:Mahalaya and Durga Puja

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Durga Puja

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Durga Puja, conventionally, in the ancient times, was held during spring. Known as Basanti Puja today, it has lost much of its glamour and gaiety to the autumnal Durga Puja, known since the time of Ramayana as Akal Bodhan, an untimely invocation of Goddes Durga, Durgatinashini.

ImageIt is celebrated every year in the Hindu month of Ashwin (September-October) and commemorates Rama’s invocation of the goddess before going to war with the demon king Ravana. Lord Rama invoked the Goddess to seek blessings from Mahisasurmardini, the slayer of the buffalo-demon, and worshipped the deity with his offering of 108 blue lotuses and lighting of 108 lamps.

Mahalaya marks the day of Devi Durga’s descent to the earth. It is the first day of the ten-day long festivities of fast, feast and worship that ends on the tenth day, called Vijaya Dashami, when the Goddess is bid adieu and the idol immersed in the river. This period, of fifteen days, continuing till Lakshmi Puja, the Goddess of Wealth being worshipped on the Full Moon day, is known as Devi Paksha.Mahalaya falls on Amavasya, the autumnal New Moon day, the last day of Pitru Paksha, the fortnight of the departed souls of the ancestors. According to Hindu mythology, the souls of three preceding generations of one’s ancestor reside in Pitru–loka, a realm between heaven and earth. This realm is governed by Yama, the god of death, who takes the soul of a dying man from earth to Pitru–loka. When a person of the next generation dies, the first generation shifts to heaven and unites with God, so Shraddha offerings are not given. Thus, only the three generations in Pitru–loka are given Shraddha rites, in which Yama plays a significant role. According to the sacred Hindu scriptures, at the beginning of Pitru Paksha, the sun enters the zodiac sign of Virgo (Kanya). Coinciding with this moment, it is believed that the spirits leave Pitru–loka and reside in their descendants’ homes for a month until the sun enters the next zodiac—Scorpio (Vrichchhika)—and there is a full moon. Hindus are expected to propitiate the ancestors in the first half, during the dark fortnight.

ImageWhen the legendary donor Karna died in the epic Mahabharata war, his soul transcended to heaven, where he was offered gold and jewels as food. However, Karna needed real food to eat and asked Indra, the lord of heaven, the reason for serving gold as food. Indra told Karna that he had donated gold all his life, but had never donated food to his ancestors in Shraddha. Karna said that since he was unaware of his ancestors, he never donated anything in their memory. To make amends, Karna was permitted to return to earth for a 15–day period, so that he could perform Shraddha and donate food and water in their memory. This period is now known as Pitru Paksha. In some legends, Yama replaces Indra.

Pitru Paksha is considered by Hindus to be inauspicious, given the death rites performed during the ceremony, known as Shraddha or tarpan. In southern and western India, it falls in the Hindu lunar month of Bhadrapada (September–October), beginning with the full moon day (Purnima) that occurs immediately after the Ganesh festival and ending with the new moon day known as Sarvapitri amavasya, Mahalaya amavasya or simply Mahalaya. In North India and Nepal, this period corresponds to the dark fortnight of the month Ashwin, instead of Bhadrapada.

 

(acknowledgement: Google for details of Pitrupaksha) via Madhumita Ghosh

:тime for new Samsara. year 2012

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“Visually breathtaking. Unlike anything you will ever see.” IndieWire

“The stunning new trailer for Samsara offers a tantalizing peek at the dozens of exotic locations visited by the filmmakers in their quest to capture the ‘ever turning wheel of life’ on Earth.”

If you are familiar with the stunning and transcendent visual poetry of Ron Fricke’s non-narrative documentary BARAKA (1992), his follow up film SAMSARA might interest you as well!  He filmed everything with 70mm film so I will no doubt be gorgeous.  I would write more about this, but part of the magic of Fricke’s films are that they have to be seen and experienced, and preferably in a giant theatre.  Here is the trailer.

A spiritual love-story set in the majestic landscape of Ladakh, Himalayas. Samsara is a quest; one man’s struggle to find spiritual Enlightenment by renouncing the world. And one woman’s struggle to keep her enlightened love and life in the world. But their destiny turns, twists and comes to a surprise ending.

Release date August 23, 2012. Samsara – Filmed over a period of five years in twenty-five countries on five continents, and shot on 70mm film, Samsara transports us to the varied worlds of sacred grounds, disaster zones, industrial complexes, and natural wonders. “Samsara” is a sanskrit word meaning “continuous flow”; it is the repeating cycle of birth, life, death and rebirth (reincarnation) within Hinduism, Buddhism, Bön, Jainism, Yoga and Sikhism.

