Antonin Artaud Les malades et les médecins


The disease is a condition.
Health is only one other, more ugly.
I mean more cowardly and petty.
No patient who has grown.
Not healthy that will ever betrayed,
not wanting to be sick,
such as doctors I suffered.
I was sick all my life and I only ask to continue.
Because the states of deprivation of life
I have always learned a lot more about
the plethora of my power as credenzas petty bourgeois:
THE HEALTHY ENOUGH.
Because my being is beautiful but awful.
And it is beautiful because it is awful.
Ugly, Affre built awful.
Cure a disease is a crime.
This is bruise the head of a kid much less stingy than life.
The ugly con-rings.
The beautiful rots.
But ill, is not doped with opium, cocaine or morphine.
And you must love the charterer fevers,
jaundice and perfidy much more than any euphoria.
Then the fever, high fever my head –
because I am in a state of high fever
for the last fifty years that I’m alive –
give me my opium –
this being –
that,
I’m hot-headed,
opium head to toe.
Because cocaine is a bone,
heroin, over-bone man,
tra la sara i ca ca ca i fena tra la fa ca sara
and opium is this cave,
this cave mummification blood,
scrapings of the sperm in the cellar of an old excrémation this kid,
this disintegration of an old hole,
this excrémentation a kid,
little kid buried anus,
whose name is: poop, pee, con-science of disease.
And opium father fi fi
So that goes from father to son –
he must return you to the powder,
when you have suffered much without bed.
So I think that this is mine eternal sick,
heal all doctors –
born doctors deficiency disease –
not doctors ignorant of my statements
awful sick to me to impose their insulin,
a world of health slumped.

Antonin Artaud




Mark Rothko, Adolph Gottlieb and Barnett Newman: A Brief Manifesto

American abstract artists, The Irascibles, including William Baziotes, James C. Brooks, Jimmy Ernst, Adolph Gottlieb, Hedda Sterne, Clyfford Still, Willem de Kooning, Bradley Walter Tomlin, Barnett Newman, Jackson Pollock, Theodoros Stamos, Richard Pousette-Dart, Robert Motherwell, Ad Reinhardt, and Mark Rothko. (Photo by Nina Leen//Time Life Pictures/Getty Images)
American abstract artists, The Irascibles, including William Baziotes, James C. Brooks, Jimmy Ernst, Adolph Gottlieb, Hedda Sterne, Clyfford Still, Willem de Kooning, Bradley Walter Tomlin, Barnett Newman, Jackson Pollock, Theodoros Stamos, Richard Pousette-Dart, Robert Motherwell, Ad Reinhardt, and Mark Rothko. (Photo by Nina Leen//Time Life Pictures/Getty Images)
  1. To us art is an adventure into an unknown world, which can be explored only by those willing to take the risks.

  2. This world of imagination is fancy-free and violently opposed to common sense.

  3. It is our function as artists to make the spectator see the world our way not his way.

  4. We favor the simple expression of the complex thought. We are for the large shape because it has the impact of the unequivocal. We wish to reassert the picture plane. We are for flat forms because they destroy illusion and reveal truth.

  5. It is a widely accepted notion among painters that it does not matter what one paints as long as it is well painted. (Rothko said “this is the essence of academicism.)

  6. There is no such thing as a good painting about nothing.

  7. We assert that the subject is crucial and only that subject matter is valid which is tragic and timeless. That is why we profess spiritual kinship with primitive and archaic art.

June 13, 1943 edition of the New York Times, brief manifesto: Mark Rothko, with Adolph Gottlieb and Barnett Newman.

Icarus

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“Never regret thy fall,
O Icarus of the fearless flight
For the greatest tragedy of them all
Is never to feel the burning light.”
Oscar Wilde

“Laments of an Icarus

The paramours of courtesans
Are well and satisfied, content.
But as for me my limbs are rent
Because I clasped the clouds as mine.

I owe it to the peerless stars
Which flame in the remotest sky
That I see only with spent eyes
Remembered suns I knew before.

