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It's pointless to pretend that such attempts are always futile, because even if they fail to influence "History" whatever that is , they can certainly intersect with and impact upon our everyday lives.
To take one example, anyone who denies the reality of conspiracy must face a difficult task indeed when attempting to explain away the activities of certain elements within Intelligence and the Republican Party in the USA over the last few decades.
And even if we believe that the conspirators were acting as agents of blind forces, etc. The Republicans launched an open "War on Drugs", for example, while secretly using cocaine money to finance right wing insurgency in Latin America.
Did anyone you know die in Nicaragua? Did anyone you know get caught up in the hypocritical "war" on marijuana? Did anyone you know fall into the misery of crack addiction?
As Carl Oglesby points out, sophisticated conspiracy theory posits no single, all-powerful, over-riding cabal in charge of "History".
That would indeed be a form of stupid paranoia, whether of the Left or the Right. Conspiracies rise and fall, spring up and decay, migrate from one group to another, compete, collude, collide, implode, explode, fail, succeed, erase, forge, forget, vanish.
Conspiracies are symptoms of the great "blind forces" and hence useful as metaphors if nothing else , but they also feed back into those forces and sometimes even affect or effect or infect them.
Conspiracies, in effect, are not THE way history is made, but are rather parts of the vast complex of myriads of ways in which our multiple stories are constructed.
Conspiracy Theory cannot explain everything but it can explain something. If it has no ontological status, nevertheless it does have its epistemological uses.
Here's a hypothesis: History small "h" is a kind of chaos. Within history are embedded other chaoses, if one can use such a term.
Late "democratic" Capitalism is one such chaos, in which power and control have become exceedingly subtle, almost alchemical, hard to locate, perhaps impossible to define.
The writings of Debord, Foucault, and Baudrillard, have broached the possibility that "power itself" is empty, "disappeared", and been replaced by the mere violence of the spectacle.
But if history is a chaos the spectacle can only be seen as a "strange attractor" rather than as some sort of causative force.
The idea of "force" belongs to classical physics and has little role to play in chaos theory. And if capitalism is a chaos and the spectacle is a strange attractor, then the metaphor can be extended: -- we can say that the "Republican" conspiracies are like the actual patterns generated by the strange attractor.
The conspiracies are not causal- but, then, nothing is really "causal" in the old classical sense of the term. One useful way in which we can, so to speak, see into the chaos that is history, is to look through the lens provided by the conspiracies.
We may or may not believe that conspiracies are mere simulations of power, mere symptoms of the spectacle-but we cannot dismiss them as empty of all significance.
Rather than speak of conspiracy theory we might instead try to construct a poetics of conspiracy. A conspiracy would be treated like an aesthetic construct, or a language-construct, and could be analyzed like a text.
Robert Anton Wilson has done this with his vast and playful "Illuminati" fantasy. We can also use conspiracy theory as a weapon of agit-prop.
Conspiracies of "power" make use of sheer disinformation; the least we can do in retaliation is to trace it to its source. Indeed we should avoid the mystique of conspiracy theory, the fantasy that conspiracy is all-powerful.
Conspiracies can be blown. They can even be defeated. But I fear they cannot simply be ignored. The refusal to admit any validity to conspiracy theory is itself a form of spectacular delusion-blind belief in the liberal, rational, daylight world in which we all have "rights", in which "the system works", in which "democratic values will prevail in the long run" because Nature has so decreed it.
History is a big mess. Maybe conspiracies don't work. But we have to act as if they do work. In fact the non-authoritarian movement not only needs its own conspiracy theory, it needs its own conspiracies.
Whether they "work" or not. Either we all breath together or we each suffocate on our own. Not only should we arm ourselves with conspiracy theory, we should have our own conspiracies-our TAZ's-our ontological guerilla commando hit-squads.
In a Manner of speaking I just want to say That I could never forget the way You told me everything By saying nothing In a manner of speaking I don't understand How love in silence becomes reprimand But the way that i feel about you Is beyond words O give me the words Give me the words That tell me nothing O give me the words Give me the words That tell me everything In a manner of speaking Semantics won't do In this life that we live we live we only make do And the way that we feel Might have to be sacrified So in a manner of speaking I just want to say That just like you I should find a way To tell you everything By saying nothing.
O give me the words Give me the words That tell me nothing O give me the words Give me the words Give me the words. Ja to prosto naprosto ne mogu da razumem!
Born in Strasbourg, Germany circa , Brant earned degrees in philosopy and law at the University of Basel, then continued there as a lecturer.
He wrote a law textbook and several poems prior to Das Narrenschiff, as well as editing books and broadsides for local printers. There he worked for the city in various administrative capacities until his death in In Das Narrenschiff, Brant describes assorted follies and vices, each undertaken by a different fool, devoting chapters to such offenses as Arrogance Toward God, Marrying for Money, and Noise in Church.
Some of the chapters are united by the common theme of a ship which will bear the assembled fools to Narragonia, the island of fools.
Das Narrenschiff proved so popular that it went through multiple editions, and was translated into Latin, French, English, Dutch, and Low German.
Brant believed that the Holy Roman Empire had come into German hands because Germany was divinely ordained to lead the temporal Christian world.
But he felt that in order to maintain this primacy, the German people would need to cast off decadence and live in the moral fashion appropriate to their role.
His Narrenschiff was an attempt to reach the German people in their own language and using the tool of satire to encourage them to discard their sins and vices.
