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PresentMomentPersonalMemoryArchive for Teach
Ways of Seeing: the Iconoclast John Berger at the Confluence of Art & Commerce
The 1972 classic BBC four hour series
- 40 years ago, still with a punch -
Impossible to purchase, except in book form which is like trying to ingest the freeze-dried ingredients for a soup…
This is a sound and visual event, a must see for anyone wanting to see behind the so-called high and low culture surrounding us.
See them all!
Dessert: Berger at 85 around his latest book, “Bento’s Sketchbook” (Spinoza’s lost drawings).
The Present/Future of Teaching is Online and Free (01): The Khan Academy
Salman Khan on TED
The Khan Academy YouTube Channel
Learn almost anything FOR FREE
THE KHAN ACADEMY WEBSITE
with a library of over 3,000 videos covering everything from arithmetic to physics, finance, and history and 315 practice exercises…
129,520,088 lessons delivered!
Le Mystère Picasso/The Mystery of Picasso (extr.)
De Wiki:
Le Mystère Picasso est un film documentaire d’Henri-Georges Clouzot réalisé en 1955.
Le réalisateur a filmé Picasso en train de peindre sur des surfaces de verre. Les œuvres présentes dans le film ont été détruites, elles n’existent qu’à travers le film.
Réalisation : Henri-Georges Clouzot
Photo : Claude Renoir
Musique : Georges Auric
Montage : Henri Colpi
Couleurs et Noir et Blanc – Mono
Pays : France 1955
Durée : 78 minutes
Sortie : 1955
Henri-Georges Clouzot s’est contenté de filmer Picasso en train de peindre, avec des plans-séquence en caméra fixe.
En revanche, l’utilisation de la couleur est remarquable, car lorsque l’artiste dessine au crayon ou au fusain, le film est en noir et blanc ; mais quand il se met à peindre, les couleurs apparaissent.
L’idée d’une représentation en transparence par la peinture sur verre, n’a rien de révolutionnaire. La contemplation du work in progress n’était jamais qu’un épisode relativement court d’une composition didactique, multipliant les procédés d’approches et les points de vue. Or c’est de ce petit épisode que Clouzot tire tout son film. Il faut souligner cette audace. Le Mystère Picasso ne se borne pas à être un long métrage, là où l’on n’osait pas s’aventurer au-delà de 50 minutes, c’est l’unique développement de quelques-unes de ces minutes par élimination de tout élément biographique descriptif et didactique. Ainsi, Clouzot a rejeté l’atout que tout le monde aurait gardé : la variété. C’est qu’à ses yeux seule la création constituait l’élément spectaculaire authentique, c’est-à-dire cinématographique.
La rencontre entre Clouzot et Picasso est de trente ans antérieure au film. Dès le milieu des années 1920, Clouzot, provincial âgé de dix-huit ans, s’installe à Paris et suit son oncle dans les cénacles artistiques. Il ébauche alors une amitié avec le peintre, déjà admiré et courtisé.
Le projet d’une collaboration est évoqué pour la première fois en 1952, alors que les deux hommes sont désormais voisins, Picasso vivant à Vallauris et Clouzot, auréolé du succès du Salaire de la peur, à Saint-Paul. « C’est une bonne idée, il faudra en reparler » sont les mots du peintre quand Clouzot expose l’idée de faire « un film ensemble ».
Le projet ne sera relancé que trois ans plus tard, au moment où Clouzot s’affirme dans la pratique de la peinture. Il a présenté ses toiles à Braque, puis à Picasso, qui se montre assez critique mais très attentif. Des mésententes subsistent quant au bien fondé de cette collaboration, notamment quand Picasso propose à Clouzot de lui écrire un scénario. Il se fait alors éconduire par le cinéaste qui lui explique qu’il est préférable que chacun reste à sa place et que c’est la rencontre entre les deux hommes qui l’intéresse, pas la substitution de leurs talents respectifs.
