controsvettole

Io ho paura. Di quel volto imbrattato di sangue, di quello sguardo. (…) Paura di vedere, in...

Wed, 16 Dec 2009 07:57:00 +0100

Io ho paura. Di quel volto imbrattato di sangue, di quello sguardo. (…) Paura di vedere, in quella bocca piena di sangue, l’immagine simmetrica della bocca che ride per mostrare i denti. Paura di scorgere, nel ghigno dell’umana sofferenza, un soffio algido di vendetta.

Beppe Sebaste, Quel volto di sangue vero

"Questa società è l’insieme delle condizioni a cui facciamo riferimento, e che diamo per..."

Mon, 02 Nov 2009 12:06:23 +0100

“Questa società è l’insieme delle condizioni a cui facciamo riferimento, e che diamo per scontate. E’ il prodotto di intenzioni e risultati: mentre vediamo (e giudichiamo) i secondi, sentiamo le nostre buone intenzioni, ma non quelle degli altri. Per questo è così facile accusare.”

- La capra canta, Ludovica Scarpa (via yt)

magioni e incantagioni

Tue, 23 Jun 2009 19:21:47 +0200

N portami a casa
F sei a casa
N portami nell’altra casa
F non ci sono altre case. c’è questa. è casa tua. altre case non ce ne sono
N ne ho anche un’altra
F dove?
N più bella
F come?
N più mia
F non ci sono altre case. c’è solo questa. non ce ne sono altre
N portami a casa.
F guarda com’è bello qui. non ti piace?
N no
F guarda com’è bello. è bello no?
N no. non mi piace

N portami a casa. portami a casa domani
F non si può. domani non si può
N voglio andare a casa
F non si può. guarda che bello qui. non ti piace?
N no.
F è bello. c’è la vista. guarda la vista. non ti piace?
N no

N portami a casa. sai dove abito?
F abiti qui
N questa è la mia casa? questa non è la mia casa
F questa è la tua casa. abiti qui
N no. non mi piace

valentina diana

Annegans Fake

Tue, 16 Jun 2009 15:28:01 +0200

ubuweb:

Mary Ellen Bute - Passages from James Joyce’s “Finnegans Wake” (1965-67) (.avi)

Directed by Mary Ellen Bute
Screenplay by Mary Manning
Cinematography by Ted Nemeth
Music by Elliot Kaplan

Cast (in alphabetical order)
Ray Flanagan …Young Shem
Peter Haskell … Shem
Page Johnson … Shaun
Martin J. Kelley … Finnegan
Jane Reilly … Anna Livia

There are currently no copies of this film availabe on VHS or DVD; but a 16 mm print is available for museums, universities, and Joycean institutions. Contact Mrs. Cecile Starr at (802) 863-6904; rental is $180.

A half-forgotten, half-legendary pioneer in American abstract and animated filmmaking, Mary Ellen Bute, late in her career as an artist, created this adaptation of James Joyce, her only feature. In the transformation from Joyce’s polyglot prose to the necessarily concrete imagery of actors and sets, Passages discovers a truly oneiric film style, a weirdly post-New Wave rediscovery of Surrealism, and in her panoply of allusion - 1950s dance crazes, atomic weaponry, ICBMs, and television all make appearances - she finds a cinematic approximation of the novel’s nearly impenetrable vertically compressed structure.

With Passages from Finnegans Wake Bute was the first to adapt a work of James Joyce to film and was honored for this project at the Cannes Film Festival in 1965 as best debut.

http://ubu.com/film/joyce.html

SOUND (MP3)

James Joyce Reads “Anna Livia Plurabelle” (8.32) [MP3]

http://ubu.com/sound/joyce.html

NOTES

Rec: London, 1929

Recording James Joyce

by Sylvia Beach

In 1924, 1 went to the office of His Master’s Voice in Paris to ask them if they would record a reading by James Joyce from Ulysses. I was sent to Piero Coppola, who was in charge of musical records, but His Master’s Voice would agree to record the Joyce reading only if it were done at my expense. The record would not have their label on it, nor would it be listed in their catalogue.

Some recordings of writers had been done in England and in France as far back as 1913. Guillaume Apollinaire had made some recordings which are preserved in the archives of the Musée de la Parole. But in 1924, as Coppola said, there was no demand for anything but music. I accepted the terms of His Master’s Voice: thirty copies of the recording to be paid for on delivery. And that was the long and the, short of it.

Joyce himself was anxious to have this record made, but the day I took him in a taxi to the factory in Billancourt, quite a distance from town, he was suffering with his eyes and very nervous. Luckily, he and Coppola were soon quite at home with each other, bursting into Italian to discuss music. But the recording was an ordeal for Joyce, and the first attempt was a failure. We went back and began again, and I think the Ulysses record is a wonderful performance. I never hear it without being deeply moved.

