16 March, 2012

/\/\ax /\/\on a/\/\our (1986)

Love this Jean-Claude Carriere screenplay (Max mon amour - 1986), smoothly directed and nicely atmosphered by tantalisation expert Nagisa Oshima. The more I watch it the more I love it.

It is extremely bizarre but in an almost innocent, rather quiet and apparently loitering way, but behind that facade there seems to me there is the brutal and primal question (I leave it to you to decide what is it) which haunts human animal, and lingers eternally there, under the shadows, unanswered.

Even the OST composed by Michel Portal makes my senses throb.

I've watched this lovely and subtle surrealist film several times and always finish it with a two-fisted bellow and sense of victory!

Especially recommended to all my fellow outlandish thinkers, aesthetes, savants, pundits... Enjoy yourselves.

Max mon amour (1986) Directed by Nagisa Oshima. Written by Jean-Claude Carriere (dvdrip):
PART 1 | PART 2 | PART 3 | PART 4 | PART 5 | PART 6 | PART 7 | PART 8

14 March, 2012

TEMPORARY HIATUS

I am currently in the midst of moving back to good ol' Britain after a few years of voluntary mountainous seclusion abroad, and I am yet riddling here and there in the entrails of nature, among rosemary bushes, owls and vines, where I rarely or occasionally have access to internet, so posting has become something difficult to sit down and achieve. Nevertheless, expect TYTTB posts to appear sooner or later. Rather sooner.

Because ideally, the summoning and bestowing shall never end... The same way the swollen breast of a nurturing mother always grant the strength her suckling needs to dwell in the world.

20 January, 2012

Onomatopoeia and glossolalia.

Demetrio Stratos' interpretation of Antonin Artaud's screeches, onomatopoeia and glossolalia.

"7. La cruauté c'est d'extirper par le sang et jusqu'au sang Dieu le hasard bestial de l'animalité inconsciente de l'homme partout ou on peut la rencontrer..." - Pour en finir avec le jugement de dieu (Antonin Artaud)

ALSO, download and listen to Demetrio Stratos' "Cantare la voce" - HERE.

19 January, 2012

AZOLAN.

by Voltaire

AT VILLAGE lived, in days of yore,
A youth bred in Mahomet's lore;
His well-turned limbs were formed with grace,
With blooming beauty glowed his face;
His name was Azolan, with care
The Koran he had written fair;
Was on its study ever bent,
To get it all by heart he meant.
From the most early youth his breast
By zeal for Gabriel was possessed;
This minister of the most high
Descended to him from the sky.
"The zeal that in thy bosom glows,"
Said he, "thy guardian Gabriel knows:
To Gabriel gratitude is dear,
To make your fortune I'm come here;
You'll in short time as first divine
Of Medina and Mecca shine;
This, next to his place who is chief
Of all who hold the true belief,
Is the most high and wealthy station
In holy Mahomet's donation.
When you your duties once begin,
Honors on all sides will pour in;
But you a solemn oath must make
The whole sex female to forsake;
To lead a life most chaste, and ne'er
But through a grate to view the fair."
Too hastily the beauteous boy,
That he church treasures might enjoy,
Fell easily into the snare,
Nor of his folly was aware.
Our new-made imam was elate,
Seeing himself become so great;
His joy the salary enhanced,
Which was immediately advanced
by a clerk of important air,
Who with him still went share and share.
No joy can dignity supply,
Nor wealth, should love his aid deny.
Amina fair by chance he spies,
With youthful bloom and charming eyes;
He loves Amina, she in turn
For him feels love's flame equal burn.
Each morning as the day returned,
The youth, who with love's flames still burned,
Being by his cursed oath enchained,
Of his sad slavery complained,
Avowing freely in his heart,
That he had played a foolish part.
"Then, Medina, farewell," he cried,
"Mecca, vain pomp and foolish pride;
Amina, mistress of my breast,
We'll both live in my village blessed."
From heaven the archangel made descent,
Severely to reproach him bent:
The tender lover thus replies:
"Do but behold my mistress' eyes;
I find of me you've made a jest,
I'm by your contract quite distressed;
With all you gave I'll freely part,
I ask alone Amina's heart.
The prudent and the sacred lore
Of Mahomet I must adore;
Love's joys he grants to the elect,
Nay, he allows them to expect
Aminas and eternal love,
In his bright Paradise above.
To heaven again, dear Gabriel, go,
My zeal for you shall still o'erflow;
To the empyrean then repair;
Without my love I'd not go there."

16 January, 2012

Catalin Avramescu's An Intellectual history of Cannibalism.

Discussion of the Idea of Cannibalism by Catalin Avramescu and Nigel Warburton at the Philosophy Bites podast which took place the 6th of December 2009.

Avramescu discusses the fascinating topic of the part played by the idea of cannibalism in the history of philosophy in this episode of the Philosophy Bites podcast.

Philosophy Bites is a podcast created by Nigel Warburton & David Edmonds.
Visit www.philosophybites.com & their Facebook user's group.



FURTHER RECOMMENDED READING:

by Catalin Avramescu.

