‘Aposta Na Coragem ‘
Oswaldo Giacóia Jr
“This course is a survey of the history of Buddhism from its origin in India in the sixth century B.C.E. to contemporary times. The course is meant to introduce students to the astonishing vitality and adaptability of a tradition that has transformed the civilizations of India, Southeast Asia, Tibet, China, Korea and Japan, and has now become a lively component in the cultures of Europe, Australia, and the Americas.
To understand the Buddha’s contribution to the religious history of the world, it is important to know the problems he inherited and the options that were available to him to solve them. In ancient India, before the time of the Buddha, these problems were expressed in the Vedas, the body of classical Hindu scriptures. The Vedas introduce us to scholars and ritual specialists who searched for the knowledge that would free them from the cycle of death and rebirth. The Buddha inherited this quest for knowledge and directed it to his own distinctive ends.
“Born as Siddharta Gautama into a princely family in northern India about 566 B.C.E., the Buddha left his father’s palace and took up the life of an Indian ascetic. The key moment in his career came after years of difficult struggle, when he sat down under a tree and “woke up” to the cause of suffering and to its final cessation. He then wandered the roads of India, gathering a group of disciples and establishing a pattern of discipline that became the foundation of the Buddhist community. The Buddha helped his disciples analyze the causes of suffering and chart their own path to nirvana. Finally, after a long teaching career, he died and passed quietly from the cycle of death and rebirth.
After the Buddha’s death, attention shifted from the Buddha himself to the teachings and moral principles embodied in his Dharma. Monks gathered to recite his teachings and produced a canon of Buddhist scripture, while disputes in the early community paved the way for the diversity and complexity of later Buddhist schools. Monks also developed pattern of worship and artistic expression that helped convey the experience of the Buddha in ritual and art.
The Buddhist King Asoka, who reigned from about 268 to 239 B.C.E., sent the first Buddhist missionairies to Sri Lanka. Asoka left behind the Buddhist concept of a “righteous king” who gives political expression to Buddhist values. This ideal has been embodied in recent times by King Mongkut (18 October 1804 – 1 October 1868) in Thailand and Aung San Suu Kyi, who won the 1991 Nobel Peace Prize for her nonviolent resistance to military repression in Burma.
Buddhism entered China in the second century of the common era, at a time when the Chinese people had become disillusioned with traditional Confucian values. To bridge the gap between the cultures of India and China, Buddhist translators borrowed Taoist vocabulary to express Buddhist ideas. Buddhism took on a distinctively Chinese character, becoming more respectful of duties to the family and ancestors, more pragmatic and this-worldly, and more consistent with traditional Chinese respect for harmony with nature. During the T’ang Dynasty (618-907), Buddhism was expressed in a series of brilliant Chinese schools, including the Ch’an School of meditation that came to be known in Japan as Zen.
Since the end of the 19th century, Buddhism has become a respected part of life in countries far beyond the traditional home of Buddhism in Asia. The teaching that began on the plains of India 2.500 years ago has now been transformed in ways that would once have been unimaginable, but it still carries the feeling of serenity and freedom that we sense in the image of the Buddha himself. In its 2.500-year history, from the time of the Buddha to the present day, Buddhism has grown from a tiny religious community in northern India into a movement that now spans the globe. It has shaped the development of civilizations in India and Southeast Asia; has had a major influence on the civilizations of China, Tibet, Korea, and Japan; and today has become a major part of the multi-religious world of Europe and North America.
In the following lectures (watch the videos below) we’ll explore the Buddhist tradition as the unfolding of a story. It is the story of the Buddha himself and the story of generations of people who have used the model of the Buddha’s life to shape not only their own lives but the societies in which they live…”
Professor Malcolm David Eckel, Course Guidebook.
INFO ON THE AUTHOR: Professor Malcolm David Eckel holds two bachelor’s degrees, one in English from Harvard University and a second in Theology from Oxford University. Professor Eckel earned his master’s degree in theology at Oxford University and his Ph.D. in the Study of Comparative Religion at Harvard University. He held teaching positions at Ohio Wesleyan University, Middlebury College in Vermont, and the Harvard Divinity School, where he served as acting director of the Center for the Study of World Religions. At Boston University, Professor Eckel teaches courses on Buddhism, comparative religion, and the religions of Asia. In 1998, Professor Eckel received the Metcalf Award for Teaching Excellence, the university’s highest award for teaching. In addition to writing many articles, Professor Eckel has published two books on Buddhist philosophy: “To See the Buddha: A Philosopher’s Quest for the Meaning of Emptiness” and “Buddhism: Origins, Beliefs, Practices, Holy Texts, Sacred Places”. – www.thegreatcourses.com
to be continued…
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When the Present has latched its postern behind my tremulous stay,
And the May month flaps its glad green leaves like wings,
Delicate-filmed as new-spun silk, will the neighbours say,
“He was a man who used to notice such things”?
If it be in the dusk when, like an eyelid’s soundless blink,
The dewfall-hawk comes crossing the shades to alight
Upon the wind-warped upland thorn, a gazer may think,
“To him this must have been a familiar sight.”
If I pass during some nocturnal blackness, mothy and warm,
When the hedgehog travels furtively over the lawn,
One may say, “He strove that such innocent creatures should come to no harm,
But he could do little for them; and now he is gone.”
If, when hearing that I have been stilled at last, they stand at the door,
Watching the full-starred heavens that winter sees
Will this thought rise on those who will meet my face no more,
“He was one who had an eye for such mysteries”?
And will any say when my bell of quittance is heard in the gloom
And a crossing breeze cuts a pause in its outrollings,
Till they rise again, as they were a new bell’s boom,
“He hears it not now, but used to notice such things”?
“Afterwards” was written around 1917, when Hardy was 77 years old. Joseph Brodsky, in his article “Wooing the Inanimate”, states that “the conceit in this poem is fairly simple: while considering his imminent passing, the poet produces cameo representations of each of the four seasons as his departure’s probable backdrop. Remarkably well served by its title and free of the emotional investment usually accompanying a poet when such prospects are entertained, the poem proceed at a pace of melancholy meditation – which is what Mr. Hardy, one images, wanted it to be.”
Brodsky backs up his claims about the poet’s melancholia by interpreting some of his verses as follows: “I tend to think that ‘an eyelid’s soundless blink’ is a reference to Petrarch’s ‘one life is shorter than an eyelid’s blink’; ‘Afterwards’, as we know, is a poem about one’s demise.” While the seasons drift and change, the poet feels his “tremulous stay” (an expression that can evoke a candle in the wind) and yet imagines what will happen when he’s gone: will others, witnessing the starry skies in winter, remember him and think: “He was one who had an eye for such mysteries?”
Brodsky also claims that “Thomas Hardy’s poetry makes considerable inroads into what is the target of all cognition: inanimate matter. Our species embarked on this quest long ago, rightly suspecting that we share our own cellular mix-up with the stuff, and that should the truth about the world exist, it’s bound to be nonhuman. (…) Come to think of it, the expression ‘matter-of-fact’ could well apply to his idiom, except that the emphasis would be on matter. His poems very often sound as if matter has acquired the power of speech…” (BRODSKY, On Grief and Reason, p. 366 and 374, Harper Collins, 1995)
As I listened from a beach-chair in the shade
To all the noises that my garden made,
It seemed to me only proper that words
Should be withheld from vegetables and birds.
A robin with no Christian name ran through
The Robin-Anthem which was all it knew,
And rustling flowers for some third party waited
To say which pairs, if any, should get mated.
Not one of them was capable of lying,
There was not one which knew that it was dying
Or could have with a rhythm or a rhyme
Assumed responsibility for time.
Let them leave language to their lonely betters
Who count some days and long for certain letters;
We, too, make noises when we laugh or weep:
Words are for those with promises to keep.
* * * * *
Looking up at the stars, I know quite well
That, for all they care, I can go to hell,
But on earth indifference is the least
We have to dread from man or beast.
How should we like it were stars to burn
With a passion for us, we could not return?
If equal affection cannot be,
Let the more loving one be me.
Admirer as I think I am
Of stars that do not give a damn,
I cannot, now I see them, say
I missed one terribly all day.
Were all stars to disappear or die,
I should learn to look at an empty sky
And feel its total dark sublime,
Though this might take me a little time.
* * * * *
Previously on the Precious Poetry series of this blog:
W. H. Auden - Tell Me The Truth About Love (documentary, 58 min)
STEPHEN MALKMUS AND THE JICKS
Live at Lee’s Palace (Toronto)
February 22, 2014
Review by Eduardo Carli de Moraes
It was a chilling night of this long Canadian winter, and Toronto’s streets were all covered with slippery layers of ice and mountains of snow. Radiohead’s words occured to me – “You watch your feet for cracks in the pavement”, sings Thom Yorke in OK Computer’s “Subterranean Homesick Alien” - as I went to my encounter with Mr. Malkmus trying not to kiss the floor. The harshness of the weather outside wasn’t exactly inviting an adventure outdoors, but after shielding myself behind some heavy coats, I headed for the concert with some Pavement’s pet sounds, playing loud on the earphones, as a warm-up. And there I went, trembling with the chilling winds as well as with an youthful excitement I usually nickname “the teenage kicks” (after the Undertones punk hit). After all, I was about to witness, in my first ever experience at Lee’s Palace (the Torontonian CBGB’s?), a living legend of North American indie-rock – who happens to be, also, a very sharp stand-up comedian.
I deem Mr Malkmus to be one of those artists who are homo ludens incarnate (Johan Huizinga would’ve liked him, I guess). The lead singer for alternative rock legendary band Pavement, who has been fronting The Jicks and has already recorded 6 studio albums with his new group, certainly was in high spirits in this particular evening. His troupe of Jicks seemed equally at ease. At one point, Mr. Malkmus thanked Canada, the brother-country at the North, for some of its greatest contributions to mankind: Neil Young, Sloan and Moosehead Beer. At another point, bass-player Joanna Bolme went to the mic to share with the audience her loneliness: she felt the house was packed with guys and called out for the girls in the house to make a little noise; Malkmus consoled his bandmate’s made-up blues: “Well, we’re all girls in indie rock…”. On stage, Malkmus and The Jicks seemed simultaneously excited and cool – they seemed quite happy to be there, playing and joking, and went through their set doing it like the Sonics recommended: “Maintaining My Cool”.
