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It's maybe hardest of all to recognize when a genius in the arts, or anything else, is someone that you've grown up, in a sense, or that is a close friend, or that you might have one living next door or even in your family, so that probably the deepest suspicions are reserved in myself for friends that I've known as long as Jim. I want to give you an example also of his continued working with electronic devices.
And as well, his interest in folk music, so to speak. Tenney, "Blue Suede" SB: And from all us 'folks,' this is Stan Brakhage signing off with Charles Ives. Hi, I'm Stan Brakhage. I want to play for you some very ancient Chinese music.
I've been talking about pipes, flutes, the origin of them, possibly in China, at least the earliest references, and I realize I haven't played any Chinese music at all. What I'd like to play for you is a piece that comes somewhere from B. Chinese is probably the oldest music that we have that's actually written down, that is that we know how - very much how - it was to be played, how it was to be sounded. We've had older traditions of music than this. This one can really only be dated somewhere within the Han Dynasty; but one of the most interesting things to me about it is it's attributed to Lady Wong-Chiang.
The Chinese had a great tradition for honoring, for accepting, the existence of women artists. And here's a woman composer who sings to us, across such an immense length of time. She's actually a Chinese noble woman who's out of favor with the King.
And she is singing about her grief, but also I hope you'll hear within this strange kind of music, to our ears, the strains and pullings of that agony of her being in disfavor. But also what's made her last all this time, her incredible dignity, how she pulls herself together, the grace of her own charm and strength, which has lasted a long time. Wong-Chiang, unspecified composition SB: Music played on the pipa by Lui Tsun-yuen, one of the most accomplished living players of that ancient instrument.
I want to contrast that with - several weeks ago I read a statement on modernism by a Chinese poet. The poet whose statement I read is Wang Yung. I want to read a different kind of lament that has to do with being not out of favor with the King, as was the case with 'Our Lady,' but disfavored or estranged from the whole culture. This is a more modern theme. I am inert, easily rotten in this summer. In this summer, I plant with my own hands some poison ivy, an ivy so endearing.
I dissect myself so unpleasantly and restring these fragments for others, equally unpleasant. I always hold your pulse like a handful of cooling noises. It is in your low-priced superiority. It is in your luxuriant ignorance, I plant with my own hands some poison ivy. Ah, an ivy so endearing. Well, estrangement is always terribly painful, hmm?
Because to be in disfavor of the King isn't really any that different than not being able to make it with the culture. I know a lot about the latter in a way because I'm a filmmaker. I don't really - I try to work with film as an art and I don't really have any way to present that art to you. But I've made a living lecturing and I have a lot of friends who have, and one, whom I want to share with you, off a tape made years ago is the filmmaker Peter Kubelka, an Austrian filmmaker.
His films are shown on the Monday night evening programs in the Fine Arts Building from time to time. He was raised in - about the same time I was being raised in Kansas and then Denver, he was being raised in Vienna, Austria.
In order to escape being part of the Hitler youth program he joined the Viennese Choir Boys; he had a very beautiful voice, his father's a musician, and so they managed to get him into that organization which was then almost immediately turned into a branch of the Hitler youth group.
So that in fact at the end of the war Peter and all the other little choir boys, when the Allies were closing in on Vienna, Peter and his friends were - I always imagine them in cassocks and everything - being transported out of town, as, on a train, entirely trying to salvage works of art.
So he made his escape from the approaching Allies as a work of art. I've always liked to tease Peter that he should do his autobiography just because he could title it 'I Was a Viennese Choirboy for Hitler.
And of all the filmmakers I know, his work really combines sound and picture the most beautifully and what I want to share with you is a section of a tape where he's trying to convince me, who - I'm a silent moviemaker for the most part, to work with sound.
He didn't convince me, but the tape section that I'm going to play for you is I think very thrilling. Anyway, he refers to me at the beginning, 'There's someone in the audience that I want to interest in sound.