Brant's message was enhanced by a set of stunning woodcuts, most of them believed to have been carved by a young Albrecht Dürer during a short stay in Basel in Each woodcut illustrates a chapter from Das Narrenschiff, giving either a literal or allegorical interpretation of that particular sin or vice.
Most of them feature a fool in a foolscap decorated with bells engaging in the activity being ridiculed.
Dürer's detailed backgrounds show interiors furnished with slanted desks and diamond-paned windows, and hilly landscapes dotted with rocks and plants.
Bergmann also printed a number of later editions of Das Narrenschiff, including the Latin edition known as Stultifera Navis which is owned by the University of Houston Libraries.
This edition was translated into Latin by a former student of Brant's named Jacob Locher, with full approval from the classicist Brant.
Locher did not follow the text closely, but substantially embellished on it in the translation.
Das Narrenschiff remains an affecting work today. While the modern reader might not find the moralism of Brant appealing in the way that his contemporaries did, his cataloging of medieval vices gives us a fascinating window into the way people really lived.
And Dürer's woodcuts retain their vitality and immediacy, drawing a world of fools, tricksters, and profaners with surprising delicacy.
The Ship of Fools , or Narrenschiff, appeared as leprosy vanished. It was a literary device that had a real existence. Towns dealt with madmen by expelling them.
Places to care for the insane did exist in towns, but they often only attracted the mad. The expulsion of madmen was only one of a number of ritual exiles.
Complex symbolism was involved in the expulsion. The madman had to be both excluded and enclosed. Foucault asks why, if this theme is so deeply embedded in European culture, the Ship of Fools suddenly appeared.
He says that it appeared because of a great uneasiness that began at the end of the Middle Ages. Madmen became dangerous and ambiguous figures.
Madness or folly is important in tales and fables. In such tales, the madman speaks the truth. Folly is also important in learned literature; it is at the heart of reason.
From the fifteenth century on, madness has haunted the Western imagination. Initially, death was the dominating theme.
Madness was substituted for death, but both were part of the same theme. Madness formerly meant not realizing that death is close at hand.
Now, madness became like death. The image and the word, painting and text, are closely linked in this idea of madness.
But in fact the two are pulling apart. Slowly, images separate from language and revolve around their own world of madness.
A fascination develops with images of madness. Fantastic animals reveal man's dark, hidden nature.
Madness also fascinates because it is knowledge; absurd figures and images are part of a complex system of learning.
The madman possesses a kind of forbidden knowledge that relates to the end of the world. The end of the world is the triumph of madness.
The Renaissance expressed what it understood of the threats and secrets of the world in madness. In the same period, literary, philosophical and moral themes of madness were different.
In the Renaissance, madness moves from being one of many vices to being the key human weakness. This concept has little to do with the dark world.
No mystery is concealed. Knowledge is linked to madness; madness is the truth of knowledge because knowledge is absurd. Fake learning leads to madness.
Madness is linked to man and his weaknesses and self-perception. In literary and philosophical expression, the fifteenth century experience of madness takes the form of a commonplace spectacle.
But new forms of madness develop; madness by romantic identification, as in Cervantes; the madness of vain presumption, which is present in all men to an extent; the madness of just punishment; and the madness of desperate passion, as in Ophelia and King Lear.
Shakespeare's and Cervantes' experiences of madness are vital to understanding seventeenth- century literary madness.
For Shakespeare and Cervantes, madness was beyond appeal; it is situated in ultimate regions. But madness becomes the image of punishment rather than the real thing.
It is deprived of dramatic seriousness because it is fake. Madness takes one thing for another.
It establishes a kind of false equilibrium. The classical idea of madness was born. The threat it posed in the fifteenth century subsided.
It was no longer associated with the end of the world, and was no longer the absolute limit. The ship of fools became moored and became a hospital.
Madness was tamed. A new pleasure was taken in it. The world of the seventeenth century was strangely hospitable to madness. Madness was at the heart of things, but few memories of its former disturbing incarnation survive.
Would you, therefore, care to comment on where you will be in 15 years? Ali, avaj! How noble in reason!
And yet, to me, what is this quintessence of dust? Man delights not me; no, nor woman neither, though by your smiling you seem to say so.
Samo, tko bi se usudio kazati da razumije "what is this quintessence of dust"!? Ti, Pooka? Prazine jer bi moji simptomi jasno ukazivali da nisam sposoban razlikovati stvarnost od svojih projekcija.
Koji sam 'credo', vjerovanje ili simbol vjere izabrao? Godinu dana provedenih u JNA, kao zadnja 'najpametnija' klasa septembar, samo je utvrdilo simptomatologiju moje socijalne patologije.
Elem, Windelband I tako krenem sa predgovorom iz pera poznatog filozofa Predraga Vranickog. Izdanje je bilo iz Bile su to godine kad su se u Francuskoj kotrljale glave aristokracije, a u Americi se donosio 'Bill of Rights'.
Ako je ikad postojao iskreni komunist u onom naivnom smislu zbog kojih su milijuni naivnih ljudi postali komunisti, onda je to bio Isus Krist.
Eto, nisam Vas valjda iznevjerio? Imanuel Kant je napisao tri kritike. To je ipak neshvatljivo! Dakle: 1.
Toliko o toj Causi! Dakle: ne razgovaramo kao Papa i Luther! I u tome je jedini problem. Treba jesti vise voca i povrca. Jesi vidio da su Slavonci proizveli hibrid?