The band sounded great: some loud guitars reminiscent of Dinosaur Jr. and Built to Spill attacked us from the speakers throughout the show, but The Jicks also explored some gentler tunes that evoke comparisons to the Velvet Underground, Half Japanese, or even Elvis Costello. Malkmus’ singing, filled with wordplays and verbal games, are a trademark since the Pavement’s days and still sound quite charming, despite the fact that its meanings are, to me, very frequently felt as pure nonsense. Like a Dadaist poet who listened to much Lou Reed – or some extravagant stuff similar to that. He also sometimes sounds like a white boy trying to rap (the sort of stuff Beck Hansen used to do really well back in Odelay era). To sum things you: this was a great live musical experience for me, an admirer of Pavement’s music (but somewhat negligent follower of Malkmus’ The Jicks). The concert has revived in he the conviction that Pavement was truly one of the greatest American indie-rock bands of the 90s – especially due to the benchmarks Slanted & Enchanted, Crooked Rain and Wowee Zowee (but Brighten The Corners and Terror Twilight are also very interesting and listenable records; more than that: they’re quite lovely and lovable).
I hope I’ll get a chance to see many more concerts as good as this one was during my time in Toronto, and I certainly have already fallen somewhat in love with that neighbourhood, at Bloor Street, one of my favorite places in town: it’s filled my great bookstores with truly accesible prices (like BMV, City Books, and many others), it has hempshops filled with goods for potheads (from clothes made of hemp fibre to vaporizers, grinders and other devices), and it has stunning street musicians that scream out their lungs in front of Dollaramas while reviving Nuggets psychedelic gems. As a souvenir of this chilly Canadian night where I found so much human warmth in these musicians, I leave you with a video filmed there at Lee’s Palace, as I witnessed for the first time, in flesh-and-bone, doing their thing on a stage in front of a howling and cheering audience… Stephen Malkmus & The Jicks:
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“Crooked Rain, Crooked Rain” (1994)
Review by Stephen Thomas Erlewine:
It may be a bit reductive to call Crooked Rain, Crooked Rain the Reckoning to Slanted & Enchanted‘s Murmur – not to mention easy, considering that Pavement recorded a song-long tribute to R.E.M.‘s second album during the Crooked Rain sessions — but there’s a certain truth in that statement all the same. Slanted & Enchanted is an enigmatic masterpiece, retaining its mystique after countless spins, but Crooked Rain strips away the hiss and fog of S&E, removing some of Pavement’s mystery yet retaining their fractured sound and spirit. It’s filled with loose ends and ragged transitions, but compared to the fuzzy, dense Slanted, Crooked Rain is direct and immediately engaging — it puts the band’s casual melodicism, sprawling squalls of feedback, disheveled country-rock, and Stephen Malkmus‘ deft wordplay in sharp relief.
It’s the sound of a band discovering its own voice as a band, which is only appropriate because up until Crooked Rain, Pavement was more of a recording project between Malkmus and Scott Kannbergthan than a full-fledged rock & roll group. During the supporting tour for Slanted, Malkmus and Kannberg recruited bassist Mark Ibold and percussionist Bob Nastanovich, and original drummer Gary Young was replaced by Steve West early into the recording for this album, and the new blood gives the band a different feel, even if the aesthetic hasn’t changed much. The full band gives the music a richer, warmer vibe that’s as apparent on the rampaging, noise-ravaged “Unfair” as it is on the breezy, sun-kissed country-rock of “Range Life” or its weary, late-night counterpart, “Heaven Is a Truck.”
Pavement may still be messy, but it’s a meaningful, musical messiness from the performance to the production: listen to how “Silence Kit” begins by falling into place with its layers of fuzz guitars, wah wahs, cowbells, thumping bass, and drum fills, how what initially seems random gives way into a lush Californian pop song. That’s Crooked Rain a nutshell — what initially seems chaotic has purpose, leading listeners into the bittersweet heart and impish humor at the core of the album. Many bands attempted to replicate the sound or the vibe of Crooked Rain, Crooked Rain, but they never came close to the quicksilver shifts in music and emotion that give this album such lasting appeal. Here, Pavement follow the heartbroken ballad “Stop Breathin’” with the wry, hooky alt-rock hit “Cut Your Hair” without missing a beat. They throw out a jazzy Dave Brubeck tribute in “5-4=Unity” as easily as they mimic the Fall and mock the Happy Mondays on “Hit the Plane Down.” By drawing on so many different influences, Pavement discovered its own distinctive voice as a band on Crooked Rain, Crooked Rain, creating a vibrant, dynamic, emotionally resonant album that stands as a touchstone of underground rock in the ’90s and one of the great albums of its decade.
Shared above it’s CD-01 from “Crooked Rain, Crooked Rain: LA’s Desert Origins”, and it contains the following material:
Crooked Rain, Crooked Rain
1. “Silence Kit” — 3:00
2. “Elevate Me Later” — 2:51
3. “Stop Breathin’” — 4:27
4. “Cut Your Hair” — 3:06
5. “Newark Wilder” — 3:53
6. “Unfair” — 2:33
7. “Gold Soundz” — 2:39
8. “5 – 4 = Unity” — 2:09
9. “Range Life” — 4:54
10. “Heaven Is a Truck” — 2:30
11. “Hit the Plane Down” — 3:36
12. “Fillmore Jive” — 6:38
“Cut Your Hair” single
13. “Camera” — 3:45 (R.E.M. Cover)
14. “Stare” — 2:51
“Range Life” single
15. “Raft” — 3:34
16. “Coolin’ by Sound” — 2:50
“Gold Soundz” single
17. “Kneeling Bus” — 1:33
18. “Strings of Nashville” — 3:46
19. “Exit Theory” — 1:00
Gold Soundz Austral-N.Z. French Micronesia 94 Tour EP
20. “5 – 4 Vocal” — 2:08
Crooked Rain, Crooked Rain bonus 7″
21. “Jam Kids” — 4:54
22. “Haunt You Down” — 4:51
No Alternative compilation
23. “Unseen Power of the Picket Fence” — 3:51
Hey Drag City! compilation
24. “Nail Clinic” — 2:25
* * * * *
“Among Nietzsche’s works there is a strange book which bears the title Thus Spoke Zarathustra. It consists of 4 parts, written during the years 1883-85, each part in about 10 days, and conceived chapter by chapter on long walks – “with a feeling of inspiration, as though each sentence had been shouted in my ear”, as Nietzsche wrote in a private letter. (…) Zarathustra is a book of edification for free spirits. Nietzsche himself gave this book the highest place among his writings. The book contains all his fundamental ideas in the form of poetic recital. Its merit is a style that from the first word to the last is full-toned, sonorous and powerful… always expressive of self-joy, nay, self-intoxication, but rich in subtleties as in audacities.
Behind his style lies a mood as of calm mountain air, so light, so ethereally pure, that no infection, no bacteria can live in it – no noise, no stench, no dust assails it, nor does any path lead up. Clear sky above, open sea at the mountain’s foot, and over all a heaven of light, an abyss of light, an azure bell, a vaulted silence above roaring waters and mighty mountain-chains. On the heights Zarathustra is alone with himself, drawing in the pure air in full, deep breaths, alone with the rising sun, alone with the heat of noon, which does not impair the freshness, alone with the voices of the gleaming stars at night. A good, deep book it is. A book that is bright in its joy of life, dark in its riddles, a book for spiritual mountain-climbers and dare-devils…
“Upon the mountains one should live”, says Zarathustra. And with blessed nostrils he breathes again the freedom of the mountains. His nose is now released from the smell of all that is human. There sits Zarathustra with old broken tables of law around him and new half-written tables, awaiting his hour; Zarathustra teaches that exiles shall you be from your fatherlands and forefatherlands. Not the land of your fathers shall you love, but your children’s land. This love is the new nobility – love of that new land, the undiscovered, far-off country in the remotest sea. To your children shall you make amends for the misfortune of being your fathers’ children. Thus shall you redeem all the past.
No doctrine revolts Zarathustra more than that of the vanity and senselessness of life. This is in his eyes ancient babbling, old wives’ babbling. And the pessimists who sum up life with a balance of aversion, and assert the badness of existence, are the objects of his positive loathing. He prefers pain to annihilation. The same extravagant love of life is expressed in the Hymn to Life, written by his friend, Lou von Salomé, which Nietzsche set for chorus and orchestra:
“Hymn To Life” by Lou Andreas-Salomé
Surely, a friend loves a friend the way
That I love you, enigmatic life —
Whether I rejoiced or wept with you,
Whether you gave me joy or pain.
I love you with all your harms;
And if you must destroy me,
I wrest myself from your arms,
As a friend tears himself away from a friend’s breast.
I embrace you with all my strength!
Let all your flames ignite me,
Let me in the ardor of the struggle
Probe your enigma ever deeper.
To live and think millennia!
Enclose me now in both your arms:
If you have no more joy to give me —
Well then—there still remains your pain.
In the video above, hear Nietzsche’s “Hymn To Life” for chorus and orchestra. Lyrics by Lou Salomé.
BRANDES, Georges (1842-1927). Nietzsche. Haskell House Publishers, New York, 1972.
Angela Davis speaks:
“In Wisconsin black people constitute 4 or 5% of the state’s population and about 50% of the imprisoned population. Our criminal justice system sends increasing numbers of people to prison by first robbing them of housing, health care, education, and welfare, and then punishing them when they participate in underground economies. What should we think about a system that will, on the one hand, sacrifice social services, human compassion, housing and decent schools, mental health care and jobs, while on the other hand developing an ever larger and ever more profitable prison system that subjects ever larger numbers of people to daily regimes of coercion and abuse? The violent regimes inside prisons are located on a continuum of repression that includes state-sanctioned killing of civilians.” (The Meaning of Freedom, p. 62)
“It cannot be denied that immigration is on the rise. In many cases, however, people are compelled to leave their home countries because U.S. corporations have economically undermined local economies through ‘free trade’ agreements, structural adjustment, and the influence of such international financial institutions as the World Bank and International Monetary Fund. Rather than characterize ‘immigration’ as the source of the current crisis, it is more accurate to say that it is the homelessness of global capital that is responsible for so many of the problems people are experiencing throughout the world. Many transnational corporations that used to be required to comply with a modicum of rules and regulations in the nation-states where they are headquartered have found ways to evade prohibitions against cruel, dehumanizing, and exploitative labor practices. They are now free to do virtually anything in the name of maximizing profits. 50% of all of the garments purchased in the U.S. are made abroad by women and girls in Asia and Latin America. Many immigrant women from those regions who come to this country hoping to find work do so because they can no longer make a living in their home countries. Their native economies have been dislocated by global corporations. But what do they find here in the United States? More sweatshops.” (p. 64)
“Our impoverished popular imagination is responsible for the lack of or sparsity of conversations on minimizing prisons and emphasizing decarceration as opposed to increased incarceration. Particularly since resources that could fund services designed to help prevent people from engaging in the behavior that leads to prison are being used instead to build and operate prisons. Precisely the resources we need in order to prevent people from going to prison are being devoured by the prison system. This means that the prison reproduces the conditions of its own expansion, creating a syndrome of self-perpetuation.” (p. 67)
“The global war on drugs is responsible for the soaring numbers of people behind bars – and for the fact that throughout the world there is a disproportionate number of people of color and people from the global South in prison. (…) The drug war and the war on terror are linked to the global expansion of the prison. Let us remember that the prison is a historical system of punishment. In other worlds, it has not always been a part of human history; therefore, we should not take this institution for granted, or consider it a permanent and unavoidable fixture of our society. The prison as punishment emerged around the time of industrial capitalism, and it continues to have a particular affinity with capitalism. (…) Globalization has not only created devastating conditions for people in the global South, it has created impoverished and incarcerated communities in the United States and elsewhere in the global North. ” (p. 82)
“Why, in the aftermath of September 11, 2001, have we allowed our government to pursue unilateral policies and practices of global war? (…) Increasingly, freedom and democracy are envisioned by the government as exportable commodities, commodities that can be sold or imposed upon entire populations whose resistances are aggressively suppressed by the military. The so-called global war on terror was devised as a direct response to the September 11 attacks. Donald Rumsfeld, Dick Cheney, and George W. Bush swiftly transformed the attacks on the World Trade Center and the Pentagon into occasions to misuse and manipulate collective grief, thereby reducing this grief to a national desire for vengeance. (…) It seems to me the most obvious subversion of the healing process occurred when the Bush administration invaded Afghanistan, then Iraq, and now potentially Iran. All in the name of the human beings who died on September 11. Bloodshed and belligerence in the name of freedom and democracy!…
Bush had the opportunity to rehearse this strategy of vengeance and death on a smaller scale before he moved into the White House. As governor of Texas, he not only lauded capital punishment, he presided over more executions – 152 to be precise – than any other governor in the history of the United States of America.