There is somebody in the audience here tonight whom I want to get interested in sound. And so I'll tell something about an early sound film. When - what I want to say is that people already in the earliest stages of mankind where interested in making film - I mean in doing what we do when we make a sound film - and when they were not quite able to do it because of technical lack, lack of technical possibility. And I will say what this is, what these people wanted to do; and this is to create a 'sync' event, so to speak.
I mean to have to see something, and to see something and hear something at the same time, and get something out of it. It's as simple as that. And these sync events, for example all what dance is about is such a sync event. Because you have music, or you have sound, and you try to fit it with your movement, with the movement of your body. And I mean it's a completely illogical thing and - but it is so, that combining visual and acoustical things is something which is a source of great joy to everybody.
And now comes the interesting thing: What's the strongest light that you could have for your eyes? It's the sun, you see? It's the fascinating thing of the sun. But you cannot handle the sun. It's out of reach. So the sun has been imitated by fire or - I mean these early people who wanted to imitate the sun - or maybe lightning, you see, they could - Lightning has, and the thunder at the same time, and all they ended up was then maybe having a burning branch of a tree and a drum.
And they could make the sync even, like this. And I have witnessed myself a very early sound film when I was in Africa. And you have already heard now why I made this film. Because for the first time in mankind, you see, somebody - I mean, I'm able to say sun is light and the dark and light and dark and lightning comes and goes and came sound with it.
Of course, I mean, limited, it's ultimately far from the branch and the drums, but it is, I mean, to us little things seem [like] great things and at least its something. Or, another difference that I could point out between me and these people who would drum is that I couldn't afford to have the same joy that they had out of, because they can dance for seven days and be naked and drink and simply fall down and they have their natural ecstasy, and for that the drum may be enough.
And when I made this black and white film my situation was such that I had to be integrated in an Austrian s society, I had to wear my clothes and all I could do was go to the cinema and sit down and create myself something which would be, which I would like. And my passion was to create for myself an ecstasy, you see, to make it like the old people made it. And to work with the sound of the thunder and to remain what I have to remain because you cannot step out of what you are.
So this was my motive. And then afterwards I went to Africa, I made the African film and then I saw this stone-age sound film and I will tell you what it was.
There were these people in the little village [unintelligible] and they were preparing for an ecstasy, they had a big feast, they had some drink, they had gotten some money. I couldn't really make out what it was. They had a sort of treasure in a little box and there were many tribes come together. And they were beating out the whole day for the ecstasy to be reached in the night.
And first they would have procession and they would walk up and down, then they would sing and they would have choir.
And then they would have collage games, they would run against each other and fake assault and the excitement would grow and would grow and would grow. And then the sun started to sink, to go down. And the sun goes down rather rapidly in Africa, you come to the equator, [then] it goes.
And suddenly, everybody followed the sinking sun. It was a huge, huge sun, and it was a flat land. And the sun was coming down and down and down and down, and that the moment when the sun touched the horizon, just as the split second when the sun was touching the horizon, the first beats of drums was beaten, you see. And I was moved to tears because this was, I mean this is the first sound film in history and - [laughter] It was!
You see, it's the same, the crack, this split second, you see what it is about, it is this desire to have the loud moment, loud, loudest, loud -' MUSIC: Drummers from Niger Africa SB: And that which I segued with Peter Kubelka's lecture on the first sound-sync film is actually not the drummers that he was hearing in Africa, but it's Songhay Zulu drummers from Niger Africa, which is the closest equivalent that we could dig up to give you some sense of the feeling of it. But I might just as well have chosen a much more modern - though of course these drummers were modern living men, playing in this ancient tradition in Niger Africa in this time - I might have chosen a piece by a modern composer, a composer of this century, which has for me the same feelings.
So I think before you forget the end of Peter's marvelous story, I'd like to go to a piece of music by the composer Lili Boulanger. Boulanger, "Psalm 24" SB: It just astonishes me that this woman, Lili Boulanger, is not as well known, isn't really known at all.
I think maybe the record that I'm playing off of this is one of the few that is still in print. It's an Everest recording, a world premiere recording of the works of Lili Boulanger, and actually under the auspices of her sister Nadia, who's very much more famous than she is. Nadia, the sister, is famous as a teacher, and in fact she instructed almost all the mainstream of American, as well as a great deal of European, symphonic music.