Puis, au printemps 1955, Picasso appelle Clouzot pour lui parler de stylos feutres fabriqués aux États-Unis et qu’il vient de recevoir. Ces stylos ont la particularité d’avoir une encre capable de transpercer tout un bloc de pages, et a fortiori une toile. Le déclic s’opère, le procédé est trouvé : filmer la toile à l’envers et ainsi « assister à l’œuvre de création ». Au départ, les deux hommes, qui louent à leur frais le studio de la Victorine à Nice, entendent réaliser un court métrage de 10 minutes. Évidemment, l’ampleur du projet demandera beaucoup plus de temps et de métrages…
Le tournage se déroule pendant les mois de juillet, août et septembre 1955.
Le silence est de rigueur sur le plateau. Picasso travaille… Surtout ne pas distraire sa concentration… ainsi il en oublie presque la caméra… Il est tout entier dans son œuvre… Clouzot l’observe…
Paradoxalement, ce sera justement l’objection que des mauvais esprits tenteront de lui faire : « Au fond, qu’a fait d’autre Clouzot à part dire moteur et coupez ».
Mais Clouzot témoigne ici d’une parfaite culture picturale. On sait qu’il peint à ses heures et qu’il s’intéresse de près aux choses de la peinture. En définitive, Le Mystère Picasso est bien un film de Clouzot, il y a démontré tout le mécanisme créateur d’un artiste, il a conduit Picasso jusqu’à un degré extrême de tension et de fatigue.
Sur toute la Côte d’Azur s’était répandu le mot que Clouzot réalisait un film sur Picasso et la curiosité a amené sur le plateau et aux projections de grandes personnalités telles que Prévert, Cocteau ou l’acteur-réalisateur Louis Daquin…
From Wiki:
The Mystery of Picasso is a 1956 French documentary film about the painter Pablo Picasso, directed by Henri-Georges Clouzot. It shows Picasso in the act of creating paintings for the camera. Most of the paintings were subsequently destroyed so that they would only exist on film, though some may have survived.
The film begins with Picasso creating simple marker drawings in black and white, gradually progressing to full scale collages and oil paintings.
It won the Special Jury Prize at the 1956 Cannes Film Festival and was shown out of competition at the 1982 Festival.
This famous art movie wasn’t the first documentary showing Picasso painting images on glass plates from the viewpoint of the camera. The Belgian documentary film Visit to Picasso (1949) did it almost seven years earlier.
EVERYTHING depends on YOU…
… the good and the bad.
You are in charge, even if you are dying.
To be remembered till the end…
-
Samuel Beckett
“ Ever tried. Ever failed. No matter. Try again. Fail again. Fail better.”
“I can’t go on, I will go on.”
-
Don Miguel
“Don’t Take Anything Personally. Nothing others do is because of you. What others say and do is a projection of their own reality, their own dream.
When you are immune to the opinions and actions of others, you won’t be the victim of needless suffering.”
-
As Ajahn Sumedho calls one of his books:
Don’t Take Your Life Personally
George Carlin: Clean Language
From Brain Droppings by George Carlin
The Status Quo Always Sucks
Some Favorite Redundancies
- added bonus
- exactly right
- closed fist
- future potential
- inner core
- money-back refund
- seeing the sights
- true fact
- revert back
- safe haven
- prior history
- young children
- time period
- sum total
- end result
- temper tantrum
- ferryboat
- free gift
- bare naked
- combined total
- unique individual
- potential hazard
- joint cooperation
Some Favorite Oxymorons
- assistant supervisor
- new tradition
- original copy
- plastic glass
- uninvited guest
- highly depressed
- live recording
- authentic reproduction
- partial cease-fire
- limited lifetime guarantee
- elevated subway
- dry lake
- true replica
- forward lateral
- standard options
Unnecessary Words – the following phrases contain at least one word too many
- emergency situation
- shower activity
- surgical procedure
- boarding process
- flotation device
- hospital environment
- fear factor
- freee of charge
- knowledge base
- forest setting
- beverage items
- prison setting
- peace process
- intensity level
- belief system
- seating area
- sting operation
- evacuation process
- rehabilitation process
- facial area
- daily basis
- blue in color
- risk factor
- crisis situation
- leadership role
- learning process
- rain event
- confidence level
- healing process
- standoff situation
- shooting incident
- planning process
- at this point in time
- at that particular point in time
Tania Balachova
Je ne crois qu’aux acteurs qui sont timides, ceux qui sont les plus timides sont les plus doués…
Les gens qui n’ont pas d’obstacles à surmonter dans n’importe quel art, qu’ils soient sculpteurs de pierre, qu’il soient peintres, qu’il soient acteurs, écrivains… La facilité est un obstacle terrible parce qu’
IL FAUT AVOIR DES PROBLÈMES ET LES VAINCRE POUR DEVENIR QUELQU’UN.