Markiz de ga Sad Postoji sumnja da je i on bi viba koja vibi gvize vep. Ostale vibice koje bi mogle vasvjetliti misteviju vibljeg jata na Balkanu sede duboko u Manastivskim tamnicama opasnih Pvavoslavni viba.
Ja sam cancer po horoskopu a ti? Prislonim katkad uho na zemlju i ona brunda. Posljedica tog sukoba jest ta da je "kristal pao u bezdan" gdje je bezdan analogan sumnji,zaboravu,entropiji, vremenu etc..
A ratovali su tzv. Stoga su Luciferovi sinovi - Sotone, pravi stanovnici Siriusa, Kerbera. Lucifer je kao stvaratelj svijetla bio vlasnik i njihovih "ljuski" , kao i bilo koje frekvencije svijetla.
Lucifer je tijekom potrage za Kristalom formirao koloniju Orion. U odnosu na Orion, Sirius je kaznionica zatvor materije.
Ova kolonija je sa Oriona napravila koloniju Mars a nakon katastrofe na Marsu kolonizirala Atlantis. Na kraju je ispalo da su ljudi oduvijek bili samo njihovi psi-robovi.
Avertebrata Takva ti je dharma, kismet, grah ti je tako pao, rekli bi u Grahovu. Samo, ja te ne krivim.
Nema veze. Tvoj kafkijanski frend iz bos. Hvala lijepo! Zaista se ne zezam: to je izuzetan kompliment! Kao motto. A, uostalom, kaj bi ti u pet redaka!?
Da nisi pokrao Enter the Dragon, ne bih ti se svetio! E, ta ti je na mjestu! I za brigu. Ne u Hiedeggerovom smislu. To je vrsta gmazova.
U toj tvrdnji nisam usamljen. Oko Postali su bijeli narodi Europe. Unutar njihove genetske strukture bili su, dakle, ti gmazo-ljudski hibridi.
Tako su hibridi, koji su bili vladari drevnog Bliskog i Srednjeg istoka, postali europskom aristokracijom, europskim kraljevskim obiteljima.
Obitelj Windsor, nema sumnje, pripadaju toj lozi. Od Godine Ti ravnatelji ogranaka orkestriraju svoju obitelj i zemlju u skladu s globalnim planom koji dolazi iz Europe posebno Londona, ali u nekoj mjeri i iz Pariza.
Ljudi su nosili natpise, prosvjedovali, i sve to. No, morali su se prebaciti na tzv. Svijet postaje slobodniji. Otkad je Mandela postao predsjednik, obitelj Oppenheimer posjeduje samo 80 posto dionica na burzi a, implicitno, i preostalih 20 posto.
Od 42 predsjednika, do Clintona, 33 su bila u srodstvu s dvojicom ljudi: Alfredom Velikim, kraljem Engleske, i Karlom Velikim, najpoznatijim francuskim monarhom.
Preostalih 19 u rodu je s engleskim Edwardom III. Percy je i danas jedna od britanskih aristokratskih obitelji. Svaki put kad mislim o tome, stvari me vode ispod zemlje, u Tibet.
Oni opsjedaju njihovu ljudsku svijest. Zatim su svoj epicentar premjestili u Rim i postali Rimsko Carstvo.
U razdoblju od petnaest dana u svibnju Rekla je i da se Miguel pred njom pretvorio u gmaza. Ima i drugih referencija na takve stvari, diljem svijeta.
Jesu li to gmazoidi? Moramo se boriti protiv tih ljudi koji rade te stvari. I don't like the sound of it. In what distant deeps or skies Burnt the fire of thine eyes?
On what wings dare he aspire? What the hand dare seize the fire? And when thy heart began to beat, What dread hand?
What the hammer? In what furnace was thy brain? What the anvil? When the stars threw down their spears And water'd heaven with their tears, Did he smile his work to see?
Did he who made the Lamb make thee? Tyger, Tyger, burning bright In the forests of the night, What immortal hand or eye Dare frame thy fearful symmetry?
It forgives everything except genius. Poet Laureate, and his Collected Poems is forthcoming from W. Norton in fall He and his wife, painter Elise Asher, live in both cities.
He is on the faculty of graduate writing programs at Bennington College and the New School University. And mark in every face I meet Marks of weakness, marks of woe.
They had been hired. Blake was saying that the streets of London, even the Thames, were bought and paid for by the newly rising merchant class.
They no longer belonged to the common people. SK: You cannot separate Blake from London. He was born there in , and he died there in , seventy years later.
In the course of his lifetime he had observed the evolution of London: its development from a fairly provincial capital to a bustling metropolis with enormous mills and factories looming over the landscape.
At that time, London emerged as the capital of the world, particularly significant in that Britain was becoming a great empire in the forefront of the whole Industrial Revolution.
JS: So Blake observed the changes occurring in his city, and their effects on his fellow citizens. SK: Precisely. He seemed quite ambitious as an artist early in his life.
At the age of ten he had already left formal school to pursue his interest in drawing at one of the best art schools in London, the Henry Pars Drawing School.
He was already having visionary experiences and was determined to be a painter. He allowed him to focus on learning his art. By the age of fifteen, Blake was already apprenticed to a master engraver, James Basire.
JS: I remember reading how Basire sent Blake into churches and churchyards and the tombs of Westminster Abbey to draw careful copies of the effigies of kings, queens, warriors, bishops, and so forth.
SK: Yes, and you know even then Blake proved to be too original to please his teacher. SK: He was never that comfortable with any authority.
After drawing school, for example, he attended the Royal Academy, and it was an unhappy, brief time.