And she taught them principles that were really principles of aesthetics of music that really were created by this sister of hers, Lili, who was always frail and sickly, if you can believe that after hearing this powerful "Psalm 24" that I just played.
Always frail and sickly, and in fact, did die in at the age of twenty-four, leaving this incredible legacy. I'll be playing more of her later. But we're out of time today.
So some other time I'll play more, much more of Lili Boulanger, who's one of my very favorite composers. I'd like to play for you today some recordings of a man that I can't really call a close friend, though I felt extremely close kinship with him in high school when I read his works in, of all places, the South High School Denver Library: Later I was to meet him, spend several evenings with him, and I'll tell you a little about that story.
I was especially moved by his poems for Miriam, love poems to his wife, which so inspired me that I had extraordinary images of her created in a kind of, oh, tawdry fifties beauty; but also sort of Diaphanous and wispy. I mean she became one of the figures in a whole line of poetics that were my dreams of loving women to come. And when I met her I was not prepared to recognize the beauty that she had: And it took me a little while to realize, and then fully believe, that this was the beautiful Miriam sung of in the poems.
Then, it was an important lesson for me because I began to see a kind of beauty that male chauvinism had not ever prepared me for.
Patchen also was a disturbance. My use of him in high school was his belligerent outcry against the draft; how he would kick the master sergeant rather than allow himself to be examined as fodder for what would then be the Second World War.
Actually when I met him he had been through many back operations and was flat on his back, weak, pale, in obvious pain, and being very much cared for by Miriam. And there are a lot of different stories about Patchen, what happened.
He never would have had the strength anyway or would simply have ended in prison had he met a sergeant or anyone else as forcefully as his poem wanted him to. And somewhere before his actual induction into the war he slipped and fell down the stairs and had the first of [many] back injuries which were compounded by operation after operation. But the spirit was exactly what had drawn me as a young man in high school. It was a spirit against, well, and for, well, he'll speak better for himself.
Patchen is one of those people who everyone seems to know about who reads a great deal, and who's recognized, and whose books are kept in print, but whom for reasons I think his own voice will tell to you, who is ignored largely by the literary world or by any other kind of establishment. But the young keep coming to him, like I did in high school, and still do. I'll play a number of these today and then later sort of play sections of it until the whole of it has been heard because it is in fact, it does fall beautifully into a journal, a voice now, alas is Patchen's dead, that comes from the other world with the most startling news that you will not find in the newspapers.
I think before talking any more about Kenneth Patchen or anybody else, I'd like to play the last piece of music composed by Lili Boulanger, as she's dying, in in Paris, France: Not to be unrelentingly solemn today, though when solemnity comes to such beauty as that, and Patchen's anger and sorrow, sadness, also comes not only to some of the things that you've heard already but to a great beauty and even exorbitant wit, and - but today the mood seems to be different.
Maybe in a way one should be glad that so fragile a person, though so strong a composer, as Lili Boulanger, didn't have to survive more than one World War. And dying in she was spared the breakdown of all worlds' peaceful inclination. And the Second World War which put Patchen on his back, and some people six feet under of course - thousands, millions. Patchen did live out his life, though very much like an en-coffined poet.
His disgust, as you've heard already, was so complete he never did so far as I know come to a peace and resignation like Lili did. And these two, thinking of these two people and their relationship - Patchen, by the way, and I mean it should be said, was not the kind of saint either that he sounds in his journals any more than he was the strongman who boasted in rhyme and reason of hitting the master sergeant.
He was a fairly cantankerous man. In fact, the reason I didn't never get to know Patchen better was because at the time in San Francisco, which would be, say, early-fifties, you could either belong to the Kenneth Rexroth group of poets or you could belong to the gathering around Kenneth Patchen; you could not belong to both. You quickly had to choose; you were given about three, four weeks to choose between the two.
