brain.

Now my tonight's forgotten discourse has a name: Beethoven piano concerto 3 in C minor.
This is the first movement, well played by the old Arthur

http://www.youtube.com/user/MarcInStereo#p/u/5/FetACZlj0_0
Second part
http://www.youtube.com/user/MarcInStereo#p/u/4/9KmaJwBOqW8




Paris, 24 September 2010

mercoledì 8 settembre 2010

Vampires - a Belgian film

This film may have well have been produced by a Frenchman, and smuggled as Belgian, just for a French to make another joke on the rudeness of their neughbours.
You see it and you think: well, French are not so wrong about Belgians after all, thos film is just gross!

"Vampires" means nothing. The idea is pretty cool and promising: a Belgian TV makes a documentary on the Belgian Vampire community. Cool! Imagine, you spectator, the modern vampires reduced to live in Belgium, and to be perhaps beaten by large blonde men full of beer and boast. Nobody shall thake them too seriously down there!

Or, cool, imagine the fun of getting to know the everyday's troubles of a vampire in modern society - how to get breakfast, how to go to lunch with human colleagues...or, again, how the contact with humans if possible, or, how really threatening they are, or, what they want...


Nothing of al that. Nor a technical expanation, or a moral of the story, or a meaning or a subtle comparison of vampires, with, say, immigrants, Jewish or whatever ethnic group, gays, ...

The story ends where it begins, with a secluded pathriarcal community of vampires, with black humour often misplaced (vampires ridiculising and killing an handicapped), with truculent scenes, with sadistic pieces. For example, an ex-prostitutes being kept as flesh in a fridge, and having an heart attack when sucked at dinner - or a young men terrorized and then beaten up. Or, a mass attack on a villa of humans.
The only trace of plot is the daugther of the vampire family who wants to become human, so will, because she has been only "half-biten" (mal mordue).

All that leaves the spectator with a sense of void, of lost opportunity, and an envy to go vomiting in the closest suitable place.


Paris, 7 September 2010

mercoledì 21 luglio 2010

Longevity is a matter of choice

http://www.youtube.com/watch?v=1SBXU2ES5Rs&NR=1

http://www.youtube.com/watch?v=_lTS9lc9ZU0&NR=1

Longevity is a matter of choice

http://www.youtube.com/watch?v=1SBXU2ES5Rs&NR=1

sabato 1 maggio 2010

Maison de Poupée

Ne tremblez pas, mais je dois le dire: Audrey Tautou est anorexique ou presque. C'est ce qu'on découvre avec étonement lorsqu'elle rentre sur scène avec un pauvre jupon sans manches: on admire d'abord la ligne filante, l'irresistible courbe de ses hanches, mais quand on passe aux bras la magie est brisée. Et alors on comprend sa vitalité et ses mains trop grandes: elles sont les dons d'une folle.

On comprends alors aussi son role d'hirondelle dans Amélie, de fiancée pure, d'enfantine, de poupée en Maison de Poupée. Et le coeur du spectateur en est transporté. Cela a sans doute un role dans l'emotion que la pièce provoque, outre que les lumières, parfaites, encomiables, le décor mémorable et la bande sonore très, très appropriées. Musique contemporaine très bien choisie, on est meme effleuré par l'idé qu'Ibsen aie pu les suggerer lui-meme dans la pièce. Les décors sont classiques, adhérents au texte, et cela donne toujours.
Laura (Tautou) est hysterique au début, on s'ennuie un peu de la voir toujour si irréelle et avec une voi toujours acidulée, répeter les memes bétises sans convinction. Mais à la fin, on assiste au réveil du personnage, et au réveil de l'actrice aussi. Elle devienne maitre sur scène, maitre de ce moment de réveil psychologique, elle le reinterprète chaque fois de telle façon qu'on croirait que c'est elle meme, Audrey, qui crée la suite de la pièce, qui arrive à convaincre les personnages, avec sa propre interpretation en ce moment, que ce qu'elle fait est vrai, irrévocable, substantiel.

