Climb every mountain, Ford every stream, Follow every
rainbow, 'Till you find your dream (“The sound of Music” Richard
Rodgers & Oscar Hammerstein II)
Since the research Project "CONSTRUCTION OF NARRATIVES INCLUSIVE OF ENVIRONMENT AND Buenos Aires CITY TANGIBLE CULTURAL HERITAGE CONSIDERED AS PROTONARRATIVES OF THE INTANGIBLE OR ORAL CULTURAL HERITAGE" (presented at the METROPOLITAN FUND OF CULTURE, ARTS AND SCIENCES 19-6-2014), although obtained a worthwhile appraisal, because of budget limitations had received no financial support (letter 3-3-2015); from now on this Blog on ART & ENVIRONMENT will focus on comments on how environment plays a role in bolstering art instead dealing with research or institutional projects as was followed without any luck through all our previous efforts (2012-2014). In fact in December 2013 it was promoted a cinema cicle for DEBATE de Cine Documental sobre Arte y M. Ambiente, which selected four Films for establish discussion on CONTEMPORARY ART & ENVIRONMENT.
Dr. Julio Enrique Correa
M.P. 40.353
Médico
Psicoterapeuta. Terapia Familiar
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Dirección :
Pacheco de Melo 2949 2º"D"
(1425)
Buenos Aires Argentina
TE.:
(54 11) 4-8025950
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Environment has
largely inspired manhood to create or improve sights as places for living or worship,
no matter how much desertic or arid environment can be –as well is depicted by
Giza pyramids or the Palace of Ashurnasirpal II in
Nimrud, nowadays destroyed by fanatics looking to behead men, otherwise culture
and environment-. This year’s 2015 Oscar award BIRDMAN (Best film; Best
director Alejandro
González Iñárritu; Best original
script by Alejandro González Iñárritu, Alexander Dinelaris, Nicolás Giacobone,
Armando Bó; Oscar to best fotography: Emmanuel Lubezki), puts forward the idea that skyscrapers’
architecture might enable fantasy to help men strive for continue to believe in
their dreams, even when depression takes over at times that big loss in the
financial and job systems join war fears becoming impulses to throw people to
the void from a skyscraper newspaper building whether or not collapsing after a
passanger plane impact. Not only Superman but a whole bunch of American heroes
had emerged in such way since 1930’s early turmoil times. Are those times
coming back? Perhaps not by chance two of the original script writers are
argentines, Argentina dealing with several and neverending economical and
political crises putting at test the possible seriousness of intentions of the
Government that harvests infinite seeds of corruption, delinquency, social
violence, political dehonesty and international alliances endorsing cheat,
fragility and deals with Iran, instead to clear up Israeli embassy and Jewish
institution bombing or conducting straight forward investigation on procurator
Nisman’s suspicions of murder.
·
Under a pressing
social context, Riggan Thomson, a Hollywood’s superheroe actor (played by Michael Keaton, former Batman series) intends to re-start his career by challenging Broadway with
the direction and acting of a Raymond Carver story
«What We
Talk About When We Talk About Love» at a Manhattan first class theatre. Such an
enterprise is hold with the help of his best friend (Zach Galifianakis), his daughter Sam (Emma Stone) as assistant -although she is still
an adict in rehabilitation-, his girl friend Laura (Andrea
Riseborough),
anguished and quarelling for holding a dubvious pregnancy from him. Too much
people to be put at risk together, increased to very tough contract obligations
resulting from hiring Mike, a very brillant and
exigent actor (Edward Norton), and
from the
need to mortgage his property and only daughters heritage for financing its
contract.
Additionally he has to confront critics by Tabitha
Dickinson, who overtly refuses to accept Hollywood star figurines in their
award fishing and publicity careers to improve scores as Broadway theatre actors
and directors. But, rather than his whole actor career, what’s at stake is just
another duel asking to test right or wrong all Riggan’s emotional systems
already quetioned by his former wife stressing his permanent need to be admired
–instead loved-, as well as by his daughter, posing him the facts determining
his actual failure in recognizing his loss of position as actor –maintained as
a phantom of the past recalled by TV series followers, only perhaps to be saved
as a repetition of a new Birdman series-, which are out of the scene by now,
and even not broadcasted by a Blog, a Twitter account. When inadvertently he
gets this by chance as getting outside of the theatre in underwear and has to
cross Times square while filmed and loaded into Internet, the theatre
representation
becomes a surprising unexpected success.