Imperialist war militates against freedom and democracy, yet freedom and democracy are repeatedly invoked by the purveyors of global war. Precisely those forces that presume to make the world safe for freedom and democracy are now spreading war and torture and capitalist exploitation around the globe. The Bush government represents its project as a global offensive against terrorism, but the conduct of this offensive has generated practices of state violence and state terrorism in comparison to which its targets pale…
Estimates range from 500.000 to 700.000 so far – some people say that one million… – people that have been killed during the war in Iraq. Why can’t we even have a national conversation about that?”
“What is most distressing to those of us who believe in a democratic future is the tendency to equate democracy with capitalism. Capitalist democracy should be recognized as the oxymoron that it is. The two orders are fundamentally incompatible, especially considering the contemporary transformations of capitalism under the impact of globalization. But there are those who cannot tell the difference between the two. In no historical era can the freedom of the market serve as an acceptable model of democracy for those who do not possess the means – the capital – to take advantage of the freedom of the market.
The most convincing contemporary evidence against the equation of capitalism and democracy can be discovered in the fact that many institutions with a profoundly democratic impulse have been dismantled under the pressure exerted by international financial agencies, such as the International Monetary Fund and the World Bank. In the global South, structural adjustment has unleashed a juggernaut of privatization of public services that used to be available to masses of people, such as education and health care. These are services that no society should deny its members, services we all should be able to claim by virtue of our humanity. Conservative demands to privatize Social Security in the United States further reveal the reign of profits for the few over the rights of the many.
Another world is possible, and despite the hegemony of forces that promote inequality, hierarchy, possessive individualism, and contempt for humanity, I believe that together we can work to create the conditions for radical social transformation.”
The Meaning of Freedom
City Lights Books
San Franciso, California, 2012.
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Mountains That Take Wing
(2009. 97 min. Color.)
A WMM (Women Make Movies) release:
firstname.lastname@example.org and http://www.wmm.com.
“This film, co-directed by C.A. Griffith & H.L.T. Quan, is a “Conversation on Life, Struggles & Liberation”. Internationally renowned scholar, professor and writer Angela Davis and 89-year-old grassroots organizer and Nobel Peace Prize nominee Yuri Kochiyama share intimate conversations about personal histories and influences that shaped them and their shared experiences in some of the most important social movements in 20th century United States. The film’s unique format honors the scope and depth of their knowledge on topics ranging from Jim Crow laws and Japanese internment camps, to Civil Rights, anti-war, women’s and gay liberation movements, to today’s campaigns for political prisoners and prison reform. These insights, recorded over the span of 13 years, offer critical lessons about community activism and tremendous hope for the future of social justice.”
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Other great videos:
Canada, 2007, 105 min
Directed By: Brett Harvey
“Ever wonder what British Columbia’s most profitable industries are? Logging? Fishing? Tourism? Ever think to include marijuana? If you haven’t, think again. No longer a hobby for the stereotypical hippie culture of the ‘60s, BC’s illegal marijuana trade industry has evolved into an unstoppable business giant, dubbed by those involved as ‘The Union’. Commanding upwards of $7 billion Canadian dollars annually, The Union’s roots stretch far and wide. With up to 85% of all ‘BC Bud’ being exported to the United States, the BC marijuana trade has become an international issue with consequences that extend far beyond our borders. When record profits are to be made, who are the players, and when do their motives become questionable? Why is marijuana illegal? What health risks do we really face? Does prohibition work? What would happen if we taxed it? Medicine, paper, fuel, textiles, food… are we missing something?
Highly entertaining as well as informative, The Union takes a look at British Columbia’s ever-expanding marijuana industry. Beginning with a brief history of the use of marijuana in North America, director Brett Harvey takes us on a journey that includes interviews with growers, clippers, criminologists, politicians, doctors, police officers and pop culture icons to illuminate the business of BC bud and how it is that such a powerful industry can function so successfully while remaining illegal. With enormous profits to be made, he questions who benefits the most from the current state of affairs and comes up with some not-so-surprising answers.
In examining more closely the propaganda of the anti-marijuana lobby, some unexpected facts and figures surface regarding the health risks of marijuana as well as the economic, agricultural and societal benefits of growing hemp, and the current laws prohibiting such crops in North America. As an industry that brings in seven billion dollars annually, the business of growing and distributing marijuana is even more profitable for those involved on both sides of the law due to the prohibition. The Union is a fascinating and in-depth look at one of BC’s most profitable industries and the players involved, from the growers and dealers to pharmaceutical companies and builders of private prisons.”
Winner, Outstanding Documentary Feature, 2007 Winnipeg International Film Festival.
This film is nominated for the National Film Board’s Best Canadian Documentary Award.
* * * * *
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In the official website of Canada’s government, Department of Agriculture, there’s a good report on the situation of hemp nowadays:
As the world’s premier renewable resource, hemp has been the source of food and fibre for the past 10,000 years. Hemp fibre has been used to make clothing, ropes, and paper; the grain has been stewed, roasted, and milled for food; and the oil derived from the grain has been used for cosmetics, lighting, paints, varnishes, and medicinal preparations.
Like the marijuana plant, industrial hemp belongs to the species Cannabis sativa L. However, unlike marijuana, it only contains small quantities of the psychoactive drug delta-9 tetrahydrocannabinol (THC). Nevertheless, the cultivation of both marijuana and industrial hemp were banned in Canada in 1938.
Since 1994, a small number of Canadian companies, as well as Canadian universities and provincial governments have researched industrial hemp production and processing. Due largely to their initiative, the 60-year ban was lifted and the commercial cultivation of hemp was authorized in Canada in 1998. The Industrial Hemp Regulations came into effect on March 12, 1998, and cover the cultivation, processing, transportation, sale, provision, import, and export of industrial hemp.
Since its legalization, hemp has sparked much interest among Canadian farmers. The Government of Canada has been very supportive of Canada’s re-emerging hemp industry through changes in legislation and regulations, and through market development funding. Today, hemp is enjoying a renaissance, with the global hemp market becoming a thriving, commercial success. More than 100 Canadian farmers are currently taking advantage of the vast market potential for hemp and are growing this crop in most provinces, primarily in central and western Canada.”
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ANGELA DAVIS in The Meaning of Freedom.
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“Beware of those leaders and theorists who eloquently rage against white supremacy but identify black gay men and lesbians as evil incarnate. Beware of those leaders who call upon us to protect our young black men but will beat their wives and abuse their children and will not support a woman’s right to reproductive autonomy. Beware of those leaders! And beware of those who call for the salvation of black males but will not support the rights of Caribbean, Central American, and Asian immigrants, or who think that struggles in Chiapas or in Northern Ireland are unrelated to black freedom! Beware of those leaders!
Regardless of how effectively (or inneffectively) veteran activists are able to engage with the issues of our times, there is clearly a paucity of young voices associated with black political leadership. The relative invisibility of youth leadership is a crucial example of this crisis in contemporary black social movements. On the other hand, within black popular culture, youth are, for better or for worse, helping to shape the political vision of their contemporaries. Many young black performers are absolutely brilliant. Not only are they musically dazzing, they are also trying to put forth anti-racist and anti-capitalist critiques. I’m thinking, for example, about Nefertiti, Arrested Development, The Fugees, and Michael Franti…”
Listen to Fugee’s The Score (Full Album)
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“There are already one million in prison in the United States. This does not include the 500.000 in city and county jails, the 600.000 on parole, and the 3 million people on probation. It also does not include the 60.000 young people in juvenile facilities, which is to say, there are presently more than FIVE MILLION people either incarcerated, on parole, or on probation… Not only is the duration of imprisonment drastically extended, it is rendered more repressive than ever. Within some state prison systems, weights have even been banned. Having spent time in several jails myself, I know how important it is to exercise the body as well as the mind. The barring of higher education and weight sets implies the creation of an incarcerated society of people who are worth little more than trash to the dominant culture.
Who is benefiting from these ominous new developments? There is already something of a boom in the prison construction industry. New architectural trends that recapitulate old ideas about incarceration such as Jeremy Bentham’s panopticon have produced the need to build new jails and prisons – both public and private prisons. And there is the dimension of the profit drive, with its own exploitative, racist component. It’s also important to recognize that the steadily growing trend of privatization of U.S. jails and prisons is equally menacing… We therefore ask: How many more black bodies will be sacrified on the altar of law and order?
The prison system as a whole serves as an apparatus of racist and political repression… the fact that virtually everyone behind bars was (and is) poor and that a disproportionate number of them were black and Latino led us [the activists] to think about the more comprehensive impact of punishment on communities of color and poor communities in general. How many rich people are in prison? Perhaps a few here and there, many of whom reside in what we call country club prisons. But the vast majority of prisoners are poor people. A disproportionate number of those poor people were and continue to be people of color, people of African descent, Latinos, and Native Americans.
Some of you may know that the most likely people to go to prison in this country today are young African American men. In 1991, the Sentencing Project released a report indicating that 1 in 4 of all young black men between the ages of 18 and 24 were incarcerated in the United States. 25% is an astonishing figure. That was in 1991. A few years later, the Sentencing Project released a follow-up report revealing that within 3 or 4 years, the percentage had soared to over 32%. In other words, approximately one-third of all young black men in this country are either in prison or directly under the supervision and control of the criminal justice system. Something is clearly wrong.”