This was mostly at Kenneth Patchen's insistence. So this man who wrote so eloquently against war was waging the strongest possible one that he could from a sofa against one of the other most interesting poets of his own city.
And in fact it went further than that; the rifts became very strong. If you went to Kenneth Rexroth's you also couldn't know Robert Duncan and other people. So within a few weeks when I had to make my choice, reluctantly, I began attending regularly Rexroth's salons and didn't embarrass the Patchens' with that by going to their home further. Both Patchen, Kenneth and Lili lead me inevitably to one of the greatest poets of our century who also isn't nearly as well known as she should be: There's a poet that survived both those World Wars and had almost the full brunt of both of them.
Dear friends perishing senselessly in the trenches of the First World War - the whole world gone mad. And then all the beliefs between the wars that that had been the war to end all wars and then the monstrosity of the Second World War, which she sat out in London amidst the blitzed bombings. She married another writer, Aldington. She was the great love, one of the great loves of D.
The record on that is obscure and deliberately hidden so that the proof of it almost comes from the extent to which Aldington, her husband, and she herself have tried to conceal it.
But in the new book by Janice S. Whether that's true or not, it should be. It should be someone as graceful and fantastic and beautiful and intelligent and spiritually akin to him in a way; and also it should be someone who was strong enough in herself to resist his macho, and make her own song.
Whatever it is, H. Suppose it were true, as an early Greek poet had conjectured, that Helen never was of Troy; that Helen had been spirited away to Egypt and that there, later, that Achilles was never killed at Troy, and that later, he had met her, in Egypt, on a beach.
But once again we're out of time. I feel like talking about loneliness today in human beings, about the attempt to reach out to each other and as its occurred in the arts. And I guess that's as good a place as any to take up the chronicle of Kenneth Patchen, in the form of his readings from his journal, which I'm going to play every time until we've heard all of those selections that he put onto tape because they're so meaningful to me.
And so it goes, and not just between cows and humans, or between Patchen and his lonely circumstance, flat on his back most of his life and in pain. But just ordinarily from day to day, between any human beings. Some people think that the arts were created, and are, for reaching out from one human being to another, and in a sense they are, but when, when that becomes an overwhelming imperative my view of it is that that's communication at best, or whaling like the wolves at the moon or whales in the sea.
That what distinguishes an art of any kind is a beginning recognition that there is no simple communication. So that the song can also exist in itself. Everyone knows how lonely people are in our time because a lot of people have written about it or sung of it. But it's always been an imperative.
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Those very strong, almost church militant Gregorian chants that begin this broadcast are also intrinsically lonely.
And or - what I'd like to play for you is one of the songs of the Auvergne. These beautiful pieces were arranged from Basque folk songs by Joseph Canteloube and in this case sung by Natania Davrath, orchestra conducted by Pierre Delaroche in a Vanguard record that indeed may still be available. The piece that's always been the most beautiful to me is "The Shepard's Song" of the Auvergne hills.
And I give just a little sense of what's being sung. Shepard, the meadow is in bloom, come over here to sing the Bolero. The grass is greener on this side, you come here, Bolero. Shepard, the stream separates us and I can't cross it, sing the Bolero. The great poet of loneliness of the twentieth century, the great playwright who more than maybe anyone else has dramatized human separation, humans separated from each other plus their reaching out to each other in the most tender, lyric ways, and the hold, the only real hold we have on each other.
That playwright is usually, and in my opinion, considered to be Tennessee Williams, who died this year. And this section is also the last performance by Montgomery Clift, before he died. In the scene of the play, near the end, there's been a terrible argument and he's been thrown out of the house, or has chosen to leave, and with his mother screaming after him 'Go to movies, then, go to the moon.
Montgomery Clift, I understand, wanted more to do that the play, that part in that play than anything else at the last, coming through all the dreadful experiences of his life, the car wreck that smashed his face, the plastic surgery, the struggling to act again through that plastic, his own hopeless addiction by this time, and alcoholism, as was the case with Tennessee Williams, when he died this year.
And yet not hopeless. He's managed to bring his whole art through, informed by his experiences, to make this loneliness a public demonstration.