SAMSARA is a Sanskrit word that means “the ever turning wheel of life” and is the point of departure for the filmmakers as they search for the elusive current of interconnection that runs through our lives.  Filmed over a period of almost five years and in twenty-five countries, SAMSARA transports us to sacred grounds, disaster zones, industrial sites, and natural wonders.  By dispensing with dialogue and descriptive text, SAMSARA subverts our expectations of a traditional documentary, instead encouraging our own inner interpretations inspired by images and music that infuses the ancient with the modern.

:I, Pet Goat II, indeed an esoteric symbolism

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A story about the fire at the heart of suffering. Bringing together dancers, musicians, visual artists and 3d animators, the film takes a critical look at the events of the past decade that have shaped our world. Heliofant is an independent animation studio based in Montreal. These seek to create films and experimental works very sensitive. Their first film I, II pet goat is a perfect example. 7 minutes of splendid animation illustrating with great sadness the image of fire that burns in the heart of suffering. To watch and share.

“I, Pet Goat II” is a computer animated video that is loaded with silent messages and esoteric symbolism. While the movie has no dialogue, each symbol tells a piece of a story that covers the fields of history, politics, occult conspiracies and spirituality. 

Produced by the Canadian production crew Heliofant, I, Pet Goat II is a short animated movie that quickly went viral across the internet. Praised for its visual feats and its interesting imagery, the video however left many puzzled about the meaning of its symbolism. Politics, conspiracies and false flag operations are mixed with esoteric spirituality and occult symbolism in one big mesmerizing mind bender. Here’s the video.

After watching the video, many might say something like “What the hell did I just watch?”. The story is somewhat non-linear and there are many cryptic and enigmatic elements in the movie. I won’t claim to fully decode every single symbol-filled frame of the video, but many of the messages are easily understandable due to rather heavy-handed symbolism.

In general, the movie appears to be about the political and social climate of the past decade – complete with puppet Presidents, false flag terror and mind-controlling sorcerers. Then, through the following of a Christ figure, we leave all the sadness behind to enter a new, sunny era. In short, the story is about the triumph of spiritual enlightenment against the forces of darkness. Let’s look at the movie and at some of its many details.

more precise on this video [here]

In Conclusion

I, Pet Goat II has received widespread acclaim for its technical prowess and its original storytelling. Although there is no narration or dialogue, an elaborate story is delivered using the most ancient and universal language in History: Symbolism. Through symbols, the movie manages to deliver an acerbic critique of today’s Western Civilization, to describe its numerous evils and even to predict its inevitable downfall. More importantly, a thorough decoding of the movie’s symbolism reveals a powerful message of spiritual enlightenment based on ancient Mysteries. While this esoteric aspect of the movie might not be understood by many, it is at the core of the movie and is presented as the ultimate solution to the evils and corruption of today’s world. The movie’s conclusion is therefore a very personal one: Either YOU become a pet goat with a 666 bar-code on your forehead or YOU become a Christ figure with a third eye on your forehead. This notion of personal enlightenment is definitively a Gnostic one and is common to most esoteric schools of thoughts in all civilizations.

Agreeing or disagreeing with the movie’s spiritual conclusion is a question of personal beliefs, but it is nevertheless obvious that those behind I, Pet Goat II are “in the know” about all things occult, esoteric and even conspiratorial. Each scene has a profound underlying story behind it – whether it be historical, political or spiritual – that would take pages and pages of words to thoroughly explain. Therein lie the power of symbols: They can simply be admired for their aesthetic beauty or they can, when fully understood, reveal a profound story about humanity, God and everything in between.

:wisdom vol.I [shortly]

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The paper is not the writing, yet it carries the writing. The ink is not the message, nor is the reader’s mind the message – but they all make the message possible.

[Sri Nisargadatta Maharaj]

Everybody wants freedom as far as talking is concerned, but nobody really is free and nobody really wants to be free, because freedom brings responsibility. It does not come alone. And to be dependent is simple: the responsibility is not on you, the responsibility is on the person you are dependent on.

So people have made a schizophrenic way of life. They talk about truth, they talk about freedom, and they live in lies, they live in slaveries – slaveries of many kinds, because each slavery frees you from some responsibility. A man who really wants to be free has to accept immense responsibilities. He cannot dump his responsibilities on anybody else. Whatever he does, whatever he is, he is responsible.