(pg. 25, 27 and 38)
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“When a child’s life is forever arrested by one of the gunshots that are heard so frequently in poor black and Latino communities, parents, teachers, and friends parede in demonstrations bearing signs with the slogan ‘STOP THE VIOLENCE.’ Those who live with the daily violence associated with drug trafficking and increasing use of dangerous weapons by youth are certainly in need of immediate solutions to these problems. But the decades-old law-and-order solutions will hardly bring peace to poor black and Latino communities. Why is there such a paucity of alternatives? Why the readiness to take on a discourse and entertain policies and ideological strategies that are so laden with racism?
Ideological racism has begun to lead a secluded existence. It sequesters itself, for example, within the concept of crime. (…) I, for one, am of the opinion that we will have to renounce jails and prisons as the normal and unquestioned approaches to such social problems as drug abuse, unemployment, homelessness, and illiteracy. (…) When abolitionists raise the possibility of living without prisons, a common reaction is fear – fear provoked by the prospect of criminals pouring out of prisons and returning to communities where they may violently assault people and their property. It is true that abolitionists want to dismantle structures of imprisonment, but not without a process that calls for building alternative institutions. It is not necessary to address the drug problem, for example, within the criminal justice system. It needs to be separated from the criminal justice system. Rehabilitation is not possible within the jail and prison system.
We have to learn how to analyze and resist racism even in contexts where people who are targets and victims of racism commit acts of harm against others. Law-and-order discourse is racist, the existing system of punishment has been deeply defined by historical racism. Police, courts, and prisons are dramatic examples of institutional racism. Yet this is not to suggest that people of color who commits acts of violence against other human beings are therefore innocent. This is true of brothers and sisters out in the streets as well as those in the high-end suites… A victim of racism can also be a perpetrator of sexism. And indeed, a victim of racism can be a perpetrator of racism as well. Victimization can no longer be permitted to function as a halo of innocence.”
(pg. 29 – 31)
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“Black people have been on the forefront of radical and revolutionary movements in this country for several centuries. (…) Not all of us have given up hope for revolutionary change. Not all of us accept the notion of capitalist inevitability based on the collapse of socialism. Socialism of a certain type did not work because of irreconcilable internal contradictions. Its structures have fallen. But to assume that capitalism is triumphant is to use a simplistic boxing-match paradigm. Despite its failure to build lasting democratic sctructures, socialism nevertheless demonstrated its superiority over capitalism on several accounts: the ability to provide free education, low-cost housing, jobs, free child care, free health care, etc. This is precisely what is needed in U.S. black communities… and among poor people in general. Harlem furnishes us with a dramatic example of the future of late capitalism and compelling evidence of the need to reinvigorate socialist democratic theory and practise – for the sake of our sisters and brothers who otherwise will be thrown into the dungeons of the future, and indeed, for the sake of us all.
During the McCarthy era, communism was established as the enemy of the nation and came to be represented as the enemy of the “free world”. During the 1950s, when membership in the Communist Party of U.S.A. was legally criminalized, many members were forced underground and/or were sentenced to many years in prison. In 1969, when I was personally targeted by anti-communist furor, black activists in such organizations as the Black Panther Party were also singled out. As a person who represented both the communist threat and the black revolutionary threat, I became a magnet for many forms of violence… If we can understand how people could be led to fear communism in such a visceral way, it might help us to apprehend the ideological character of the fear of the black criminal today.
The U.S. war in Vietnam lasted as long as it did because it was fueled by a public fear of communism. The government and the media led the public to believe that the Vietnamese were their enemy, as if it were the case that the defeat of the racialized communist enemy in Vietnam would ameliorate U.S. people’s lives and make them feel better about themselves…”
(To know more about the Vietnam war, please watch Peter Davis’ Oscar-winning documentary Hearts and Minds)
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“The connection between the criminalization of young black people and the criminalization of immigrants are not random. In order to understand the structural connections that tie these two forms of criminalization together, we will have to consider the ways in which global capitalism has transformed the world. What we witnessed at the close of the 20th century is the growing power of a circuit of transnational corporations that belong to no particular nation-state, that are not expected to respect the laws of any given nation-state, and that move across borders at will in perpetual search of maximizing profits.
Let me tell you a story about my personal relationship with one of these transnational corporations – Nike. My first pair of serious running shoes were Nikes. Over the years I became so attached to Nikes that I convinced myself that I could not run without wearing them. But once I learned about the conditions under which these shoes are produced, I could not in good conscience buy another pair of their running shoes. It may be true that Michael Jordan and Tiger Woods had multimillion-dollar contracts with Nike, but in Indonesia and Vietnam Nike has been creating working conditions that, in many respects, resemble slavery.
Not long ago there was an investigation of the Nike factory in Ho Chi Minh City, and it was discovered that the young women who work in Nike’s sweatshops there were paid less than the minimum wage in Vietnam, which is only U$2.50 a day… Consider what you pay for Nikes and the vast differential between the price and the workers’ wages. This differential is the basis for Nike’s rising profits. (…) If you read the entire report, you will be outraged to learn of the abominable treatment endured by the young women and girls who produce the shoes and the apparel we wear. The details of the report include the fact that during an 8-hour shift, workers are able to use the toilet just once, and they are prohibited from drinking water more than twice. There is sexual harrasment, inadequate health care, and excessive overtime… Perhaps we need to discuss the possibility of an organized boycott… but given the global reach of corporations like Nike, we need to think about a global boycott.
Corporations move to developing countries because it is extremely profitable to pay workers U$2.50 a day or less in wages. That’s U$2.50 a day, not U$2.50 a hour, which would still be a pittance. (…) The corporations that have migrated to Mexico, Vietnam, and other Third World countries also often end up wreaking havoc on local economies. They create cash economies that displace subsistence economies and produce artificial unemployment. Overall, the effect of capitalist corporations colonizing Third World countries is one of pauperization. These corporations create poverty as surely as they reap rapacious profits.”
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All quotes in this post from…
Angela Y. Davis (1944 – )
The Meaning of Freedom
And Other Difficult Dialogues
San Francisco, California. 2012.
“No doubt we take comfort in the dream that equality and fraternity will one day reign among men, without compromising their diversity.” – Lévi-Strauss, Race and Culture
SYNOPSIS: This film recounts the extraordinary career path of Claude Lévi-Strauss, the father of structural anthropology, whose theories made an impact also on linguistics, mythology, and even pop culture studies. Author of “Tristes Tropiques” and “The Savage Mind”, Lévi-Strauss is a man curious about the nature of all men, a confirmed ecologist, and a fierce defender of the diversity of cultures and people. A profound intellectual with the temperament of an artist and poet, Lévi-Strauss still dominates the landscape of Western thinking. Consisting of selected interviews, this film “Lévi-Strauss Par Lui-Meme” offers an intimate, inside view of the anthropologist’s life and times. Directed and edited by Pierre-Andre Boutang and Annie Chevallay. With the participation of Vincent De Baene and Frederick Keck. Produced by Arte France, Films du Bouloi and INA. France / 2008 / Color / 93 mins / Subtitles in english.
P.S. This is intended for non-profit commentary and educational purposes. No copyright infringement intended. Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
FULL FILM – English Subs.
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Some of Lévi-Strauss major works (e-books in english):
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The experiences resulting from the use of psychedelic drugs are often described in religious terms. They are therefore of interest to those like myself who, in the tradition of William James, are concerned with the psychology of religion. For more than thirty years I have been studying the causes, the consequences, and the conditions of those peculiar states of consciousness in which the individual discovers himself to be one continuous process with God, with the Universe, with the Ground of Being, or whatever name he may use by cultural conditioning or personal preference for the ultimate and eternal reality. We have no satisfactory and definitive name for experiences of this kind. The terms “religious experience,” “mystical experience,” and “cosmic consciousness” are all too vague and comprehensive to denote that specific mode of consciousness which, to those who have known it, is as real and overwhelming as falling in love. This article describes such states of consciousness induced by psychedelic drugs, although they are virtually indistinguishable from genuine mystical experience. The article then discusses objections to the use of psychedelic drugs that arise mainly from the opposition between mystical values and the traditional religious and secular values of Western society.
The Psychedelic Experience
The idea of mystical experiences resulting from drug use is not readily accepted in Western societies. Western culture has, historically, a particular fascination with the value and virtue of man as an individual, self-determining, responsible ego, controlling himself and his world by the power of conscious effort and will. Nothing, then, could be more repugnant to this cultural tradition than the notion of spiritual or psychological growth through the use of drugs. A “drugged” person is by definition dimmed in consciousness, fogged in judgment, and deprived of will. But not all psychotropic (consciousness-changing) chemicals are narcotic and soporific, as are alcohol, opiates, and barbiturates. The effects of what are now called psychedelic (mind-manifesting) chemicals differ from those of alcohol as laughter differs from rage, or delight from depression. There is really no analogy between being “high” on LSD and “drunk” on bourbon. True, no one in either state should drive a car, but neither should one drive while reading a book, playing a violin, or making love. Certain creative activities and states of mind demand a concentration and devotion that are simply incompatible with piloting a death-dealing engine along a highway.
I myself have experimented with five of the principal psychedelics: LSD-25, mescaline, psilocybin, dimethyl-tryptamine (DMT), and cannabis. I have done so, as William James tried nitrous oxide, to see if they could help me in identifying what might be called the “essential” or “active” ingredients of the mystical experience. For almost all the classical literature on mysticism is vague, not only in describing the experience, but also in showing rational connections between the experience itself and the various traditional methods recommended to induce it: fasting, concentration, breathing exercises, prayers, incantations, and dances. A traditional master of Zen or Yoga, when asked why such-and-such practices lead or predispose one to the mystical experience, always responds, “This is the way my teacher gave it to me. This is the way I found out. If you’re seriously interested, try it for yourself.” This answer hardly satisfies an impertinent, scientifically minded, and intellectually curious Westerner. It reminds him of archaic medical prescriptions compounding five salamanders, powdered gallows rope, three boiled bats, a scruple of phosphorus, three pinches of henbane, and a dollop of dragon dung dropped when the moon was in Pisces. Maybe it worked, but what was the essential ingredient?
It struck me, therefore, that if any of the psychedelic chemicals would in fact predispose my consciousness to the mystical experience, I could use them as instruments for studying and describing that experience as one uses a microscope for bacteriology, even though the microscope is an “artificial” and “unnatural” contrivance which might be said to “distort” the vision of the naked eye. However, when I was first invited to test the mystical qualities of LSD-25 by Dr. Keith Ditman of the Neuropsychiatric Clinic at UCLA Medical School, I was unwilling to believe that any mere chemical could induce a genuine mystical experience. At most, it might bring about a state of spiritual insight analogous to swimming with water wings. Indeed, my first experiment with LSD-25 was not mystical. It was an intensely interesting aesthetic and intellectual experience that challenged my powers of analysis and careful description to the utmost.