He felt like a stranger, despising the painters who were the favorites of the faculty of the Royal Academy. When he was told by his teacher to give up copying from Michelangelo, and to substitute Reuben instead, he blew up.
The teacher said Reuben was a much more finished artist than Michelangelo. JS: Would you say his devotion to his own work and vision created a sense of isolation from his contemporaries—Keats, Shelley, and Byron, for example?
SK: Yes. He was definitely not a part of the literary community. He was not really acquainted with the poets of his time.
He was not recognized as a poet. In fact, he was considered something of a crank, an inspired madman. JS: So who were his friends?
What community, if any, did he feel close to? SK: He was better acquainted with the visual artists, if any group.
Remember, he began as an engraver. And he did have some friends in political circles, the working revolutionaries of the period. Instead of concerning himself with the literary life, he spent a good deal of his time in social protest.
JS: What was he advocating for? SK: You have to remember he was born into a very violent period. There were three revolutions that influenced him: the American, French, and Industrial Revolutions.
He was engaged in all of them. He cared about the poor, wanted reform legislation, that sort of thing. SK: It was the only time he left his native soil.
He believed religiously in the freedom of the individual for self-expression. He believed it was absolutely necessary to preserve the innocence of the child.
SK: Indeed. They are central to the understanding of Blake. They are the poems, of course, most familiar to the world, especially to the young and the child in all of us.
Their speech is universal. And he laughing said to me. JS: Whom is he addressing in this poem? It sets the tone for the poems to come.
SK: Blake is thinking of the Lamb of God as a child, as a playmate. Of course, the lamb also implies the Christ figure.
The lamb is an essential image for Blake. Little Lamb God bless thee. SK: One of the beautiful things about this poem is the way the speaker lovingly identifies with the lamb, with the Christ figure.
JS: As you mentioned, the lamb is an image throughout. You have to remember that this was a very early poem to be written about slavery.
At that time the British were slave masters and traders. But slavery appalled Blake. He sees the black boy not only as representative of the victims of the slave trade, but of the victims of slave labor in the mills of England as well.
These mills were largely worked by children and women, fifteen hours a day. So the black boy in the poem exploited by slavery is associated with the blackened face of the exploited chimney sweeper or the blackened hands of the children in the mills, or his own hands as an engraver.
He imaginatively associates the little black boy with everyone who is oppressed. My mother taught me underneath a tree And sitting down before the heat of day, She took me on her lap and kissed me, And pointing to the east began to say: Look on the rising sun: there God does live, And gives his light, and gives his heat away; And flowers and trees and beasts and men receive Comfort in morning joy in the noon day.
And we are put on earth a little space, That we may learn to bear the beams of love, And these black bodies and this sun-burnt face Is but a cloud, and like a shady grove.
His imagination was steeped in compassionate feelings for all those who were oppressed, victimized, or exploited, because he himself felt that way.
You have to remember he made whatever living he could with his own hands as an engraver. But his engravings of his own poems did not sell; nobody wanted them.
He had to farm out his services as a journeyman engraver doing hack work for others. And like other members of the working class, he was a victim of the newly rising industrial age.
Engraving was becoming a dying art. He hoped to survive on his own, independently, but the strle became more and more difficult, often desperate.
His wife, Catherine Boucher, would sometimes place an empty plate on the table to remind him of their circumstances, but he never lost faith in himself in his mission as a poet.
Indeed, the humiliation, rage, and frustration underlying these circumstances fueled, in part, the fierceness of his imagination.
While Blake was readying the manuscript for his Songs of Innocence, the spirit of his younger brother—who had recently died—allegedly returned to impart to him the secret of how to make Illuminated Books by a process that involved etching in relief the poem and its accompanying illustration by applying acid on copper, then corroding with acid the blank areas of the plate, and finally coloring each impression by hand.
It was a difficult and time-consuming process. It is believed he had only thirty orders for Songs of Innocence, of which there are only twenty-six in existence today.
But each was individually produced, and so no two copies could be identical. It also meant that the books are of unsurpassed beauty and today, ironically, priceless.
He was, in fact, one of the great engravers in the whole history of the art. Were these the most important people in his life, in helping him keep his faith in himself and in his mission as a poet?
When Robert fell gravely ill, Blake attended him night and day, to the point of exhaustion. His younger brother was forever an influence and a source of support.
JS: And his wife? SK: His wife provided Blake not only with support throughout his life, but with absolute devotion.
Blake was twenty-five when he married her. She was the illiterate daughter of a market gardener. In place of a signature their marriage certificate bears her mark.
But with exemplary patience Blake taught her to read and write, as well as how to paint and draw in a style indistinguishable from his own.
Throughout the years she became his collaborator, lending a hand in the execution of prints.
Though their marriage produced no children, it was a rare companionship, as of two lovebirds. She died three years after Blake, at the age of seventy, the same age Blake was when he died.
It was a rather long life at that time. Blake was against oppression of any kind, including repression of our sexual desires.
And all must love the human form, In heathen, turk, or jew. SK: The poems in Songs of Innocence get a little darker as they move into Songs of Experience, which begin to concentrate on the evils of the world, the hardening of the soul, the afflictions of life.
Blake felt that we were born in a state of innocence—in the image of the lamb—but that the experience of the world tended to corrupt and defile us, and to blight the natural innocence of the soul.
JS: Are you saying he was opposed to experience? SK: No. He was not opposed to learning the ways of the world.
He felt, in fact, that innocence could be fortified by knowing how to live with others in the environment. The voice is more prophetic and stern.