[Osho]

You must teach your children that the ground beneath their feet is the ashes of your grandfathers. So that they will respect the land, tell your children that the earth is rich with the lives of our kin.

Teach your children what we have taught our children, that the earth is our mother. Whatever befalls the earth befalls the sons of the earth.

If men spit upon the ground, they spit upon themselves.
Treat the earth well. It was not given to you by your parents, it was loaned to you by your children. We do not inherit the Earth from our Ancestors, we borrow it from our Children.

[Native American Wisdoms]

There is a road in the hearts of all of us, hidden and seldom traveled, which leads to an unknown, secret place. The old people came literally to love the soil, and they sat or reclined on the ground with a feeling of being close to a mothering power. Their teepees were built upon the earth and their altars were made of earth. The soul was soothing, strengthening, cleansing and healing. That is why the old Indian still sits upon the earth instead of propping himself up and away from its life giving forces. For him, to sit or lie upon the ground is to be able to think more deeply and to feel more keenly. He can see more clearly into the mysteries of life and come closer in kinship to other lives about him.

[Chief Luther Standing Bear]

.inspirational video indeed

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CREATIVITY starts from a BELIEF,

SUCCESS comes from an ACTION.

THINK like when you are still a kid …

NEVER GIVE UP …

Tomorrow will always be better

 

It’s probably blog day for me since I update few of them that I have, but d main reason why I decide to post here on this blog is that this thing that I’ll share here is connect with my work and with d reasons why I become active youngster and youth worker nowadays.

This is inspirational video that was shared in my fb stream from one of d NGO leaders in Macedonia, friend of mine, best promoter of our country, Aleksandar Bogatinov. We need to have sense of responsibility in this system, in d society we live, this is d way how to follow our ‘dreams’. Society needs leaders that will improve the community, what you put in will come back to you. We need to make positive changes in this society, this is the method how to learn this things.

Faith without action is dead!

Be what you are. This is the first step toward becoming better than you are.

Julius Charles Hare 

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..this are d ways to say who u are! stay strong and keep ur mind open! cheers! 😉

:a sense of wonder

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Interview with Ernesto Sábato

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:what I really like in my facebook friends, d real ones that I’ve met in Real too is that some of them are perfect sources for information.  I like d content that my friend Slobodan Nikolic [Serbian poet] shares on his profile and is connect with literature cause not very rare he wants to play some games on net. I’m sure that he’ll not share it on some other place/ blog or smt and cause it’s not my first time to steal from his content  [Sumatra and d explanation of Sumatra] I decide that this is d right place for this interview.  🙂

:before he close his profile early in d day [hopefuly shortly] he shared this amazing interview from 1990 that I find pretty interesting for me and for my blog (readers) so voila’ if u’re one of them EnJoy! [1ox Slobo’]

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:a sense of wonder

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.Q: You  have  written  many  essays, notably  a  collection entitled Hombres y Engranajes  (1951;”Men and Gears”), on the dehumanizing  effects of science and  technology. How  did  a scientist like  yourself come to see things in this light?

A: Although I studied physics and mathematics, disciplines which  offered me a kind of abstract and ideal refuge in a “platonic paradise” far from the chaos of the world, I soon realized that the blind faith that some scientists have in “pure” thought, in reason and in Progress (usually with a capital “P“) made them overlook and even despise such essential aspects of human life as the unconscious and the myths which lie at the origin of artistic expression, in short, the “hidden” side of human nature. All that was missing in my purely scientific work – the Mr. Hyde that every Dr. Jekyll  needs if he is to be a complete individual – I found in German  romanticism  and, above all, in existentialism and surrealism. Lifting my eyes from my logarithms and sinusoids, I looked on the human face, from which I have never since looked away.

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Q: Some great contemporary  writers have managed to reconcile science and  creativity…

A: That may be so, but it does not lessen my belief that our era is strongly marked by the opposition between science and the humanities, which today has become irreconcilable. Since the Enlightenment  and the days of the Encyclopaedists, and above all since the advent of positivism, science has withdrawn to a kind of Olympian retreat, cut off from humanity. The absolute sovereignty of Science and Progress over the greater part of the nineteenth and twentieth centuries has reduced the individual to the status of a cog in a gigantic machine. Capitalist and Marxist theorists alike have contributed to the propagation of this sadly distorted vision in which the individual is melted into the mass and the mystery of the soul is reduced to physically quantifiable emissions of radiation.