Some months later, in 1959, I tried LSD-25 again with Drs. Sterling Bunnell and Michael Agron, who were then associated with the Langley-Porter Clinic, in San Francisco. In the course of two experiments I was amazed and somewhat embarrassed to find myself going through states of consciousness that corresponded precisely with every description of major mystical experiences that I had ever read.2 Furthermore, they exceeded both in depth and in a peculiar quality of unexpectedness the three “natural and spontaneous” experiences of this kind that had happened to me in previous years.
Through subsequent experimentation with LSD-25 and the other chemicals named above (with the exception of DMT, which I find amusing but relatively uninteresting), I found I could move with ease into the state of “cosmic consciousness,” and in due course became less and less dependent on the chemicals themselves for “tuning in” to this particular wave length of experience. Of the five psychedelics tried, I found that LSD-25 and cannabis suited my purposes best. Of these two, the latter—cannabis—which I had to use abroad in countries where it is not outlawed, proved to be the better. It does not induce bizarre alterations of sensory perception, and medical studies indicate that it may not, save in great excess, have the dangerous side effects of LSD.
For the purposes of this study, in describing my experiences with psychedelic drugs I avoid the occasional and incidental bizarre alterations of sense perception that psychedelic chemicals may induce. I am concerned, rather, with the fundamental alterations of the normal, socially induced consciousness of one’s own existence and relation to the external world. I am trying to delineate the basic principles of psychedelic awareness. But I must add that I can speak only for myself. The quality of these experiences depends considerably upon one’s prior orientation and attitude to life, although the now voluminous descriptive literature of these experiences accords quite remarkably with my own.
Almost invariably, my experiments with psychedelics have had four dominant characteristics. I shall try to explain them-in the expectation that the reader will say, at least of the second and third, “Why, that’s obvious! No one needs a drug to see that.” Quite so, but every insight has degrees of intensity. There can be obvious-1 and obvious-2, and the latter comes on with shattering clarity, manifesting its implications in every sphere and dimension of our existence.
The first characteristic is a slowing down of time, a concentration in the present. One’s normally compulsive concern for the future decreases, and one becomes aware of the enormous importance and interest of what is happening at the moment. Other people, going about their business on the streets, seem to be slightly crazy, failing to realize that the whole point of life is to be fully aware of it as it happens. One therefore relaxes, almost luxuriously, into studying the colors in a glass of water, or in listening to the now highly articulate vibration of every note played on an oboe or sung by a voice.
From the pragmatic standpoint of our culture, such an attitude is very bad for business. It might lead to improvidence, lack of foresight, diminished sales of insurance policies, and abandoned savings accounts. Yet this is just the corrective that our culture needs. No one is more fatuously impractical than the “successful” executive who spends his whole life absorbed in frantic paper work with the objective of retiring in comfort at sixty-five, when it will all be too late. Only those who have cultivated the art of living completely in the present have any use for making plans for the future, for when the plans mature they will be able to enjoy the results. “Tomorrow never comes.” I have never yet heard a preacher urging his congregation to practice that section of the Sermon on the Mount which begins, “Be not anxious for the morrow….” The truth is that people who live for the future are, as we say of the insane, “not quite all there”—or here: by over-eagerness they are perpetually missing the point. Foresight is bought at the price of anxiety, and when overused it destroys all its own advantages.
The second characteristic I will call awareness of polarity. This is the vivid realization that states, things, and events that we ordinarily call opposite are interdependent, like back and front, or the poles of a magnet. By polar awareness one sees that things which are explicitly different are implicitly one: self and other, subject and object, left and right, male and female-and then, a little more surprisingly, solid and space, figure and background, pulse and interval, saints and sinners, police and criminals, in-groups and out-groups. Each is definable only in terms of the other, and they go together transactionally, like buying and selling, for there is no sale without a purchase, and no purchase without a sale. As this awareness becomes increasingly intense, you feel that you yourself are polarized with the external universe in such a way that you imply each other. Your push is its pull, and its push is your pull—as when you move the steering wheel of a car. Are you pushing it or pulling it?
At first, this is a very odd sensation, not unlike hearing your own voice played back to you on an electronic system immediately after you have spoken. You become confused, and wait for it to go on! Similarly, you feel that you are something being done by the universe, yet that the universe is equally something being done by you-which is true, at least in the neurological sense that the peculiar structure of our brains translates the sun into light, and air vibrations into sound. Our normal sensation of relationship to the outside world is that sometimes I push it, and sometimes it pushes me. But if the two are actually one, where does action begin and responsibility rest? If the universe is doing me, how can I be sure that, two seconds hence, I will still remember the English language? If I am doing it, how can I be sure that, two seconds hence, my brain will know how to turn the sun into light? From such unfamiliar sensations as these, the psychedelic experience can generate confusion, paranoia, and terror-even though the individual is feeling his relationship to the world exactly as it would be described by a biologist, ecologist, or physicist, for he is feeling himself as the unified field of organism and environment.
The third characteristic, arising from the second, is awareness of relativity. I see that I am a link in an infinite hierarchy of processes and beings, ranging from molecules through bacteria and insects to human beings, and, maybe, to angels and gods-a hierarchy in which every level is in effect the same situation. For example, the poor man worries about money while the rich man worries about his health: the worry is the same, but the difference is in its substance or dimension. I realize that fruit flies must think of themselves as people, because, like ourselves, they find themselves in the middle of their own world-with immeasurably greater things above and smaller things below. To us, they all look alike and seem to have no personality-as do the Chinese when we have not lived among them. Yet fruit flies must see just as many subtle distinctions among themselves as we among ourselves.
From this it is but a short step to the realization that all forms of life and being are simply variations on a single theme: we are all in fact one being doing the same thing in as many different ways as possible. As the French proverb goes, plus ca change, plus c’est la meme chose (the more it varies, the more it is one). I see, further, that feeling threatened by the inevitability of death is really the same experience as feeling alive, and that as all beings are feeling this everywhere, they are all just as much “I” as myself. Yet the “I” feeling, to be felt at all, must always be a sensation relative to the “other”-to something beyond its control and experience. To be at all, it must begin and end. But the intellectual jump that mystical and psychedelic experiences make here is in enabling you to see that all these myriad I-centers are yourself—not, indeed, your personal and superficially conscious ego, but what Hindus call the paramatman, the Self of all selves.3 As the retina enables us to see countless pulses of energy as a single light, so the mystical experience shows us innumerable individuals as a single Self.
A kind of waking trance I have frequently had, quite up from boyhood, when I have been all alone. This has generally come upon me thro’ repeating my own name two or three times to myself silently, till all at once, as it were out of the intensity of the consciousness of individuality, the individuality itself seemed to dissolve and fade away into boundless being, and this not a confused state, but the clearest of the clearest, the surest of the surest, the weirdest of the weirdest, utterly beyond words, where death was an almost laughable impossibility, the loss of personality (if so it were) seeming no extinction but the only true life.
The fourth characteristic is awareness of eternal energy, often in the form of intense white light, which seems to be both the current in your nerves and that mysterious e which equals mc2. This may sound like megalomania or delusion of grandeur-but one sees quite clearly that all existence is a single energy, and that this energy is one’s own being. Of course there is death as well as life, because energy is a pulsation, and just as waves must have both crests and troughs, the experience of existing must go on and off. Basically, therefore, there is simply nothing to worry about, because you yourself are the eternal energy of the universe playing hide-and-seek (off-and-on) with itself. At root, you are the Godhead, for God is all that there is. Quoting Isaiah just a little out of context: “I am the Lord, and there is none else. I form the light and create the darkness: I make peace, and create evil. I, the Lord, do all these things.”4 This is the sense of the fundamental tenet of Hinduism, Tat tram asi—”THAT (i.e., “that subtle Being of which this whole universe is composed”) art thou.”5 A classical case of this experience, from the West, is in Tennyson’s Memoirs:
Obviously, these characteristics of the psychedelic experience, as I have known it, are aspects of a single state of consciousness—for I have been describing the same thing from different angles. The descriptions attempt to convey the reality of the experience, but in doing so they also suggest some of the inconsistencies between such experience and the current values of society.
Resistance to allowing use of psychedelic drugs originates in both religious and secular values. The difficulty in describing psychedelic experiences in traditional religious terms suggests one ground of opposition. The Westerner must borrow such words as samadhi or moksha from the Hindus, or satori or kensho from the Japanese, to describe the experience of oneness with the universe. We have no appropriate word because our own Jewish and Christian theologies will not accept the idea that man’s inmost self can be identical with the Godhead, even though Christians may insist that this was true in the unique instance of Jesus Christ. Jews and Christians think of God in political and monarchical terms, as the supreme governor of the universe, the ultimate boss. Obviously, it is both socially unacceptable and logically preposterous for a particular individual to claim that he, in person, is the omnipotent and omniscient ruler of the world-to be accorded suitable recognition and honor.
Such an imperial and kingly concept of the ultimate reality, however, is neither necessary nor universal. The Hindus and the Chinese have no difficulty in conceiving of an identity of the self and the Godhead. For most Asians, other than Muslims, the Godhead moves and manifests the world in much the same way that a centipede manipulates a hundred legs-spontaneously, without deliberation or calculation. In other words, they conceive the universe by analogy with an organism as distinct from a mechanism. They do not see it as an artifact or construct under the conscious direction of some supreme technician, engineer, or architect.
If, however, in the context of Christian or Jewish tradition, an individual declares himself to be one with God, he must be dubbed blasphemous (subversive) or insane. Such a mystical experience is a clear threat to traditional religious concepts. The Judaeo-Christian tradition has a monarchical image of God, and monarchs, who rule by force, fear nothing more than insubordination. The Church has therefore always been highly suspicious of mystics, because they seem to be insubordinate and to claim equality or, worse, identity with God. For this reason, John Scotus Erigena and Meister Eckhart were condemned as heretics. This was also why the Quakers faced opposition for their doctrine of the Inward Light, and for their refusal to remove hats in church and in court. A few occasional mystics may be all right so long as they watch their language, like St. Teresa of Avila and St. John of the Cross, who maintained, shall we say, a metaphysical distance of respect between themselves and their heavenly King. Nothing, however, could be more alarming to the ecclesiastical hierarchy than a popular outbreak of mysticism, for this might well amount to setting up a democracy in the kingdom of heaven-and such alarm would be shared equally by Catholics, Jews, and fundamentalist Protestants.
The monarchical image of God, with its implicit distaste for religious insubordination, has a more pervasive impact than many Christians might admit. The thrones of kings have walls immediately behind them, and all who present themselves at court must prostrate themselves or kneel, because this is an awkward position from which to make a sudden attack. It has perhaps never occurred to Christians that when they design a church on the model of a royal court (basilica) and prescribe church ritual, they are implying that God, like a human monarch, is afraid. This is also implied by flattery in prayers:
O Lord our heavenly Father, high and mighty, King of kings, Lord of lords, the only Ruler of princes, who dost from thy throne behold all the dwellers upon earth: most heartily we beseech thee with thy favor to behold….
