Le Maxi Monster Music Show

Kiki of Montparnasse

Alice_Prin

Ballet Mecanique

Ballet Mécanique (1924) was a project by the American composer George Antheil and the filmmaker/artists Fernand Léger and Dudley Murphy. Although the film was intended to use Antheil's score as a soundtrack, the two parts were not brought together until the 1990s. As a composition, Ballet Mécanique is Antheil's best known and most enduring work. It remains famous for its radical style and instrumentation as well as its storied history.

In concert performance, the "ballet" is not a show of human dancers but of mechanical instruments. Among these, player pianos, airplane propellers, and electric bellsstand prominently onstage, moving as machines do, and providing the visual side of the ballet. As the bizarre instrumentation may suggest, this was no ordinary piece of music. It was loud and percussive –- a medley of noises, much as the Italian Futurists envisioned new music of the 20th century.

Lacrimae rerum

Lacrimae rerum is the Latin for "tears of things." The words themselves are from "lacrima, -ae," a first declension noun meaning "tear" (appearing here in the nominative plural) and from "res, rei" a fifth declension noun meaning "thing" (appearing here in the genitive plural).

The term comes from line 462 of Book I of The Aeneid, an epic poem written in Latin by Virgil, one of Rome's most distinguished poets, in the 1st century BC. Aeneas, while crying, says, "sunt lacrimae rerum et mentem mortalia tangunt" as he gazes at one of the murals found in a Carthaginian temple, which depicts battles of the Trojan War and deaths of his friends and countrymen. Translated this says, "There are tears of things and mortal things (sufferings) touch the soul." As he stands there, Aeneas is overcome by the futility of warfare and waste of human life. The burden man has to bear, ever present frailty and suffering, is what would define the essence of human experience.

A translation by the famous classicist Robert Fagles renders the quote as: "The world is a world of tears, and the burdens of mortality touch the heart."

Robert Fitzgerald, meanwhile, translates it as: "They weep here \ For how the world goes, and our life that passes \ Touches their hearts."

Νίκος Νικολαΐδης

LACRIMAE RERUM (1962)

«Ξεκινώντας από τη μουσική, πλάστηκε μια ιστορία που μοιάζει με τη ζωή του ανθρώπου. Ο άνθρωπος γεννιέται, χαίρεται, πεθαίνει...
Το Lacrimae Rerum ξεκινά από φωτογραφίες εξωτερικές σε νεκροταφείο καϊκιών όπου η άμμος δίνει την αίσθηση της υπόγειας ζωής σε αντίθεση με το «τελειωμένο» των σάπιων όγκων που φαντάζουν σαν σκελετοί. 
Ο σταυρός στην ακρογιαλιά συνδέεται άμεσα με το εσωτερικό της εκκλησίας που ακολουθεί την αίσθηση του φόβου, του θανάτου, της θρησκείας... και εδώ σταματά η μουσική του Γκρίηκ...

Ακολουθούν νεκρά πλάνα εσωτερικού σπιτιού με τα αντικείμενα σε κατάσταση χαμού και εγκαταλείψεως.  
Ύστερα, σε μουσική Σούμπερτ, τα αντικείμενα σβήνουν έως ότου η φωτογραφία φθάνει σε μια τέλεια παύση.
Και τώρα αρχίζει ο χορός. Το ξύπνημα, η έξαρσις που θα καταλήξει μοιραία στο θάνατο.  Και στην εκμηδένιση. Η κίνησις της μηχανής είναι ελεύθερη προς το κυκλικό σε μουσική Σαιν-Σανς.  

Ο θάνατος και η ανυπαρξία έρχονται μέσα σε κάθετες και διαγώνιες γραμμές ενώ η φωτογραφία γίνεται συγκεχυμένη.
Η κούκλα σπάει συμβολίζοντας τον θάνατο με την έντονη ασπράδα του προσώπου της και ο χρόνος σταματά στο ρολόι. Το κερί συμβολίζει την αιώνια ανάμνηση και τα τρία σύμβολα ενώνονται στο τελευταίο πλάνο.»