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Q: Yet,  even  in  the  nineteenth  century, there was a strong philosophical current that  questioned the  monumental rational edifice constructed by Hegel, the weight of which crushed the individual. We are thinking  of Kierkegaard, about whom  you have written extensively.

A: Kierkegaard was the first thinker to question whether science should take precedence over life and to answer firmly that life comes first. Since then, the object deified by science has been dislodged as the centre of the universe and been replaced  by  the  subject, the man of flesh and blood. This led on to Karl Jaspers and Martin Heidegger, to twentieth century existentialist philosophy in which man is no longer an “impartial” scientific observer but a “self” clothed in flesh, the “being destined to die” of whom I have written and who is the source of tragedy and  metaphysics, the highest forms of literary expression.

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Q: But not the only ones…

A: Of  course not,  but  to my  mind  they  are the most important  because of their tragic, transcendental dimension. One  has only  to think  of Dostoyevsky’s Notes from the Underground, that bloody diatribe in which, with almost demented  hatred, he denounced  the modern age and its cult of progress.

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Q: We are right into literature now…

A: Yes, because the novel can express things that are beyond the scope of philosophy or the essay such as our darkest uncertainties about God, destiny, the meaning of life, hope. The novel answers all these questions, not simply by expressing ideas, but through myth and symbol, by drawing on the magical properties of thought. All the same, many of the characters in novels are just as real as reality itself. Is Don Quixote “unreal”? If reality bears any relationship to durability, then this character born of Cervantes’ imagination is much more real than the objects that surround  us, for he is immortal.

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Q: So literature interprets reality?

A: Fortunately, art  and  poetry  have  never claimed to dissociate the rationaf from the irrational, the sensibility from the intellect, dream from reality. Dream, mythology and art have a common  source in the unconscious – they reveal a world which could have no other form of expression. It is absurd to ask artists to explain their work. Can you imagine Beethoven analysing his symphonies or Kafka explaining  what  he really  meant  in The Trial? The notion that everything can be “rationally”  explained is the hallmark of the Western positivist mentality typical of the modern age, an age which overestimates the value of science, reason and logic. Yet this form of culture represents only a brief moment in human history.

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Q: You  seem to consider our age to be the final phase in a line of modem thought beginning in the middle of the nineteenth century and ending in our own times.

A: Literary fashions should not be confused with the major trends of thought. In the vast and tragic movement of ideas there are advances and retreats, sideways excursions and counter-currents. It is clear, however, that we are witnessing the end of an era. We are living through a crisis of civilization in which there is a kind of confrontation between the eternal forces of passion and order, of pathos and ethos, of the Dionysian and the Apollonian.

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Q: Can this crisis be resolved?

A: The only way we can escape from this harrowing crisis is by snatching living, suffering man from the gigantic machine in which he is enmeshed and which is crushing him. But it must not be forgotten, at the dawn of a new millennium, that an age does not end at the same moment for everyone. In the nineteenth century, when Progress was triumphant, writers and thinkers such as Dostoyevsky, Nietzsche and Kierkegaard were not “of their time”, for already, despite the optimism of scientists, they had a presentiment of the catastrophe that was in store for us and which Kafka, Sartre and Camus were to portray.

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Q: Is that why  you reject the concept of ”progress” in art?

A: Art can no more progress than a dream can, and for the same reasons. Are the nightmares of our contemporaries any more advanced than those of the prophets of the Bible? We can say that Einstein’s mathematics are superior to those of Archimedes, but not that Joyce’s Ulysses is superior  to Homer’s Odyssey. One of Proust’s characters is convinced that Debussy is a better composer than Beethoven for the simple reason that he was born after him. There’s no need to be a musicologist   to appreciate Proust’s satirical irony in this passage. Every artist aspires towards  what may be called an absolute, or towards a fragment of the Absolute, with a capital “A”,  whether he be an Egyptian sculptor in the time of Ramses II, a Greek  artist of the classical age, or Donatello. This is why there is no progress in art, only change and new departures that are due not only to the sensibilities of each artist but also to the tacit or explicit vision of an epoch or a culture.  One  thing at least is certain; no arust is better placed than another to attain these absolute values simply  because he was born later.

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Q: So you do not believe that there can be a universal aesthetic?

A: The  relativity  of  history  is  reflected  in  aesthetics. Each period has a dominant value – religious,  economic or metaphysical – which colours all the others. In the eyes of the people of a religious culture preoccupied with the eternal, Ramses II’s hieratic and geometric colossus would encapsu­ late more “truth”  than  a totally  realistic statue. History shows us that beauty and truth change from one period to the next, that black culture and white culture are based on different criteria. The reputations of writers, artists and musicians are subject to swings of the pendulum.