The cannibal has played a surprisingly important role in the history of thought--perhaps the ultimate symbol of savagery and degradation-- haunting the Western imagination since before the Age of Discovery, when Europeans first encountered genuine cannibals and related horrible stories of shipwrecked travelers eating each other. An Intellectual History of Cannibalism is the first book to systematically examine the role of the cannibal in the arguments of philosophers, from the classical period to modern disputes about such wide-ranging issues as vegetarianism and the right to private property.

Catalin Avramescu shows how the cannibal is, before anything else, a theoretical creature, one whose fate sheds light on the decline of theories of natural law, the emergence of modernity, and contemporary notions about good and evil. This provocative history of ideas traces the cannibal's appearance throughout Western thought, first as a creature springing from the menagerie of natural law, later as a diabolical retort to theological dogmas about the resurrection of the body, and finally to present-day social, ethical, and political debates in which the cannibal is viewed through the lens of anthropology or invoked in the service of moral relativism.

Ultimately, An Intellectual History of Cannibalism is the story of the birth of modernity and of the philosophies of culture that arose in the wake of the Enlightenment. It is a book that lays bare the darker fears and impulses that course through the Western intellectual tradition

Bud Powell trio.

Dance of the Infidels ( Live @ Blue note cafe Paris )



"Bud Powell is the most important pianist in jazz and one of the most underrated because he spent over a third of his life in mental and medical hospitals. He was beaten by the police when he was twenty and he never fully recovered from that beating and as a result, he suffered pain and had to take drugs to alleviate the pain. ... In spite of that, he created a whole lot of wonderful music. He was really the first guy. Before Bud Powell, pianists were playing "boom, chuck" in the left hand and a lot of melodic figures in the right hand that tended to be arpeggios ... Bud Powell was imitating Charlie Parker. So Bud was the first pianist to take Charlie Parker's language and adapt it successfully to the piano. That's why he is the most important pianist in music today because everybody plays like that now." - Bill Cunliffe


14 January, 2012

Nahawa Doumbia - Didadi Kana



"During the late 80's Political and economic crisis in Mali, the music made a move from praise and jeli, towards a more modern
sound. Especially in Wassoulou, south of Bamako. Nahawa Doumbia comes in at the Global Groove with her fresh sounding voice. Very nice music."

GET IT !

13 January, 2012

‎"At least I galloped... When did you ???"

Yes, Equus again... How many times must I've had talked about this film ? It haunts me what can I do but to succumb to watch it over and over trying to peel yet another layer off of it anytime I see it ?

This film never ceases to amaze me. It is perfect beyond comprehension. Because of Lumet and Shaffer, because of Burton, because of Firth and because of the powerful message it has... Children indoctrination is one of the vilest acts of violence that could be committed against someone. And the ability to create a god or some other metaphysical fantasy only takes two eyes and a tongue but it can cause severe damage both at an individual and a general level.

Time to begin extirpating all these esoteric, spiritual myths and superstitions off our brains because they are a vivid and highly virulent tumour.

08 January, 2012

Que voulez-vous dire, Monsieur Artaud ?


For you can tie me up if you wish,
but there is nothing more useless than an organ.
When you will have made him a body without organs,
then you will have delivered him from all his automatic reactions
and restored him to his true freedom.
They you will teach him again to dance wrong side out
as in the frenzy of dance halls
and this wrong side out will be his real place.

03 January, 2012

Le Chef-d’œuvre inconnu: Balzac & Rivette.


These are both my favourite Balzac/Rivette works. Rivette's La Belle Noiseuse closely followed by La Religieuse, La Bande des Quatre & Hurlevent. And in regard to Balzac, apart from The Atheist's Mass, Cousin Bette and The Magic Skin, this short story is one of my favourites especially since I can (as surely many other artists/writers can out there) easily identify with some of the sentiments of its main character Frenhofer.

I highly recommend both the film (the 4 hours version of it) and the short story itself you can read (translated to English) HERE.

The 1831 short story:

Le Chef-d’œuvre inconnu is a short story by Honoré de Balzac. It was first published in the newspaper L'Artiste with the title "Maître Frenhofer" (English: "Master Frenhofer") in August 1831. It appeared again later in the same year under the title "Catherine Lescault, conte fantastique." It was published in Balzac's Études philosophiques in 1837 and was integrated into the La Comédie humaine in 1846. At the most fundamental level, "Le Chef-d’œuvre inconnu" is a reflection on art.

In the plot, although Frenhofer has mastered his technique, he admits that he has been unable to find a suitable model for his own masterpiece, La Belle noiseuse, on which he has been working for ten years. This future masterpiece, that no one has yet seen, is to be the portrait of Catherine Lescault. Poussin offers his own lover, Gilette, as a potential model. Gilette's beauty is so great that it inspires Frenhofer to finish his project quickly. Poussin and Porbus come to admire the painting, but all they can see is part of a foot that has been lost in a swirl of colors. Their disappointment drives Frenhofer to madness, and he destroys the painting and kills himself.



The 1991 Film adaptation:

Based on Honore de Balzac's "Le chef-d'oeuvre inconnu" (or The Unknown masterpiece), La Belle Noiseuse is a 1991 film directed by Jacques Rivette and starring Michel Piccoli as the distressed artist, obsessed with something that will never exist: The perfect and flawless artistic masterpiece.