In vain I had at heart to find
The center and the end of space.
Beneath some burning, unknown gaze
I feel my very wings unpinned

And, burned because I beauty loved,
I shall not know the highest bliss,
And give my name to the abyss
Which waits to claim me as its own.”
Charles Baudelaire

For more on Site Specific Theatre visit The Iota

The Last Page of Charles Dickens’ Great Expectations

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There was no house now, no brewery, no building whatever left, but the wall of the old garden. The cleared space had been enclosed with a rough fence, and looking over it, I saw that some of the old ivy had struck root anew, and was growing green on low quiet mounds of ruin. A gate in the fence standing ajar, I pushed it open, and went in.

A cold silvery mist had veiled the afternoon, and the moon was not yet up to scatter it. But, the stars were shining beyond the mist, and the moon was coming, and the evening was not dark. I could trace out where every part of the old house had been, and where the brewery had been, and where the gates, and where the casks. I had done so, and was looking along the desolate garden walk, when I beheld a solitary figure in it.

The figure showed itself aware of me, as I advanced. It had been moving towards me, but it stood still. As I drew nearer, I saw it to be the figure of a woman. As I drew nearer yet, it was about to turn away, when it stopped, and let me come up with it. Then, it faltered, as if much surprised, and uttered my name, and I cried out,—

“Estella!”

“I am greatly changed. I wonder you know me.”

The freshness of her beauty was indeed gone, but its indescribable majesty and its indescribable charm remained. Those attractions in it, I had seen before; what I had never seen before, was the saddened, softened light of the once proud eyes; what I had never felt before was the friendly touch of the once insensible hand.

We sat down on a bench that was near, and I said, “After so many years, it is strange that we should thus meet again, Estella, here where our first meeting was! Do you often come back?”

“I have never been here since.”

“Nor I.”

The moon began to rise, and I thought of the placid look at the white ceiling, which had passed away. The moon began to rise, and I thought of the pressure on my hand when I had spoken the last words he had heard on earth.

Estella was the next to break the silence that ensued between us.

“I have very often hoped and intended to come back, but have been prevented by many circumstances. Poor, poor old place!”

The silvery mist was touched with the first rays of the moonlight, and the same rays touched the tears that dropped from her eyes. Not knowing that I saw them, and setting herself to get the better of them, she said quietly,—

“Were you wondering, as you walked along, how it came to be left in this condition?”

“Yes, Estella.”

“The ground belongs to me. It is the only possession I have not relinquished. Everything else has gone from me, little by little, but I have kept this. It was the subject of the only determined resistance I made in all the wretched years.”

“Is it to be built on?”

“At last, it is. I came here to take leave of it before its change. And you,” she said, in a voice of touching interest to a wanderer,—”you live abroad still?”

“Still.”

“And do well, I am sure?”

“I work pretty hard for a sufficient living, and therefore—yes, I do well.”

“I have often thought of you,” said Estella.

“Have you?”

“Of late, very often. There was a long hard time when I kept far from me the remembrance of what I had thrown away when I was quite ignorant of its worth. But since my duty has not been incompatible with the admission of that remembrance, I have given it a place in my heart.”

“You have always held your place in my heart,” I answered.

And we were silent again until she spoke.

“I little thought,” said Estella, “that I should take leave of you in taking leave of this spot. I am very glad to do so.”

“Glad to part again, Estella? To me, parting is a painful thing. To me, the remembrance of our last parting has been ever mournful and painful.”

“But you said to me,” returned Estella, very earnestly, “‘God bless you, God forgive you!’ And if you could say that to me then, you will not hesitate to say that to me now,—now, when suffering has been stronger than all other teaching, and has taught me to understand what your heart used to be. I have been bent and broken, but—I hope—into a better shape. Be as considerate and good to me as you were, and tell me we are friends.”

“We are friends,” said I, rising and bending over her, as she rose from the bench.

“And will continue friends apart,” said Estella.

I took her hand in mine, and we went out of the ruined place; and, as the morning mists had risen long ago when I first left the forge, so the evening mists were rising now, and in all the broad expanse of tranquil light they showed to me, I saw no shadow of another parting from her, but one.