Introduction Hear the voice of the Bard! O Earth O Earth return! Arise from out the dewy grass; Night is worn, And the morn Rises from the slumberous mass.
SK: He assumes a more powerful voice in order to reinforce his conviction that man—in the midst of the ills of the world—is still capable of representing the divine spirit.
JS: He seems to become more forthright about opposing institutions that oppress, that would restrict his freedom. Blake believed in the free play of the body and the senses.
And the gates of this Chapel were shut, And Thou shalt not. The Sick Rose O Rose thou art sick. The invisible worm, That flies in the night In the howling storm: Has found out thy bed Of crimson joy: And his dark secret love Does thy life destroy.
JS: The rose is the rose of love. SK: And the worm is the worm of guilt. JS: What do you love most about the poem? SK: There are many things, including the way this very poignant song lingers on the breath like a sigh, with its own intrinsic music.
In what distant deeps or skies Burnt the fire of thine eyes! What the hand, dare seize the fire? Tyger, Tyger burning bright, In the forests of the night: What immortal hand or eye Dare frame thy fearful symmetry?
SK: There are many versions of the poem. It was one that Blake worked on. He knew it was a central poem.
And, yes, there are many interpretations, but somehow I think they all fail. The poem comes out of deep sources that cannot always be articulated.
But without any doubt it is a poem—as you say—dealing with the whole mystery of creation, the awesome force, the principle of energy that gave us the cosmos in the beginning that still breathes within the human imagination.
And that is one of the main glories of the poem. JS: How would you briefly define the image of the tyger, for high school students?
SK: The tyger is an image of infinite power and dread not to be described as either good or evil.
JS: In the many versions of the poem, sometimes the tyger appears as an angel. SK: Not exactly an angel.
If you are referring to the illustrations that Blake drew for the poem—the ones that appear on the copper plates he engraved and then hand-colored afterwards—the tyger does take on different appearances because each copy of the poem is somewhat different from the others.
There are a few copies in which the tyger looks like a tame pussycat. But in almost all the illustrations, the tyger is, as you would expect, a fierce creature, a raging beast of sorts.
It is true, however, that Blake firmly believed he received his poems from sources other than himself. JS: Have you seen the original drafts of the poem?
It should be noted that Blake left his manuscripts in a terrible mess, a state of chaos. In fact, it was really impossible to read Blake, that is the whole compass of his work, until the twentieth century, when serious work was done in examining the manuscripts and selecting the final versions, or what seemed the final versions, and trying to arrange them in some sort of meaningful order.
It was a heroic task. SK: It is true that Blake lived by symbols and lived in a world of myth. At the same time, however, he believed that the discovery of symbols rests on clarity of perception, on looking at the world with the closest possible scrutiny.
He would do good to another must do it in Minute Particulars. General Good is the plea of the scoundrel, hypocrite and flatterer, for Art and Science cannot exist but in minutely organized Particulars.
JS: That passage is one of the many illuminating parts from his long, prophetic works, some of which I find difficult to understand.
What do you see as the importance of these long, ambitious works? SK: His prophetic books are extraordinarily difficult poems, representing his late work.
Even scholars who have gone over every word and syllable have had a hard time interpreting them. It has to be understood that when Blake wrote these he was not—and never would be—a recognized poet.
In addition, you have to remember Blake was a revolutionary spirit, a rebel. In fact, he was arrested once for speaking against the King.
So as an unrecognized, poor poet and rebel, he began to feel—and rightly so—at odds with the government, with King George.
This feeling motivated his need to write symbolically, to cover his tracks. Remember, there were extradition laws that were very harsh, and there was no doubt that Blake was frightened at the thought of being jailed.
SK: He felt it necessary to invent a new mythology in order to be able to express his true feelings. It is part of the real difficulty of these poems.
They have an elaborate architecture which is hard to grasp. JS: Blake created a world of his own in these long works. JS: While working on his prophetic books, Blake continued to write lyrics.
What are some of your favorite lyric poems by Blake not printed in Songs of Innocence and of Experience? SK: There are many—some have actually been extracted from longer poems but have been printed as separate pieces.
O why was I born with a different face? Why was I not born like the rest of my race? When I look, each one starts!
Then my verse I dishonor, My pictures despise, My person degrade and my temper chastise; And the pen is my terror, the pencil my shame; All my Talents I bury, and dead is my Fame.
JS: What about the poem is most appealing to you? The poem reveals a tender and vulnerable side of him.
It consolidates all the major themes of Blake. And did the Countenance Divine, Shine forth upon our clouded hills? And was Jerusalem builded here, Among those dark Satanic Mills?
Bring me my Chariot of fire! If you touch the web at any point, certainly the whole web shudders. Everything that lives stands in connection with everything else on this planet.
That is something Blake taught me. JS: Would you say that that theme—of the marriage of opposites—is best developed in his epic satire The Marriage of Heaven and Hell?
SK: In order to see the whole world as he tried to see it in the poem, Blake felt it necessary to go back to the world of senses. He always begins with sensory experience.
What he is saying is open your eyes, open all your senses, become as a child again and you will see the world as it is—its infinite and eternal perspectives.
So these are actually heavenly proverbs. Here are some that are essential to the understanding of the poem: The road of excess leads to the palace of wisdom.
He who desires but acts not, breeds pestilence. A fool sees not the same tree that a wise man sees. He whose face gives no light, shall never become a star.
Eternity is in love with the productions of time. No bird soars too high. If the fool would persist in his folly he would become wise.