But I just very much also did want to give you just a little bit of Tennessee Williams himself, without acting ability, reading that same passage, where you can hear, I feel, a truth more terrible than the stage has yet presented to us. I hear at least a terror in that flat reading that is to me the real source of where the writing came from, for this is Williams' most, most autobiographical play.
It is his trying to come to terms with his sister, called 'Laura' in the play, and of course the part that you heard both these men reading is really himself, an expression of himself, that sister who somehow nobody could save. She became, so Williams says in his memoirs, the first frontal-lobotomy person in the country and was rendered essentially a vegetable for the rest of her life.
And some of the last things that he, one of the last things that he had said to her in a fit of sibling anger was, 'I hate the very sight of your face. And then what shall I say about the sixties. I want to share my friend Bruce Baillie with you, a filmmaker, and there's no other way to do that in this form than with his voice.
And how shall I explain what was happening to anybody in the sixties at that time, maybe just simply say what his condition was and then leave it to him. He was driving around in a car when he made this tape. He made this tape because he could no longer face getting up on a stage in front of people at all. We both had been scheduled to give film programs in Kalamazoo, and Baillie sent the tape instead to me personally, and then to be played there. So after all these years I'd like to share at least a small part of it with you; he's driving his car and he's talking into his own tape recorder.
It's early morning, Thursday, and I've tried to get to this next [unintelligible], I only have a quarter with me, and a full tank of gas. And then I can send this airmail special to you, and possibly you'll get to hear it, the tape, before Saturday's over. I tried my best to get there. I don't know, I can't, I just can't seem to - to go through all the American traffic and excitement anymore.
I had to take a long trip from where I live, north of San Francisco, and I drove all day, and slept by an Indian creek in the middle of the trip, and continued on down and got there. I just couldn't get on that airplane this morning. I couldn't do it again. So I just, got up late last night, headed north again, couldn't cash a cheque anywhere. Finally did, got gas. I slept out by some - well it's in the north of the bay, and there's kind of a big river goes up there.
And I always wondered who lived up there; there's a few houses along the way. I was just settling down, and lighted a match to write some notes, and, a big yellow moon up in the southeast. Very sad moon, to see me still going. I had a dream up at my place, where a lunar beloved came to me and was very sad that I was, just as in always my life I'm on the move.
And I thought maybe I'd see him the next night to continue, because when I woke up I decided to give in to whatever it was. But it was too late, I guess, there he was watching me last night.
So anyway the guy comes up with a flashlight, and says, 'You can't be sleeping here. I told him I was sick. He says, 'No no.
I gotta sleep, I can't -' I say, 'Oh well, okay. I got back in the car and drove a little further north and found a little place off by farmers. Slept awhile and now here I am. About the time that Bruce Baillie sent me that tape, the filmmaker, the Austrian filmmaker, Peter Kubelka came to live with Jane and I for a month or so in our mountain cabin. And Peter insisted in those days, and still does, on playing the recorder, on getting together with people and making some kind of music in that way that can get neglected as we listen to fine performances to Basque folk songs blown up into orchestral versions.
We can forget what's the origin of all of it and where it all finally ends. The piece of music that we get together and play is very ironic under the context; it's one of the saddest, loneliest songs of the Civil War, "When Johnny Comes Marching Home," and its been sung at most wars since.
And maybe here's the only antidote - I mean I don't think Peter realized quite the irony, or maybe he did, that during the Vietnam War we'd be sitting here playing in this fashion this song.
He's insisted that I play on the violin, I haven't played on since I was a child, and so I provide a kind of base drone; and Jane joins him in the recorder, and here it is: And there was, there is a piece of music that I give 'the test of time' on, Charles Ives' "Seer. And all the same, as true amateur, he went right on making his music. Hi, this is Stan Brakhage. I wonder if you ever heard of Frei Jacinto Frei Jacinto.
