Alphabetarion # Sunbeams | Thomas Love Peacock, 1817

Wilhelm Von Gloeden, Jeune Fille Sicilienne, 1895 

"The juice of the grape is the liquid 
quintessence of concentrated sunbeams.” 

Thomas Love Peacock, Melincourt; Or Sir Oran Hautton, 1817

J[A-Z]Z / p1ck ( Third Stream Music | The Modern Jazz Quartet, 1960

Artwork: Abidin Dino

Modern Jazz Quartet - Exposure, 1960

Joe Tekula - Cello
Connie Kay -  Drums
John Lewis  - Piano
Milt Jackson - Vibraphone
William McColl - Clarinet
Many Zegler - Bassoon
Bob Di Domenica - Flute
Paul Ingraham - French Horn
Betty Glamann - Harp

Third stream is a synthesis of jazz and classical music. The term was coined in
1957 by composer Gunther Schuller in a lecture at Brandeis University.

J[A-Z]Z / p1ck ( At Music Inn | The Modern Jazz Quartet & Jimmy Giuffre, 1956 
J[A-Z]Z / p1ck ( Django | Modern Jazz Quartet, 1956

Kids | Photos by Jacques Sonck, 1977-1990

Jacques Sonck, 1979                              Jacques Sonck, 1986
Jacques Sonck, 1977                                                                       Jacques Sonck, 1986
Jacques Sonck, 1978                                          Jacques Sonck, 1990
Jacques Sonck, Antwerp, 1983                              Jacques Sonck, Antwerp, 1980
Jacques Sonck, 1983                                                        Jacques Sonck, 1987

“In my opinion, my photos don’t need too much information. It is more interesting to me 
when the viewer uses his or her imagination, and fills in his or her own story to the picture.”

   Jacques Sonck

The water | Lao Tzu / William Wordsworth / Jane Austen / Wallace Stevens / Nikos Engonopoulos

Kalam Patua

“Nothing is softer or more flexible than water, yet nothing can resist it.”

Lao Tzu

 “Where the waters do agree, it is quite wonderful the relief they give.”

Jane Austen

“A lake carries you into recesses of feeling otherwise impenetrable.”

William Wordsworth

“Human nature is like water. It takes the shape of its container.”

 Wallace Stevens

“The water tells none of its secrets.”

Nikos Engonopoulos

Book//mark - House of Incest | Anais Nin, 1936

Émile Savitry, Anais Nin, Paris, 1936                                       First US edition (1947)

“This morning I got up to begin this book I coughed. Something was coming out of my throat:
it was strangling me. I broke the thread which held it and yanked it out. I went back to bed
and said: I have just spat out my heart.”

“I was born without a skin. I dreamed once that I stood naked in a garden and that it was carefully
and neatly peeled, like a fruit. Not an inch of skin left on my body. It was all gently pulled off,
all of it, and then I was told to walk, to live, to run. I walked slowly at first, and the garden was
very soft, and I felt the softness of the garden so acutely, not on the surface of my body, but all
through it, the soft warm air and the perfumes penetrated me like needles through every open
bleeding pore. All the pores open and breathing the softness, the warmth, and the smells. The
whole body invaded, penetrated, responding, every tiny cell and pore active and breathing and
 trembling and enjoying. I shrieked with pain. I ran. And as I ran the wind lashed me, and then
the voices of people like whips on me. Being touched! Do you know what it is to be touched
by a human being!”

“I have such a fear of finding another like myself, and such a desire to find one! I am so utterly
lonely, but I also have such a fear that my isolation be broken through, and I no longer be the
head and ruler of my universe.”

“I am in great terror of your understanding by which you penetrate into my world;
and then I stand revealed and I have shared my kingdom with you.”

I walk ahead of myself in perpetual expectancy
of miracles.

“My first vision of earth was water veiled. I am of the race of men and women
who see all things through this curtain of sea, and my eyes are the color of water.”

“The leaf fall of his words, the stained glass hues of his moods, the rust in his voice,
the smoke in his mouth, his breath on my vision like human breath blinding a mirror.”