The tygers of wrath are wiser than the horses of instruction. Expect poison from standing water. You never know what is enough unless you know what is more than enough.
Exuberance is Beauty. Improvement makes strait roads, but the crooked roads without Improvement are roads of Genius. Here are some of my favorites: Anyone who forsakes the child he was is already too old for poetry.
Be prepared for everything—even spontaneity. We have all been expelled from the Garden, but the ones who suffer the most in exile are those who are still permitted to dream of perfection.
SK: Blake is a great model for anyone who wants to write aphoristically, and he has no rival in that sphere. JS: When did you first discover Blake?
I became addicted to him and read everything of his I could get my hands on. When I was twenty-three years old and preparing my first book of poems, which was published in when I was twenty-five , I gave it the title Intellectual Things.
They thought I was setting up the intellect, the mind, as superior to the body. Of course, that is exactly the opposite of what I intended and what Blake intended.
JS: Are there any poems from Intellectual Things which you feel have been particularly influenced by Blake?
But in a rather willful way I changed its meaning. He used it to attack the rational basis of science, particularly that of Newton with his theory of optics.
My reference is to that single-minded determination to look honestly at the world and to be what one wants to be.
Single Vision Before I am completely shriven I shall reject my inch of heaven. Cancel my eyes, and, standing, sink Into my deepest self; there drink Memory down.
The banner of My blood, unfurled, will not be love, Only the pity and the pride Of it, pinned to my open side.
When I have utterly refined The composition of my mind, Shaped language of my marrow till Its forms are instant to my will Suffered the leaf of my heart to fall Under the wind, and, stripping all The tender blanket from my bone, Rise like a skeleton in the sun, I shall have risen to disown The good mortality I won.
Directly risen with the stain Of life upon my crested brain, Which I shall shake against my ghost To frighten him, when I am lost.
Gladly, as any poison, yield My halved conscience, brightly peeled; Infect him, since we live but once, With the unused evil in my bones.
It has a lot of bravura in it. Is there a poem from your later books which you feel has a particular affinity with Blake?
I used to stare at these knots in wood. Mornings when I wake, curled in my web, I hear it come with a rush of resin out of the trauma of its lopping-off.
Obstinate bud, sticky with life, mad for the rain again, it racks itself with shoots that crackle overhead, dividing as they grow.
Let be! I shake my wings and fly into its boughs. JS: Stanley, above all, what matters most to you about William Blake? SK: I suppose that above all what I learn from Blake is that the imagination is a portion of the divine principle, that energy is eternal delight, and that everything that lives is holy.
I rest not from my great task! O Savior pour upon me thy Spirit of meekness and love! Annihilate the Selfhood in me; be thou all my life!
Guide thou my hand, which trembles exceedingly upon the rock of ages, While I write. May his surviving murderers be yet brought to justice.
Convicted Mafia hit-man Charles Harrelson, a suspected Kennedy assassin, is incarcerated in a Federal prison for the contract killing of a federal judge.
Journalists have thus far shown little interest in attempting to interview the senior Harrelson and persuade him to provide information which might lead to the arrest and conviction of those responsible for Kennedy's killing.
The late James Shelby Downard's primal way of looking at things, which is the way I think ancient man perceived the world, encompasses a vision that detects every link and every symbol, beginning with the significance of names, then places and then the obsessive actions which stem from the confluence of the two and which have come to be known as ritual.
Publisher Adam Parfrey, who first brought Shelby's work to a mass audience, states: "In Downard's writings, the products of his subconscious bubble to the surface and catalyze painstaking research.
The collision of the poetic against the logical works especially well in the field of conspiracy; it remains the freshest approach to a field of inquiry Petersburg, Florida in , along with the great Fortean philosopher William N.
Grimstad and Charles Saunders, a brilliant recluse who was a close friend of Jack Kerouac toward the end of the Beat writer's life a fact missed by every one of Kerouac's numerous biographers; so much for biographers.
Shelby's conversation that day ranged from the occult significance of the Theremin musical instrument to the sorcerous implications of elevators, the relationship he had with an evanescent rabbit named Petey; the sinister connotations of the circus and the mystical topography of the American Southwest, which Mr.
Downard knew the way you and I know our backyard. As he fried our hamburgers, he regaled us in his prospector's drawl with the hidden wonders of a tapestry of coincidences which he wove from the seeming mundane details of everyday living, into a magic carpet of incomparable strangeness and peerless utility.
Parfrey spoke for many of Shelby's friends and associates when he stated: "Downard has influenced me to look with interest upon the details and the fantastic convergences of life More than two decades ago he foresaw the coming of this time as the fulfillment of the final dictum of the alchemical rampage of the elephant Must Be; the behemoth run amok in the fields of our nightmares.
As the "X-Files" and the other fictional TV shows which neither I or Shelby have ever seen, purposefully muddy the waters with a flood of pop drivel disguised as revelation, the actual truths are lost in the swirl.
James Shelby Downard looked forward to the time beyond Must Be, to the era which will witness the return of could be.
After the coming cataclysmic chastisement has run its cleansing course, we will once again wish upon a star and dream a destiny free of the masonic chain that at present binds our nation as tightly as the hangman's rope once bound the rotted cadavers on Tyburn Tree.
Despite having been relentlessly targeted and attacked for more than a half century, Mr. Downard, unlike poor Kennedy, did trip the Harodim on the winding stairs and did slide down the railing, like a child outwitting enormously big and powerful bad guys, by the fortune which Providence reserves for the guileless.
