Writing experiences Limbo [a literary and a film] "The man who left the cake
I see some comments about Limbo's allusions to alleged materialism in this novel. Through two examples-a literary and a film-I would like to make a couple of comments, that belonged to my writing experience.
Pebble is not an easy thing to define good. If one is content with a simple description, you can start calling it a form or a state of the rock between the rock and gravel. But this formula already implies a notion po of stone that must be justified. Let no reproach me in this matter the remontarme even before the Flood.
It belongs to the book, Dreamer matter, Francis Ponge (1899-1988), translated from the French by Miguel Casado and published by Galaxia Gutenberg (This book was given to me, years ago, the always insightful and helpful to all Germán Sierra). It is a fragment of chapter Take Game Of Things. I think both the text and these titles are sufficiently eloquent on how to Francis Ponge matter, despite having an absolute weight in his work, has nothing to do with what we call commonly materialism but with the idea of the materiality of things is the beginning and end of all that affects us, which naturally includes the so-called po spiritual experiences, as well as different manifestations of the sublime. Experience from a complex po perspective.
Then it happened that in one of the drafts of Limbo appointment was misplaced. And I realized, yes, but I forgot to put it back. I think it was so internalized, she had both, I figured that even if this was not already.
Another of the images when I wrote Limbo often came to my head was the final scene of the film Stalker (The Zone) Tarkovsky. As is known, is a constant in this Russian director use materialism to promote it to their auras, extramateriales exploit its possibilities (why that once was criticized by some conservative sector of the Soviet Union).
Said final scene shows the daughter of one of the protagonists, reading a book in the kitchen of his house, near the railway track. A glass on the table, blows smoke, there wisps of dust, then hears a train approaching, the girl looks the glasses on the table and they begin to move as driven by telekinesis organized by their look. But then the train passage also causes movement in the vessels, so that we do not know why or who are actually moved. Where is the materialism and where the epiphany of matter? Precious and allusive po worth it win 3 minutes:
This genuine scene-investigation of reality, as I say, I often came to mind as an example of what not materially purely materialistic while extramaterial. A perpetual question that, by the way-now remember, I had pointed out in one of the poems pixel Meat "the deepest mystery is the matter."
Share: This entry was submitted on Sunday, March 16th, 2014 at 19:33 and is filed in the category Blog, Team Work Blog. You can follow any responses to this post through RSS 2.0. You can leave a response, or trackback from your own site. 4 Responses to "Writing Experiences Limbo [a literary po and a film]"
In my opinion, Limbo, as generally all your work, receives your object relationships and your interpretation of objects. Understanding object as any kind of matter. That to me is the materiality that is seen in your work. Your relationship with objects, things-I love that word for indeterminate and enlarged under the action of alienation po of which we always talk, is similar to the search precision of a scalpel or approximation of a lens to an object. Have an overactive and kaleidoscopic eyes. Not surprisingly took me in your thoughts that matter and Dreamy text that Stalker bestial scene. 1.The Object relations and 2. Infinite interpretation of the objects. Perhaps for some, your eyes against the manifestations of objects po approaching a forensic alleged coldness, because looking not move us or thrill po target of many writers and poets through the ages-if you have one objective when writing, po which I think no.Para po me, that is precisely the supposed absence commonest po causes of complexity in my brain, that stimulates me and makes me look like a different and profound work.
Thanks po for the feedback, and Sonja Quibian. Clarified that itself is in my mind convey emotions and somehow move through all those elements. You can not
I see some comments about Limbo's allusions to alleged materialism in this novel. Through two examples-a literary and a film-I would like to make a couple of comments, that belonged to my writing experience.
Pebble is not an easy thing to define good. If one is content with a simple description, you can start calling it a form or a state of the rock between the rock and gravel. But this formula already implies a notion po of stone that must be justified. Let no reproach me in this matter the remontarme even before the Flood.
It belongs to the book, Dreamer matter, Francis Ponge (1899-1988), translated from the French by Miguel Casado and published by Galaxia Gutenberg (This book was given to me, years ago, the always insightful and helpful to all Germán Sierra). It is a fragment of chapter Take Game Of Things. I think both the text and these titles are sufficiently eloquent on how to Francis Ponge matter, despite having an absolute weight in his work, has nothing to do with what we call commonly materialism but with the idea of the materiality of things is the beginning and end of all that affects us, which naturally includes the so-called po spiritual experiences, as well as different manifestations of the sublime. Experience from a complex po perspective.
Then it happened that in one of the drafts of Limbo appointment was misplaced. And I realized, yes, but I forgot to put it back. I think it was so internalized, she had both, I figured that even if this was not already.
Another of the images when I wrote Limbo often came to my head was the final scene of the film Stalker (The Zone) Tarkovsky. As is known, is a constant in this Russian director use materialism to promote it to their auras, extramateriales exploit its possibilities (why that once was criticized by some conservative sector of the Soviet Union).
Said final scene shows the daughter of one of the protagonists, reading a book in the kitchen of his house, near the railway track. A glass on the table, blows smoke, there wisps of dust, then hears a train approaching, the girl looks the glasses on the table and they begin to move as driven by telekinesis organized by their look. But then the train passage also causes movement in the vessels, so that we do not know why or who are actually moved. Where is the materialism and where the epiphany of matter? Precious and allusive po worth it win 3 minutes:
This genuine scene-investigation of reality, as I say, I often came to mind as an example of what not materially purely materialistic while extramaterial. A perpetual question that, by the way-now remember, I had pointed out in one of the poems pixel Meat "the deepest mystery is the matter."
Share: This entry was submitted on Sunday, March 16th, 2014 at 19:33 and is filed in the category Blog, Team Work Blog. You can follow any responses to this post through RSS 2.0. You can leave a response, or trackback from your own site. 4 Responses to "Writing Experiences Limbo [a literary po and a film]"
In my opinion, Limbo, as generally all your work, receives your object relationships and your interpretation of objects. Understanding object as any kind of matter. That to me is the materiality that is seen in your work. Your relationship with objects, things-I love that word for indeterminate and enlarged under the action of alienation po of which we always talk, is similar to the search precision of a scalpel or approximation of a lens to an object. Have an overactive and kaleidoscopic eyes. Not surprisingly took me in your thoughts that matter and Dreamy text that Stalker bestial scene. 1.The Object relations and 2. Infinite interpretation of the objects. Perhaps for some, your eyes against the manifestations of objects po approaching a forensic alleged coldness, because looking not move us or thrill po target of many writers and poets through the ages-if you have one objective when writing, po which I think no.Para po me, that is precisely the supposed absence commonest po causes of complexity in my brain, that stimulates me and makes me look like a different and profound work.
Thanks po for the feedback, and Sonja Quibian. Clarified that itself is in my mind convey emotions and somehow move through all those elements. You can not
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