·
Willing
to become what he actually is, chased by the guilt commandments of the American
prototype winner that he ought to become in –as Arthur Miller’s Willy Loman
character in “Death of a Salesman”-, Riggan
scapes from reality and finds shelter in fantasy again, crossing the line from
theatre to comic hero by means of a suicide attempt that even when it fails warrants
to be endlessly reenacted at last. Hence the film ends with the admired
expression of his daughter, keeping a delusive belief in his father’s quest
against loss, as well perhaps her’s upon drugs, in parallel to the denial of
the parental psychiatric risk of suicide, hospitalized for recovery and surgery
at a high window location in a New York clinic. Riggan disease fits into well
known Bipolar depression traits, and this also gives support for the mythic
conversion of current men into American Superheroes -or else as Ronald Reagan
would had dreamt on Michael Jackson as a complete exponent of the American
Dream-.
·
The fantastic conversion
of reality endangering destruction of men and their nations into mythic
landscapes are basic narrative arguments leading belief in the power of nature
to indorse very difficult human quests against adversity, both at the
individual and collective levels. Such narratives have guided men trapped into
severe disease, family conflict or severe social situations at war and
disaster. Most religions as well political endeavours emerging at chaotic risk
times had find inspiration in such a magic of change. Even philosophers had become
highly worried with such issues defying personal, social and national values at
times when authoritative totalitarian forms of government clash with extensive
social and national survival needs, transforming them into claims of justice,
independence and empowerment –in Argentina these days times as well in other
nations of Latin America, Europe, Middle East, winds for stability or
instability of the ruling governments bring the need to find security under
such reinforcement of ideologies calming down anxiety (An "International
Forum for the Empowerment and Equality" has been held in Buenos Aires for
the 12-14th March, 2015). Such ideological enterprise seems to re-enact
mythical fight above angels and demons akin to apocalypse fatal endings. “All
creative spirit is inevitably brought into a struggle with its demon, and it's
always a passionate fight, heroic, the most magnificent of all the battles”
(Stefan Zweig. 1951 –See Note 1-). Such battle makes individuals to “detach
hands from their own commandment of will”, turning them into “weak and hunted,
which can’t guide themselves into the tempest inevitably thrown against the
reefs of their destiny” (S. Zweig i.). The unexpected end of Birdman looks to
find redemtion from heaven as a Superheroe would expect to obtain from his
magic skills, defeated from what he would otherwise deserve from his capacity
of developing new insights from the trial of reality and failure. Under this
scope the dialogue amongst the fantastic inner world easily achieved with the
help of technology and the new possibilities obtained in contact with the group,
doesn’t reach recognition by the isolated individual nor departed with his task
companions. Michael Keaton re-finds here full contact with the celestial, that he
had admirably played touching the sky with his own fingers in “My Life” (1993, with Nicole
Kidman and directed
by Bruce Joel Rubin). On the other end of the Oscars, “Ida” (Polland, 2014
Academy Award for Best Foreign Language Film) -which describes a nun finding
herself isolated from every social, family group or ethnic belonging, seems to
find relieve by searching religion shelter at times when a loving couple
appears. As Maria in “The sound of Music” she wanders on the lonely path
equipped with a hand bag, as would have also done other walking women
running from the fears of loneliness, as
Lily (Leslie Caron, 1953) or the fat German lady (“Bagdad Café”, 1987) did.
In the realms of philosophy
and art, transformation remains a main trascendent possibility to reach,
specially at those times of changing patterns of live introduced by technology
and advances on diverse fields of knowledge; Birdman itself giving testimony of such an
aim by keeping alive the magic of an actor and cinema director beliefs even at
times of defeat of the personal strives to become an independent human being.
Realizing his sense of failure at the art profession, insecurity stemming from
it questions his ability to face live and human relations, opening an urge for
reparation. Transforming into somebody able to scape from social pressures and
find a surviving Self would then run in parallel to nature, keeping alive the
desire of freedom and liberation. As a winged god in the Asyrian palace walls
defying the origin of civilization at the same place where most cruel hatred
and terror seems to threaten the former by extermination, the artist challenges
the big city, pleading for survival instead of becoming erased from business. By
no means Environment -as superior expression of the Divine- would bolster the
destruction of Art or indorse any ideological replacement by political or
religious imposed meanings or interpretations attempting to submit human lifes
to rigid conventions. “This is yet
another attack against the Iraqi people, reminding us that nothing is safe from
the cultural cleansing underway in the country,” said the official, Irina
Bokova, who is director general of Unesco, the United Nations organization for
education, science and culture. Moreover it remind us that under such attack to
the core of human nature, environment and art continue to resist (Note 2: Un
poème en français, Julio Enrique Correa, Février 2015).