Hoffman II The information I present in these pages on the Kennedy assassination is well-known to certain news agencies who have chosen to suppress it, just as the motivation for the assassination has been plunged into cryonic secrecy.
Masonic betrayal of the "common man" involves archetypes of fertility and death symbolism seemingly motivated to bring about syncretism in opposing principles in order to green Israel, rebuild the Temple of Solomon and establish a One World government.
It is by way of Masonic sorcery that the union of opposing principles is supposed to be brought about. The criminals who stage-managed Dallas in the killing of Kennedy have controlled the American people's will in exchange for a sleep without nightmares.
I publish this in the wake of the situation Charles Seymour alluded to: "The moralist unquestionably secures wide support; but he also wearies his audience.
Most Freemasons apparently have no idea of the evil that is part of Masonry, and if they do know about it they don't believe it.
The same holds true for most members of the "Clandestine Lodges" and Masonic-oriented fraternal organizations as well as Androgynous Masonic Societies.
It is certain that onomatology, or the science of names, forms a very interesting part of the investigations of the higher Masonry When modern man sees one, he does not, or refuses to, recognize him for what he IS; instead he looks for "scientific" explanations-to explain away the obvious.
The JFK assassination encounters this science in a decisive way and contains a veritable nightmare of symbol-complexes having to do with violence, perversion, conspiracy, death and degradation.
These elements are important not only as cause-and-effect in the murder of a president but in the ensuing reaction of the people of America and the world.
The fertility and death symbolism in the "Killing of the King" rite which is part of Greening Ritualism that has to do with JFK, has been suppressed because examination of it must necessarily link it to "Freemasonry" and its mysticism, as well as to the political influence it exerts.
Obviously this would do some damage to public confidence in: a. Masonic progressivism. Iiberty, equality, fraternity.
Those who have shielded the conspirators. The entire mental concept that passes for knowledge about the genuine nature of the government of the United States.
Mystical Toponomy Mystical toponomy incorporates word wizardry onomatology and the Masonic science of symbolism.
In considering my data it would be helpful to consider a dictum of Einsteinian physics: "Time relations among events are assumed to be first constituted by the specific physical relations obtaining between them.
This connecting line is on the 32nd degree. The 32nd degree is the penultimate Masonic degree awarded. When this 32nd degree of latitude is traced west into the "Land of Enchantment" it becomes situated midway between Deming and Columbus, New Mexico.
Slightly to the north of the town of Columbus are the Tres Hermanas three sisters mountains. It is approximately 32 miles between Deming and Columbus.
The Three Sisters mountains are a minute and some seconds south of the 32nd degree line. When this line is traced further west it passes the ghost town of Shakespeare at a distance south of the town which is roughly equivalent to the distance which the 32nd degree line passes north of the Three Sisters mountains.
The names "Shakespeare" and "Three Sisters" find a connection in the tragedy Macbeth which comprises such a large part of JFK assassination imagery.
When this 32nd degree line is traced a little distance farther west, into Arizona, it crosses an old trail which meandered north of what is now another ghost town but which at one time was called the town of "Ruby.
Four of these homicides occurred in a store attached to the post office which had been erected over the grave of a Catholic priest.
Continuing on with mystical toponomy, one encounters the fact that Ruby road twists north into the area known as the Kennedy and Johnson mountains.
Johnson Mountain is supposedly named after the general manager of the Peabody Mining Company who also had a town named after him which was the location of the Keystone and Peabody copper mines.
The 32nd degree of latitude is but a few seconds from Johnson. In this frontier town on a December evening, , a Colonel Mike Smith and a man Mason were ambushed by gunfighters described as being of questionable reputation and questionable character.
These terms are employed in Masonic writings: He [Captain William Morgan, victim of an early 19th century torture-murder by Masons] was a man of questionable character and dissolute habits, and his enmity to Masonry originated in his refusal of the Masons of Leroy.
Encyclopedia of Freemasonry. A "keystone" is the designation for which, when set in place, "keys" or locks the whole.
The earliest known record of such a degree is in the annals of the city of Fredericksburg, Virginia, on December 22, The Killing of the King Never allow anyone the luxury of assuming that because the dead and deadening scenery of the American city-of-dreadful-night is so utterly devoid of mystery, so thoroughly flat-footed, sterile and infantile, so burdened with the illusory gloss of "baseball-hot dogs-apple-pie-and-Chevrolet" that it is somehow outside the psycho-sexual domain.
The eternal pagan psychodrama is escalated under these "modern" conditions precisely because sorcery is not what 20th century man can accept as real.
Thus the "Killing of the King" rite of November, is alternately diagnosed as a conflict Needless to say, each of these groups has a place in the symbolism having to do with the Kennedy assassination.
But the ultimate purpose of that assassination was not political or economic but sorcerous: for the control of the dreaming mind and the marshalling of its forces is the omnipotent force in this entire scenario of lies, cruelty and degradation.
Something died in the American people on November 22, call it idealism, innocence or the quest for moral excellence.
It is the transformation of human beings which is the authentic reason and motive for the Kennedy murder and until so-called conspiracy theorists can accept this very real element they will be reduced to so many eccentrics amusing a tiny remnant of dilettantes and hobbyists.
President Kennedy and his wife left the Temple Houston and were met at midnight by tireless crowds present to cheer the virile "Sun God" and his dazzlingly erotic wife, the "Queen of Love and Beauty," in Fort Worth.