«Η ταινία είναι ένα βιντεοκλίπ πάνω στην ημιτελή του Σούμπερτ».

reference: http://www.nikosnikolaidis.com/main/index.php?option=com_content&view=article&id=5&Itemid=11

Arthur Schopenhauer

THE ART of BEING RIGHT

wikipedia

An ad hominem (Latin: "to the man", "to the person"), short for argumentum ad hominem, is an attempt to negate the truth of a claim by pointing out a negative characteristic or belief of the person advocating it.^[1] The ad hominem is normally described as a logical fallacy,^[2][3][4] but it is not always fallacious; in some instances, questions of personal conduct, character, motives, etc., are legitimate and relevant to the issue

Ad hominem tu quoque (literally: "You also") refers to a claim that the source making the argument has spoken or acted in a way inconsistent with the argument. In particular, if Source A criticizes the actions of Source B, a tu quoque response is that Source A has acted in the same way. This argument is fallacious because it does not disprove the argument; if the premise is true then Source A may be a hypocrite, but this does not make the statement less credible from a logical perspective. Indeed, Source A may be in a position to provide personal testimony to support the argument.

For example, a father may tell his son not to start smoking as he will regret it when he is older, and the son may point out that his father is or was a smoker. This does not alter the fact that his son may regret smoking when he is older.

wikipedia

    

title

heterotopia
south of normal
collection of unrelated
missing pieces

Parthenon Frieze _the narrative

http://www.parthenonfrieze.gr/

The narrative of the frieze begins at the southwest corner where the procession appears to divide into two separate files. The first third of the west frieze is not part of the procession but instead seems to be the preparatory stages for the participants. The first figure here is a marshal dressing, W30, followed by several men preparing the horses W28–23 until figure W22 who, it has been suggested, may be engaged in the dokimasia, the tryout or enrollment of the knights. W24 is an ambiguous figure who might be either the protesting owner of a rejected horse or a keryx (herald) whose hand held part of an otherwise lost salpinx (trumpet), but either way this point marks the beginning of the procession proper.

The following ranks W21–1 along with N75–136 and S1–61 are all of horsemen and constitute 46% of the whole frieze. They are divided into two lines of ten ranks – the same number of the Attic tribes. All are beardless youths with the exception of two, W8 and W15, who along with S2–7 wear Thracian dress of fur cap, a patterned cloak and high boots; these have been identified by Martin Robertson as hipparchs. Next are the four-horse chariots, each with charioteer and armed passenger, there are ten on the south frieze and eleven on the north. Since these passengers are sometimes depicted as dismounting they may be taken to represent the apobatai, participants in the ceremonial race found in Attica and Boeotia.

By N42 and S89 the equestrian parade is at an end, and the following 16 figures on the north and 18 on the south are taken to be the elders of Athens judging by their braided hair, an attribute of distinguished age in Classical art. Four of these figures raise their right hand in a clenched fist gesture suggestive of a pose associated with the thallophoroi  and four aulos (flute) players. N16–19 and S115–118 (conjectured) are the hydriaphoroi, the water-vessel carriers, here men rather than metic girls mentioned in the literature on the Panathenaia. N13–15, S119–121 are the skaphephoroi, the tray bearers of the honeycombs and cakes used to entice the sacrificial animals to the altar. N1–12, S122–149 are the ten cows on the north and four cows and four sheep on the south meant for sacrifice on the acropolis, presumably an abbreviated form of the hecatomb usually offered on this occasion – there is an a-b-a rhythm of placid and restive cows. (olive branch bearers) who were older men chosen for their good looks in competition. No drill holes, however, exist for any branch to be inserted in their hands. Next in line (S107–114, N20–28) are the musicians: four kithara (a variant of the lyre)

As the files converge on the east frieze we encounter the first women celebrants E2–27, E50–51, E53–63. They carry the sacrificial instruments and paraphernalia including the phiale (phial or jug), oinochoai (wine jars), thymiaterion (incense burner), and in the case of E50–51 they have evidently just handed the marshal E49 a kanoun, making the girl the kanephoros. The next groups E18–23, E43–46, are problematic. Six on the left and four on the right, if one does not count two other figures who may or may not be marshals, then this group might be taken to be the ten eponymous heroes who gave their names to the ten tribes. Their proximity to the gods indicates their importance, but selecting differently then nine of them may be the archons of the polis or athlothetai officials who managed the procession; there is insufficient iconographic evidence to determine which interpretation is correct. The twelve seated gods are taken to be the Olympians, they are one third taller than any other figure on the frieze and are arranged in two groups of six on diphroi (backless) stools with the exception of Zeus who is enthroned. Their backs are turned to what must be the culminating event of the procession E31–35; five figures (three children and two adults, and though badly corroded the two children on the left are probably girls) the girls bear objects on their heads while a third, probably a boy, assists an adult who may be the archon basileus, in folding a piece of cloth. This is usually understood to be the presentation of Athena’s peplos, perhaps by the arrhephoroi.