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Q: There is no justification, therefore, for speaking of the superiority of one culture over another?

A: Today we have come a long way from conceited positivist certainties and from “enlightened  thought” in general. Following the work of Levy-Bruhl, who after forty years of research admitted in all honesty that he could see no “progression”  in  the  move from  magical to logical thought and that the two had inevitably to coexist in man, all cultures must be seen as deserving equal respect. We have finally come round to rendering justice to what were once condescendingly called “primitive cultures”.

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Q: You  are, nevertheless, dissatisfied with  the  education currently available  in  schools and universities. What do you think it lacks?

A: When I was young, I was made to swallow a mountain of facts that I forgot as quickly as I could. In geography, for example, I barely remember the Cape of Good Hope and Cape Horn, and perhaps that’s only because they are often mentioned in the newspapers. Someone once said that culture is what is left when you have forgotten everything else. For a human being, learning means taking part, discovering and inventing. If people are to advance, they must form their own opinions, even if, at times, this means making mistakes and having to go back to the beginning again. They need to explore new paths and experiment with new methods. Otherwise we shall, at best, merely produce a race of scholars or, at worst, of bookworms or of parrots regurgitating ready-made phrases from books. The book is a wonderful tool, provided that it does not become an obstacle that prevents us from pursuing our own research.

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Q: How do you see the educator’s role?

A: Etymologically speaking, to educate means to develop, to bring out what exists in embryonic  form, to realize potential. This “labour”, this delivery by the teacher is rarely fully accomplished, and this perhaps is the origin of all the faults of our education systems. Students must be made to ask themselves questions, and be convinced of their own ignorance and of ours, so that they are prepared not only to ask questions but to think  for themselves, even if they disagree with us. It is also very important  for them to be able to make mistakes and for us to accept questions and approaches that may seem odd. Given this state of mind, students will understand that reality is infinitely more complex and mysterious than the small area encompassed by our knowledge. Everything  else will follow automatically.  This is what  gives rise to questionings and to certainties, the mixture of tradition and innovation that constitutes the cultural dynamic. As Kant said, people should not be taught philosophy, they should be taught to philosophize. This is the method of Plato’s “Dialogues”, based on direct, spontaneous exchange, in the course of which questions emerge from our awareness of our fundamental ignorance.

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Q: Can  you give us a specific example?

A: A long time ago, I traveled through Patagonia in a jeep with  a forester  who  told  me  how  much  the  forest  was receding with each successive forest fire. He told me of the defensive role played by cypress trees, which he compared to the stoical heroes of an army rearguard since they sacrifice themselves to delay the spread of a fire and to protect the other  trees. This  made  me wonder  what  the teaching of geography could be like if it were linked to the struggle between species, the conquest of the oceans and of the continents, and to the history of mankind, which is pathetically dependent upon the terrestrial environment. In this way the pupil would get the idea of a true adventure, of a thrilling battle against the hostile forces of Nature and of history. Far from the dead weight of encyclopaedic knowledge, from dusty  volumes  and  ready-made ideas, knowledge  thus perpetually renewed would give each  pupil  the feeling of discovering  and  participating   in  an  age-old  story. For example, to engrave indelibly on students’ minds the complicated geography of the American continent,  as a lived­ through rather than a book-learned experience, would not the best way be to teach it through the adventures of great explorers such as Magellan or conquistadores such as Cortes? We should be formed, not informed. As Montaigne said, “Learning by heart is not learning”. What an exciting manual of geography and ethnology for teenagers Jules Verne’s Around  the World in Eighty Days would make! We have to kindle astonishment at the profound mysteries of the universe. Everything in the universe is astonishing if you think about it. But familiarity has made us blasé and nothing astonishes us any more. We have to rediscover a sense of wonder.

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Q: You even recommend “back to  front” teaching, starting with the present and reaching back into the past.

A: I believe that the best way to interest young people in literature is to start with contemporary authors, whose language and concerns are closer to the students’ own hopes and fears. Only later can they really become interested in what Homer or Cervantes wrote about love and death, hope and despair, solitude and heroism. The same could be done with  history  by tracing  back  to the  roots  of current problems. It is also a mistake to try to teach everything. Only a few key episodes and problems, enough to provide a structure, should be taught. Few books should be used, but they should be read with passion. This is the only way to avoid making reading seem like a walk through  a cemetery of dead words.  Reading  is only valid if it strikes a chord in the reader’s mind. There is a kind of pseudo-encyclopaedic teaching, invariably associated with book-learning, which is a form of death. As if there were no culture  before Gutenberg!

