I myself have never been able to find out precisely what feminism is: I only know that people call me a feminist whenever I express sentiments that differentiate me from a doormat, or a prostitute.
Rebecca West
s u g a r s a l t s a l t s u g a r s a l t s u g a r s u g a r s a l t s u g a r s a l t s u g a r
Wednesday, December 26, 2012
Friday, December 14, 2012
Parents were told earlier, according to CNN, that the rule for this evening was simply that if they had not been reunited with their children, they would not be.
Silence is the only voice of our God.
In fact, we should speak of five notes, since the symphony begins on an
eighth rest, with the first note occurring strangely enough on the
downbeat, instituting a hair-thin, quick moment of silence to begin the
piece.
Beethoven's Fifth
Beethoven's Fifth
Saturday, December 8, 2012
I AM MADE OF BLUE SKY AND HARD ROCK AND I WILL LIVE THIS WAY FOREVER
I AM MADE OF BLUE SKY AND HARD ROCK
AND I WILL LIVE THIS WAY FOREVER
Tuesday, November 13, 2012
Everyone forgets that Icarus also flew.
...just coming to the end of his triumph.
Jack Gilbert
1925-2012
Monday, October 29, 2012
I told you that you looked alive.
X's voice: You were alone, apart. You were leaning at a slight angle against a stone balustrade on which your hand was resting, your arm half extended...
The voice stops. A is not in the position indicated by the text being spoken: she is standing, as a matter of fact, quite close to the balustrade, perfectly vertical in relation to it (that is, staring straight ahead over the rail, perpendicular to the latter), and seen from behind in a three-quarters view in relation to the camera. She then corrects her position: she moves a little away from the balustrade, turns slightly to one side, extends one arm to rest her hand on the stone (whereas she had had both arms alongside her body) and stares toward the central path; she is then seen exactly from behind in relation to the camera.
The voice stops. A is not in the position indicated by the text being spoken: she is standing, as a matter of fact, quite close to the balustrade, perfectly vertical in relation to it (that is, staring straight ahead over the rail, perpendicular to the latter), and seen from behind in a three-quarters view in relation to the camera. She then corrects her position: she moves a little away from the balustrade, turns slightly to one side, extends one arm to rest her hand on the stone (whereas she had had both arms alongside her body) and stares toward the central path; she is then seen exactly from behind in relation to the camera.
text by Alain Robbe-Grillet for the film by Alain Resnais
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