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Granular complex of fluid atoms

Argeïphontes Lyre 7 ➛ Granular complex of fluid atoms

“contemplator enim, cum solis lumina cumque inserti fundunt radii per opaca domorum: multa minuta modis multis per inane videbis corpora misceri radiorum lumine in ipso et vel ut aeterno certamine proelia pugnas edere turmatim certantia nec dare pausam, conciliis et discidiis exercita crebris; conicere ut possis ex hoc, primordia rerum quale sit in magno iactari semper inani. dum taxat, rerum magnarum parva potest res exemplare dare et vestigia notitiai.” — Titus Lucretius Carus, De rerum natura, II.114–141.

Complex affronta la sintesi granulare attraverso famiglie di disposizioni, ciascuna con caratteristiche distinte per raccogliere, trasformare e organizzare frammenti sonori. Particelle sparse e figure ripetitive, nuvole dense e trame continue in trasformazione. Dilatando e comprimendo i passaggi, intrecciando momenti del materiale sorgente; esplorando le relazioni tra altezza, direzione e ampiezza.

Le disposizioni possono operare sull’intera composizione oppure occuparne singole parti, sovrapponendosi o condividendo la stessa durata. Stabilendo il materiale; oppure rispondendo a quello già formato, rafforzandone i dettagli o perturbando le strutture esistenti. I contorni familiari possono persistere attraverso le trasformazioni oppure dissolversi in una diversa percezione del movimento e della scala.

Le selezioni suggeriscono il carattere di queste attività, mentre la variazione aleatoria dà forma a ogni realizzazione. Le stesse sorgenti e le stesse selezioni possono generare composizioni differenti.

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Seiðr sýnir beygðan, sannr gerist hlypinn

Seiðr sýnir beygðan, sannr gerist hlypinn; sjónir eru snúnar, hugr er villtr. Spegill kveðr logn, lýstr þó brengdan; orð goða hrynja, óskyn sigrar. 1577 B. Googe Heresbach’s Husb. 38b, Flaxe and Hempe..serueth for webbes of Linnen, and twysting of Cordes. 1599 in Archæologia LXIV. 382 For mending the twisting wheele. 1608 Dee Relat. Spir. ii. (1659) 4, I thereupon appointed with myself to bring the Childe to the place, and to offer him, and present him to the service of Seeing and Skrying from God. 1897 Dreams & Ghosts iii. 61 In using the ball she..succeeded in seeing..persons..familiar to people for whom she `scried‘, but totally strange to herself. 1856 F. Perthes Mem. II. vi. 94 What toil and trouble, what twisting and turning this undertaking has cost me. 1872 Liddon Elem. Relig. iv. 154 A second regards sin as a twisting or perversion of the will from the right way.

∠ forest snarled house authentically haunted, no sign of the limestone tower broken, architects deviations, doorways forget their fear in darkness more vivid, no arrow of excessive violence or screaming seduced by ordained sleep, indulged in these reflections beneath the stairs, a small clean wooden box, square, contains the waning moon, sequins of stars glittering and heavy night air. this sky leans on me that the earth can pass through, some chafed emotion, monstrous things whispered years before, rough parallel in a dream abandoned, remembered and said shallow and quiet to a slow decadence crumbling, forgotten where twisting limbs of trees shelter singing birds in twilight of all imaginable shapes, blur black wings wandering made to glister, memory, indiscernible knit consciousness, ashes in that unknown. swimming in white ruins the great beauty which is perfectly opaque, shadows watching the death of omens by loveless imagination sheltering from storms, interior mazes mirror enough to distract beauty’s thought, curves and angles roughly followed, unbound hair bleached in skull masks, ghost chatterings, shallow steps in a wasp’s nest. glancing to let all alone, except in broad daylight. glamour, a broken anything about tablets going lost, but past far abstract which for carelessly neglected, a pouring liquidness.