Joyce had chosen the speech in the Aeolus episode, the only passage that could be lifted out of Ulysses, he said, and the only one that was “declamatory” and therefore suitable for recital. He had made up his mind, he told me, that this would be his only reading from Ulysses.

I have an idea that it was not for declamatory reasons alone that he chose this passage from Aeolus. I believe that it expressed something he wanted said and preserved in his own voice. As it rings out-“he lifted his voice above it boldly”-it is more, one feels, than mere oratory.

The Ulysses recording was “very bad,” according to my friend C. K. Ogden. The Meaning of Meaning by Mr. Ogden and I. A. Richards was much in demand at my bookshop. I had Mr. Ogden’s little Basic English books, too, and sometimes saw the inventor of this strait jacket for the English language. He was doing some recording of Bernard Shaw and others at the studio of the Orthological Society in Cambridge and was interested in experimenting with writers, mainly, I suspect, for language reasons. (Shaw was on Ogden’s side, couldn’t see what Joyce was after when there were already more words in the English language than one knew what to do with.) Mr. Ogden boasted that he had the two biggest recording machines in the world at his Cambridge studio and told me to send Joyce over to him for a real recording. And Joyce went over to Cambridge for the recording of “Anna Livia Plurabelle.”

So I brought these two together, the man who was liberating and expanding the English language and the one who was condensing it to a vocabulary of five hundred words. Their experiments went in opposite directions, but that didn’t prevent them from finding each other’s ideas interesting. Joyce would have starved on five or six hundred words, but he was quite amused by the Basic English version of “Anna Livia Plurabelle” that Ogden published in the review Psyche. I thought Ogden’s “translation” deprived the work of all its beauty; but Mr. Ogden and Mr. Richards were the only persons I knew about whose interest in the English language equaled that of Joyce, and when the Black Sun Press published, the little volume Tales Told of Shem and Shaun, I suggested that C.K. Ogden be asked to do the preface.

How beautiful the “Anna Livia” recording is, and how amusing Joyce’s rendering of an Irish washerwoman’s brogue! This is a treasure we owe to C. K. Ogden and Basic English. Joyce, with his famous memory, must have known “Anna Livia” by heart. Nevertheless, he faltered at one place and, as in the Ulysses recording, they had to begin again.

Ogden gave me both the first and second versions. Joyce gave me the immense sheets on which Ogden had had “Anna Livia” printed in huge type so that the author-his sight was growing dimmer-could read it without effort. I wondered where Mr. Ogden had got hold of such big type, until my friend Maurice Saillet, examining it, told me that the corresponding pages in the book had been photographed and much enlarged. The “Anna Livia” recording was on both sides of the disc; the passage from Ulysses was contained on one. And it was the only recording from Ulysses that Joyce would consent to.

How I regret that, owing to my ignorance of everything pertaining to recording, I didn’t do something about preserving the “master.” This was the rule with such records, I was told, but for some reason the precious “master” of the recording from Ulysses was destroyed. Recording was done in a rather primitive manner in those days, at least at the Paris branch of His Master’s Voice, and Ogden was right, the Ulysses record was not a success technically. All the same, it is the only recording of Joyce himself reading from Ulysses, and it is my favorite of the two.

The Ulysses record was not at all a commercial venture. I handed over most of the thirty copies to Joyce for distribution among his family and friends, and sold none until, years later, when I was hard up, I did set and get a stiff price for one or two I had left.

Discouraged by the experts at the office of the successors to His Master’s Voice in Paris, and those of the B.B.C. in London, I gave up the attempt to have the record “re-pressed “-which I believe is the term. I gave my permission to the B.B.C. to make a recording of my record, the last I possessed, for the purpose of broadcasting it on W. R. Rodger’s Joyce program, in which Andrienne Monnier and I took part.

Anyone who wishes to hear the Ulysses record can do so at the Musée de la Parole in Paris, where, thanks to the suggestion of my California friend Philias Lalanne, Joyce’s reading is preserved among those of some of the great French writers.

Come un’urgenza di mare

Mon, 25 May 2009 11:50:08 +0200

(a Fefi, la bimba che ride all’orizzonte)

poche cose vorrei dirti

e dirtele per sempre

sentire che i tuoi occhi

mentre ti parlo

sanno essere un intero mare

[ giorni in cui non nasce niente

e altri in cui tutto il giorno è un’alba micidiale ]

maldoror67

qq-coins

Sat, 23 May 2009 17:39:56 +0200

The “QQ currency” is substantial: while it was created for use on the web, it is being used in other kinds of commerce (which, since I think that stimulating trade is one of the good things that a payment system should do, is probably a good thing overall).