The number 28 is one of the correspondences of Solomon in kabbalistic numerology; the Solomonic name assigned to 28 is "Beale.
The 28th degree of Templarism is the "King of the Sun" degree. Dealey Plaza is the site of the Masonic temple in Dallas now razed and there is a marker attesting to this fact in the plaza.
Dallas, Texas is located ten miles north of the 33rd degree of latitude. The 33rd degree is the highest in Freemasonry and the founding lodge of the Scottish Rite in America was created in Charleston, South Carolina, exactly on the 33rd degree line.
Dealey Plaza is close to the Trinity River. At p. One of the many bars claiming the honor of being the first Masonic lodge is the Bunch of Grapes Tavern, also in Boston.
The Blue Front was the site of the "broken-man" ritual in which various members of the "Brotherhood of the Broom" swept the floor and tended some fierce javelino pigs.
The Blue Front was once a fire-house and was still sporting its fire-pole in the late s. This is extremely germane symbolism.
Its chief products are "Haviland javalino Oil" and "Fire Chief" gasoline. It is closely associated to the beetles of the genus Necrophorus or Sexton Beetles, so-called because they bury the remains of tiny animals with their eggs.
Bloody Elm, Main, and Commerce form a trident pattern in alignment with the triple underpass as any Dallas map will show.
Many analysts contend that at least three assassins were involved in the crossfire ambush of Kennedy.
Sve se ovo zbiva pod redateljskom palicom Mr. Lawrencea, kreativca koji stoji iza filma 'SpongeBob Squarepants'. Na njegovom sluzbenom siteu chekirajte sta covjek radi.
The Haunted World of El Superbeasto trebao bi ugledati svijet na dvd formatu u drugoj polovici osmog mjeseca Zombieju ovo i nije prvi put u svijetu animiranog filma.
Radio je dizajn za kljucnu sekvencu Beavisova haluciniranja za Mike Judgeov film Beavis and Butt-Head Do America', to je po procjenama mnogih najbolja scena cijelog filma.
Radujemo se ovoj poslovnoj suradnji vec sada, naslijepo. No, obrazlozit cemo. Centralni je lik ove filmske price, najavljene kao akcijsko-avanturisticka poslastica, americki istrazivacilustrator i novinski kolumnist s pocetka U kratkom njegovom opisu iz pera prijatelja mu nama nepoznatog, svi ce i najmanji poznavaoci ukusa Burtona i Carreya prepoznati materijal kojem u duetu nisu mogli odoljeti.
Bio je kolekcionar automobila, ali nikada nije naucio voziti, mada je cesto za snimanja koristio prilicno kompliciranu tehniku, bojao se telefonirati jer je mislio da ce ga smaknuti struja!
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Ako ikoga mozete zamisliti u ulozi Ripleya, to je Carrey, ako ikoga zelimo da se poigra s njegovom pricom, to je Burton.
Snimanje bi, kako prenosi Variety, trebalo zapoceti u listopadu Koneri je dodao da je 'ponosan' na Evropu, gdje se proizvodi 'mnogo dobrih filmova'.
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Pocetak snimanja novog filma o Bondu predvideno je za sijecanj u Pragu. Plavokosa Juznoafrikanka bila je prvi odabir za tu ulogu redatelja Martina Campbella, pisu novine citirajuci izvore iz filmske industrije.
Theron je osvojila Oscara za najbolju glumicu Taj, apsolutno genijalan film, godinama je nepravedno zapostavljen i zaboravljen.
U kakvim ste kontaktima s njom? Izgrlili smo se i izljubili kao da je sve u najboljem redu. Oni su uvijek uz mene i tjeraju me da idem dalje.
U "Dont Move" glumi pacijenticu koja se zaljubi u svog doktora i pred njim se svlaci i izvan ordinacije. Seksi Penelope optuzili su za lezbijske veze nakon sto je svoju partnericu Salmu Hayek na premijeri filma "Bandidos" uhvatila za guzu, ali je ona brzo odbacila takve "glupe traceve".
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Eduardo Cruz kasnije je izjavio novinarima kako je Katie krasna djevojka. Sigurno je presretan sto mu se kcer rijesila rastavljenog filmskog veterana i moguceg braka s njim koji nije odobravao.
I jos je sa suprugom Encarnom uzivao u besplatnoj skupoj veceri. Film "Muenchen" americkog redatelja Stevena Spielberga, o ubojstvu izraelskih sportasa na Olimpijskim igrama u Muenchenu Film "Muenchen" pridruzio se trileru o naftnoj industriji "Syriana" medu deset najboljih filmova u Ziri se sastojao od filmskih strucnjaka, dok je odvojeni ziri tv profesionalaca sastavio listu s 10 televizijskih programa.
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Ipak, krenimo redom. Ovo je posve palestinski film. Terminator bez milosti Kao glumac Shwarzenegger je poznat po ulogama nemilosrdnih snagatora,ali u politici nepokazuje previse milosti Od kada je izabran za guvernera savezne drzave Californije,Arnold Shwarzenegger je mnoge svoje filmske fanove iznenadio radikalnim politickim potezima.
Tako od 1. Najnoviji potez misicavog guvernera je izazvao podosta kritike madu protivnicima smrtne kazne. Naime osudenik Stanley Tookey Williams koji ceka izvrsenje smrtne kazne je od Arnolda zatrazio pomilovanje.
Iako mu je guverner bio zadnja nada,nekadasnji pripadnik bande ipak nije dobio pomilovanje za cetiri ubojstva koja je pocinio god.
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