el bjorch

deconstructed rockannon

[el bjorch @flspectro]

@zfrkrslnn @SIGMAPROFESSOR Eventually you'll be a father or a son, a king or a prince. Choose wisely, according to your nature and to her soul.

[RuleOfThule @RuleOfThule]

@WithNightDanger In the past few years, I have discovered that "simple ignorance" is almost never a real explanation for the propositions people make. Instead, there are entire armies marching in formation, eyes closed in militant devotion.

[私が金子です。 @blue_sin_garden]

美輪明宏様は三島由紀夫さんとの逸話が数多い。
その中でも有名なのは

三島氏「君には95％の長所があって、あとの5％が最悪だ。95％の長所を吹き飛ばすだけの短所がある」

美輪様「95％の長所を吹き飛ばすなんて素晴らしいじゃないの。それはなんですか」

三島氏「俺にほれないことだ」

最高か…

[Girardism @Girardism]

“The idea that Peter doesn't know what he is doing [in the moment when he denies Jesus] is extremely important. He's denying not unconsciously, but he's unconscious of what he's really doing. That's why maybe the most beautiful thing is the ending. ... The Gospels know very well how to represent very directly, very understandably, that unconscious. All they have to tell you [is that]: ‘And then the cock was heard,’ and it reminds Peter of what he had conveniently forgotten, which was that Jesus had predicted the very thing that had been happening. ...

Because [Jesus] listens to his father, he understands human communities infinitely better than all these guys and he knows that Peter is going to find himself in a situation of collective pressure, of mob pressure, in which he will deny. So all [the Gospels] have to do is say ‘the cock crowed and Peter started to cry.’”

— René Girard, ‘Things Hidden: The Life and Legacy of René Girard’ on YouTube, (prod. Trevor Cribben Merril @cribbenMerrill), 1:23:25

[el bjorch @flspectro]

@RobertoSR__ @MelSupernova Exácto. Lo que pasa es que "la prensa" son octagenarios que la selección éra la #4 del mundo, o alguna otra tontería así, porque tenían a H. Sánchez. Comparada con ésa ilusión boomer cualquier cosa va a ser fatal. Esta selección ha cumplido y su nivel real se va a ver pronto.

[Bovril-Gesellschaft @BovrilG]

HALDEMAN:– all I'm saying, sir, is that the outcomes are arranged. In advance. It's worked out beforehand who goes over.

PRESIDENT NIXON: Who goes over WHAT, Bob?

HALDEMAN: Over. Wins. It's a term. The point is both wrestlers know the finish before the bell.

[EIGHT SECONDS OF SILENCE]

NIXON: Now hold on. Hold on, Bob. You're telling me Bruno Sammartino...you're telling me that's fixed.

HALDEMAN: I'm telling you the result is determined,
sir.

NIXON: The man's been champion seven years. Seven years, Bob. You don't, you don't do that by...nobody arranges seven years.

KISSINGER: Mr President, with respect, that is rather the point. A genuine athletic contest would not produce so stable an outcome. The very consistency is the, ah, the tell.

NIXON: The tell. Listen to him. Henry, you've never been to a match in your life.

KISSINGER: I have not had that misfortune, no.

NIXON: Then how the [EXPLETIVE] do you know?

KISSINGER: Because, Mr President, the dramaturgy is transparent to anyone who has studied the...it is theatre. It is morality theatre. The hero, the villain, the foreign menace who is vanquished. It is Wagner with folding chairs.

[TWELVE SECONDS OF SILENCE]

NIXON: The bodyslams are real. Don't tell me the bodyslams aren't real. I've seen a man land. You can't fake a man landing.

[𝔸𝕝𝕓𝕖𝕣𝕥𝕠 𝔽. ℙ𝕖𝕝á𝕖𝕫 (🅼🅸🆂🅸🅽🅶🅽🅾) @Albertofpelaez]

El terror a lo largo de los años:

40s Monstruos clásicos. Miedo a lo incomprensible.
50s Monstruos de la era atómica/alienígenas. Miedo al extranjero.
60s-70s Monstruos humanos. Miedo a la sociedad.
80s Monstruoso mundo. Miedo al mal que nos rodea.
90s Monstruoso futuro. Miedo.

[el bjorch @flspectro]

@hanna76111 @JeffWellsRigInt Most likely; build black sites with their own water cycle where techno lords can live unbothered by the hoi polloi.

[Laura Matsue @lauramatsue]

Most people misunderstand spiritual warfare because they don’t even understand their own inner world.

Evil is real. But it’s impossible to differentiate between what is actually your own shadow vs what is archetypal evil unless you know your own psyche.