I'm not even sure how to pronounce the name myself, so I'll spell it: And probably you haven't heard of him; there's only two pieces of music that they've been able to find so far by this man, but they're both significant enough; they've been preserved. He was a contemporary of Scarlatti and Seixas, eighteenth century. And here is his remarkable "Sonata in D Minor. One can suspect that this Frei Jahinto, or Jacinto, Portuguese eighteenth century composer, was so alarming to his contemporaries with music like that that they might have stoned him to death, and that's why we only have a few pieces from him.
Beautiful and lyric as the piece is in a way, it's fraught with rhythms of belligerency, and war rhythms I would say. I'm no expert on them by any other, but the ultimate study that all of, most of my growing up, almost all, the radios carried to me the major sense of war rhythms, the urgency of them. Aside from the messages, which I often didn't understand, I understood the rhythms and their effect on the people and how they moved through human beings on the streets around me.
It was my school of rhythm of war. I give you just an example of it. Radio war recordings SB: So the rhythms need not necessarily be fast or swift.
They can even be a certain pacing which leads straight to prayer. Human beings have been commissioned to make a war music; that is a music that people will be not only willing but anxious to die to. Composers have made fortunes and made this their entire life of composition. Civil War war music: So, we have a music which is composed but, I think, not by artists, because it's composed not to give a sense of something, or a balance, but actually to effect people, to stir them up.
I want to play for you another piece, by Charles Ives, himself singing, which shows the excitement that a person can have, in this case in the fever of the First World War, and out of Ives' patriotism, singing joyously of going over there to fight - "We Are There" is the name of the piece - but because he is and cannot help himself to be a composer, he really shows forth something of the horror of old men singing delightedly of war.
And so we have it. I think as artists cannot help but make it a clarity, a whole sense, not only of the rhythm but of something of what it leads to and of its even false grounds. Art also is useful for people to extract these rhythms of truth and to destroy the balance of rhythm-ing and use again for propaganda. Hitler, for instance, studied carefully the nineteenth century theatre, studied with the theatrical people of the Max Reinhardt tradition of theatre, the rhetorical sense of theatre, and honed all their gestures, and their senses of voice into a masterpiece of propagandizing, I think.
And so he led a nation feverishly to war and finally sucked a whole world into it. And I think really essentially off these rhythm-ings.
You know, people who actually have heard him speak have said that the movies that show him speaking, the newsreels that is, the recordings that have been made, don't capture even more than a little bit of the hypnotic power that he had. He has also told me that that little piece of recording I played for you is the closest he's ever heard, actually on record or tape or film, to something of the sense of the power of his speaking.
So we have a sense of what the arts can do when imbalanced, and a sense of what they can do in the original.
Artists are no more immune from war fever than anybody else; for example - well I can't say that some are and some aren't. That's also a war poem that was written, that was begun at least during the Second World War as he lay flat on his back with a whole society gone, to him, mad around him; though that was, as you know, the just war, the Second World War.
That was the war which seemed most to have to be fought and which Patchen and some few other refused to have anything to do with. But then there are the poets who are extraordinarily belligerent like our Portuguese composer; the young Ezra Pound, before the First World War, writes this: All this our South stinks peace. You whoreson dog, Papiols, come! I have no life save when the swords clash.
When I see the standards gold, vair, purple, opposing and the broad fields beneath them turned crimson, then howls my heart nigh mad with rejoicing. Altaforte," and that was done by Pound with a drum and with his voice more than I can make it for you. Something more like this: When the tempests kill the earth's foul peace, and the lightnings from blank heav'n flash crimson, and the fierce thunders roar me their music.
And the winds shriek through the clouds mad, opposing, and through all the ribbon skies Gods' swords clash. And so on for a number of other verses. But then let's listen to the Pound of the CANTOS, a Pound at the age of eighty-seven, having lived through two World Wars after writing that poem; after having been incarcerated twelve years in an asylum rather than be tried for treason for his collaboration with the Italians during the Second World War; a man who devoted so much of his life trying to stop war in the meantime; and between those wars had written of the deaths of so many of his friends at the front, dear friends of his; so that this part of the CANTOS really is just an old man reminiscing.