Plot: A famous reclusive painter, Frenhofer (Piccoli), lives quietly with his wife and former model (Birkin) in a large château in rural Languedoc-Roussillon. When a young artist visits him with his girlfriend Marianne (Béart), Frenhofer is inspired to commence work once more on a painting he long ago abandoned - La Belle Noiseuse - using Marianne as his model.

The film painstakingly explores Frenhofer's creative rebirth. It uses lengthy real-time takes of the artist's hand (provided by Bernard Dufour) working on the canvas.

A stray comment in La Bande des quatres about the painter Frenhofer and his masterpiece La Belle noiseuse spawned a 1991 film of the same name, leading Rivette fans themselves to wonder of a pervasive conspiracy between the master’s films. La Belle Noiseuse is a meditation on the artist’s relationship to the surrounding world, and the complexities of artistic inspiration. Rivette, never fully satisfied with merely one agenda per film, also crafts a fully realized portrait of two couples, and two lifestyles, colliding, with unexpected and life-altering repercussions.

Rivette also released a two-hour version of the film, entitled La Belle noiseuse: divertimento, constructed out of alternate takes, which appeared to be intentional self-mutilation.


GET IT !!! La Belle Noiseuse (1991) | 240mins in 3 dvds | 2.08gb | English & Spanish subtitles. (no pass)

DVD 1: PART1 | PART 2 | PART 3 | PART 4 | PART 5 | PART 6 | PART 7 | PART 8
DVD 2: PART 1 | PART 2 | PART 3 | PART 4 | PART 5 | PART 6 | PART 7 | PART 8
DVD 3: PART 1 | PART 2 | PART 3 | PART 4 | PART 5 | PART 6 | PART 7 | PART 8

ENGLISH srt: DVD 1 | DVD 2 | DVD 3
SPANISH srt: DVD 1 | DVD 2 | DVD 3

All rip/upload credits goes to saynomoreglass over at the delightful Arsenevich blog.

30 December, 2011

La Religieuse: "and my answer is NO."



The 1796 Novel
:

La Religieuse (The Nun) is an 18th century French novel by Denis Diderot. Completed in about 1780, the work was not published until 1796, after Diderot's death. In English it is called The Nun, or Memoirs of a Nun in Francis Birrell's translation.

The novel began not as a work for literary consumption, but as an elaborate practical joke aimed at luring the Marquis de Croismare, a companion of Diderot's, back to Paris. The novel consists of a series of letters purporting to be from a nun, Suzanne, who implores the Marquis to help her in renouncing her vows, and describes her intolerable life in the convent to which she has been committed against her will.

Diderot later revised the letters into a novel drawing attention both to the cruelty of the then-current practice of forcing young women into convents in order to get them out of the way, and the corruption that was rampant among the clergy and in religious institutions. When Diderot publicly admitted his role in the ruse, the Marquis is said to have laughed at the revelation, unsurprisingly since he had behaved with exemplary compassion and generosity in his willingness to help the imaginary Suzanne.


'You can leave a forest, but you can never leave a cloister; you are free in the forest, but you are a slave in the cloister.' Diderot's The Nun (La Religieuse) is the seemingly true story of a young girl forced by her parents to enter a convent and take holy orders. A novel mingling mysticism, madness, sadistic cruelty and nascent sexuality, it gives a scathing insight into the effects of forced vocations and the unnatural life of the convent. A succes de scandale at the end of the eighteenth century, it has attracted and unsettled readers ever since. For Diderot's novel is not simply a story of a young girl with a bad habit; it is also a powerfully emblematic fable about oppression and intolerance.


The Nun is a fictitious collection of memoirs of a young French girl forced into becoming a nun by her parents, specifically her mother. Her memoirs detail the struggles she has with being pushed into the religious life, and the torture she goes through as she tries to escape a life of god. Diderot not only shows his distaste for the church hierarchy, but also the notion of the institution being involved with religion, and human rights and freedoms being taken away from those involved with the church. Diderot shows that convents are not quite, what the public perceives them to be. He shows them as a monarchy led by a supreme ruler (mother superior) and if a nun does not obey, she will be subject to treatment similar to a prisoner of war. When I got back to my cell I felt terrible pains in my feet, I looked down and saw that they were covered in blood from cuts made by bits of glass they had spitefully thrown in my path ”.


The 1966 Film adaptation:

La Religieuse (English: The nun, also known as: Suzanne Simonin, la Religieuse de Denis Diderot) is a 1966 French drama directed by prominent director and once chief editor of Cahiers du Cinema, Jacques Rivette. The film is based on the novel of the same title, as already mentioned above by 18th century Enlightened philosopher Denis Diderot.

In eighteenth-century France a girl is forced against her will to take vows as a nun. Three mothers superior (Madame de Moni, Sister Sainte-Christine, and Madame de Chelles) treat her in radically different ways, ranging from maternal concern, to violent and vicious persecution, to lesbian desire.


This shocking film is considered the most traditional of New Wave master Jacques Rivette's oeuvre. But it is compelling, visually beautiful and poignant. The film is greatly abetted by the superb performances of the sterling cast.

