Stephen Dillane who played Leonard Woolf (the Hours) and Jefferson (John Adams) made a TV film.. about a father.. whose son was shot by a sniper in Israel.. this was made for TV. which I saw about a few years ago.. it is an excellent film..
Dorothy Day (November 8, 1897 – November 29, 1980) was an American journalist, social activist, and devout Catholic convert; she advocated the Catholic economic theory of distributism. Day “believed all states were inherently totalitarian,”[2] and was considered to be an anarchist and did not hesitate to use the term.[6] In the 1930s, Day worked closely with fellow activist Peter Maurin to establish the Catholic Worker movement, a nonviolent, pacifist movement that continues to combine direct aid for the poor and homeless with nonviolent direct action on their behalf.
“The greatest challenge of the day is: how to bring about a revolution of the heart, a revolution which has to start with each one of us?”
Davenport was a model of intellectual independence, adopting nobody’s theories and toeing nobody’s line (when he wrote that Levi-Strauss was too original of mind “to be the exponent of a master or a school,” he might have been referring to himself. Long a contributor to National Review, he mocked academic groupthink.
There were some good students, and wonderful moments. I think of a class I taught in Philadelphia one evening, at a reformatory. The students were problem children, some criminal, some radically disoriented. On a large block of newsprint I showed them how Chinese characters work, and how a poem written in pictographs is different from a poem written in an alphabet. I moved on to haiku (news to them). At the end of the hour a uniformed guard said my time was up. The whole class, one by one, hugged and kissed me. On the other hand, at Yale, after a lecture, a student stood up and said my every word was wrongheaded and behind the times.
(November 23, 1924 – July 28, 1994) was a British-American anthropologist who came to public attention with the popular books The Forest People (on the Mbuti Pygmies of Zaire) and The Mountain People (on the Ik people of Uganda), and one of the first anthropologists to work in the field of ethnomusicology.
He describes Palestine as a metaphor–for exile, for the human condition, for the grief of dislocation and dispossession. In “Eleven Planets in the Last Andalusian Sky,” he writes:
I’m the Adam of two Edens lost to me twice:
Expel me slowly. Kill me slowly
With Garcia Lorca
Under my olive tree.
Edward Said and Mahmoud Darwish
A People With No Poetry Is A Defeated People
Notre musique (Our Music) is a 2004 film directed by Jean-Luc Godard. The film reflects on violence, morality, and the representation of violence in film, and touches especially on past colonialism and the current Israeli-Palestinian conflic
I’ve only been actively concerned with Palestine as a writer for about seven years. But the crisis, the injustice, the suffering of the Palestinians, have coexisted alongside my whole life as a writer. The length of this injustice, the lack of recognition of it by the rest of the world, while Israel pursues its own logic, totally regardless of the views of the external world – all this I was not conscious of then, but I am now.
This set by acclaimed designer Isamu Noguchi, used in Martha Graham’s ‘Embattled Garden,’ was damaged when basement storage of the Martha Graham Dance Company, located in the West Village, flooded in late October 2012. The company said it is still assessing the extent of the damage.
See Isamu Noguchi design from The Appalachian Spring..
Yoshiko and Isamu Noguchi Yoshiko Yamaguchi – Isamu Noguchi’s ex-wife .. an international diva who became a politican and has become a passionate advocate for Palestinian causes.
“A city of brick and tired wood,” he called his native city. “Primitive Pittsburgh.” Many of his poems have a straightforward lyricism that grabs you right away. According to a piece about the poet that was published just yesterday in the Los Angeles Times, “At Gilbert’s readings, audience members were known to burst into tears.”