Best condolence ever…

kazan-brando-dean

Stewart Stern, passed away this month.
a screenwriter most noted for Rebel Without a Cause
was nominated for an Oscar on two occasions,
won an Emmy for the teleplay of Sybil
worked on Dennis Hopper’s The Last Movie

and to James Dean’s aunt and uncle
he wrote one of the most moving and beautiful
condolence letters ever…

Hollywood 46, California
[Redacted]

12 October, 1955

Dear Marcus and Mrs. Winslow:

I shall never forget that silent town on that particular sunny day. And I shall never forget the care with which people set their feet down — so carefully on the pavements — as if the sound of a suddenly scraped heel might disturb the sleep of a boy who slept soundly. And the whispering. Do you remember one voice raised beyond a whisper in all those reverential hours of goodbye? I don’t. A whole town struck silent, a whole town with love filling its throat, a whole town wondering why there had been so little time in which to give the love away.

Gandhi once said that if all those doomed people at Hiroshima had lifted their faces to the plane that hovered over them and if they had sent up a single sigh of spiritual protest, the pilot would not have dropped his bomb. That may or may not be. But I am sure, I am certain, I know — that the great wave of warmth and affection that swept upward from Fairmount has wrapped itself around that irresistible phantom securely and forever.

Nor shall I forget the land he grew on or the stream he fished, or the straight, strong, gentle people whom he loved to talk about into the nights when he was away from them. His great-grandma whose eyes have seen half of America’s history, his grandparents, his father, his treasured three of you — four generations for the coiling of a spring — nine decades of living evidence of seed and turning earth and opening kernel. It was a solid background and one to be envied. The spring, released, flung him into our lives and out again. He burned an unforgettable mark in the history of his art and changed it as surely as Duse, in her time, changed it.

A star goes wild in the places beyond air — a dark star born of coldness and invisible. It hits the upper edges of our atmosphere and look! It is seen! It flames and arcs and dazzles. It goes out in ash and memory. But its after-image remains in our eyes to be looked at again and again. For it was rare. And it was beautiful. And we thank God and nature for sending it in front of our eyes.

So few things blaze. So little is beautiful. Our world doesn’t seem equipped to contain its brilliance too long. Ecstasy is only recognizable when one has experienced pain. Beauty only exists when set against ugliness. Peace is not appreciated without war ahead of it. How we wish that life could support only the good. But it vanishes when its opposite no longer exists as a setting. It is a white marble on unmelting snow. And Jimmy stands clear and unique in a world where much is synthetic and dishonest and drab. He came and rearranged our molecules.

I have nothing of Jim’s — nothing to touch or look at except the dried mud that clung to my shoes — mud from the farm that grew him — and a single kernel of seed corn from your barn. I have nothing more than this and I want nothing more. There is no need to touch something he touched when I can still feel his hand on me. He gave me his faith, unquestioningly and trustfully — once when he said he would play in REBEL because he knew I wanted him to, and once when he tried to get LIFE to let me write his biography. He told me he felt I understood him and if LIFE refused to let me do the text for the pictures Dennis took, he would refuse to let the magazine do a spread on him at all. I managed to talk him out of that, knowing that LIFE had to use its own staff writers, but will never forget how I felt when he entrusted his life to me. And he gave me, finally, the gift of his art. He spoke my words and played my scenes better than any other actor of our time or of our memory could have done. I feel that there are other gifts to come from him — gifts for all of us. His influence did not stop with his breathing. It walks with us and will profoundly affect the way we look at things. From Jimmy I have already learned the value of a minute. He loved his minutes and I shall now love mine.

These words aren’t clear. But they are clearer than what I could have said to you last week.

I write from the depths of my appreciation — to Jimmy for having touched my life and opened my eyes — to you for having grown him all those young years and for having given him your love — to you for being big enough and humane enough to let me come into your grief as a stranger and go away a friend.

When I drove away the sky at the horizon was yellowing with twilight and the trees stood clean against it. The banks of flowers covering the grave were muted and grayed by the coming of evening and had yielded up their color to the sunset. I thought — here’s where he belongs — with this big darkening sky and this air that is thirst-quenching as mountain water and this century of family around him and the cornfield crowding the meadow where his presence will be marked. But he’s not in the meadow. He’s out there in the corn. He’s hunting the winter’s rabbit and the summer’s catfish. He has a hand on little Mark’s shoulder and a sudden kiss for you. And he has my laughter echoing his own at the great big jokes he saw and showed to me — and he’s here, living and vivid and unforgettable forever, far too mischievous to lie down long.