The controversial subject matter caused the feature to be banned in France for two years during the sixties, despite assurances to director Jacques Rivette by censors. The subsequent ban helped the film (shown at the Cannes Film Festival in 1966) gain more recognition. Rivette's cynical references to Catholicism as the ultimate theater enraged the Catholic Film Office, the agency that spearheaded the opposition to the film. "La religieuse" caused a big scandal when it was released in the mid-sixties.The Church insisted on calling the movie Suzanne Simonin ,la religieuse de Diderot.

GET IT !
La Religieuse (1966) Original French audio | Subs: English/Spanish | 134 min | 1.07 GB (no psswd):


28 December, 2011

Nietzsche on Hardship.



















Philosophy
A Guide To Happiness:
NIETZSCHE ON HARDSHIP.
with Alain de Botton.

Personally...


A policeman rushes to extinguish Apostolos Polyzonis, who set himself alight outside a bank branch in Thessaloniki, northern Greece, Sept. 16, 2011 while protesting against government, banks and political parties. The 55-year old man has attempted self-immolation before, two-years ago, over financial problems. The man was hospitalised with non life-threatening burns.

It's interesting how people who is ready to kill someone with their gun or beat them to death with nightsticks if the laws permits it or if the social conventions deplore that person as unworthy, rushes to save the persons life. Like when you watch a Sidney Lumet film in which some policeman shoots to death a criminal and right away an ambulance comes to try to save the criminals life only so they can sentence him/her to death or a lifetime in prison. Saving a life to punish it because a dead person cannot be punished and so the example of dominance and power cannot be set and shown to the fearful subordinates under their sick power.

The levels of depravity of general morality are even more obscure and frightening than those of a "deviant" person sometimes.

Personally, the general morality (and you can call me a pain in the arse but it is generally christian/religious based of course) only makes me FUCKING SICK and I'm beginning to really feel fed up with it !

This man, Apostolos Polyzonis has more fucking balls and integrity than any tossing politician or policemen or religious representative. He understand the fundamental principle, like some of his ancient greek ancestors did, of being able to do with your body and life whatever the fuck you want, whatever suits you; even if to the general eye it may appear extreme or insane. He makes his statement, blatantly. He is radical and he is more than anything disgusted and tired of living in a society ruled by two way morality nonsensical bastards and opportunists who like utter parasites bleed innocent people to death in order to satisfy their selfish needs and fulfil their lives ruled by dogma, prejudice, violence and madness and gods and money and properties and success and meat and all the other rubbish they call living.

23 December, 2011

Le Rappel / Les Cyclopes.

I was thinking... If I ever manage to write/direct a feature film, among the soundtrack I'd like this "Les Cyclopes" Rameau harpsichord composition as well as "Le Rappel" to be part of it... I love them both !

Rameau compositions are beyond copyrights now since they're so old... The issue would be finding someone as amazing as Elaine Comparone or José Iturbi or Luc Beausejour and a fine harpsichord like the ones on the videos to record original versions of them...

I'd be brilliant. For now I'll just limit myself to keep these two tunes present in my mind while I carefully weave a few stories for screenplays.



22 December, 2011

"And if Thine eye offend thee, PLUG IT OUT !"

...PLUG IT OUT! PLUG IT OUT! CUT IT OFF! CUT IT OFF!

Some peoples myths, gods for instance, can be quite ridiculous and truly ugly inventions. Of course, they were begotten ages ago by primitive man. An animal who deserves infinite credits for its numerous achievements considering the situation in which it thrived. Although it is the cause and effect of this ugly imaginary god which together with all the atrocities and dogma that walked for centuries by its hand, continues to endure after thousand of years. It advocates denial of life, death, ignorance and self-deceit, self-harm, genocide and mutilation of others and of oneself rather than understanding real causes and dealing with real issues in a more sensible less barbaric and literally butchery way.

Especially since it claims to be an enlightened and omnipotent being, it could just kindly enough indicate in a more accurate manner to his beloved daughters and sons, ways to deal and cope with the flawed and perverse existence (it is so to someone who lives under the conception of a judgemental god who created human with a body, senses, physiological needs, "temptations", pleasures and their favourite: sin, in order to eternally push him/her if he/she ever dared to fall into one of its playful traps) it created for whatever obscure reasons. Not dogmatic ways, more like instructions of how to put a wooden shelves together. Something simple, tangible, provable, convincing. Instead it delivers yet another cryptic babbling of such ugliness and violent imagery it succeeds to put even the most fervent gullible off.

If what you see or feel troubles you would you really grab an axe or an ice pick and literally severe it away from you ? Indeed like hundreds of allegations throughout the christian bible, this was a literal advice and not a metaphor as usually religion mongers and endorsers pretend to argue. "Plug it out !" and suffer temporally to avoid eternal suffering, heheh, What insanity ! Like when someone with sexual troubling concludes he/she has to severe or close the genitalia... As if the problem was really there... Or is it really ?