And so many attribute aspects of their inner world to demons. And don’t work on healing their own wounding, which ironically, makes them even more vulnerable to evil.

You have to know yourself deeply to be able to differentiate between evil within you and evil that is coming from outside of you

Without that discernment, your spiritual battles could easily be aspects of you that are at war with each other.

[Aeneas @SonOfAnchis3s]

CS Lewis wrote about a similar concept:

“Most of us find it very difficult to want "Heaven" at all — except in so far as "Heaven" means meeting again our friends who have died. One reason for this difficulty is that we have not been trained: our whole education tends to fix our minds on this world. Another reason is that when the real want for Heaven is present in us, we do not recognise it. Most people, if they had really learned to look into their own hearts, would know that they do want, and want acutely, something that cannot be had in this world. There are all sorts of things in this world that offer to give it to you, but they never quite keep their promise. The longings which arise in us when we first fall in love, or first think of some foreign country, or first take up some subject that excites us, are longings which no marriage, no travel, no learning, can really satisfy. I am not now speaking of what would be ordinarily called unsuccessful marriages, or holidays, or learned careers. I am speaking of the best possible ones. There was something we grasped at, in that first moment of longing, which just fades away in the reality. I think everyone knows what I mean. The wife may be a good wife, and the hotels and scenery may have been excellent, and chemistry may be a very interesting job: but something has evaded us. Now there are two wrong ways of dealing with this fact, and one right one.

(1) The Fool's Way. — He puts the blame on the things themselves. He goes on all his life thinking that if only he tried another woman, or went for a more expensive holiday, or whatever it is, then, this time, he really would catch the mysterious something we are all after…

(2) The Way of the Disillusioned "Sensible Man." — He soon decides that the whole thing was moonshine. "Of course," he says, "one feels like that when one's young. But by the time you get to my age you've given up chasing the rainbow's end." And so he setties down and learns not to expect too much and represses the part of himself which used, as he would say, "to cry for the moon." This is, of course, a much better way than the first, and makes a man much happier, and less of a nuisance to society. It tends to make him a prig (he is apt to be rather superior towards what he calls "adolescents"), but, on the whole, he rubs along fairly comfortably...

(3) The Christian Way. — The Christian says, “Creatures are not born with desires unless satisfaction for those desires exists. A baby feels hunger: well, there is such a thing as food. A duckling wants to swim: well, there is such a thing as water. Men feel sexual desire: well, there is such a thing as sex. If I find in myself a desire which no experience in this world can satisfy, the most probable explanation is that I was made for another world. If none of my earthly pleasures satisfy it, that does not prove that the universe is a fraud. Probably earthly pleasures were never meant to satisfy it, but only to arouse it, to suggest the real thing. If that is so, I must take care, on the one hand, never to despise, or be unthankful for, these earthly blessings, and on the other, never to mistake them for the something else of which they are only a kind of copy, or echo, or mirage. I must keep alive in myself the desire for my true country, which I shall not find till after death; I must never let it get snowed under or turned aside; I must make it the main object of life to press on to that other country and to help others to do the same."

There is no need to be worried by facetious people who try to make the Christian hope of "Heaven" ridiculous by saying they do not want "to spend eternity playing harps." The answer to such people is that if they cannot understand books written for grown-ups, they should not talk about them. All the scriptural imagery (harps, crowns, gold, etc.) is, of course, a merely symbolical attempt to express the inexpressible.”

[浄化巫女ひより @hiyori_reishi_]

雨も降っていないのに、肌にポツンと水が当たるような感覚を経験したことがありますか。

「気のせいかな」と流してきた方へ、正直に言わせてください。

それ、気のせいではありません。

御祈祷の場に長年立ち会ってきた中で、そういう感覚を持つ方を視続けてきました。共通点が一つありました。

[el bjorch @flspectro]

@decireves Es como tomar con un alcohólico. Las primeras horas normal, a la tercera te das cuenta que algo está raro, si le sigues te das cuenta que está en auto y éso es aburridísimo si tu usas el alcohol como diversión. La siguiente vez igual... Como sea, un caballero no habla de briagas.

[el bjorch @flspectro]

@royalmidwit @cloneristic @thedimitri A successful kamikaze never returns.

[Alain Astruc @alainastruc]

More than forty-five years after its release, John Boorman's Excalibur remains unsurpassed. No cinematic adaptation of a mythic story has come close since.

Following my post on Nolan, I wanted this time to take the opposite angle: to show the mental space in which I would have wanted an adaptation of the Odyssey to take shape. I had meant to make a thread with several films. I stopped at the first. I had opened Excalibur to grab a few stills, and ended up watching the whole thing again for the umpteenth time.