[From Digital Money Forum: What kinds of competitors?]

must read

il colore del giallo

Fri, 22 May 2009 11:37:31 +0200

Perché dovrei scrivere di altri gialli, potete non leggere più il soffio delle poche parole lungo una strada per un abito da donna.
Perché sto dov’erano, dove potevo anche io come ora sto, ma è l’ombra di un anno, il 1940, che è anche il 2009, così diversi, così uomini e donne nel loro paesaggio vedono, sentono, non posso più scrivere di quelle vite, le scomparse, questo nascere sempre, e sempre diverso, e diversamente finire. Finiti, dimenticati dal tempo che non è uguale. E adesso anni di sto qua sto là sopravvissuto ai posti, e allora così sto, così, ombra e oggi, gli atti da un cervello, la figura dell’uomo di carne mai nuda, mi spoglio spogliando boschi, strade, diversi,
non posso scrivere di un giallo che mai riconoscerete, non leggete più.

mario benedetti

The staggering cost of the meltdown

Thu, 21 May 2009 12:36:47 +0200

As of spring 2009, the leading capitalist states in Europe, North America, and Asia have thus either spent outright, or exposed themselves to financial risks totaling, well over $10 trillion-a figure so vast that one searches in vain for any relevant historical parallel. By comparison, the entire Marshall Plan to rebuild Europe after World War II cost a mere $9.3 billion (in constant 2005 dollars). According to the United Nations, it would cost $195 billion to eradicate most poverty-related deaths in the Third World, including deaths from malaria, from malnutrition, and from AIDS. So the amount of money committed by policymakers to save capitalism from itself is already fifty times greater than what it would take to save tens of millions of human beings from terrible daily suffering and premature death.

Michael Bauwens, P2P Foundation

eppure sapevo

Tue, 19 May 2009 09:22:20 +0200

avevo fatto un patto con l’aria

avevo fatto il bravo

sembrava che la luce restasse

[ eppure il mondo era sguarnito

eppure sapevo

sapevo che si muore anche in pieno sole ]

ci sono albe che non saprò vendicare

e fallimenti da portare in tasca come una

pistola carica

maldoror67

una sola moltitudine, tecnomobile

Wed, 22 Apr 2009 18:44:47 +0200

“Una moltitudine di giovani cavalieri carichi di oggetti nomadi sempre più ‘intelligenti’. Sono prevedibili e stoccabili, la forma festiva e trans-mediale delle creature dello stato di natura di Hobbes, che reclamano quindi un modo di sovranità all’altezza della loro mobilità e della loro cupidigia”

Gilles Châtelet, Vivre et penser comme des porcs (1993)

spiff: rispostesenzadomanda: dottorcarlo:alligalli: Piantala...

Wed, 22 Apr 2009 17:49:05 +0200

spiff:

rispostesenzadomanda:

dottorcarlo:alligalli:

Piantala con ‘sti bonghi.

Porti i capelli lunghi / ma devi fare pratica!! :D

- Ti insegnerò a suonare quei cazzo di bonghi

- Ma a me interessa la Formula1!

- Allora ti insegnerò a suonare la Formula 1

Non mi sconfiggerà il tempo,il merlo non parlerà per me. Fino ad imprimere la mia propria ormafino a...

Tue, 21 Apr 2009 11:30:15 +0200

Non mi sconfiggerà il tempo,
il merlo non parlerà per me.

Fino ad imprimere la mia propria orma
fino a cadere sulla mia propria forma
mi alzerò,
come serpente aizzato
come legna nel fumo.

Sarà dove io sono,
ciò che non esiste
sta dentro alle mie mani.

Juan Carlos Reche

plettrude: Quel senso di sfacelo, di perdita e di panico, così simile alla sensazione di...

Tue, 21 Apr 2009 10:19:26 +0200

plettrude:

Quel senso di sfacelo, di perdita e di panico, così simile alla sensazione di innamorarsi senza volere

(J.C. Oates, Le cascate)

remedios: maxime: Cin Cin 2.0 (via Gianluca Neri)

Tue, 21 Apr 2009 10:01:34 +0200

remedios:

maxime:

Cin Cin 2.0 (via Gianluca Neri)

le ultime parole famose

Tue, 21 Apr 2009 02:42:06 +0200

“beh io me ne vado a letto, il santiago è finito e come cin cin è un mezzo fallimento :)”

(fatacarabina su FF, mezzora prima che impazzasse il meme)