The Western man who claims consciousness of oneness with God or the universe thus clashes with his society’s concept of religion. In most Asian cultures, however, such a man will be congratulated as having penetrated the true secret of life. He has arrived, by chance or by some such discipline as Yoga or Zen meditation, at a state of consciousness in which he experiences directly and vividly what our own scientists know to be true in theory. For the ecologist, the biologist, and the physicist know (but seldom feel) that every organism constitutes a single field of behavior, or process, with its environment. There is no way of separating what any given organism is doing from what its environment is doing, for which reason ecologists speak not of organisms in environments but of organism-environments. Thus the words “I” and “self” should properly mean what the whole universe is doing at this particular “here-and-now” called John Doe.
The kingly concept of God makes identity of self and God, or self and universe, inconceivable in Western religious terms. The difference between Eastern and Western concepts of man and his universe, however, extends beyond strictly religious concepts. The Western scientist may rationally perceive the idea of organism-environment, but he does not ordinarily feel this to be true. By cultural and social conditioning, he has been hypnotized into experiencing himself as an ego-as an isolated center of consciousness and will inside a bag of skin, confronting an external and alien world. We say, “I came into this world.” But we did nothing of the kind. We came out of it in just the same way that fruit comes out of trees. Our galaxy, our cosmos, “peoples” in the same way that an apple tree “apples.”
Such a vision of the universe clashes with the idea of a monarchical God, with the concept of the separate ego, and even with the secular, atheist/agnostic mentality, which derives its common sense from the mythology of nineteenth-century scientist. According to this view, the universe is a mindless mechanism and man a sort of accidental microorganism infesting a minute globular rock that revolves about an unimportant star on the outer fringe of one of the minor galaxies. This “put-down” theory of man is extremely common among such quasi scientists as sociologists, psychologists, and psychiatrists, most of whom are still thinking of the world in terms of Newtonian mechanics, and have never really caught up with the ideas of Einstein and Bohr, Oppenheimer and Schrodinger. Thus to the ordinary institutional-type psychiatrist, any patient who gives the least hint of mystical or religious experience is automatically diagnosed as deranged. From the standpoint of the mechanistic religion, he is a heretic and is given electroshock therapy as an up-to-date form of thumbscrew and rack. And, incidentally, it is just this kind of quasi scientist who, as consultant to government and law-enforcement agencies, dictates official policies on the use of psychedelic chemicals.
Inability to accept the mystic experience is more than an intellectual handicap. Lack of awareness of the basic unity of organism and environment is a serious and dangerous hallucination. For in a civilization equipped with immense technological power, the sense of alienation between man and nature leads to the use of technology in a hostile spirit—to the “conquest” of nature instead of intelligent co-operation with nature. The result is that we are eroding and destroying our environment, spreading Los Angelization instead of civilization. This is the major threat overhanging Western, technological culture, and no amount of reasoning or doom-preaching seems to help. We simply do not respond to the prophetic and moralizing techniques of conversion upon which Jews and Christians have always relied. But people have an obscure sense of what is good for them-call it “unconscious self-healing,” “survival instinct,” “positive growth potential,” or what you will. Among the educated young there is therefore a startling and unprecedented interest in the transformation of human consciousness. All over the Western world publishers are selling millions of books dealing with Yoga, Vedanta, Zen Buddhism, and the chemical mysticism of psychedelic drugs, and I have come to believe that the whole “hip” subculture, however misguided in some of its manifestations, is the earnest and responsible effort of young people to correct the self-destroying course of industrial civilization.
The content of the mystical experience is thus inconsistent with both the religious and secular concepts of traditional Western thought. Moreover, mystical experiences often result in attitudes that threaten the authority not only of established churches, but also of secular society. Unafraid of death and deficient in worldly ambition, those who have undergone mystical experiences are impervious to threats and promises. Moreover, their sense of the relativity of good and evil arouses the suspicion that they lack both conscience and respect for law. Use of psychedelics in the United States by a literate bourgeoisie means that an important segment of the population is indifferent to society’s traditional rewards and sanctions.
In theory, the existence within our secular society of a group that does not accept conventional values is consistent with our political vision. But one of the great problems of the United States, legally and politically, is that we have never quite had the courage of our convictions. The Republic is founded on the marvelously sane principle that a human community can exist and prosper only on a basis of mutual trust. Metaphysically, the American Revolution was a rejection of the dogma of Original Sin, which is the notion that because you cannot trust yourself or other people, there must be some Superior Authority to keep us all in order. The dogma was rejected because, if it is true that we cannot trust ourselves and others, it follows that we cannot trust the Superior Authority which we ourselves conceive and obey, and that the very idea of our own untrustworthiness is unreliable!
Citizens of the United States believe, or are supposed to believe, that a republic is the best form of government. Yet vast confusion arises from trying to be republican in politics and monarchist in religion. How can a republic be the best form of government if the universe, heaven, and hell are a monarchy? Thus, despite the theory of government by consent, based upon mutual trust, the peoples of the United States retain, from the authoritarian backgrounds of their religions or national origins, an utterly naive faith in law as some sort of supernatural and paternalistic power. “There ought to be a law against it!” Our law-enforcement officers are therefore confused, hindered, and bewildered—not to mention corrupted—by being asked to enforce sumptuary laws, often of ecclesiastical origin, that vast numbers of people have no intention of obeying and that, in any case, are immensely difficult or simply impossible to enforce—for example, the barring of anything so undetectable as LSD-25 from international and interstate commerce.
Finally, there are two specific objections to use of psychedelic drugs. First, use of these drugs may be dangerous. However, every worth-while exploration is dangerous—climbing mountains, testing aircraft, rocketing into outer space, skin diving, or collecting botanical specimens in jungles. But if you value knowledge and the actual delight of exploration more than mere duration of uneventful life, you are willing to take the risks. It is not really healthy for monks to practice fasting, and it was hardly hygienic for Jesus to get himself crucified, but these are risks taken in the course of spiritual adventures. Today the adventurous young are taking risks in exploring the psyche, testing their mettle at the task just as, in times past, they have tested it—more violently—in hunting, dueling, hot-rod racing, and playing football. What they need is not prohibitions and policemen, but the most intelligent encouragement and advice that can be found.
Second, drug use may be criticized as an escape from reality. However, this criticism assumes unjustly that the mystical experiences themselves are escapist or unreal. LSD, in particular, is by no means a soft and cushy escape from reality. It can very easily be an experience in which you have to test your soul against all the devils in hell. For me, it has been at times an experience in which I was at once completely lost in the corridors of the mind and yet relating that very lostness to the exact order of logic and language, simultaneously very mad and very sane. But beyond these occasional lost and insane episodes, there are the experiences of the world as a system of total harmony and glory, and the discipline of relating these to the order of logic and language must somehow explain how what William Blake called that “energy which is eternal delight” can consist with the misery and suffering of everyday life.
The undoubted mystical and religious intent of most users of the psychedelics, even if some of these substances should be proved injurious to physical health, requires that their free and responsible use be exempt from legal restraint in any republic that maintains a constitutional separation of church and state. To the extent that mystical experience conforms with the tradition of genuine religious involvement, and to the extent that psychedelics induce that experience, users are entitled to some constitutional protection. Also, to the extent that research in the psychology of religion can utilize such drugs, students of the human mind must be free to use them. Under present laws, I, as an experienced student of the psychology of religion, can no longer pursue research in the field. This is a barbarous restriction of spiritual and intellectual freedom, suggesting that the legal system of the United States is, after all, in tacit alliance with the monarchical theory of the universe, and will, therefore, prohibit and persecute religious ideas and practices based on an organic and unitary vision of the universe.
PUSSY RIOT: A PUNK PRAYER
Directed by Mike Lerner and Maxim Pozdorovkin
(2013, 1h 28 min)
Watch it on YouTube (full movie):
“Art is not a mirror to reflect the world,
but a hammer with which to shape it.”
Provocativo, excitante, instigante, indignante, hilário… esses são alguns dos adjetivos que acodem à mente para descrever este documentário sobre o Pussy Riot. Veja cenas explícitas e sem-censura das performances do grupo – incluindo “Orgia No Museu” e “Occupy Praça Vermelha”. E saiba mais sobre o contexto do aprisionamento das garotas, que foram condenadas a 2 anos de prisão por terem entrado em uma catedral de Moscow e berrado um punk-rock desafinado contra o “ditador Vladimir Putin”.
As garotas do Pussy Riot transformaram a performance artística, o teatro improvisado e a provocação punk em um espetáculo-freak que sacudiu a Rússia inteira e inflamou o debate sobre liberdade de expressão, fanatismo religioso, perseguição política contra dissidentes. O caso ecoou mundo afora, e até figuras como Yoko Ono e Madonna saíram em defesa do “Levante da Buceta”.
Segundo o diretor Maxim Pozdorovkin, todo o bafafá e polêmica causados pelas riot grrrrls do Pussy Riot equivale ao fuzuê que ocorreu na Inglaterra, circa-1977, com a explosão dos Sex Pistols, cuspindo na cara da Rainha, da EMI e do caralho-a-quatro. As cenas do julgamento do Pussy Riot indicam claramente que o processo criminal contra as garotas tem a ver com outra causa além da liberdade de expressão e o direito do artista de se manifestar sua discórdia com o status quo: o que está em questão também é o Estado Laico, ou melhor, sua ausência na Rússia de Putin, onde o Estado e a Igreja Ortodoxa agem em estreitas e íntimas ligações.
O Pussy Riot só foi em cana por causa da “blasfêmia” que foi entrar numa Catedral e botar a boca no trombone contra o governo Putinesco e suas frequentes violações da laicidade do estado (que era um dos ideais da Revolução bolchevique de outubro de 1917). Enfim… vale a pena embarcar neste filmaço que relata como o punk rock feminista e a arte de protesto sacudiram a Rússia e desnudaram a faceta autoritária e repressiva da era Putinesca (com suas leis homofóbicas e suas gulags na Sibéria para artistas blasfemos…).
* * * * *
NOW magazine (Toronto):
“Note to authoritarian regimes: don’t think you can mount a show trial if the defendants are more media-savvy than you are. This and about a dozen other ideas – including the value of performance art and the power of Putin – are behind this kick-ass doc about Russian punk art collective Pussy Riot and the trial that ensued after the group put on a guerrilla performance – playing an anti-Putin anthem – in Moscow’s central cathedral. Charismatic arrestees Masha (Maria Alyokhina), Katia (Yekaterina Samutsevich) and especially Nadia (Nadezhda Tolokonnikova) and coverage of the trial and demonstrations both for and against Pussy Riot give this pic electrifying energy. See it.”