Boorman had prepared an adaptation of The Lord of the Rings. He never got the rights, and recycled all that work into Excalibur. And that was a blessing. With Tolkien, he would have had to bow to an orthodoxy. The Arthurian cycle allows for a far greater liberty. One dreams of what an inspired author, a servant of the sacred fire, might do with a Lord of the Rings deliberately unfaithful to the letter but faithful to the spirit.

I saw Excalibur too young, on a school trip in the early 1980s. No one then worried about showing such films to children. I thank those reckless teachers for exposing me, in total shock, to what remains for me the greatest cinematic adaptation of a mythic story ever made.

Why choose it as the counter-example to Nolan? Because it dismantles the idea that any criticism of the Odyssey amounts to demanding more historical or textual fidelity. That is a legitimate option, of course, but not the one I desire. Excalibur cares nothing for it. Wagner and Orff saturate the soundtrack. The armor is completely anachronistic. Boorman chose it because it catches the light like nothing else, and because it matches the idea people have of the Middle Ages, not its reality. That is another form of fidelity, and we forget it too easily when dealing with works this ancient.

The Arthurian cycle, and a fortiori the Odyssey, are not IPs you take out of a box to adapt. They are stories that fascinate for what they have generated: discourses, fantasies, layers of popular interpretation. Boorman worked exactly at that level.

Excalibur is a film of the 1970s, even though it came out in 1981. It is violent, sexual, graphic, sublime, kitsch, brilliant, dark, fast, heavy metal. One could call it nonsense with neon crosses, groovy hippie dances, an actual green light beam signifying magic on whatever it touches. And yet the Irish countryside cradles this story like no artificial set ever could. There is something strictly European in it. The wedding scene looks like Burne-Jones gone disco.

One could list endlessly the small betrayals of the letter. And yet, the fire is there. The spirit is there. The madness, the loyalty, the consuming desires, the tricks, the tenderness, the righteousness, the betrayal, the holy horrors, the terrors of the flesh, all of it is there.

Nigel Terry plays Arthur as a man bent under fate and duty. Helen Mirren is the epitome of the manipulative pagan witch, full of trickery and vengeance. Nicholas Clay's Lancelot is a knight in literally shining armor. Cherie Lunghi is perfect as the righteous Guenevere whose sensuality erupts through her pious surface. Paul Geoffrey is luminous as Perceval.

Mordred stands as the ambiguous, incestuous, evil bringer of light, and Nicol Williamson's Merlin as the old sage dragon whose dawn fades into the sepulchral voice of a Christ that reveals itself in the bond between the king and the land. That land turns to mud, madness and famine when the king is gone, and its springtime returns only with his renewed presence, drawn from the chalice of life itself.

What unfolds beneath the plot is a pivotal moment of European history: the shift from paganism to Christianity, a process far more complex than it appears. With Merlin, paganism seems to fall asleep. It will survive nonetheless, in one form or another, until the Reformation.

Boorman was one of those rare filmmakers who could show living myth and spirituality in a mainstream form, however chaotic and exuberant. One dreams that the big names working today might be inspired by the same fire.

[el bjorch @flspectro]

@RobertSkvarla @WokeBeyond Wakin' like a panthah... c'mon an' gimme your answah... Iro'wanna... Iron synch so... yeeeee...

[Interface gallery @Interface_art]

Hiroshi Kawano wrote philosophical essays about aesthetics. He then built a program to test his theories by generating art. A Japanese philosopher using a computer as a laboratory for beauty, in 1964. The work is almost impossible to find on the market.

[King of Fårö @KingofFr1]

Aquí está todo Fassbinder, su hueso: el uso expresivo del color, la iluminación orgánica, viva, el reencuadre para significar la asfixia, la densidad del tráfico dentro del plano, la música... Todo para gritar el dolor, todo para un fuego desaforado.
Un año con trece lunas, 1978

[gwen @xwithnumbers]

The only movie I've ever seen that feels genuinely haunted, as if there's a lingering spirit in it that hates being seen and punishes you for finding it.
It feels like leaked footage of mankind's dying gasps with one of the most chilling and memorable soundtracks ever written.

[el bjorch @flspectro]

@decireves @krnnlzt Raygun, Interview, Vibe, RIP... yeah... de mis recuerdos impresos más acá de los 1990s-2000s. Agarraron el diseño digital "barato" y lo llevaron casi a sus límites.

[el bjorch @flspectro]

@PatoG82 Senna estaba en sintonizado a energías MUY profundas. Incluso Prost habló de ello.