Il faut avoir quelque chose à exprimer.
_____
I only believe in actors who are shy, those that are the most timid are the most talented…
People who have obstacles to surmount in whatever art, be it sculpting stone, painting, acting, writing… Facility is a terrible obstacle because
ONE NEEDS PROBLEMS TO CONQUER THEM AND TO BECOME SOMEBODY.
There is a need to express something.
![Tania Balachova, 1954 -by Thérèse Le Prat [dans La vie que je t’ai donnée de Luigi Pirandello] Série Masques et Destins (1955)](http://27.media.tumblr.com/tumblr_l8nzfs6Jdd1qcl8ymo1_r2_500.jpg)
Tania Balachova, 1954 -by Thérèse Le Prat - dans La vie que je t’ai donnée de Luigi Pirandello
Eli Siegel (tabula rasa) Quotes
substance is what remains when everything you can think of has gone
the shortest poem in the English language (1925)
One Question
I —
Why?
Some of My Favorite Quotes
Besides Crane, Eco and quite a few others available on this blog under the “Quotes” category, these are quotes I have used in the past, either on my office door or as part of my signature:
• Technology… the knack of so arranging the world that we don’t have to experience it. Max Frisch
• His writing is not about something, it is that something itself.
Ever tried. Ever failed. No matter. Try again. Fail again. Fail better.
I can’t go on, I will go on.
Samuel Beckett
• … the thrall in which an ideology holds a people is best measured by their collective inability to imagine alternatives… Tony Judt
• Everything exerts itself to have you believe that culture is great, that it’s cool, that movies are life, that poetry loves you, theatre awaits you, and that painting concerns you… They say, ‘Believe, we’ll do the rest.’ Philippe Muray
• The camera is an instrument that teaches people how to see without a camera. Dorothea Lange.
• To be stupid, and selfish, and to have good health are the three requirements for happiness; though if stupidity is lacking, the others are useless. Flaubert.
• One does forget anything we want to forget: it’s the rest we forget/On n’oublie rien de ce qu’on veut oublier : c’est le reste qu’on oublie. Boris Vian
• The Buddha’s Five Remembrances (as per Thich Nhat Hahn):
1. I am of the nature to grow old. I cannot escape growing old.
2. I am of the nature to have ill-health. I cannot escape having ill-health.
3. I am of the nature to die. There is no way to escape death.
4. All that is dear to me and everyone I love are of the nature to change. There is no way to escape being separated from them. I cannot keep anything. I come here empty-handed, and I go empty-handed.
5. My actions are my only true belongings. I cannot escape the consequences of my actions. My actions are the ground on which I stand.
• If you are having a difficulty, what you must do is face it. Go into your hut. Shut the doors and windows. Wrap yourself in all the robes you own. Sit there and don’t move and face it. Only then can you overcome it.
Ajahn Chah
• I would define the poetic effect as the capacity that a text displays for continuing to generate different readings, without ever being completely consumed.
If two things don’t fit, but you believe both of them, thinking that somewhere, hidden, there must be a third thing that connects them, that’s credulity.
Lying about the future produces history.
A sign is anything that can be used to tell a lie.
Umberto Eco (a sampling)
• Two classic Jewish quotes:
If I am not for myself, then who will be for me? And if I am only for myself, then what am I? And if not now, when? Rabbi Hillel
Rabbi Tarfon taught: The day is short, the work is great…it is not your task to finish the work but neither are you free to exempt yourself from it. Ethics of the Fathers 2:15-16
• I think we ought to read only the kind of books that wound and stab us.
What we must have are those books that come on us like ill fortune, like the death of one we love better than ourselves, like suicide. A book must be an ice axe to break the sea frozen inside us.