In any case, Roger Corman is the director of this fine, mostly underrated and harshly judged 1963 masterpiece of incredible effort called "X" (The Man with the x-ray eyes); the reason why I started thinking about this again... I quite enjoyed this film directed by marvellous Corman even when it could have obviously been much better in terms of character development and dilemma or the screenplay in general or even the production of the visual effects and photography. Having said that, I think this film talks about a highly interesting subject: The human body and its limitations when it perceives its near and far away surroundings, how could it be if we were physically modified, would that really solve mysteries?, would it be a curse? what is really behind this amazing urge to know or find an explanation to things? Would having more acute senses turn us into savage beasts capable of even more appalling acts against our own and other species and the environments we all inhabit? or will it turn us into noble creatures so full of wisdom that we wouldn't have the need to go further and further and further? etc etc...

Obviously sometimes in this life when referring to art one has to stop being (at times) too critical and pretending objectivity, to be able to appreciate subtle details that makes almost anything to the eyes, ears, nose or skin who perceive it, enjoyable, enriching and even bizarre to some extent. In the case of Corman's film I can look underneath the 60s "b-movie" (I don't think I can agree with that label in this case) look and the "simplicity" of the story and the characters in it, and see a truly horrifying tale... In the end what terrify us the most is anything that can endanger or harm our bodies; which after all and in the very end is the only thing that as animals we have in this strange life.

GET IT: X (1963) directed by Roger Corman / 80 min (no pass)
http://rapidshare.com/files/53017368/xray.eyes.part1.rar
http://rapidshare.com/files/53021740/xray.eyes.part2.rar
http://rapidshare.com/files/53025963/xray.eyes.part3.rar
http://rapidshare.com/files/53029895/xray.eyes.part4.rar
http://rapidshare.com/files/53033603/xray.eyes.part5.rar
http://rapidshare.com/files/53038342/xray.eyes.part6.rar
http://rapidshare.com/files/53042385/xray.eyes.part7.rar
http://rapidshare.com/files/53043368/xray.eyes.part8.rar

18 December, 2011

Rita, Sue & Bob too.

Alan Clarke ? phew... Yes, everyday please!

Pioneer of raw vision, fervent steadicams and travelling sequences. Traits of his harsh and critical cinema.

In this one in particular, "RITA, SUE & BOB TOO", a British 1987 film directed by Alan Clarke and written by Andrea Dunbar, there is a wonderful and direct introductory sequence, a walking sequence cleverly accentuated by the vicious fight of two unhinged dogs and the sharp and cold exchange between pissed father and pissed off daughter. For then on you can intuit what is coming ahead.

"Adapted by Andrea Dunbar from two of her controversial plays, this tale of an affair between a married man and two teenage girls caused a right old rumpus on its release. Although much of the shock value has been dissipated by seeing so much of the same on our weekly soaps nowadays, this is still a film to make you squirm as you find yourself unable to decide who is exploiting who, where the blame lies and how to respond to jokes that are uproariously funny despite their political incorrectness. A decade on, the three characters still exist in abundance, and it is to the credit of Michelle Holmes, Siobhan Finneran and George Costigan that they pitch their performances so perfectly."



RITA, SUE & BOB TOO (1987) 89 min GET IT !!!
Psswrd: montcalm
http://rapidshare.com/files/385199924/RitSu.part01.rar
http://rapidshare.com/files/385200063/RitSu.part02.rar
http://rapidshare.com/files/385200178/RitSu.part03.rar
http://rapidshare.com/files/385200402/RitSu.part04.rar
http://rapidshare.com/files/385200137/RitSu.part05.rar
http://rapidshare.com/files/385199944/RitSu.part06.rar
http://rapidshare.com/files/385200127/RitSu.part07.rar
http://rapidshare.com/files/385200098/RitSu.part08.rar
http://rapidshare.com/files/385199939/RitSu.part09.rar
http://rapidshare.com/files/385199916/RitSu.part10.rar
http://rapidshare.com/files/385199742/RitSu.part11.rar

17 December, 2011

Kutiyattam, Sanskrit Theatre.

A form of Sanskrit theatre traditionally performed in the state of Kerala, India. Kutiyattam is performed in the Sanskrit language in Hindu temples, it is believed to be 2,000 years old. It is officially recognised by UNESCO as a Masterpiece of the Oral and Intangible Heritage of Humanity.

Koodiyattam [kutiyattam], meaning "combined acting," signifies Sanskrit drama presented in the traditional style in temple theatres of Kerala and Tamil Nadu. It is the only surviving specimen of the ancient Sanskrit theatre. It has an attested history of a thousand years in Kerala, but its origin and evolution are shrouded in mystery. Kutiyattam and chakyar koothu were among the dramatized dance worship services in temples of ancient India, particularly Tamilakam (modern-day Tamil Nadu and Kerala). Both kootiyattam and chakyar koothu find several mentions in ancient sangam literature of south and also in the epigraphs belonging to subsequent Pallava, Chera, Chola periods in Tamilnadu. Inscriptions related to the dramatized dance worship services like koodiyattam and chakyar koothu are available in temples at Tanjore, Tiruvidaimaruthur, Vedaranyam, Tiruvarur, and Omampuliyur. They were treated as an integral part of worship services alongside the singing of tevaram and prabandam hymns. There are mentions in epigraphs those forms of dramatized dance worship services that are called aariyam that mostly had Sanskrit scripts for plays.