My love and gratitude, to you and young Mark,

Stewart

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Nathaniel West: Art Is a Way Out

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“Why don’t you give them something new and hopeful? Tell them about art. Here, I’ll dictate:
“Art Is a Way Out.
“Do not let life overwhelm you. When the old paths are choked with the debris of failure, look for newer and fresher paths. Art is just such a path. Art is distilled from suffering. As Mr. Polnikoff exclaimed through his fine Russian beard, when, at the age of eighty-six, he gave up his business to learn Chinese, ‘We are, as yet, only at the beginning…
“Art Is One of Life’s Richest Offerings.
“For those who have not the talent to create, there is appreciation. For those…
“Go on from there.”
Nathaniel West, Miss Lonleyhearts

In December 1940 Nathaniel West and his wife Eileen
were killed in a car crash in the middle of a lettuce field
as they drove to his friend and mentor,
F. Scott Fitgerald’s funeral
He was 37, she was 27.

Nathanael West in a letter to F. Scott Fitzgerald,
a year before their deaths
discussed the reaction to his last novel, The Day of the Locust:

“The box score stands: Good reviews— fifteen per cent, bad reviews—twenty five per cent, brutal personal attacks—sixty percent. Sales: practically none.

I’ll try another one anyway, I guess.”—

Neither West nor Fitzgerald wrote “another one”

Last page of The Great Gatsby by F. Scott Fitzgerald

Zelda

Most of the big shore places were closed now and there were hardly any lights except the shadowy, moving glow of a ferryboat across the Sound. And as the moon rose higher the inessential houses began to melt away until gradually I became aware of the old island here that flowered once for Dutch sailors’ eyes—a fresh, green breast of the new world. Its vanished trees, the trees that had made way for Gatsby’s house, had once pandered in whispers to the last and greatest of all human dreams; for a transitory enchanted moment man must have held his breath in the presence of this continent, compelled into an æsthetic contemplation he neither understood nor desired, face to face for the last time in history with something commensurate to his capacity for wonder.

And as I sat there, brooding on the old unknown world, I thought of Gatsby’s wonder when he first picked out the green light at the end of Daisy’s dock. He had come a long way to this blue lawn and his dream must have seemed so close that he could hardly fail to grasp it. He did not know that it was already behind him, somewhere back in that vast obscurity beyond the city, where the dark fields of the republic rolled on under the night.

Gatsby believed in the green light, the orgastic future that year by year recedes before us. It eluded us then, but that’s no matter—tomorrow we will run faster, stretch out our arms farther. . . . And one fine morning——

So we beat on, boats against the current, borne back ceaselessly into the past.

Copyright © 1925 by Charles Scribner’s Sons
Copyright renewed 1953 by Frances Scott Fitzgerald Lanahan

Dylan Thomas, Love in The Asylum

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A stranger has come
To share my room in the house not right in the head,
A girl mad as birds

Bolting the night of the door with her arm her plume.
Strait in the mazed bed
She deludes the heaven-proof house with entering clouds

Yet she deludes with walking the nightmarish room,
At large as the dead,
Or rides the imagined oceans of the male wards.

She has come possessed
Who admits the delusive light through the bouncing wall,
Possessed by the skies

She sleeps in the narrow trough yet she walks the dust
Yet raves at her will
On the madhouse boards worn thin by my walking tears.

And taken by light in her arms at long and dear last
I may without fail
Suffer the first vision that set fire to the stars.

Dylan Thomas, Love in The Asylum, 1941

 

Crossing Brooklyn Ferry by Walt Whitman

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1
Flood-tide below me! I see you face to face!
Clouds of the west—sun there half an hour high—I see you also face to face.

Crowds of men and women attired in the usual costumes, how curious you are to me!
On the ferry-boats the hundreds and hundreds that cross, returning home, are more curious to me than you suppose,
And you that shall cross from shore to shore years hence are more to me, and more in my meditations, than you might suppose.