Dr.
Julio Enrique Correa
M.P.
40.353
Médico
Psicoterapeuta. Terapia Familiar
Dirección : Pacheco de Melo 2949
2º"D"
(1425) Buenos Aires Argentina
TE.: (54 11) 4-8025950
e-mail: jecorrea@retina.ar
____________________________________________________________________________
Stefan Zweig, “Le combat avec le démon. Kleist – Hölderlin - Nietzsche”,
Pierre Belfond, Barcelone: 1983; “Der Kampf mit dem dämon”, S. Fischer Verlag,
Francfort-sur-le-Main (1951).
Everything that pushes us curiously nostalgic beyond our self, beyond
our personal interests we owe it to the devil within us. But this is not a
caring and supportive power that as to the extent we tame it, or that helps us
deploy our energies and elevate us: it starts to be dangerous when healthy
tension becomes overtension, when the soul turns in prey of its seditious
tendency, its volcanism. Because the devil can not reach his homeland,
infinity, its element, destroys without pity the finite, the terrestrial, the
body he inhabits: it starts by expanding personality, but it tends to destroy
it. It satiates the beings who don’t know to master it at times of terrible
anxiety, it detach hands from their own commandment of will, it turns
individuals weak and hunted, which can’t guide themselves into the tempest
inevitably thrown against the reefs of their destiny. All creative spirit is
inevitably brought into a struggle with its demon, and it's always a passionate
fight, heroic, the most magnificent of all the battles.
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Note 2:
Un poème en français, Julio Enrique
Correa, Février 2015.
Je suis la sagesse
que renaître
après etrè endormi
pendant des siecles
je suis le serpent
qui habite dans moi même
au fond de mon corps
melangè avec l'âme animal
Je suis la nature que battre
À l'espère de sentir
Ce que je Suis
Quand je vis
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A poem in
French, Julio Enrique Correa, February 2015.
I am wisdom
as reborn
After
sleeping
for
centuries
I am the
snake
who lives in
myself
deep in my
body
mixed with
animal soul
I am
nature’s beat
In the hope
of feeling
What I Am
When I live
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The Sound of musiC Richard Rodgers & Oscar Hammerstein II )
Climb every mountain,
Search high and low,
Follow every byway,
Every path you know.
Climb every mountain,
Ford every stream,
Follow every rainbow,
'Till you find your dream.
A dream that will need
All the love you can give,
Every day of your life
For as long as you live.
Climb every mountain,
Ford every stream,
Follow every rainbow,
Till you find your dream
A dream that will need
All the love you can give,
Every day of your life,
For as long as you live.
Climb every mountain,
Ford every stream,
Follow every rainbow,
Till you find your dream.
Search high and low,
Follow every byway,
Every path you know.
Climb every mountain,
Ford every stream,
Follow every rainbow,
'Till you find your dream.
A dream that will need
All the love you can give,
Every day of your life
For as long as you live.
Climb every mountain,
Ford every stream,
Follow every rainbow,
Till you find your dream
A dream that will need
All the love you can give,
Every day of your life,
For as long as you live.
Climb every mountain,
Ford every stream,
Follow every rainbow,
Till you find your dream.
____________________________________________________
MIDDLE EAST
ISIS Bulldozing of Ancient Nimrud Site in Iraq Stirs Outrage
Photo
A relief of a mythological creature in the
Palace of Ashurnasirpal II in Nimrud, Iraq. Militants used bulldozers and other
vehicles to vandalize the site. CreditDeAgostini/Getty
ImagesNews that Islamic State fighters had bulldozed
and vandalized the ancient city of Nimrud in northernIraq provoked outrage on Friday, as archaeologists
despaired that the militant group was systematically destroying priceless
antiquities in a wellspring of civilization.
Islamic religious scholars joined common cause
with governments, museums and other international preservationists to denounce
what they described as an odious affront.
Al-Azhar, Sunni Islam’s leading religious
institution, based in Cairo, called the destruction “a major crime against the
entire world.”
The top cultural official at the United Nations called the destruction a
war crime that should be taken up by the International Criminal Court, and she
vowed to do “whatever is needed” to stop the plundering by the Islamic State,
also known as ISIS and ISIL
“This is
yet another attack against the Iraqi people, reminding us that nothing is safe
from the cultural cleansing underway in the country,” said the official, Irina
Bokova, who is director general of Unesco, the United
Nations organization for education, science and culture
.--------------------------------------------------------------------------------------------------------------------Continue reading the main story
Nimrud, Iraq
TURKEY
IRAN
SYRIA
Mosul
Nimrud
NINEVEH
IRAQ
Tigris
Euphrates
Baghdad
By The New York Times
“It targets human lives, minorities, and is marked by the systematic destruction of humanity’s ancient heritage,” Ms. Bokova said in astatement on the Unesco website.