Several ancient kings and members of other professions are listed to have authored several works for these services. There is evidence of these services being done all over ancient subcontinent during time of cholas and pallavas. A Pallava king called Rajasimha has been credited with authoring a play called kailasodharanam in Tamil that has the topic of Ravana becoming subject to Siva's anger and being subdued mercilessly for the same. For examples a fragmented inscription at the door step of an ancient Shiva temple (now non-existent) in Pegan in Burma finds mention of these services.

It is believed that Kulasekhara Varman Cheraman Perumal, an ancient king of Tamil Chera dynasty, who ruled from Mahodayapuram (modern Kodungallur), reformed Koodiyattam, introducing the local language for Vidusaka and structuring presentation of the play to well-defined units. He himself wrote two plays, Subhadraharana and Tapatisamvarana and made arrangements for their presentation on stage with the help of a Brahmin friend called Tolan. These plays are still presented on stage. Apart from these, the plays traditionally presented include Ascaryacudamani of Saktibhadra, Kalyanasaugandhika of Nilakantha, Bhagavadajjuka of Bodhayana, Nagananda of Harsa, and many plays ascribed to Bhasa including Abhiseka and Pratima. The Kutiyattam performance was performed in specially designed temples called koothambalams.

16 December, 2011

LONG LIVE CHRISTOPHER HITCHENS (13 April 1949 – 15 December 2011)



A man of sensible atheism (unbreakable until the very end like The Marquis de Sade), letters, intellect, integrity and gentle grace.
I am telling you... They are parading one by one out of this cruel and chaotic world...

:(

“The Bible may, indeed does, contain a warrant for trafficking in humans, for ethnic cleansing, for slavery, for bride-price, and for indiscriminate massacre, but we are not bound by any of it because it was put together by crude, uncultured human mammals.”
― Christopher Hitchens, God Is Not Great: How Religion Poisons Everything

13 December, 2011

RAW MEAT.



My mouth is still agape after watching this genuinely avant-garde masterpiece 'Death line' (UK 1972) or as I prefer to call it by its USA title 'Raw Meat'. A film way ahead of its time. This particular long sequence is insane! The acting in this film is unbelievably odd and the catacombs of the Russell Square tube stn. are so nightmarish and repulsive that watching this film had an actual physical effect (I hardly get squirmy, unsettled or disgusted much less spooked) on me like no other film have had.

I was totally captivated from start to end and me and my friends were equally perplexed by the genius of it and we unanimously declared this film to be perhaps the strangest film we've ever seen in all levels: direction of photography, cut & editing, acting direction, sound effects and soundtrack, the beautifully plotted screenplay, the witty and obscure dialogue and at times even visionary political topics, the mannerisms and expressions, etc. Extreme attention must be definitely paid to the most inconspicuously tiny odd details in this film in order to understand what I say.

UTTER MASTERPIECE.

LIKE A VIEWER SAID "TARKOVSKY HIMSELF WOULD'VE BEEN PROUD OF THIS LONG TAKE" AN INSUPERABLE LONG TAKE INDEED.

GET THIS: Dwnld links: http://www.mediafire.com/?dcxledc2mqhv1
Password:
Part 1 - taringa.net/perfil/BL0OD
Part 2 - HorrorFest666.Blogspot

08 December, 2011

Mammalian reptiles.

Humans still functioning on the reptilian brain in all cultures, countries, social statuses and contexts.
Gullible, desperate, willing to accept without questioning anything these charlatan religious leaders, actors/actresses of all kinds, politicians, educators, the lot, have to eructate out of their coarse tongued mouths.

It is only the natural order of events for an evolved out of nothing mammal species to start in the darkness of ignorance, eaten by fear, sickness and the inclemency of a fragile and bewildering body and surroundings.

Everything during Palaeolithic times was decided and led by necromancers, witches, sorcerers, rather lunatic women (Recent archaeological evidence suggests that the earliest known shamans—dating to the Upper Palaeolithic era in what is now the Czech Republic—were women). Nowadays they might still be lunatics but they're mostly vulgar male and female criminals who should be totally ignored and debunked. This "levitatin" charlatan in the view, although he's cute and exotic, is just a tiny example of what foolish people love to idolise... The real list is horrifyingly long: Gods of all kinds, miracles, saints, scriptures, names, statues, places, buildings, paraphernalia, myths, imaginary beings and realms, etc etc etc.

To think that still in 2011 the bigger part of worlds human population cling to believe and LIVE like troglodytes and mammalian reptiles. Mind you, other mammals, reptiles, birds, insects, fishes could be considered more sensible just for the fact of not living a life almost completely subjugated by hideous religious and selfish ideas and the absurd and unnecessary concept of a supreme being commanding all sentient beings on earth.

Oh well...

02 December, 2011

Sous le soleil de Satan.


This is Maurice Pialat's masterpiece "Sous le soleil de Satan".
An extraordinary film aching to be watched and loved by everyone.

You should also be aware of other Pialat masterpieces like "La Gueule Ouverte" (1974),
"Van Gogh" (1991), "À nos amours" (1983) and "Loulou" (1980). It is a great fortune for
all of us to have Pialat's legacy available and we should only try to honour him by sitting
down for a couple hours and submerging from head to toes in this thickly atmospheric and intense
parallel world. This great film is starred by Gérard Depardieu as Donissan, Sandrine Bonnaire as Mouchette
and Maurice Pialat himself as Menou-Segrais.