Kviðr kallar sjónir, kveðr hann myndir; augu fyllir, eldr í huga. Formr í lögum, fǫgr ok stillt; einfǫld býr, œsir innsta. 1751 Bolingbroke Ess. Hum. Knowl. v. Wks. 1754 III. 432 The mind..makes it’s utmost efforts to generalize it’s ideas. 1761 Adam Smith Form Lang. Ess. (1869) 310 The original invention of such words would require a yet greater effort of abstraction, and generalization, than that of nouns adjective. 1837 Whewell Hist. Induct. Sc. (1857) I. 203 The particulars from which we are to generalize. 1855 H. Reed Lect. Eng. Lit. xi. (1878) 541 The processes, which we generalise under the names of wit and humour.

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Lessons of Darkness

Minnesota Declaration

Herzog
  1. By dint of declaration the so-called Cinéma Vérité is devoid of vérité. It reaches a merely superficial truth, the truth of accountants.
  2. One well-known representative of Cinéma Vérité declared publicly that truth can be easily found by taking a camera and trying to be honest. He resembles the night watchman at the Supreme Court who resents the amount of written law and legal procedures. ‘For me,’ he says, ‘there should be only one single law: the bad guys should go to jail.’ Unfortunately, he is part right, for most of the many, much of the time.
  3. Cinéma Vérité confounds fact and truth, and thus ploughs only stones. And yet, facts sometimes have a strange and bizarre power that makes their inherent truth seem unbelievable.
  4. Fact creates norms, and truth illumination.
  5. There are deeper strata of truth in cinema, and there is such a thing as poetic, ecstatic truth. It is mysterious and elusive, and can be reached only through fabrication and imagination and stylization.
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The Street of Crocodiles

MY FATHER kept in the lower drawer of his large desk an old and beautiful map of our city. It was a whole folio sheaf of parchment pages which, originally fastened with strips of linen, formed an enormous wall map, a bird’s eye panorama.

Będziemy wiecznie żałowali, żeśmy wtedy wyszli na chwilę z magazynu konfekcji podejrzanej konduity. Nigdy nie trafimy już doń z powrotem. Będziemy błądzili od szyldu do szyldu i mylili się setki razy. Zwiedzimy dziesiątki magazynów, trafimy do całkiem podobnych, będziemy wędrowali przez szpalery książek, wertowali czasopisma i druki, konferowali długo i zawile z panienkami o nadmiernym pigmencie i skażonej piękności, które nie potrafią zrozumieć naszych życzeń.

Będziemy się wikłali w nieporozumienia, aż cała nasza gorączka i podniecenie ulotni się w niepotrzebnym wysiłku, w straconej na próżno gonitwie.

Nasze nadzieje były nieporozumieniem, dwuznaczny wygląd lokalu i służby — pozorem, konfekcja była prawdziwą konfekcją, a subiekt nie miał żadnych ukrytych intencji. Świat kobiecy ulicy Krokodylej odznacza się całkiem miernym zepsuciem, zagłuszonym grubymi warstwami przesądów moralnych i banalnych pospolitości. W tym mieście taniego materiału ludzkiego brak także wybujałości instynktu, brak niezwykłych i ciemnych namiętności.

Ulica Krokodyli była koncesją naszego miasta na rzecz nowoczesności i zepsucia wielkomiejskiego. Widocznie nie stać nas było na nic innego, jak na papierową imitację, jak na fotomontaż złożony z wycinków zleżałych, zeszłorocznych gazet.