2
The impalpable sustenance of me from all things at all hours of the day,
The simple, compact, well-join’d scheme, myself disintegrated, every one disintegrated yet part of the scheme,
The similitudes of the past and those of the future,
The glories strung like beads on my smallest sights and hearings, on the walk in the street and the passage over the river,
The current rushing so swiftly and swimming with me far away,
The others that are to follow me, the ties between me and them,
The certainty of others, the life, love, sight, hearing of others.

Others will enter the gates of the ferry and cross from shore to shore,
Others will watch the run of the flood-tide,
Others will see the shipping of Manhattan north and west, and the heights of Brooklyn to the south and east,
Others will see the islands large and small;
Fifty years hence, others will see them as they cross, the sun half an hour high,
A hundred years hence, or ever so many hundred years hence, others will see them,
Will enjoy the sunset, the pouring-in of the flood-tide, the falling-back to the sea of the ebb-tide.

3
It avails not, time nor place—distance avails not,
I am with you, you men and women of a generation, or ever so many generations hence,
Just as you feel when you look on the river and sky, so I felt,
Just as any of you is one of a living crowd, I was one of a crowd,
Just as you are refresh’d by the gladness of the river and the bright flow, I was refresh’d,
Just as you stand and lean on the rail, yet hurry with the swift current, I stood yet was hurried,
Just as you look on the numberless masts of ships and the thick-stemm’d pipes of steamboats, I look’d.

I too many and many a time cross’d the river of old,
Watched the Twelfth-month sea-gulls, saw them high in the air floating with motionless wings, oscillating their bodies,
Saw how the glistening yellow lit up parts of their bodies and left the rest in strong shadow,
Saw the slow-wheeling circles and the gradual edging toward the south,
Saw the reflection of the summer sky in the water,
Had my eyes dazzled by the shimmering track of beams,
Look’d at the fine centrifugal spokes of light round the shape of my head in the sunlit water,
Look’d on the haze on the hills southward and south-westward,
Look’d on the vapor as it flew in fleeces tinged with violet,
Look’d toward the lower bay to notice the vessels arriving,
Saw their approach, saw aboard those that were near me,
Saw the white sails of schooners and sloops, saw the ships at anchor,
The sailors at work in the rigging or out astride the spars,
The round masts, the swinging motion of the hulls, the slender serpentine pennants,
The large and small steamers in motion, the pilots in their pilot-houses,
The white wake left by the passage, the quick tremulous whirl of the wheels,
The flags of all nations, the falling of them at sunset,
The scallop-edged waves in the twilight, the ladled cups, the frolicsome crests and glistening,
The stretch afar growing dimmer and dimmer, the gray walls of the granite storehouses by the docks,
On the river the shadowy group, the big steam-tug closely flank’d on each side by the barges, the hay-boat, the belated lighter,
On the neighboring shore the fires from the foundry chimneys burning high and glaringly into the night,
Casting their flicker of black contrasted with wild red and yellow light over the tops of houses, and down into the clefts of streets.

4
These and all else were to me the same as they are to you,
I loved well those cities, loved well the stately and rapid river,
The men and women I saw were all near to me,
Others the same—others who look back on me because I look’d forward to them,
(The time will come, though I stop here to-day and to-night.)

5
What is it then between us?
What is the count of the scores or hundreds of years between us?

Whatever it is, it avails not—distance avails not, and place avails not,
I too lived, Brooklyn of ample hills was mine,
I too walk’d the streets of Manhattan island, and bathed in the waters around it,
I too felt the curious abrupt questionings stir within me,
In the day among crowds of people sometimes they came upon me,
In my walks home late at night or as I lay in my bed they came upon me,
I too had been struck from the float forever held in solution,
I too had receiv’d identity by my body,
That I was I knew was of my body, and what I should be I knew I should be of my body.