James Dickey said, “He takes himself away to a place more inward than is safe to go; from that awful silence and tightening, he returns to us poems of savage compassion”
In 1966 Gilbert left the country with his companion, the poet Linda Gregg. They lived in Greece, on the islands of Paros and Santorini, and for a brief period in Denmark and England. “All Jack ever wanted to know was that he was awake—that the trees in bloom were almond trees—and to walk down the road to get breakfast,” Gregg, who remains close to Gilbert, says. “He never cared if he was poor or had to sleep on a park bench.” After five years overseas, the couple returned to San Francisco, where they separated. Gilbert soon met and married Michiko Nogami, a sculptor twenty-one years younger than him. They settled in Japan and Gilbert taught at Rikkyo University until 1975, when he was appointed chief lecturer on American literature for the U.S. State Department and he embarked with Nogami on a fifteen-country tour. In 1982, at the insistence of his friend and editor Gordon Lish, Gilbert published a second book, Monolithos. That same year, Nogami died of cancer. She was thirty-six. Gilbert published a series of poems dedicated to her in a memorial chapbook, Kochan, and then, again, went silent—this time for a decade, during which he lived intermittently in Northampton, Massachusetts; San Francisco; and Florida.
Linda Gregg photo by Hal Lum.
The speaker in the poems of Gilbert’s third collection, The Great Fires: Poems, 1982–1992, often asks to be given a second chance: “Let me fall / in love one last time, I beg them. / Teach me mortality, frighten me / into the present. Help me to find / the heft of these days.” (Paris Review)
Couperin acknowledged his debt to the Italian composer Corelli.
His most famous book, L’art de toucher le clavecin (“The Art of Harpsichord Playing”, published in 1716), contains suggestions for fingerings, touch, ornamentation and other features of keyboard technique.
You say at the beginning of Balthazar that the “central topic of the book is an investigation of modern love.”
DURRELL
Yes.
INTERVIEWER
Justine and Balthazar bear this out, but there is a complete change of focus in Mountolive.
DURRELL
It was simply a shift from subjective to objective. Mountolive is an account of the thing by an invisible narrator, as opposed to somebody engaged in the action.
The theme of art is the theme of life itself. This artificial distinction between artists and human beings is precisely what we are all suffering from. An artist is only someone unrolling and digging out and excavating the areas normally accessible to normal people everywhere, and exhibiting them as a sort of scarecrow to show people what can be done with themselves.
Listening to The Rite of Spring changed his life. (via) Igor Stravinsky and Elliot Carter
Elliot Carter Remembered : Music seemed to erupt from his very being’
Daniel Barenboim
He had the most extraordinary memory. He remembered what happened last week, last year, and 90 years ago. In fact, when he was in his 90s, I performed his music in Chicago. He told me about his first visit to Berlin when he was 14, in 1922. He said he’d heard the last concerts conducted by Arthur Nikisch at the Berlin Philharmonic before Furtwängler took over – and he told me what he’d heard! I must say, I was a little suspicious and had the concert programmes checked. He was absolutely right.
Gae Aulenti, a provocative Italian architect and designer who most notably converted a Paris train station into the Musée d’Orsay, died on Wednesday at her home in Milan.
Lebbeus Woods died this morning at the age of 72. Woods was
an anomaly in the contemporary architecture scene, producing
work almost exclusively in the form of architectural
drawings (in great volume) and sustaining a distinctive
reputation as a visionary who, by inhabiting the lofty
theoretical stratosphere of imagining over constructing
buildings– a space so distanced from the vitiating
constraints of capital — remained something of an
uncorrupted, almost sanctified presence in the field. –Alan Sondheim (via netbehaviour)
Architecture and war are not incompatible. Architecture is war. War is architecture. I am at war with my time, with history, with all authority that resides in fixed and frightened forms. I am one of millions who do not fit in, who have no home, no family, no doctrine, no firm place to call my own, no known beginning or end, no “sacred and primordial site.” I declare war on all icons and finalities, on all histories that would chain me with my own falseness, my own pitiful fears. I know only moments, and lifetimes that are as moments, and forms that appear with infinite strength, then “melt into air.” I am an architect, a constructor of worlds, a sensualist who worships the flesh, the melody, a silhouette against the darkening sky. I cannot know your name. Nor you can know mine. Tomorrow, we begin together the construction of a city.
After being invited by Benjamin Millepied to a rehearsal for the L.A Dance Project’s premiere performance, Oscar-nominated director Alejandro G. Iñárritu (Biutiful (2010), Babel (2006)) was inspired to make a video-exercise that documents movement and dance in an experimental way, with a stream of consciousness narrative. The result is NARAN JA (One Act Orange Dance).(The Creators’ Project)
and Isamu Noguchi
photo by Hal Lum.