“What you burnt, broke, and tore is still in my hands. I am the keeper
of fragile things and I have kept of you what is indissoluble.”

“There is a fissure in my vision and madness will always rush through.”

“A voice that had traversed the centuries, so heavy it broke what it touched, so heavy I feared
 it would ring in me with eternal resonance, a voice rusty with the sound of curses and the
 hoarse cries that issue from the delta in the last paroxysm of orgasm.”

“Talk—half-talk, phrases that had no need to be finished, abstractions, Chinese bells played on
 with cotton-tipped sticks, mock orange blossoms painted on porcelain. The muffled, close,
half-talk of soft-fleshed women. The men she had embraced, and the women, all washing
against the resonance of my memory. Sound within sound, scene within scene, woman
within woman—like acid revealing an invisible script. One woman within another
eternally, in a far-reaching procession, shattering my mind into fragments, into quarter
tones which no orchestral baton can ever make whole again.”

“I walked into my own book, seeking peace.
It was night, and I made a careless movement inside the dream; I turned
too brusquely the corner and I bruised myself against my madness.”

Laughter and tears are not separate experiences, with intervals of rest:
they rush out together and it is like walking with a sword between your legs.”

Anaïs Nin, House of Incest, 1936


Alphabetarion # Esperanto | Leo Tolstoy, 1828-1910


"The key for a common language, lost in the Tower of Babel, 
can only be found in the use of Esperanto."

 Leo Tolstoy, 1828-1910

Esperanto  is the most widely spoken constructed international auxiliary language. It was created
 by Polish ophthalmologist L. L. Zamenhof in 1887, when he published a book detailing the
language, Unua Libro ("First Book"), under the pseudonym "Dr. Esperanto". The word
esperanto translates into English as "one who hopes".


Who we are | Ulrike Meinhof, 1934 - 1976

Ulrike Meinhof 

“But that is who we are, that is where we come from. We are the offspring of metropolitan
annihilation and destruction, of the war of all against all, of the conflict of each individual with
every other individual, of a system governed by fear, of the compulsion to produce, of the profit
 of one to the detriment of others, of the division of people into men and women, young and old,
sick and healthy, foreigners and Germans, and of the struggle for prestige. Where do we come
from? From isolation in individual row-houses, from the suburban concrete cities, from prison
cells, from the asylums and special units, from media brainwashing, from consumerism, from
corporal punishment, from the ideology of nonviolence, from depression, from illness, from
degradation, from humiliation, from the debasement of human beings, from all the people
exploited by imperialism.”

"These are the strategic dialectics of anti-imperialist struggle: through the defensive reactions
of the system, the escalation of counterrevolution, the transformation of the political martial l
aw into military martial law, the enemy betrays himself, becomes visible."

"If you throw one stone, it’s a punishable offence. If 1,000 stones are thrown, it’s political action.
 If you set a car on fire, it’s a punishable offence. If hundreds of cars are set on fire, it’s political
 action. Protest is when I say I don’t agree with something. Resistance is when I ensure that
things with which I disagree no longer take place."

Ulrike Meinhof, 1934 -76 

Prot-a-gonist* Painfully Connected | Ingmar Bergman and Liv Ullmann / Dheeraj Akolkar, 2012

Liv Ullmann and Ingmar Bergman during the filming of "Persona," from "Liv and Ingmar (2012)
Director: Dheeraj Akolkar

"I had a strange dream last night. I dreamt that
you and I are painfully connected."

Ingmar Bergman to Liv Ullman, from “Liv & Ingmar”, 2012

"I love you in my imperfect, selfish way. And sometimes I think you love me
 in your own fussy, pestering way. I think we love each other in an earthly 
and imperfect way."

Ingmar Bergman, Liv & Ingmar (2012)

Ingmar Bergman and Liv Ullmann in Liv & Ingmar (2012) / Director: Dheeraj Akolkar


Alphabetarion # Diver | Max Ernst, 1891-1976

The Blind Swimmer (Nageur aveugle), Max Ernst, 1934

“Before he goes into the water, a diver 
cannot know what he will bring back.”

Max Ernst, 1891-1976


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