Alambiccarsi per librarsi

Mon, 20 Apr 2009 23:40:22 +0200

Perché la gente vuole scrivere, per essere letta? Ovviamente non mi sto riferendo allo scrittore artista e/o professionista, che c’è sempre stato e che forse finirà per dar forfait di fronte all’emergere di questi milioni di foglioni i quali, potrebbero per esempio farsi leggere su internet, e invece no, non demordono, vogliono fortemente vogliono il proprio nomicchio stampato su un libricchio di un editoricchio, che pochissimi leggeranno e del quale - libro e autore (sic!) nessuno poi si ricorderà. Perché la gente vuole scrivere? Perché scrivi dottore? Perché Io ho scritto e, soprattutto, perché non scrivo più?! (a.r.)

a culo tutto il resto

Fri, 17 Apr 2009 16:22:21 +0200

A partire dalla sua comparsa, il culo rappresenta una crisi, la crisi della pubblicità (intesa qui come scena del dominio pubblico); crisi che pone da subito l’alienazione del corpo in un buco e, parimenti, la sua realizzazione, sempre differita, nella violazione delle cose che ne impongono l’occultamento. (…)

Il dinamismo del pensiero critico può essere soltanto l’intelligenza nello sfiorarsi o sfregarsi dei corpi, ossia l’intelligenza che viene agli uomini mentre essi vengono consapevolmente al corpo dell’altro.

maldoror67

"A Truth, the disinterested, universal, and collective Truth is Love: Queer Polyamory"

Fri, 17 Apr 2009 14:41:00 +0200

There is a necessary corollary to Queer politics: polyamory; that in the affirmation of *a* truth, (and I affirm) *the* truth from which all others proceed, involves in both its ‘love’ aspect and ‘sexuality’ aspect, a love and sexuality for more than one - it fundamentally must be plural. To state that polyamory is a necessary corollary is not to name and define a total part of Queer politics, as polyamory is an unnameable void, and universilizable and disinterested. When I affirm as *a* truth, *love as a politics of Queer polyamory*, it remains within the bounds of an affirmation and is not an attempt to posit simply a new State of Love because no other(s) are defined or identified - it is actual or potential love for all.

Graham Potts, “Love Hurts”: Hunter S. Thompson, the Marquis de Sade and St. Paul queer Alain Badiou’s truth and fidelity in C-Theory.net

Peer to peer and libraries are not that different

Thu, 16 Apr 2009 08:25:12 +0200

I’m reading about the ongoing Pirate Bay trial, the recent appointment of González-Sinde as the new Spanish minister of culture (and her particular views about p2p) and the bill against p2p rejected by the French parliament.
What do they all have in common? P2p? Piracy? File sharing? Not really. At the heart of the debates lays the ignorance of governments about the digital medium and their stubbornness in dealing with it as if it were the physical world.

Josep M. Ganyet, via P2P Foundation

Perché muore un amore, non la possibilità radicale dell’amore

Wed, 15 Apr 2009 23:22:29 +0200

Un amore che finisce, dunque. Ma non finisce affatto il movimento che l’ha generato. Nuove parole e nuovi sorrisi verranno a riempirmi gli occhi di gioia. Non ho certo intenzione di venir meno al mio progetto di una comunità ingovernabile fondata sull’amore e sull’amicizia. La poesia radicale della vita non può morire, e non morirà, statene certi, amici miei. Di nuovo in marcia, di nuovo “mio”, e finalmente aperto alla tenerezza del pensiero.

maldoror 67

controsvettole

Io ho paura. Di quel volto imbrattato di sangue, di quello sguardo. (…) Paura di vedere, in...

"Questa società è l’insieme delle condizioni a cui facciamo riferimento, e che diamo per..."

magioni e incantagioni

Annegans Fake

Come un’urgenza di mare

qq-coins

il colore del giallo

The staggering cost of the meltdown

eppure sapevo

una sola moltitudine, tecnomobile

spiff: rispostesenzadomanda: dottorcarlo:alligalli: Piantala...

Non mi sconfiggerà il tempo,il merlo non parlerà per me. Fino ad imprimere la mia propria ormafino a...

plettrude: Quel senso di sfacelo, di perdita e di panico, così simile alla sensazione di...

remedios: maxime: Cin Cin 2.0 (via Gianluca Neri)

le ultime parole famose

Alambiccarsi per librarsi

a culo tutto il resto

*"A Truth, the disinterested, universal, and collective Truth is Love: Queer Polyamory"*

Peer to peer and libraries are not that different

Perché muore un amore, non la possibilità radicale dell’amore

"A Truth, the disinterested, universal, and collective Truth is Love: Queer Polyamory"