Hung on the wall, the map covered it almost entirely and opened a wide view on the valley of the River Tysmienica which wound itself like a wavy ribbon of pale gold, on the maze of widely spreading ponds and marshes, on the high ground rising towards the south, gently at first, then in ever tighter ranges, in a chessboard of rounded hills, smaller and paler as they receded towards the misty yellow fog of the horizon. From that faded distance of the periphery, the city rose and grew towards the centre of the map, an undifferentiated mass at first, a dense complex of blocks and houses, cut by deep canyons of streets, to become on the first plan a group of single houses, etched with the sharp clarity of a landscape seen through binoculars. In that section of the map, the engraver concentrated on the complicated and manifold profusion of streets and alleyways, the sharp lines of cornices, architraves, archivolts and pilasters, lit by the dark gold of a late and cloudy afternoon which steeped all corners and recesses in the deep sepia of shade. The solids and prisms of that shade darkly honeycombed the ravines of streets, drowning in a warm colour here half a street, there a gap between houses. They dramatized and orchestrated in a bleak romantic chiaroscuro the complex architectural polyphony.

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On ðone ærystan dæg þæs [monðes] bið ealra haligra tid

OE Old Eng. Martyrol. (Julius) 1 Nov. 243 On ðone ærystan dæg þæs [monðes] bið ealra haligra tid. OE Wulfstan Canons of Edgar (Junius) (1972) liv. 13 Ærest on easteræfen, and oðre siðe on candelmæsseæfen, þriddan siðe on ealra halgena mæsseæfen. 1325 Chron. Robert of Gloucester (Calig.) l. 8601 (MED) A sterre þat comete icluped is At alle halwen tid him ssewede. 1447 in S. A. Moore Lett. & Papers J. Shillingford (1871) i. 16 (MED) The morun tuysday, al Halwyn yeven. 1548 in J. G. Nichols Chron. Grey Friars 57 This yere before Alhallontyd was sett up the howse for the markyt folke in Newgate market for to waye melle in. 1556 in J. G. Nichols Chron. Grey Friars 17 Thys yere the towne of Depe was tane..on Halhalon evyn. 1616 W. Shakespeare Measure for Measure (1623) ii. i. 121 Clo. Was’t not at Hallowmas Master Froth? Fro. Allhallond-Eue. 1653 I. Walton Compl. Angler 222 About All-hollantide, when you see men ploughing up heath-ground.

I have gone out, a possessed witch,
haunting the black air, braver at night;
dreaming evil, I have done my hitch

over the plain houses, light by light:
lonely thing, twelve-fingered, out of mind.
A woman like that is not a woman, quite.

I have been her kind.

I have found the warm caves in the woods,
filled them with skillets, carvings, shelves,
closets, silks, innumerable goods;

fixed the suppers for the worms and the elves:
whining, rearranging the disaligned.
A woman like that is misunderstood.

I have been her kind.

I have ridden in your cart, driver,
waved my nude arms at villages going by,
learning the last bright routes, survivor

where your flames still bite my thigh
and my ribs crack where your wheels wind.
A woman like that is not ashamed to die.

I have been her kind.

– Anne Sexton

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L’angelo caduto diventa un diavolo maligno

“Oh, it is not thus—not thus,” interrupted the being; “yet such must be the impression conveyed to you by what appears to be the purport of my actions. Yet I seek not a fellow-feeling in my misery. No sympathy may I ever find. When I first sought it, it was the love of virtue, the feelings of happiness and affection with which my whole being overflowed, that I wished to be participated. But now, that virtue has become to me a shadow, and that happiness and affection are turned into bitter and loathing despair, in what should I seek for sympathy? I am content to suffer alone, while my sufferings shall endure: when I die, I am well satisfied that abhorrence and opprobrium should load my memory. Once my fancy was soothed with dreams of virtue, of fame, and of enjoyment. Once I falsely hoped to meet with beings, who, pardoning my outward form, would love me for the excellent qualities which I was capable of bringing forth. I was nourished with high thoughts of honour and devotion. But now vice has degraded me beneath the meanest animal. No crime, no mischief, no malignity, no misery, can be found comparable to mine. When I call over the frightful catalogue of my deeds, I cannot believe that I am he whose thoughts were once filled with sublime and transcendant visions of the beauty and the majesty of goodness. But it is even so; the fallen angel becomes a malignant devil. Yet even that enemy of God and man had friends and associates in his desolation; I am quite alone.

– Mary Wollstonecraft Shelley