Une èpouse devenue hysterique par la connerie bougoise de son mari, que l'imprisonne et l'abrutti dans un assujettissement d'enfant, découvre d'un coup que le mari est un vile. C'est une épiphanie qui ébranle son systhème de croyances, pour lesquelles l'autre était protecteur et integrissime.
Il le decouvre petit, mechant, mesquine. Con.
Elle le regarde dans les yeux et se voie dégoutée, maltraitée, abusée. Elle le cloue dans la situation et le quitte immédiatement. La maison croule sur le mari, c'est à lui le vide qui était autrefoi dans l'ame de la petite.
C'est surprenant de voir comme c'est la femme, avec son intention, à rendre réel et possible son propre départ. Le mari le lui "interdit", mais seulement à quelques lignes de distance, il a laisse faire et se conforme à sa volonté. Rien d'argumentatif ne s'est passé entretemps, mais Ibsen laisse seulement le tamp pour faire briller devant le spectateur le pouvoir de l'intention d'une femme. Elle est ferme, trop ferme parfois - devant la supplique d'un mari-patron et la promesse de changer, je n'aurais pas resisté, personne peut-etre ne l'aurait fait. Le plus surprenant reste le spectacle d'un réveil, d'une prise de coscience, comme un foudre qui nous élance vers l'idée du monde et nous fait apercevoir l'horreur du temps passé sans reflechir, dans l'assujetissement brutal aux consuetudes, à la routines, aux soi-disants supérieurs.
Remarquable aussi que le dèpart de la famme écrase le mari: la vieille histoire du serf-patron: le patron n'est rien de plus que l'opinion du serf.

On ne saurait pas quelle partie de toute cette beauté est due à la pièce ou à l'interpretation: signe qu'il s'agit d'une très bonne production.

Theatre de la Madeleine, Paris, jusqu'au 22 mai, 20 Euros bien depensés.

If you want to hear the opposite opinion in English, please read out loud here:
http://www.ft.com/cms/s/2/d6035938-261f-11df-aff3-00144feabdc0.html

They are not wrong, there is no three-dimensional stuff. They are right. The first part is boring. But guys, I liked it. Hot.
Audrey is anorexic, she plays as an anorexic, but the good point is that also Nora is an anorexic character, so there is good chances that Audrey gets along well with the job, therefore, that the job is good.
It is also true that her dress is a bit too complicated, but frankly I do not give a shit

lunedì 1 marzo 2010

Differenz

The main difference between philosophy and sociology is that sociology has as its highest objective the description or explanation of the organization of the human crowd, whereas philosophy may (or not) produce an image of human assembly as one consequence, among many others, of the explication of a unique first principle which informs the whole reality.
Therefore sociology may be more "vraisemblable", but is paradoxically more myop.

Sociology looks more appealing and popular - it can explain you why you would better gift your nighbour with a box of chocolate rather than with a fridge (A.O. Hirschman, Felicità privata, Felicità pubblica), or why you tend to refer to your family rather than your boss to adress a problem if you are a conservative. Sociology gives you the feeling to catch the complexity of the mud you are into, in the social mess. To me, it has always secretely looked like the test results of a feminine magazine - it appeals to senses and curiosity, and sits between psychology and economics.

martedì 9 febbraio 2010

Over PW's death

so.

Because we are fed up of mourning over nothing.
Because people die, grandfathers die, and the real mystery is to see a strong personality, which represented a wall in the whole mansion of your life, pass away, suddenly disappear, come back to nothing.
People grow and root themselves in this world, and then suddenly leave.

We are not eternal, and this conscience and awareness which accompany us in the world, is to be swept soon.

Consequently, thought about giving oneself death, or the feeling of absurdity facing the desappearing of someone, is a sympthom that we are out of place.