* * * * *
Ah, Pussy Riot! Instinctively, we love them – especially given their home country’s human rights record – but many of our assumptions about the brazen Russian art activists are false.
The case of the female threesome who became a worldwide cause célèbre when they were charged with hooliganism and jailed after their anti-Putin performance in a church is badly misunderstood.
So claims Maxim Pozdorovkin, co-director of Pussy Riot: A Punk Prayer.
For starters, Pussy Riot isn’t a punk band. The arrested women are members – though their standing among their comrades is in question now that they’ve blown up worldwide – of a loose collective of artists, filmmakers and journalists working to create a different iconography for protest.
“They see themselves as contemporary artists determined to bring theatre into life,” says the hyper-articulate director on the phone from New York City. He’s there on the eve of an Amnesty International benefit, where recently released activists Maria Alyokhina and Nadezhda Tolokonnikova are set to appear – introduced by Madonna. He’s hanging out with them and planning to make a short film of the event.
“I always said that the story was misrepresented in Russia and in the West – I’m not sure where it was worse,” Pozdorovkin declares.
In Russia, they’re wrongly accused of being anti-religion, he claims.
“And in the West, it’s assumed that because they were a punk band singing an anti-Putin song, they went to jail. That’s nonsense. If they’d sung the song outside of the church, or anywhere else, no one would have cared.
“They had done so many things before that you’d think would’ve landed them in jail. In the U.S., for example, you couldn’t do the orgy in the National History Museum [explicitly shown in the film] and not go to jail.”
Pozdorovkin, who grew up in Moscow, played in punk bands and has a PhD from Harvard in found-footage filmmaking, is almost apoplectic at the idea that Putin’s regime can be compared to even the lighter anti-gay side of Stalinism. He sees more chaos than control in the new Russia.
“One of the biggest mistakes Westerners make is seeing the oppressive aspects of the arrest and trial as somehow organized and coming from the top down. That’s simply not the case.”
It was the women themselves – not the Russian authorities – who requested in a motion that the trial be filmed. The motion was granted, resulting in some of the doc’s most mesmerizing footage. A Russian news agency did the shooting, and Pozdorovkin, blown away by the quality of the initial rushes, then set the project in motion.
Though he allows that Pussy Riot are incredibly media-savvy, he says they weren’t totally aware of what they were getting into by making their statement inside a church.
“They didn’t mean to offend people. They felt they had the right to do what they did, and that maybe they’d be fined for, say, trespassing, but not be criminally charged. There’s something about the story that’s anachronistic, beautiful, idealistic.”
But the radical troupe is changing the way people look at performance and politics, which was precisely Pussy Riot’s intention. Soviet culture had never before been confronted by punk ideals and conceptual art on a mass level.
“The public awareness that you got with [the Sex Pistols’] God Save The Queen, that never happened in Russia until Pussy Riot.”
The Road Not Taken
Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim
Because it was grassy and wanted wear,
Though as for that the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I,
I took the one less traveled by,
And that has made all the difference.
* * * * *
“Complete Poems of Robert Frost”
Download e-book (16 mb)
Previously on the Precious Poetry series of this blog:
“Old habits die hard”, so the saying goes. It may be said that here lies one of the explanations for why comedy and tragedy are both so abundand in human existence: our psyches have a tendency to stick to behaviours learnt in the past, while the challenges we have to face are often new and unprecedented. I’m not simply stating the obvious – the “Freudian” thesis about how we’re necessarily “shaped” or “sculpted” by our first childhood experience, when our characters are formed (and deformed…). What I meant to point out is something similar to Marshall McLuhan’s statement that “we look at the present through a rear-view mirror”. Or, as Kierkegaard said it: “Life can only be understood backwards; but it must be lived forwards.”
In Woody Allen’s Blue Jasmine I get the impression a woman who looks at her rearviewmirror with a mixture of nostalgia and disgust, while she drives into the future to see what joys and catastrophes he’s got in store. Jasmine has lost a lot – her husband is dead, her big-money is gone, her son hates her guts… – but she’s still striving to recover what she has lost. What the film does really well is to transport us into a story in which we’re provoked to reflect upon Jasmine’s unfortunate fate, but she’s never merely a victim – she’s also someone who causes herself the disasters because of her unwise choices, her greed and arrogance, her belief that she belongs to a class of people above the rest. She’s diseased with the elite’s myopia: she believes to be part of the Special Caste. It’s a character that wasn’t made for an audience to love, much less idolize: Jasmine is at the same time a comical figure (a caricature of snobbish behaviour, a socialite-poseur who’s all about cheap tricks and bought glamour…), and a tragic one (a flesh-and-bone creature whose Psyche is being shattered to pieces).
The film, it seems to me, feels somewhat closer to the “dramatic” section of Allen’s oeuvre, belonging in the illustrious company of Crimes and Misdemeanors, Husbands and Wives, Match Point, among others. There’s an artistic statement being made here, and, if I hear it well, is an alarm call against a peculiar brand of cultural madness that gets ahold of Jasmine – this character that Cate Blanchett brings to life so magnificently. The character may seem kind of typical of Woody Allen’s immense gallery of made-up-people: one more cheated wife who tries to start her life anew after the wrecking disaster of her marriage. But Blanchett manages to transform this character in something quite unique, into a multi-dimensional fictional creature.
It’s perhaps one of the greatest characters Woody Allen has created since Melinda and Melinda (2005). When Blue Jasmine ended, I had the impression that Woody Allen had achieved – at least for 30 seconds… – something as powerful and emotionally engaging as John Cassevetes did, in several unforgetable scenes, on the masterpiece of cinema A Woman Under The Influence (1974) If, throughout the film, Blanchett appears to be trying her skills on the art of comedy, as the reel rolls we marvel to see madness stepping in, and Blanchett portraying it in her flesh with a performance that would make Gena Rowlands proud.
Jasmine’s a woman that experiences an earthquake on her life, and the film chronicles the process of her downfall (from high-class to unnemployed tramp, from happily-married to a widowed single who’s “available”…). Woody Allen shows us lots of signs of her position in society’s classes: she’s rottenly rich, buys only fancy clothes and dresses all doll-like. To sum things up: she’s Barbie on Zanax. She’s somewhat similar to women in Lolita Pille’s Hell. She’s hooked on a drug called greed (she perhaps calls it “a comfortable life” and believes it can’t be bought with less than a billion dollars.) Woody Allen portrays her with a marvellous attitude of “no mercy”: she’s shown as someone full of vices and neurosis, a pouseur that acts like she’s a big-shot, refusing to acknowledge that she’s no longer part of the social pyramid’s top-floor. She’s a girl who once was rich and now has been thrown into the gutter, but who is still posing as a princess.
And one the most interesting things, in this movie, is the reason that explains Barbie’s downfall from privilege into the commonest of gutter-lives. Jasmine was married for years with a big-shot of Corporate Capitalism. Alec Baldwin’s character is an embodiment of what’s rotten on the behaviour – increasingly questioned in the streets of urban centers worldwide – of Wall Street, banksters, CEOs, and similar sharks and bulls of our present political and economical landscape. After the 2008 crisis and the Ocuppy Wall Street Movement, there seems to be another political wind in the air that’s also being captured in camera by some of the boldest filmmakers in North America. And Woody Allen and Alec Baldwin, it seems to me, were bold, and not so polite, when they portrayed, in Blue Jasmine, a lying-and-cheatin’ figure, which robbed his way into the top. In Cronenberg’s Cosmopolis we had another similar experience of utter disgust while we witnessed the day of a millionaire, in his limousine, while the riots flooded the streets around him, and a funeral procession for a dead rapper was being followed by thousands… Our are messy times. And perhaps they’re bound to get messier.
I really enjoyed Blue Jasmine because of it’s down-to-earth feel, of it’s refusal to indulge in the propaganda of a way-of-life. In fact, Woody Allen’s has used comedy as a weapon here in such a way that surprised me – I wasn’t expecting it, after Midnight in Paris, a movie that belongs to that category I usually call: “too cute to be true.” It may be said that, in Blue Jasmine, Woody Allen is not so interested in beauty than in truth: by the end of the movie, we see how much Blanchett’s body and facial expression have lost all that top-model-posing-for-papparazis look of her “glory days”. By the end of the movie, she’s a wreck, a walking disaster, and you’re suspecting she might kill herself with a Zanax overdose or throw herself from the bridge. It’s a great ending, pessimistic as it may seem, and – If you ask me – way better than any happy ending could have been.
It may be said that Woody Allen gives vent to his sarcasm against Jasmine – she’s described as somewhat stupid, un-educated, an economically priviledged woman who never payed no mind to her own education and enlightnement. After her husband is jailed, and all the wealth is gone, she discovers herself not only empoverished in money; her whole identity is shattered and cracked. Her psyche is like a broken mirror. And yet she ventures into the new experiences always looking at the rearviewmirror – a shattered one. Her habits sure die hard: she’s hooked on fancy clothes and expensive jewels, but the money to afford them has been flushed down the toilet by her rich husband (Alec Baldwin), who turned out to be both an excellent money-maker and a criminal (doesn’t this happen quite often?). Now, her plan for survival is this: “to learn about computers and to study interior decoration on-line.” Yeah: I’m quite sure that Allen’s relation to Jasmine has a lot to do with sarcastic remarks about a figure he’s aiming to ridicule.
But that’s not all. Of course Jasmine experiences not only a revearsal of economical fortune, but also a personal tragedy – and this is truly where the merit of Woody Allen’s film lies. Jasmine is an object of sarcasm, ridicule, and disgust; but she also has something almost tragic about her. Because we see her in the process of losing all her previous comforts and securities – both material and emotional. She’s lost much more than money: her family has crumbled apart, her wealth has turned to ashes, her American Dream has revealed its true face: that of a nightmare.
Jasmine, once a wealthy high-class figure of New York’s economical elite, finds herself thrown down the ladder. She discovers she’s been married to a corporate criminal, who could only buy them such an easy-living with money earned by illicit means. And while her husband rots in jail, and finally chooses to cut his miseries short with a rope around his neck, Jasmine moves to San Francisco aiming to start a new life. But old habits die hard. She doesn’t want her new life to be much different than the previous (and privileged) one. So she does what mortals such as we so often do: she won’t learn with experience, and she’ll tread a similar path to the one that has lead her to disaster; she’s gonna commit the same mistake twice. Instead of changing herself and her ways, she tries to follow in the same direction she once took: she wants to go back to her former “happy life”, but is constantly discovering that it’s dead and gone. Her glory days are buried.