"Positioned somewhere between Bresson’s immortal Journal d’un curé de campagne and Dieterle’s The Devil and Daniel Webster, Maurice Pialat’s staggering Sous le soleil de Satan [Under the Sun of Satan] addresses the torrent of spiritual and intellectual turmoil unloosed among the denizens of a little country parish. It is a film by turns calm and violent, buoyant upon the tears of mercy and gurgling with the blood of the Lamb.

Gérard Depardieu (Loulou, Le Garçu) is the self-abasing curate tortured by questions about his role in God’s plan — before an encounter with a material Satan touches off a powerful revelation. At the crux of his vision is Sandrine Bonnaire (A nos amours., Police), the madly profligate sylph whose fate ruptures in a blast of gunpowder and the slash of a razor. As events unfurl, Maurice Pialat himself provides witness as the seasoned cleric who pronounces the words: “God wears us down.”

One of the great films of faith made by a non-believer, Sous le soleil de Satan left an indelible mark on spectators from the very moment of its premiere at the Cannes Film Festival in 1987 — where it won the Palme d’Or for Best Film. The Masters of Cinema Series is proud to present Maurice Pialat’s soul-shaking Sous le soleil de Satan on DVD in the UK for the first time."


"Wonderful! Fascinating! Bernanos captured with an obvious anti-clerical twist from Pialat. A cult-movie for art-movies amateurs... If you have seen other Pialat's films, you understand the progression of his art. Very honest film that shakes your bones to the core. Sandrine Bonnaire is just perfect and Depardieu's calm and open acting works very well with the character. A dark movie at its best! This is a well-deserved Golden Palm from the 1987 Cannes Festival, handed by Yves Montand, as president of the Jury. What a scandal it was -- giving the palm to an outcast like Pialat. History will remember that Cannes, on its 50th anniversary, tried and succeeded on promoting true art in films."

Watch this excellent piece of work (with english subs included):
password: summerobabalon.blogspot.com

http://www.fileserve.com/file/NvCP5tq/SousLeSoleil.87-SOBBL.7z.001
http://www.fileserve.com/file/pMAx7T4/SousLeSoleil.87-SOBBL.7z.002
http://www.fileserve.com/file/NQzv52Z/SousLeSoleil.87-SOBBL.7z.003

credits of upload/rip goes to Poenir @ www.surrealmoviez.info.

+ EUREKA's 'Masters of Cinema' dvd extras:

http://www.filesonic.com/folder/2253971 or http://www.fileserve.com/list/XnYenxW

30 November, 2011

"TRASH PALACE" (not quite so...)




Found this website while searching for a film. A massive list of genuinely great DVD/VHS gems like Walerian Borowczyk's "BLANCHE", Marco Ferreri's "L'HAREM", 1976 Salvatore Samperi's overtly venereal Italian drama "SCANDALO", David Hamilton's "BILITIS" & "LAURA", Conrad Rooks's "CHAPPAQUA" (featuring William Burroughs), Ken Russel's "THE DEVILS", Adonis Kyrou's "LE MOINE", Arne Mattson's "THE GIRL", among others.

Don't be deceived by the looks of some of the real scummy sex farces listed. Among them are some real corkers of astonishing cinematography, editing and moody atmosphere.

http://www.trashpalace.com/collectorsmovies/unclassifiables.htm

http://www.trashpalace.com/collectorsmovies/erotica1.htm
http://www.trashpalace.com/collectorsmovies/erotica2.htm

http://www.trashpalace.com/collectorsmovies/horror1.htm
http://www.trashpalace.com/collectorsmovies/horror2.htm

Art Blakey's Jazz Messengers - A Night In Tunisia (live '58)



Art Blakey - drums
Lee Morgan - trumpet
Benny Golson - tenor sax
Bobby Timmons - piano
Jymie Merritt - bass

28 November, 2011



KEN RUSSELL DIED YESTERDAY.

My nostril started bleeding just a few minutes after finding this out and I do not know whereas there's any connection with the awful news whatsoever, but it seems very appropriate since I, and I say this without any drama or exaggerations, admire and hold very dearly in my heart his body of work and some of his films have inspired me to walk the trails I've walked and I have yet to walk. I haven't spoken a word for the last hour or so, even when I am not alone right now. Obviously out of being upset.

Some of us stand helplessly and mourning, even when we do not know some of these great artists in person, as they one by one disappear behind a column of thin smoke and never come back.

The day today started smoothly and nicely especially because I've been looking forward since last week to go to the cinema and watch David Cronenberg's new film. But now this downbeat news: Ken Russell died yesterday.

Although it is good to read that he died peacefully and with a big smile on his face, surrounded by his beloved ones. That is important.

I can imagine how now (of course it's always the same), people is going to start paying attention to his remarkable and unique oeuvre. Why does it always takes the most extreme event (death) for people to really make an effort and pay attention, turn their necks to the right side, to what is really worthy? Once that valuable, forgotten or not even noticed at times, is dead is when the talk starts, the buying of books and dvds starts, the retrospectives starts, the exhibitions and articles start. What a voyeuristic bunch...