Iraq’s Ministry of Tourism and Antiquities confirmed on Thursday that Islamic State militants had used bulldozers and other heavy vehicles to vandalize an important archaeological site at Nimrud, about 18 miles southeast of Mosul, the northern Iraqi city seized by the group in June.
Nimrud was founded more than 3,300 years ago as a central city of the Assyrian empire, and today is considered one of the most important archaeological sites in the world. Its remaining statues, frescos and other works are widely revered.
“Every person on the planet should pause after yesterday’s violent attack on humanity’s heritage and understandISIS’ intent not only to control the future of humankind but also to erase and rewrite our past,” said Deborah M. Lehr, chairwoman and co-founder of the Antiquities Coalition, a Washington-based archaeological advocacy group.
“We must unite with global intention to preserve our common heritage and resist ISIS’ effort to steal not only our future freedom but also our history, the very roots of our civilization,” she said in astatement on its website.
The Nimrud destruction came a week after Islamic State militants videotaped themselves marauding through Mosul’s museum, using sledgehammers and torches to destroy statues, artifacts and books. “They’re taking us back to the dark ages, those people,” said Mohamed Alhakim, Iraq’s ambassador to the United Nations. “They are thugs.”
Ms. Bokova, who was visiting the United Nations headquarters in New York on Friday to attend a Security Council meeting over the plundering of artifacts in northern Iraq, said in an interview that “protecting cultural heritage is not a luxury, it’s an imperative.”
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Asserting that she had not been taken seriously over worries about cultural looting and destruction at the start of the Syrian conflict four years ago, Ms. Bokova expressed hope that governments around the world, spurred by a Security Council resolution passed nearly four months ago, would now strengthen customs officers and courts to crack down on pilfered antiquities.
Ms. Bokova said Unesco had been working with auction houses, Interpol, and officials from several countries to track the trade in stolen objects.
Islamic State leaders have sought to justify the cultural destruction by asserting that statues and other artifacts violate Islamic prohibitions on idol worship. But religious authorities have called all such destruction barbaric and anti-Islamic.
Archaeologists and antiquities experts have also accused the Islamic State of profiting from many plundered antiquities. Some have said the looters take small objects that they can sell, and destroy those that are too heavy to be easily smuggled.
Abdulamir al-Hamdani, an Iraqi archaeologist who specializes in Mesopotamia at the Department of Anthropology at the State University of New York at Stony Brook, said in a telephone interview that Mosul residents had seen Islamic State fighters removing artifacts in order to sell them. He expressed alarm that the next target could be the ruins of Hatra, about 68 miles southwest of Mosul, which is also within the area controlled by the Islamic State.
Hatra, thought to have been founded in the third or second century B.C., became an important religious center that was ruled by a succession of Arabian princes, and is one of several Unesco World Heritage sites in the region.
“I’m really worried about Hatra now,” Mr. Hamdani said. “ISIS has a plan to destroy them one by one.”
Susan Ackerman, a religion professor at Dartmouth College, where the Hood Museum of Art is home to a number of Assyrian artifacts, said she feared that Khorsabad, another ancient Assyrian city north of Mosul, also was imperiled.
Asked why Islamic State fighters would loot some artifacts and destroy others, she said, “I don’t have much of an answer except to tell you they’re hypocrites.”
“They’re willing to be self-righteous and ideological about the things that are too big to move, and ruthlessly opportunistic about the small things they can smuggle on the black market,” Ms. Ackerman said.
Ms. Bokova said her agency did not have specific information about who was trading in looted artifacts, except that previous incidents, namely in Mali, suggested that they were part of the networks that raise money for extremists by trading in oil, drugs and guns.
“They’re the same criminal groups,” she said. “They’re not, how to put it, admirers of art.”
Chomsky, Ramonet y Vattimo disertarán en Buenos Aires
El Ministerio de Cultura de la Nación realizará entre el 12 y 14 de marzo del 2015 en el Teatro Nacional Cervantes el "Foro Internacional por la Emancipación y la Igualdad". Noam Chomsky, Ignacio Ramonet, Gianni Vattimo son algunos de los intelectuales que participarán del encuentro.
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