6
It is not upon you alone the dark patches fall,
The dark threw its patches down upon me also,
The best I had done seem’d to me blank and suspicious,
My great thoughts as I supposed them, were they not in reality meagre?
Nor is it you alone who know what it is to be evil,
I am he who knew what it was to be evil,
I too knitted the old knot of contrariety,
Blabb’d, blush’d, resented, lied, stole, grudg’d,
Had guile, anger, lust, hot wishes I dared not speak,
Was wayward, vain, greedy, shallow, sly, cowardly, malignant,
The wolf, the snake, the hog, not wanting in me,
The cheating look, the frivolous word, the adulterous wish, not wanting,
Refusals, hates, postponements, meanness, laziness, none of these wanting,
Was one with the rest, the days and haps of the rest,
Was call’d by my nighest name by clear loud voices of young men as they saw me approaching or passing,
Felt their arms on my neck as I stood, or the negligent leaning of their flesh against me as I sat,
Saw many I loved in the street or ferry-boat or public assembly, yet never told them a word,
Lived the same life with the rest, the same old laughing, gnawing, sleeping,

Play’d the part that still looks back on the actor or actress,
The same old role, the role that is what we make it, as great as we like,
Or as small as we like, or both great and small.

7
Closer yet I approach you,
What thought you have of me now, I had as much of you—I laid in my stores in advance,
I consider’d long and seriously of you before you were born.

Who was to know what should come home to me?
Who knows but I am enjoying this?
Who knows, for all the distance, but I am as good as looking at you now, for all you cannot see me?

8
Ah, what can ever be more stately and admirable to me than mast-hemm’d Manhattan?
River and sunset and scallop-edg’d waves of flood-tide?
The sea-gulls oscillating their bodies, the hay-boat in the twilight, and the belated lighter?

What gods can exceed these that clasp me by the hand, and with voices I love call me promptly and loudly by my nighest name as I approach?
What is more subtle than this which ties me to the woman or man that looks in my face?
Which fuses me into you now, and pours my meaning into you?

We understand then do we not?
What I promis’d without mentioning it, have you not accepted?
What the study could not teach—what the preaching could not accomplish is accomplish’d, is it not?

9
Flow on, river! flow with the flood-tide, and ebb with the ebb-tide!
Frolic on, crested and scallop-edg’d waves!
Gorgeous clouds of the sunset! drench with your splendor me, or the men and women generations after me!
Cross from shore to shore, countless crowds of passengers!
Stand up, tall masts of Mannahatta! stand up, beautiful hills of Brooklyn!
Throb, baffled and curious brain! throw out questions and answers!
Suspend here and everywhere, eternal float of solution!
Gaze, loving and thirsting eyes, in the house or street or public assembly!

Sound out, voices of young men! loudly and musically call me by my nighest name!
Live, old life! play the part that looks back on the actor or actress!
Play the old role, the role that is great or small according as one makes it!
Consider, you who peruse me, whether I may not in unknown ways be looking upon you;
Be firm, rail over the river, to support those who lean idly, yet haste with the hasting current;
Fly on, sea-birds! fly sideways, or wheel in large circles high in the air;
Receive the summer sky, you water, and faithfully hold it till all downcast eyes have time to take it from you!
Diverge, fine spokes of light, from the shape of my head, or any one’s head, in the sunlit water!
Come on, ships from the lower bay! pass up or down, white-sail’d schooners, sloops, lighters!
Flaunt away, flags of all nations! be duly lower’d at sunset!
Burn high your fires, foundry chimneys! cast black shadows at nightfall! cast red and yellow light over the tops of the houses!

Appearances, now or henceforth, indicate what you are,
You necessary film, continue to envelop the soul,
About my body for me, and your body for you, be hung out divinest aromas,
Thrive, cities—bring your freight, bring your shows, ample and sufficient rivers,
Expand, being than which none else is perhaps more spiritual,
Keep your places, objects than which none else is more lasting.

You have waited, you always wait, you dumb, beautiful ministers,
We receive you with free sense at last, and are insatiate henceforward,
Not you any more shall be able to foil us, or withhold yourselves from us,
We use you, and do not cast you aside—we plant you permanently within us,
We fathom you not—we love you—there is perfection in you also,
You furnish your parts toward eternity,
Great or small, you furnish your parts toward the soul.