When I think about who's going to be the next dying soon, one of the old men or women who are still alive and had made a priceless contribution to human history, a truly good one, so much comes to mind and I rather abandon the thought and think about something else like why on earth my nose just started bleeding all of the sudden...

AWFUL !

26 November, 2011

SADE: How to read and interpret his work.


"In discussion of the links between reproduction and death in his principal theoretical work, Eroticism, Bataille reminds us that, long before Freud, St Augustine himself was only too aware of the proximity of the sexual organs to the processes of bodily evacuation: 'Interfaeces et urinam nascimur,' he declared, ('We are born between faeces and urine'). For Bataille, the taboo and its transgression are two sides of the same coin: as taboo substances that remind us of degeneration and death, urine and faeces are repugnant, but, like all taboos, they are also fascinating, because they represent the challenge of transgression:

To reply to the utmost the ecstasy, in which we lose ourselves in orgasm, we must always know what the borderline is: it is horror. There is no form of repugnance that does not have an affinity with desire."
- from 'How to read SADE' by John Phillips.

AND CONTINUING WITH MY ONGOING MARQUIS DE SADE / FRIEDRICH NIETZSCHE CONSCIOUSNESS CAMPAIGN: BUY THIS ABSOLUTELY WORTHWHILE & POWERFUL LITTLE BOOKS !

http://grantabooks.com/page/3032/How-To-Read-Sade/1080

From the Granta Books series HOW TO READ... which also include the equally great How to read Nietzsche. I'm a proud owner / avid reader of the two. (my own scan of the book cover)

24 November, 2011

Breathing a Vein

Etched engraving by James Gillray 1804, published by H Humphrey, St James St. London
"Bloodletting, or phlebotomy, had been a standard medical practice since antiquity. It entailed withdrawing a considerable amount of blood from a person in order to cure disease. Blood was thought to build up in excess and then stagnate in certain areas of the body. Removing the extra blood would restore the natural balance of the body.

In this etching Gillray demonstrates venesection, which he calls “breathing a vein.” The title suggests that the procedure was a pleasant way to allow the vein a little air. The reality of the procedure was something else, as the cartoon suggests. A tourniquet was placed above the elbow, the artery in the forearm was punctured by a lancet, and the blood, gushing like a geyser, was captured in a bowl."

Grant Green - Idle Moments (Long Version)



14 minutes 56 seconds of bliss, from Green's classic album "Idle Moments"

Grant Green - guitar
Joe Henderson - tenor sax
Bobby Hutcherson - vibraphone
Duke Pearson - piano
Bob Cranshaw - bass
Al Harewood - drums

20 November, 2011

W.Borowczyk: Imagination fulgurante.

*about Author/Director Walerian Borowczyk and his films in particular 'Contes Immoraux'.
I'd say this is Walerian Borowzcyk's masterpiece. I mean the four short tales called 'Contes Immoraux' (1974). Although, I am also very keen of La bête, Interno di un Convento, Docteur Jekyll et les femmes (an extremely bizarre and violent film starring Udo Kier as Jekyll), Cérémonie d'amour... Absolutely all of them; even the Emmanuelle sequel he directed later on.
But back to the 'Immoral tales', I am particularly fond of the 'Lucrezia Borgia' incestuous fifteenth-century orgy segment involving her, her brother, and her father the Pope.



You could say I'm some kind of avid, platonic pupil of Borowczyk, so to speak, aspiring to ever convey something of remotely a similar beauty and philosophical depth as his films. One only has to see Une collection particulière and the subtle metaphors of the relation between the moon phases and the sea tide with sexuality in 'The Tide' and the extraordinarily dancing grace of the short documentary L' Amour monstre de tous les temps about late surrealist painter Ljuba Popović.

He is without a single doubt a top favourite of mine among the very best dissident and truly idiosyncratic filmmakers every to be enjoyed in the history of cinema. Up there with Pasolini, Buñuel, Russell, Svankmajer, Visconti... It's not a matter of comparing; they are all geniuses in their own individual ways.

DWNLD 'CONTES IMMORAUX' w/English subtitles included:

http://rapidshare.com/files/324644329/contesimmoraux.part1.rar
http://rapidshare.com/files/324911381/contesimmoraux.part2.rar
http://rapidshare.com/files/324924273/contesimmoraux.part3.rar
http://rapidshare.com/files/324938072/contesimmoraux.part4.rar
http://rapidshare.com/files/324657229/contesimmoraux.part5.rar

"Whether he takes the brush, the chisel, the pen, the still camera or the movie camera, whether he's recording the real movement of actors or creating an illusory movement image by image, Walerian Borowczyk, artist of multiple talents, is building a unique body of work. Great manipulator of matter, he not only transforms it into images with the power to impart emotions by his hand, but he is also able to draw from that material the expression of its deepest reality while keeping its personality intact. He shapes each substance with a respect for its life essence. He reveals the mysterious autonomy therein and controls its disturbing fertility." -Maurice Corbet.




ORNETTE REHEARSAL Pt.1 a side A

Check out the rest of the parts of this interesting rehearsal tape filled with Ornette Coleman and the band discussing their methods between playing.