Part I – Citizenfive
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Øivind Klungseth Zahlsen – multi-media artist, engineer – world traveller. videos.
Øivind Klungseth Zahlsen Citizenfive
is from 2015 head of the study center at Udayana University. Øivind is civil engineer from Norwegian University of Science and Technology with additional education in Media Sciences and Cultural Psychology.
Armin Mueller Stahl is 84 years old today.
(click to see large)
German actor Armin Mueller-Stahl has had careers – and success – in three different countries under three very different systems. First in communist East Germany, where he was a heartthrob and matinee idol, then in West Germany where he worked with Rainer Werner Fassbinder in films including Lola and Verona Voss, and, finally, in Hollywood, where he has worked with directors such as David Fincher, Steven Soderbergh, Ron Howard and Barry Levinson. (via Hollywood reporter)
He appeared in such films as Rainer Werner Fassbinder’s Lola (1981), Veronika Voss (1982), Andrzej Wajda’s A Love in Germany (1984),
Angry Harvest (Agnieszka Holland), The Music Box, Avalon, Shine, and Eastern Promises.
In 2008 Cavett entered an Iraq war dispute with a New York Times blog entry criticizing General David Petraeus, stating “I can’t look at Petraeus—his uniform ornamented like a Christmas tree with honors, medals, and ribbons—without thinking of the great Mort Sahl at the peak of his brilliance.” Cavett went on to recall Sahl’s expressed contempt of General Westmoreland’s display of medals, and criticized Petraeus for not speaking in plain language.
Cavett currently stars in Hellman v. McCarthy (Literary Legends Declare War!) in New York City’s Abingdon Theatre. Cavett re-enacts his show of January 25, 1980 when literary critic Mary McCarthy appeared as a guest and declared that every word playwright Lillian Hellman wrote was a lie, including ‘and’ and ‘the’. Hellman later sued McCarthy for libel. The suit spanned more than four years.
http://en.wikipedia.org/wiki/Dick_Cavett
I sometimes joined the Williamses in the summer at Lake Tahoe. I would go for long swims in the lake, with Robin paddling next to me in a kayak. We would chat about neurology and biology, literature, history, biographies—he was startlingly well informed on pretty much everything under the sun, and this was a very different Robin—thoughtful, relaxed, not onstage, not “on.”
In addition to all his gifts, Robin was the kindest and most generous of men. William James, the great nineteenth-century psychologist, was called “that adorable genius.” For me, more than anyone I have ever known, Robin, too, was that adorable genius. It is infinitely sad that this unique human being, who gave so much and so fully of himself to all of us, should have taken his own life.
Proust was, of course, a forceful personality. He utilized everything at his disposal to climb up the social ladder, and then to escape from it in order to hide and write. To move up in society, he had tremendous charm, effusive and extraordinary correspondence, great wit, and the psychological control that the physically weak can exert on those prone to guilt or compassion. Later in his life, when he knew he must withdraw from the vacuous life of the Fauburg St. Germaine in order to accomplish anything, he used his health to absent himself without alienating the hostesses who had brought him into it. From his chart via Proust said that
Beattie was asked about her falling in love Wittgenstein’s Mistress, and she responded:
“I think more than just falling in love with it, or whatever, though—and I don’t mean to say this kept me removed from the book—but there was a kind of writerly awe that anybody would dare to be so uncompromising.”
( In fact, she was one of the first people to read Wittgenstein’s Mistress before it was published, as it was being rejected left and right.)
In this first-ever book of letters by novelist David Markson—a quintessential “writer’s writer” whose work David Foster Wallace once lauded as “pretty much the high point of experimental fiction in this country”—readers will experience Markson at his wittiest and warmest. Poet Laura Sims shares her correspondence with him
After Reading Tu Fu, I Go Outside to the Dwarf Orchard
East of me, west of me, full summer.
How deeper than elsewhere the dusk is in your own yard.
Birds fly back and forth across the lawn
looking for home
As night drifts up like a little boat.
Day after day, I become of less use to myself.
Like this mockingbird,
I flit from one thing to the next.
What do I have to look forward to at fifty-four?
Tomorrow is dark.
Day-after-tomorrow is darker still.
The sky dogs are whimpering.
Fireflies are dragging the hush of evening
up from the damp grass.
Into the world’s tumult, into the chaos of every day,
Go quietly, quietly.
Rabelais’ use of his native tongue was astoundingly original, lively, and creative. He introduced dozens of Greek, Latin, and Italian loan-words and direct translations of Greek and Latin compound words and idioms into French. He also used many dialectal forms and invented new words and metaphors, some of which have become part of the standard language and are still used today. Rabelais is arguably one of the authors who has enriched the French language in the most significant way.
His works are also known for being filled with sexual double-entendres, dirty jokes and bawdy songs that may shock even modern readers.
In his novel Tristram Shandy, Laurence Sterne quotes extensively from Rabelais.
Alfred Jarry performed from memory, hymns of Rabelais at Symbolist Rachilde’s Tuesday salons, and worked for years on an unfinished translation of Gargantua and Pantagruel.
Anatole France lectured on him in Argentina. John Cowper Powys, D. B. Wyndham-Lewis, and Lucien Febvre (one of the founders of the French historical school Annales) wrote books about him. Mikhail Bakhtin, a Russian philosopher and critic, derived his celebrated concept of the carnivalesque and grotesque body from the world of Rabelais.
Hilaire Belloc was a great admirer of Rabelais. He praised him as “at the summit” of authors of fantastic books.[14] He also wrote a short story entitled “On the Return of the Dead” in which Rabelais descended from heaven to earth in 1902 to give a lecture in praise of wine at the London School of Economics, but was instead arrested.
Mikhail Bakhtin wrote Rabelais and His World, praising the author for understanding and unbridled embrace of the carnival grotesque. In the book he analyzes Rabelais’s use of the carnival grotesque throughout his writings and laments the death of the purely communal spirit and regenerating laughter of the carnival in modern culture.
George Orwell was not an admirer of Rabelais. Writing in 1940, he called him “an exceptionally perverse, morbid writer, a case for psychoanalysis”.
Milan Kundera, in a 2007 article in The New Yorker, wrote: “(Rabelais) is, along with Cervantes, the founder of an entire art, the art of the novel.” (page 31). He speaks in the highest terms of Rabelais, calling him “the best”, along with Flaubert.
Rabelais was a major reference point for a few main characters (Boozing wayward monks, University Professors, and Assistants) in Robertson Davies’s novel The Rebel Angels, part of the The Cornish Trilogy. One of the main characters in the novel, Maria Theotoky, writes her PhD on the works of Rabelais, while a murder plot unfolds around a scholarly unscathed manuscript. Rabelais was also mentioned in Davies’s books The Lyre of Orpheus, and Tempest-Tost.[citation needed]
Rabelais is highlighted as a pivotal figure in Kenzaburō Ōe’s acceptance speech for the Nobel Prize in Literature in 1994
in Bali
(Greenwald almost blows the biggest story of his life)..
Pasolini 