But still with that balance that it's not against war, that it's, concludes its jokes like 'getting it up,' its kind of war-front humor, its camaraderie; and yet, lists off all that's been lost. And that still has carrying in it, though feebly and with some deep recognition, still it carries in it, rhythm-ing, belligerent, aside from what's being said. Again I don't know any better way to contrast than to hear some more from Kenneth Patchen, who managed that almost impossible, and considered by most people cowardly thing, to keep out of it altogether.
And so we have a peacefulness condensed entirely within this writing that he's doing at this period and yet, as I said before, he was fighting also with his little circle of admirers against Kenneth Rexroth's, or Robert Duncan's, or anyone else's in town in the fifties. But he had managed at least to make an area in which the rhythm-ing was peaceful.
Yet it doesn't begin to touch the old woman, H. Whatever sense I've been able to make of this I wish to dedicate to Frank Georgiana and the production of Howard Barker's NO END OF BLAME, an extraordinary play by a playwright unknown to me except for this production, a play which manages to ring some real hope, some careful hard hope, out of two World Wars and the difficulties of living in the twentieth century.
Hi, I'm Stan Brakhage and today I feel like talking about love of women. It's been very difficult across the twentieth century for men to express love of women in words.
And that's because there's been too many centuries of lies, so many endearments in language and so much harsh reality, that many women have come rightly to feel a hatred of the language of love, even the word itself, used so much in hypocrisy.
And for artists this is a problem, of course no less than for anyone else, in fact its their charge to revitalize the language. One of the tactics for doing this has been to play with it outrageously; to make fun, which would be easy but could also be a hurtfulness, like lies.
But the other is to play with it out of deep love and feeling. Not since Lewis Carroll perhaps has anyone made a poem quite like the one I'm going to share with you; and its made by a painter, Kurt Schwitters, mostly famous for his beautiful little collage works - pieces of trash and discarded objects that he'd collect on the street and weave and paste together into a magnificent little treasure chest of pictures that now are considered great masterpieces of twentieth century art.
He was a man not content to just deal with collage of image, but put together poems, both in French and English, and we're fortunate enough to have him reading his poem, "An Anna Blume. That may seem an extreme to have to go [to], but all artists have been pushed, all male artists at least in the twentieth century, have been pushed to extremes to give some new, and therefore, their new, some real expression to their feeling about women.
For many men the only way they could arrive at it is through love of daughters. Charles Ives, at the turn of the century, has this beautiful little song to his two daughters called "Two Little Flowers. Though that's not, that's an extremely sentimental, we would say today, equivocation of women, and daughters haven't had all that much luck with their fathers either across this time.
The piece is beautifully sung, by the way, by Evelyn Lyre, and that's probably still is available on a Columbia record of "American Scenes, American Poets: Songs of Charles Ives. Well, some men have gone to great lengths to really serenade their loves, without being sentimental; and I think one of the greatest examples of such is by Andre Breton.
Andre Breton writes the following to his wife. He was, I should pause to say, really the leader of the Surrealist movement in France; not only at the turn of the century, when it began, but clear up through the war years when he edited a magazine of Surrealism called VIEW, in New York City.
The unacknowledged leader, though there was no real position or elected leadership.Casi 300 " I Will Survive"
I think maybe Jean Cocteau postures him best when he puts him in the film as a character in his film ORPHEUS, and has Andre Breton say to the famous poet, who's won the approval of all the people that, 'The people are alone. With the thoughts of heat lightning. With the waist of an hourglass. With the waist of an otter in the teeth of a tiger. My wife with the lips of a cockade and of a bunch of stars of the last magnitude. With the teeth of tracks of white mice on the white earth.
With the tongue of rubbed amber and glass. My wife with the tongue of a stabbed host. With the tongue of a doll that opens and closes its eyes. With the tongue of an unbelievable stone. My wife with the eyelashes of strokes of a child's writing. With brows of an edge of the swallow's nest. My wife with the brow of slates of a hothouse roof. And of steam on the panes. My wife with shoulders of champagne. And of a fountain with dolphin-heads beneath the ice.