Tchaikovsky’s Work Ethic

Tchaikovsky Pyotr Ilyich Tchaikovsky to his benefactress, Nadezhda von Meck, dated March 17th, 1878, and found in the 1905 volumeThe Life & Letters of Pete Ilich Tchaikovsky:

Do not believe those who try to persuade you that composition is only a cold exercise of the intellect. The only music capable of moving and touching us is that which flows from the depths of a composer’s soul when he is stirred by inspiration. There is no doubt that even the greatest musical geniuses have sometimes worked without inspiration. This guest does not always respond to the first invitation. We must always work, and a self-respecting artist must not fold his hands on the pretext that he is not in the mood. If we wait for the mood, without endeavouring to meet it half-way, we easily become indolent and apathetic. We must be patient, and believe that inspiration will come to those who can master their disinclination.

A few days ago I told you I was working every day without any real inspiration. Had I given way to my disinclination, undoubtedly I should have drifted into a long period of idleness. But my patience and faith did not fail me, and to-day I felt that inexplicable glow of inspiration of which I told you; thanks to which I know beforehand that whatever I write to-day will have power to make an impression, and to touch the hearts of those who hear it. I hope you will not think I am indulging in self-laudation, if I tell you that I very seldom suffer from this disinclination to work. I believe the reason for this is that I am naturally patient. I have learnt to master myself, and I am glad I have not followed in the steps of some of my Russian colleagues, who have no self-confidence and are so impatient that at the least difficulty they are ready to throw up the sponge. This is why, in spite of great gifts, they accomplish so little, and that in an amateur way.

The Artists who gave you mobile devices

The American avant garde composer George Antheil, the Bad Boy of Music, (the title of his 1945 autobiography), is best known for a piece he wrote in Paris in his mid-20s, “Ballet Mécanique.” The work was originally conceived as a twenty five minute score to accompany a Dadaist silent film by Fernand Léger and Dudley Murphy. The piece was intended to be performed by sixteen synchronized player pianos, but Antheil could never figure out how to get the pianos to play in sync. Together with the actress Hedy Lamarr, best known as a screen goddess of the late-1930s and ’40s. submitted an idea of a secret communication system to the U.S. patent office in June 1941

Hedy-Lamarr

On August 11, 1942, U.S. Patent 2,292,387 was granted to Antheil and “Hedy Kiesler Markey”, Lamarr’s married name at the time. This early version of frequency hopping used a piano roll to change between 88 frequencies and was intended to make radio-guided torpedoes harder for enemies to detect or jam. The idea was not implemented until 1962, when it was used by U.S. military ships during the blockade of Cuba after the patent had expired.

Lamarr’s and Antheil’s frequency-hopping idea serves as a basis for modern spread-spectrum communication technology, such as Bluetooth, COFDM used in Wi-Fi network connections, and CDMA used in some cordless and wireless telephones.

There is no tragedy like this under the sky

Korean archaeologists dug into the tomb
broke through a hardened-earth shell
and exposed the wooden coffin

Inside
a 16th century male mummy
tall, even by today’s standards
measuring 5 feet 9 inches
and sturdily built.

resting across his body
was the following letter…

korea1

To Won’s Father
June 1, 1586

You always said, “Dear, let’s live together until our hair turns gray and die on the same day. How could you pass away without me? Who should I and our little boy listen to and how should we live? How could you go ahead of me?

How did you bring your heart to me and how did I bring my heart to you? Whenever we lay down together you always told me, “Dear, do other people cherish and love each other like we do? Are they really like us?” How could you leave all that behind and go ahead of me?

I just cannot live without you. I just want to go to you. Please take me to where you are. My feelings toward you I cannot forget in this world and my sorrow knows no limit. Where would I put my heart in now and how can I live with the child missing you?

Please look at this letter and tell me in detail in my dreams. Because I want to listen to your saying in detail in my dreams I write this letter and put it in. Look closely and talk to me.

When I give birth to the child in me, who should it call father? Can anyone fathom how I feel? There is no tragedy like this under the sky.

You are just in another place, and not in such a deep grief as I am. There is no limit and end [to my sorrows] that I write roughly. Please look closely at this letter and come to me in my dreams and show yourself in detail and tell me. I believe I can see you in my dreams. Come to me secretly and show yourself. There is no limit to what I want to say and I stop here.