Franz Kafka
• Of all follies there is none greater than wanting to make the world a better place. Molière
• One who deceives will always find those who allow themselves to be deceived.
Of mankind we may say in general they are fickle, hypocritical, and greedy of gain.
Men are so simple of mind, and so much dominated by their immediate needs, that a deceitful man will always find plenty who are ready to be deceived.
Is it better to be loved or feared? My view is that it is desirable to be both loved and feared; but it is difficult to achieve both and, if one of them has to be lacking, it is much safer to be feared than loved.
Men rise from one ambition to another: first, they seek to secure themselves against attack, and then they attack others.
Politics have no relation to morals.
Niccolo Machiavelli
• All’s well that ends well: … and swear the lies he forges. Act 4 scene 1
That time and place with this deceit so lawful May prove coherent. Act 3 scene 7
– Shakespeare
• Human beings are the only animals of which I am thoroughly and cravenly afraid.
The minority is sometimes right; the majority always wrong.
Men have to do some awfully mean things to keep up their respectability. Very few people can afford to be poor.
Peace is not only better than war, but infinitely more arduous.
We learn from experience that men never learn anything from experience.
George Bernard Shaw
• One of the signs of passing youth is the birth of a sense of fellowship with other human beings as we take our place among them. Virginia Woolf
• When something seems ” the most obvious thing in the world”, it means that any attempt to understand the world has been given up. Bertolt Brecht
• An idea becomes false the moment one becomes satisfied by it. Alain
• There are no dangerous thoughts; thinking itself is dangerous. Hannah Arendt
• When around you, you hear the word “Jew” pronounced, be on guard, they are speaking about you. Frantz Fanon
• If there is no struggle, there is no progress. Those who profess to favor freedom and yet renounce controversy are people who want crops without ploughing the ground. Frederick Douglass
• Silence is the authentic mode of speaking. Claude Lanzmann
• Before you know what kindness really is – You must lose things… Naomi Shehab Nye
• If you have come here to help me, then don’t waste your time. But if you have come here, because your liberation is bound up with mine, then come, let us join in the struggle together. Australian Aborigine Activists
• Darkness cannot drive out darkness; only light can do that. Martin Luther King.
• When you know nothing, you say a lot. When you know something, there is nothing to say./Tell them that there is nothing to understand. U.G. Krishnamurti (not the famous one).
• I used to think the mind was the most wonderful organ in the body. Then, I realized who was telling me that. Bertrand Russell
• What the eye can perceive isn’t worth seeing. St. Exupéry
and “to finish”:
• The passionate desire to conclude is one of humanity’s most pernicious and sterile manias. Flaubert
• A witty saying proves nothing. Voltaire
• Kindness is the highest form of intelligence.
The arrogance of normalcy.
Hospitals are one good reason not to get sick.
Kindness and precision, my mother and father… and the beauty of fairness.
P.M.
And of interest to me too, through Wikipedia:
• About Yehudi Menuhin‘s first name:
The name Yehudi means ‘Jew’ in Hebrew. In an interview published in October 2004, he recounted to New Internationalist magazine the story of his name:
“Obliged to find an apartment of their own, my parents searched the neighbourhood and chose one within walking distance of the park. Showing them out after they had viewed it, the landlady said: ‘And you’ll be glad to know I don’t take Jews.’ Her mistake made clear to her, the antisemitic landlady was renounced, and another apartment found. But her blunder left its mark. Back on the street my mother made a vow. Her unborn baby would have a label proclaiming his race to the world. He would be called ‘The Jew.’”
• Constantin Brunner (who inspired Menuhin) and Judaism:
The opposition between the spiritual and the religious is a major theme in Brunner’s work. He contends that Judaism is essentially anti-religious, stating in Our Christ that “Judaism as a spiritual doctrine is the opposite of religion and a protest against it”, and culminates his argument with his own translation of the Shema: “Hear O Israel, Being is our god, Being is one”. He juxtaposes priestly and rabbinical to prophetic Judaism, stating that the latter represents the true mystical essence in opposition to the former which represent superstition: “Prophetic Judaism is not a religion. That which makes it into Judaism consists of something which no religion possesses: the revelatory character of mysticism.”