My wife with wrists of matches. My wife with fingers of luck and ace of hearts. With fingers of mown hay. My wife with armpits of marten and of beechnut. And of Midsummer Night. Of privet and of an angelfish nest. With arms of seafoam and of riverlocks. And of a mingling of the wheat and the mill. My wife with legs of flares.
With the movements of clockwork and despair. My wife with calves of eldertree pith. My wife with feet of initials. With feet of rings of keys and Java sparrows drinking. My wife with a neck of unpearled barley. My wife with a throat of the valley of gold. Of a tryst in the very bed of the torrent. With breasts of night. My wife with breasts of a marine molehill. My wife with breasts of a ruby's crucible.
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Several languages are available! Toon Boom Animation Inc. CTS comes with a professional texture library that can be applied with a click to instantly change the look and feel of your scenes, and works much like the Unity Post Processing profile system and can be tweaked at run time to get your environment just right. The constant stream of insults and petulance and rage create a never-ending barrage of crazy that wearies the very fabric of the soul.
This is a Unity icon. I will have more details to share soon but this will be a positive move for both Allegorithmic and Unity. Yet the important thing is his confession - to say Jesus is the son of the living God is to say that this God of sacrificial love is the only hope for the world.
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Users who do not meet this requirement need to purchase a Pro or Plus subscription, which also offer advanced support features. See 3D previews before download. If you are asking about mesh based terrains, CTS is mainly a terrain shader. Blog The latest news from the RM Unify team - new features, apps and case studies. Download free Wegener Communications user manuals, owners manuals, instructions, warranties and installation guides, etc.
The core concept is to separate the vendor implementation — the device-specific, lower-level software written in large part by the silicon manufacturers — from the Android OS Framework. This version of Linux uses the Unity user interface. Learn vocabulary, terms, and more with flashcards, games, and other study tools. More players play games made with Unity, and more developers rely on our tools and services to drive their business. To see this in action please click on the tutorials link.
Download source available in file format: This website has been written by many, many peo ple over the years. Free Letter Based Logos. Download free from the Asset Store. Now, you can download the standalone executable of the demo and play around with it yourself in real-time. We need to form a group and come up with a team name,team flag and the reason why other should vote for us. All features are easy to use and do not require complex skills. Along with voltage leads, revenue-grade CTs drive the electrical utility's watt-hour meter on many larger commercial and industrial supplies.
Check out the sample app. Unity Terrain Generator Tutorial: Gaia Play and Listen tutorial about using the unity terrain editor and generator gaia to create procedural terrains and 3d environments in minutes het the unity asset from assetstore https wwwassetstoreunity3dc Unity Terrain Generator Tutorial: Gaia Mp3 The example VR design improves upon this idea, and the project creates a system within Unity software to improve performance even further.
Published with InfoComm International, CTS-I Certified Technology Specialist-Installation Exam Guide provides comprehensive coverage of all exam objectives on the leading internationally recognized certification for audiovisual installation professionals.
Get 50, game sound effects. Users can work with Unity 3D Keygen as a professional designer. Finally, high quality audio content is available at unbelievable prices with no hidden costs or fees. Free 3D Cts models available for download.
From this page you can download the previous versions of Unity for both Unity Personal and Pro if you have a Pro license, enter in your key when prompted after installation. A number of shaders are built into Unity directly, and some more come in the Standard Assets A collection of useful assets supplied with Unity.
When presented together they represent great value for money, and we will not dilute the value of CTS by separating them.
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It's used by tens of thousands of people using AAC and has been translated into more than a dozen languages. Thank you for visiting at this website. We've made it in iOS style, first introduced in iOS version 7 and supported in all later releases up until now at least iOS Unity provides the Tree Creator tool that allows you to create your own custom trees directly in the Unity editor.
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The CTS Complete Terrain Shader is the perfect profile based compliment to Gaia and the easiest to use terrain shader system on the store!
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This page shows the basic work flows, and also how to access the help system built into CTS. All from our global community of musicians and sound engineers.
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