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Q: For years you have been pointing out the risks inherent in nuclear weapons, in the arms race and in ideological confrontation throughout the world. Aren’t the upheavals of recent years, and in particular of recent months, taking some of the  force out of this message?

A: I’m not so sure about that. First of all, the proliferation of nuclear weapons is a fact. Many countries already have their own atomic “mini-bombs” and a chain reaction starting with some irresponsible terrorist action cannot be discounted. But this is only the purely “physical”  aspect of the question,  monstrous though it is. What really worries me is the spiritual catastrophe facing our era, which is the sad outcome of the repression of the forces of the unconscious in contemporary society. I see evidence of this in the proliferation of all kinds of protesting minorities, as well as in our collective history. We live in an anguished, neurotic, unstable age, hence the frequency of psychosomatic disorders, the upsurge in violence and in the use of drugs. This is a philosophical rather than a police matter. Until quite recently the “peripheral” regions of the world were unaffected by this phenomenon. In the East for example, as  well  as  in Africa and in Oceania, mythological and philosophical traditions maintained a certain harmony between man and the world. The abrupt, unchecked irruption of Western values and technology has wreaked havoc, just as, during the Industrial Revolution, the mill-owners of Manchester swamped with their cheap cotton goods peoples who knew how to produce exquisite textiles. This mental catastrophe  is leading us towards a terrifying psychological and spiritual explosion which will give rise to a wave of suicides and scenes of hysteria and collective madness. Ancient  traditions  cannot  be replaced by the transistor industry.

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Q: Do you see nothing  positive in the balance-sheet?

A: Yes, perhaps, but frankly I suspect that I belong to a race that is on the road to extinction. I believe in art, dialogue, liberty and the dignity of the individual human being.  But  who is  interested in such  nonsense today? Dialogue has given way to insult and liberty to political prisons. What difference is there between a left-wing and a right-wing police state? As if there could be good or bad torturers!  I must be a reactionary because I still believe in dull, mediocre democracy, the only regime which, after all, allows one to think freely and to prepare the way for a better reality.

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Interview with Ernesto Sábato: A Sense Of Wonder, The UNESCO Courier, August 1990

:can we fly like this? – read bo.Oks!

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:hello blog lovers,

.this morning I shared on my fb picture that speaks a lot about d humanity and d future of our living [if we read books hopefully in positive way]. I really more respect people that not only have books in their houses but also read them, besides d message/ quote from John Waters. But I’ll not speak about d picture because hits d aim from position that I practice indirectly that what I want to share here is + one animation, short one speaking again about d books, in one magical, surreal way, that brings awesome perception of d books as they really are. I found this via Jordan Dukov, friend of mine that not rare knows to surprise me with d content that he share on his profile.

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I like d first part of d message on d photo d most so I will mention it here: we need to make bo.Oks cO.ol again!. ..and that’s right. Not so often we read good content on internet as always in d books. I spent daily at least 2 hours in reading, and d animation that I saw just shifted me in d world of books that opens my fantasy and fulfill my heart.

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The Fantastic Flying Books of Mr. Morris Lessmore

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[from vimeo] Inspired, in equal measures, by Hurricane Katrina, Buster Keaton, The Wizard of Oz, and a love for books, “Morris Lessmore” is a story of people who devote their lives to books and books who return the favor. Morris Lessmore is a poignant, humorous allegory about the curative powers of story. Using a variety of techniques (miniatures, computer animation, 2D animation) award winning author/ illustrator William Joyce and Co-director Brandon Oldenburg present a new narrative experience that harkens back to silent films and M-G-M Technicolor musicals. “Morris Lessmore” is old fashioned and cutting edge at the same time.

“The Fantastic Flying Books of Mr. Morris Lessmore” is one of five animated short films that will be considered for outstanding film achievements of 2011 in the 84th Academy Awards ®.

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Film Awards Won by “The Fantastic Flying Books of Mr. Morris Lessmore”
To date, “The Fantastic Flying Books of Mr. Morris Lessmore” film has drummed up fans all over the world taking home the following awards:
• Cinequest Film Fest: Best Animated Short
• Palm Springs International ShortFest: Audience Favorite Award
• SIGGRAPH: Best in Show

:I have small headache and I’ll stop writing here, enjoy d video, fly with ur thoughts if u miss d wings read some book today .. it helps u grow some wings. 😉

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