But nothing can convince her desire to change. She wants the fancy, wealthy, trés chic lifestyle back. She’s hooked on consuming expensive trash and sparkling jewels, and she’s not gonna refrain from a lying-and-cheating behaviour to get what she wants. She wants to be married to a rich guy again, and when she meets a candidate, well… she doesn’t even bother herself asking: “how did he get so goddamn rich?” He might turn out to be another rich criminal – who knows? But it’s as if she doesn’t care a bit about that. In order to seduce the rich-guy into a marriage proposal, she sets her trap and leads him into it with the aid of an invented past, a fictitious construction of yersterdays that never were actually lived. In other worlds: she’s acting like a pathological liar. She’s selling to another person a falsified image of her own past – but this past won’t stay quietly buried. It will come back to life and demand that its truth must be recognized. That’s a theme that also propels Cronenberg’s narrative in A History of Violence, as I attempted to show on this article.
Jasmine, if she was wise, would have truly learned from experience and changed her route. Instead, she followed the path that Woody Allen so frequently portrays his characters following: the comical and tragic tendency to repeat the same mistakes and also manage to discover ways to make brand-new ones. In mood, Blue Jasmine is quite similar a Coen Brothers’ comedy of errors. But its relevance, it seems to me, lies much more in its psychological insight and its commentary on society, culture and politcs. As I’ve said before, in this movie Woody Allen and Cate Blanchett really achieved, working together, an artistic result that brings to mind some of the best elements in the work of John Cassavetes. Jasmine’s descent into the maesltrom of madness is depicted in a truly multi-dimensional way – she’s deeply wounded by past experiences, and almost choking because of too many traumas, but she’s never only a victim of others peoples’ misdeeds: she’s also a victim of herself.
She’s almost like a junkie, but one who’s hooked on wealth and status and is dying from its withdrawal. And, it seems to me, it’s a cultural madness that Jasmine embodies, one that could be summed up by this tendency of uncontrollable greed for material goods, especially those denoting superiority of class. In Blue Jasmine, I believe Allen has made one statement of impressive power. The film provides what we expect from his witty creativity - smart dialogue, good jokes, fast-paced narrative… – and leaves us astonished at Woody’s capacity to continue crafting such marvellous original screenplays at his already advanced age (he’s brain, born in 1935, is still quite sharp!). Someday, after he’s gone to the grave, and after all the clouds of gossip and scandal settle down, perhaps Woody Allen’s ouevre will be deservingly praised as one of the greatest artistic bodies-of-work that North America’s cinema has produced in the last decades.
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* * * * *Synopsis: “A distinguished psychiatrist from Martinique who took part in the Algerian Nationalist Movement, Frantz Fanon was one of the most important theorists of revolutionary struggle, colonialism, and racial difference in history. Fanon’s masterwork is a classic alongside Edward Said’s Orientalism or The Autobiography of Malcolm X, and it is now available in a new translation that updates its language for a new generation of readers. The Wretched of the Earth is a brilliant analysis of the psychology of the colonized and their path to liberation. Bearing singular insight into the rage and frustration of colonized peoples, and the role of violence in effecting historical change, the book incisively attacks the twin perils of postindependence colonial politics: the disenfranchisement of the masses by the elites on the one hand, and intertribal and interfaith animosities on the other. Fanon’s analysis, a veritable handbook of social reorganization for leaders of emerging nations, has been reflected all too clearly in the corruption and violence that has plagued present-day Africa. The Wretched of the Earth has had a major impact on civil rights, anticolonialism, and black consciousness movements around the world, and this bold new translation by Richard Philcox reaffirms it as a landmark…”* * * * *
TEMPLES – Sun Structures (2014)
Psychedelic Rock / UK
MP3 – 320 kbps
“After a steady build up of stateside buzz and support, Kettering, England’s favorite psychedelic sons Temples are announcing their debut full-length, Sun Structures, out February 11th on Fat Possum. It’s a record that’s destined to set out the band’s stall as Britain’s premier retro-futurists, with influences ranging from ’60s psychedelia to Motown, glam, and Krautrock, all viewed through a very modern kaleidoscope – and always keeping the song at the heart of it all. Recorded in the box-room of guitarist/vocalist James Bagshaw’s home, the aim was “Jack Nitzsche on a DIY budget,” and with one listen to first single off the record, “Mesmerize,” it’s pretty clear that they’ve succeeded.” – Read the whole bio at Fat Possum
01 – Shelter Song [00:03:10]
02 – Sun Structures [00:05:13]
03 – The Golden Throne [00:04:10]
04 – Keep In The Dark [00:04:36]
05 – Mesmerise [00:03:42]
06 – Move With The Season [00:05:10]
07 – Colours To Life [00:05:11]
08 – A Question Isn’t Answered [00:05:11]
09 – The Guesser [00:04:06]
10 – Test Of Time [00:03:53]
11 – Sand Dance [00:06:31]
12 – Fragment’s Light [00:01:57]
Here’s what Toronto’s NOW Magazine wrote about them:
“It would be easy to write off Temples as retro-loving hippies who likely don’t own any records released later than 1969. Their recent singles teem with kaleidoscopic psychedelia and Beatles harmonies, and their November set at the Horseshoe was too brief to show much well-roundedness. Their velvet blazers, turtlenecks and wild hair, meanwhile, only added to the throwback vibe.
What a surprise, then, that not only does the Kettering, England, four-piece’s debut album give us close to an hour of music, but, like Tame Impala records, it delivers retro influences through an overwhelmingly modern filter. Temples have been called “production-obsessed,” and their attention to detail comes through in the dense but sensitive layers of cosmic effects, groovy rhythms and oh-so-hooky melodies.
The songwriting is outstanding: striking and smart, concise and full, and James Bagshaw sings superbly throughout. The Golden Throne sounds a bit like caper film music. The bong-worthy A Question Isn’t Answered and Sand Dance bring in Eastern influences, while Keep In The Dark is buoyant psychedelic pop.”
“Most of human life”, Simone Weil wrote in her essay on The Iliad, “takes place far from hot baths”, but her own discomforts were mainly self-inflicted. She was born in Paris in 1909 into an assimilated, well-to-do Jewish family. (…) Simone Weil was a gifted child, graduating first in her class in philosophy – Simone de Beauvoir was second – at the École Normal Supérieure in 1931. Her mentor was the philosopher Émile Chartier, known as “Alain”, under whose guidance Weil’s political convictions began to surface. Beauvoir recounts her first – and last – conversation with Simone Weil:
“She intrigued me because of her great reputation for inteligence and her bizarre outfits… I don’t know how the conversation got started. She said in piercing tones that only one thing mattered these days: the revolution that would feed all the starving people on the earth. I retorted, no less adamantly, that the problem was not to make men happy, but to help them find a meaning in their existence. She glared at me and said, “It’s clear you’ve never gone hungry.” Our relations ended right there.
Simone Weil had never gone hungry either, but during the mid-1930s she began to seek opportunities to experience the suffering of others. During 1934-1935 she took a break from her teaching to work on the assembly line at a Renault factory. Two years later she was in Spain, enlisting in a workers’ brigade against Franco’s forces… Weil’s experiences in the Renault factory and in Spain confirmed her growing convictions regarding the dehumanizing effects of modern industrialism and war. She traced these tendencies back to the ancient Romans who, in her view, established a mechanistic regime based on brute force. In several powerful essays written during the mid-1930s, she condemned the Romans and argued that Napoleon and Hitler were their imperial successors.
In a letter to propaganda minister Giraudoux, she protested his defense of French colonial policy: “And how can it be said that we brought culture to the Arabs when it was they who preserved the traditions of Greece for us through the Middle Ages?”
Francisco Goya, Disasters of War (series)
Weil was deeply moved by Goya’s series of etchings The Disasters of War. “It arouses”, she wrote, “an equal degree of horror and admiration.” During the summer of 1939, she renewed her admiration for the artist with repeated visits to the great Goya exhibition at the Museum of Art in Geneva. The exhibition closed on August 31, the day before Germany invaded Poland. The “disasters” Goya depicted – graphic scenes of torture, rape, mutilated corpses, firing squads, mass burials – were carried out by Napoleon’s troops in their invasion and occupation of Spain between 1808 and 1814. Goya claimed to have witnessed many of these atrocities and portrayed them with dispassionate objectivity. (…) Goya’s anonymous scenes of mayhem are typical “products” – as Stephen Crane expressed it in The Red Badge Of Courage – of the machinery of war. And this is how Simone Weil (whether drawing inspiration or confirmation from Goya) read the Iliad, as a disconnected series of “disasters of war”, without narrative or comprehensive meaning beyond the dehumanizing operations of force.
Simone Weil died on August 24, 1943, in a sanitorium in Kent, having deliberately restricted her intake of food to the rations inflicted on her compatriots in occupied France.
In: War and Iliad, by Simone Weil (1909-1943)
and Rachel Bespaloff (1895-1949)
New York Review Books / Classics, 2005
(FREE / PDF)
GRAVITY AND GRACE
Gravity and Grace was the first ever publication by the remarkable thinker and activist, Simone Weil. In it Gustave Thibon, the farmer to whom she had entrusted her notebooks before her untimely death, compiled in one remarkable volume a compendium of her writings that have become a source of spiritual guidance and wisdom for countless individuals. On the fiftieth anniversary of the first English edition – by Routledge & Kegan Paul in 1952 – this Routledge Classics edition offers English readers the complete text of this landmark work for the first time ever, by incorporating a specially commissioned translation of the controversial chapter on Israel. Also previously untranslated is Gustave Thibon’s postscript of 1990, which reminds us how privileged we are to be able to read a work which offers each reader such ‘light for the spirit and nourishment for the soul’. This is a book that no one with a serious interest in the spiritual life can afford to be without.
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AN ANTHOPOLY BY PENGUIN MODERN CLASSICS
Simone Weil was one of the foremost thinkers of the twentieth century: a philosopher, theologian, critic, sociologist and political activist. This anthology spans the wide range of her thought, and includes an extract from her best-known work ‘The Need for Roots’, exploring the ways in which modern society fails the human soul; her thoughts on the misuse of language by those in power; and the essay ‘Human Personality’, a late, beautiful reflection on the rights and responsibilities of every individual. All are marked by the unique combination of literary eloquence and moral perspicacity that characterised Weil’s ideas and inspired a generation of thinkers and writers both in and outside her native France.
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LECTURES ON PHILOSOPHY
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OPRESSION AND LIBERTY (ROUTLEDGE CLASSICS)
The remarkable French thinker Simone Weil is one of the leading intellectual and spiritual figures of the twentieth century. A legendary essayist, political philosopher and member of the French resistance, her literary output belied her tragically short life. Most of her work was published posthumously, to widespread acclaim. Always concerned with the nature of individual freedom, Weil explores in Oppression and Liberty its political and social implications. Analysing the causes of oppression, its mechanisms and forms, she questions revolutionary responses and presents a prophetic view of a way forward. If, as she noted elsewhere, ‘the future is made of the same stuff as the present’, then there will always be a need to continue to listen to Simone Weil.
FAZENDO A DIFERENÇA NA BUSCA PELA IGUALDADE
Brian Marggraf, Author of Dream Brother: A Novel, Independent publishing advocate, New York City dweller
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