What is the most awesome palindrome. In girum imus nocte et consumimur igni, part 1. In girum imus nocte et consumimur igni (Debord) (film soundtrack) I will make no concessions to the public in this film. I believe there are several good reasons for this decision, and I am going to state them. In the first place, it is well known that I have never made any concessions to the dominant ideas or ruling powers of my era. Moreover, nothing of importance has ever been communicated by being gentle with a public, not even one like that of the age of Pericles; and in the frozen mirror of the screen the spectators are not looking at anything that might suggest the respectable citizens of a democracy. But most importantly: this particular public, which has been so totally deprived of freedom and which has tolerated every sort of abuse, deserves less than any other to be treated gently.
From the realism and the achievements of this splendid system one could already infer the personal capacities of the underlings it has produced. How harshly the mode of production has treated them! “Here was the abode of the ancient king of Wu. Guy Debord. Guy Ernest Debord (French: [dəbɔʁ]; December 28, 1931 – November 30, 1994) was a French Marxist theorist, writer, filmmaker, member of the Letterist International, founder of a Letterist faction, and founding member of the Situationist International (SI). He was also briefly a member of Socialisme ou Barbarie. Early life[edit] Guy Debord was born in Paris in 1931. Guy's father, Martial, was a pharmacist who died due to illness when Guy was young. Guy's mother, Paulette Rossi, sent Guy to live with his grandmother in her family villa in Italy.
During World War II, the Rossis left the villa and began to travel from town to town. As a result, Guy attended high school in Cannes, where he began his interest in film and vandalism.[1] As a young man, Debord actively opposed the French war in Algeria and joined in demonstrations in Paris against it.[2] Involvement with the Letterists[edit] Debord joined the Letterist International when he was 19. Founding of the Situationist International[edit] ΝΙΨΟΝ ΑΝΟΜΗΜΑΤΑ ΜΗ ΜΟΝΟΝ ΚΑΛΑΜΠΟΚΙΟΝ. John Tavener: nipson anomemata, me monan opsin. On the subject of music, some witterings are in order now on the subject of the composer John Tavener, whom I mentioned in the post below on Lisa Gerrard. A great hero of mine, this man, but absolutely barking mad, of course. Tavener is probably the most popular British classical composer of our times, although popularity is of course a dubious index of artistic quality. He's often lazily grouped together with Arvo Pärt and Henryk Gorecki, all three being so-called 'Holy Minimalists', which is something of a feeble categorisation, and one which Tavener angrily rejects.
Tavener's goal is to put the Sacred back into music. His work is underpinned by a complex set of theological aesthetics, which require explanation; however the effect of his music is anything but complex, with many pieces having an extraordinary, pellucid beauty that goes straight to the heart. Tavener's aesthetics grow from the idea of the Primordial. For me, Tavener is something of an inner guide. THE CANTOS OF MVTABILITIE. John Tavener: As one who has slept. Palíndromos (Textos Simétricos) | Mural Cultural.
Escher Gallery Picture 18. Escher and how to make your own. Yaniv Goldenrand's answer to What is the most awesome palindrome. Weird Al" Yankovic - Bob. Weird Al" Yankovic - Bob (Reverse) Subterranean Homesick Blues. Google Instant with Bob Dylan. Bob Dylan: Dont Look Back - Clip. Subterranean Homesick Blues. References and allusions[edit] "Subterranean Homesick Blues" was, in fact, an extraordinary three-way amalgam of Jack Kerouac, the Guthrie/Pete Seeger song "Taking It Easy" ('mom was in the kitchen preparing to eat/sis was in the pantry looking for some yeast') and the riffed-up rock'n'roll poetry of Chuck Berry's "Too Much Monkey Business".[2] In 2004, Dylan said, "It's from Chuck Berry, a bit of 'Too Much Monkey Business' and some of the scat songs of the '40s.
" [3] Dylan has also stated that when he reached the University of Minnesota in 1959, he fell under the influence of the Beat scene: "It was Jack Kerouac, Ginsberg, Corso and Ferlinghetti. The song's first line is a reference to codeine distillation and politics of the time: "Johnny's in the basement mixing up the medicine / I'm on the pavement thinkin' about the Government".[7] The song also depicts some of the growing conflicts between "straight" or "square" (40-hour workers) and the emerging 1960s counterculture.
Influence[edit] INXS - Mediate. Need You Tonight (HQ Sound & Image) INXS - 1987.