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Sunday surprise — naval biology, the sad fact of the matter

Monday, March 20th, 2017

[ by Charles Cameron — hilarious, with a hat-tip to Dr Farls — thundering herds of battleships, eh? ]
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Sunday surprise — literal rainfall ancient and modern

Sunday, March 19th, 2017

[ by Charles Cameron — a DoubleQuote in the arts ]
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Guillaume Apollinaire:

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Il pleut

Il pleut des voix de femmes comme si elles étaient mortes même dans le souvenir
c’est vous aussi qu’il pleut merveilleuses rencontres de ma vie ô gouttelettes
et ces nuages cabrés se prennent à hennir tout un univers de villes auriculaires
écoute s’il pleut tandis que le regret et le dédain pleurent une ancienne musique
écoute tomber les liens qui te retiennent en haut et en bas.

Roger Shattuck, brilliant author of The Banquet Years: The Origins of the Avant-Garde in France) translates:

It’s Raining

It’s raining women’s voices as if they had died even in memory
And it’s raining you as well marvellous encounters of my life O little drops
Those rearing clouds begin to neigh a whole universe of auricular cities
Listen if it rains while regret and disdain weep to an ancient music
Listen to the bonds fall off which hold you above and below

As Edward Hirsch comments at Poetry Foundation:

The slanting lines of Apollinaire’s poem create the sensation of rain running downward across a windowpane. Graphic form and verbal music come together as each long vertical line becomes a rhythmic unit of meaning

— which is itself a verbal / visual DoubleQuote!

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Code running downward..

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This was brought to mind by the magnificent title sequence of the Le Carré thriller The Night Manager:

essentially completing a second DoubleQuote with those falling droplets. those rising bubbles — and there are several filmic equivalents of DoubleQuotes graphic matches aka match cuts — in the sequence itself: bomb cloud > martini, tea cups >machine gun, contrails > pearls..

I’m always happy to see more Le Carré on film..

Sunday surprise – Ballad of The Skeletons

Sunday, February 26th, 2017

[ by Charles Cameron — Ginsberg, McCartney & Philip Glass! ]
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I’m not a huge Ginsberg fan, but this seems like a wholesome follow up to yesterdays post 6,000 years and still together — written by Ginsberg in the run up to the United States presidential election of 1996, and touching on several themes of continuing interest today.

You can follow along the text here, and read-all-about-it in ‘The Ballad of the Skeletons’: Allen Ginsberg’s 1996 Collaboration with Philip Glass and Paul McCartney.

Hey, I’m not a great fan of McCartney either, but the pair of them together seems like an oxymoron.

Sunday surprise — Glorious Vivaldi

Sunday, October 2nd, 2016

[ by Charles Cameron — sacred choral music is, it seems, my heart realm ]
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I can’t help it if this tweet today:

reminds me of this image:

vivaldi-gloria-at-la-pieta-venice

of an English woman’s choir visiting Venice to sing Vivaldi where Vivaldi himself taught and conducted the choir at the women’s Ospedale della Pietà orphanage..

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The BBC documentary of the journey is currently available for viewing here — and here’s the women’s choir, the Schola Pietatis Antonio Vivaldi, singing Vivaldi’s complete and glorious Gloria RV 589:

For Sara Mingardo singing the same Gloria, see Sunday surprise — two women walking.

Sunday surprise — the toss of a coin

Sunday, August 21st, 2016

[ by Charles Cameron — choice, chance and maybe destiny at the movies, on the road, in life ]
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A while back, I lived in Cottonwood, Arizona, and drove the few miles back and forth between Cottonwood and Sedona most days each week for months. There’s a beautiful stretch of desert in between, I delighted in the journey, and no doubt my foot on the gas pedal quickened or eased off to some mild extent depending on what music I was listening to, how much coffee I’d had recently, how my most recent conversation or burst of writing had gone. And then one night a deer ran across the road, perhaps twelve feet ahead of my car.

Let’s say I was traveling at 60 for ease of calculation. 60 mph is a mile a minute, 88 feet per second. About a tenth of a second later and the deer and / or I would likely have been dead — one full second later, he or she would have crossed sixty feet behind me and I would have seen nothing, known nothing.

There are deer constantly crossing our paths sixty feet behind us and it’s a normal day at the office, it’s one more day like any other: sunny, then partly cloudy, with a ten percent chance of rain.

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The average human life expectancy, or pretty close, in the United States these days is 690,235 hours. Here are two film clips, which will occupy just over a quarter of one of those hours if you watch them both.

The Magus:

No Country For Old Men:

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The Magus — the entire film — runs an hour and 57 minutes, while No Country for Old Men runs two hours and three minutes, so those clips, 10 and 5 minutes long each, represent in each case a small fraction of the whole film — yet those two fractions have been selected out to be posted as YouTube clips — and they have something in common: life and death in a roll of the dice, the flip of a coin.

I’m guessing it’s that life or death in an instant play of chance that marks those two particular clips as worth noting and posting to YouTube — and that made that deer running across the road in my headlights so memorable.

The realization here: my life hangs, moment by moment across hundreds of thousands of hours, on such slight and unintended (“chance”) variations of physical fact & effect as how much my foot on the gas pedal imperceptibly quickens or eases off as a slight turn, rise or fall in the road..


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