Syrian Forces Jail Artist Youssef Abdeke

Abdeke 1

Youssef Abdelke, an internationally acclaimed Syrian artist and a communist activist from the Christian community, spent the best part of 1978 to 1980 incarcerated. Following this he went into a self-imposed exile in Paris, until he returned to Syria in 2005, where he has been relating the tragedy of what is happening in Syria through his work.

The artist and dissident had just signed a petition started by Syrian academics and artists calling for a peaceful and political solution to the conflict in the country that has now gone on for over two years. The document demands the ouster of Bashar al-Assad and a transition to a democratic system with an interim government under UN supervision.  Unfortunately, Abdelke was arrested last Thursday (July 19th) by Assad forces at a security checkpoint in the port city of Tartus.

Abdeke 2

Over the last few years Syria has seen an increase in the targeting of intellectuals and artists: from the cartoonist Ali Ferzat who was arrested and had his hands broken, to ‘The Singer of the Revolution’, Ibrahim Kashoush, who had his throat cut.

There is currently a Facebook campaign, launched in Syria, calling for the release of Youssef Abdelke.

Nothing Good Gets Away

Steinbeck

The Nobel Prize winner and author of The Grapes of Wrath on the importance of waiting for love.

New York
November 10, 1958

Dear Thom:

We had your letter this morning. I will answer it from my point of view and of course Elaine will from hers.

First—if you are in love—that’s a good thing—that’s about the best thing that can happen to anyone. Don’t let anyone make it small or light to you.

Second—There are several kinds of love. One is a selfish, mean, grasping, egotistical thing which uses love for self-importance. This is the ugly and crippling kind. The other is an outpouring of everything good in you—of kindness and consideration and respect—not only the social respect of manners but the greater respect which is recognition of another person as unique and valuable. The first kind can make you sick and small and weak but the second can release in you strength, and courage and goodness and even wisdom you didn’t know you had.

You say this is not puppy love. If you feel so deeply—of course it isn’t puppy love.

But I don’t think you were asking me what you feel. You know better than anyone. What you wanted me to help you with is what to do about it—and that I can tell you.

Glory in it for one thing and be very glad and grateful for it.

The object of love is the best and most beautiful. Try to live up to it.

If you love someone—there is no possible harm in saying so—only you must remember that some people are very shy and sometimes the saying must take that shyness into consideration.

Girls have a way of knowing or feeling what you feel, but they usually like to hear it also.

It sometimes happens that what you feel is not returned for one reason or another—but that does not make your feeling less valuable and good.

Lastly, I know your feeling because I have it and I’m glad you have it.

We will be glad to meet Susan. She will be very welcome. But Elaine will make all such arrangements because that is her province and she will be very glad to. She knows about love too and maybe she can give you more help than I can.

And don’t worry about losing. If it is right, it happens—The main thing is not to hurry. Nothing good gets away.

Love,

Fa

Source: Steinbeck: A Life in Letters;

Happy Birthday Miles Davis

Jazz musician Miles Davis by Tom Palumbo.

“I’m always thinking about creating. My future starts when I wake up in the morning and see the light.”

“Don’t play what’s there, play what’s not there”

“Do not fear mistakes – there are none.”

“Knowledge is freedom, and ignorance is slavery”

“If they act too hip, you know they can’t play shit.”

“My ego only needs a good rhythm section”

“Jazz is the big brother of revolution. Revolution follows it around.”

“Good music is good, no matter what kind of music it is”

“If you hit a wrong note, it’s the next note that you play that determines if its’s good or bad.”

Peter Scott, Cat Burglar

Peter Scott, 'King of thee Cat Burglers'

Peter Scott, Britain’s most notorious cat burglar, recently passed away at the age of 82 and received an obituary fit for those that he stole from in the The Telegraph.  His victims included Zsa Zsa Gabor, Lauren Bacall, Elizabeth Taylor, Vivien Leigh, Sophia Loren, and Maria Callas.

“I felt like a missionary seeing his flock for the first time,” he explained when he recalled casing Dropmore House, the country house of the press baron Viscount Kemsley, on a rainy night in 1956 and squinting through the window at the well-heeled guests sitting down to dinner. “I decided these people were my life’s work.” (from the Telegraph’s obituary)