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Oh and a recommendation, check out the movie Boyhood by Richard Linklater. Best thing I saw in a very long time!
Il mio volto lo conoscete, non voglio nasconderlo. Nulla è cambiato…ma per un piccolo periodo non ho comunicato…e soprattutto ho avuto paura di non poter più parlare.
I miei sonni, finalmente, si sono liberati dagli incubi, ho la mia voce e anche colorata dai miei pensieri e dalle mie passioni: l’arte e la fotografia.
“La voce è la nostra parte più segreta perché viene da dentro e tutto quello che attraversa porta con sé. La voce è l’identità più marcata della persona.”
Nella mia vita, ho dato finalmente una svolta…ma per poter tirare un respiro di sollievo devo aspettare ancora qualche giorno e …..
Consiglio di ascoltare
PODCAST DEL 27/05/2019 - LA VOCE NATURALE, OSPITI ALESSANDRO FABRIZI E KRISTIN LINKLATER
La Noria de Viena, también conocida como Wiener Riesenrad ("Noria de Viena" en alemán), o simplemente Riesenrad, es una noria ubicada a la entrada del Parque de Atracciones del Prater, ubicado en el parque homónimo, en el segundo distrito de Viena, Leopoldstadt.
Fue una de las primeras norias, construida en 1897 para celebrar el quincuagésimo aniversario del reinado de Francisco José de Austria. El diseño corrió a cargo del inglés Walter Bassett, lo que explica que su altura sea de 61 metros, 200 pies exactos.
La Riesenrad es, hoy en día, uno de los principales atractivos turísticos de Viena. Era considerada la noria más alta existente en el mundo, de los años 20 hasta 1985, año en que la noria Technocosmos (ahora demolida) fuera construida en Tsukuba, Japón.
Originalmente, la noria contaba con 30 góndolas, pero debido a los daños ocasionados durante la Segunda Guerra Mundial, durante la reconstrucción, solo se recolocaron 15 de estas cabinas.
La noria está formada por cables de acero, los cuales trabajan a tracción. El movimiento se ejerce desde la base, moviendo la estructura perimetral de acero.
Ha sido escenario de películas tales como El tercer hombre, The Living Daylights o Antes del amanecer.
es.wikipedia.org/wiki/Noria_de_Viena
The Wiener Riesenrad (German for Vienna Giant Wheel), or Riesenrad, is a 64.75-metre (212 ft) tall Ferris wheel at the entrance of the Prater amusement park in Leopoldstadt, the 2nd district of Austria's capital Vienna. It is one of Vienna's most popular tourist attractions, and symbolises the district as well as the city for many people. Constructed in 1897, it was the world's tallest extant Ferris wheel from 1920 until 1985.
The Wiener Riesenrad was designed by the British engineers Harry Hitchins and Hubert Cecil Booth and constructed in 1897 by the English engineer Lieutenant Walter Bassett Bassett (1864-1907), Royal Navy, son of Charles Bassett (1834-1908), MP, of Watermouth Castle, Devon. Its purpose was to celebrate the Golden Jubilee of Emperor Franz Josef I, and it was one of the earliest Ferris wheels ever built. Bassett's Ferris wheel manufacturing business was not a commercial success, and he died in 1907 almost bankrupt.
A permit for its demolition was issued in 1916, but because of a lack of funds with which to carry out the destruction, it survived.
It was built with 30 gondolas, but was severely damaged in World War II and when it was rebuilt only 15 gondolas were replaced.
The wheel is driven by a circumferential cable which leaves the wheel and passes through the drive mechanism under the base, and its spokes are steel cables, in tension.
When the 64.75-metre (212 ft) tall Wiener Riesenrad was constructed in 1897, both the original 80.4-metre (264 ft) Ferris Wheel in the US (constructed 1893, demolished 1906) and the 94-metre (308 ft) Great Wheel in England (constructed 1895, demolished 1907) were taller. The 100-metre (328 ft) Grande Roue de Paris, constructed in 1900, was taller still. However, when the Grande Roue de Paris was demolished in 1920, the Riesenrad became the world's tallest extant Ferris wheel, and it remained so for the next 65 years, until the construction of the 85-metre (279 ft) Technostar in Japan in 1985.
In popular culture
The Riesenrad appeared in the post-World War II film noir The Third Man (1949)
The wheel is featured in the 1973 spy thriller Scorpio (1973)
The 1987 James Bond film, The Living Daylights features scenes throughout the Prater, around the wheel, and a lengthy romantic scene on the wheel.
The wheel appears in the novel The Star of Kazan by Eva Ibbotson
The wheel appears in Max Ophüls' Letter from an Unknown Woman (1948).
Scenes in Richard Linklater's Before Sunrise (1995) were filmed around the Prater and on the wheel.
The wheel appears in The Glass Room by Simon Mawer.
The Riesenrad appears in the film Woman in Gold (2015), about the repatriation of a Klimt portrait stolen by the Nazis from a Jewish Viennese family.
The wheel appears in Kommissar Rex the Austrian television series
Winter City in Burnout 3: Takedown is based on Vienna and includes the Riesenrad.
La Noria de Viena, también conocida como Wiener Riesenrad ("Noria de Viena" en alemán), o simplemente Riesenrad, es una noria ubicada a la entrada del Parque de Atracciones del Prater, ubicado en el parque homónimo, en el segundo distrito de Viena, Leopoldstadt.
Fue una de las primeras norias, construida en 1897 para celebrar el quincuagésimo aniversario del reinado de Francisco José de Austria. El diseño corrió a cargo del inglés Walter Bassett, lo que explica que su altura sea de 61 metros, 200 pies exactos.
La Riesenrad es, hoy en día, uno de los principales atractivos turísticos de Viena. Era considerada la noria más alta existente en el mundo, de los años 20 hasta 1985, año en que la noria Technocosmos (ahora demolida) fuera construida en Tsukuba, Japón.
Originalmente, la noria contaba con 30 góndolas, pero debido a los daños ocasionados durante la Segunda Guerra Mundial, durante la reconstrucción, solo se recolocaron 15 de estas cabinas.
La noria está formada por cables de acero, los cuales trabajan a tracción. El movimiento se ejerce desde la base, moviendo la estructura perimetral de acero.
Ha sido escenario de películas tales como El tercer hombre, The Living Daylights o Antes del amanecer.
es.wikipedia.org/wiki/Noria_de_Viena
The Wiener Riesenrad (German for Vienna Giant Wheel), or Riesenrad, is a 64.75-metre (212 ft) tall Ferris wheel at the entrance of the Prater amusement park in Leopoldstadt, the 2nd district of Austria's capital Vienna. It is one of Vienna's most popular tourist attractions, and symbolises the district as well as the city for many people. Constructed in 1897, it was the world's tallest extant Ferris wheel from 1920 until 1985.
The Wiener Riesenrad was designed by the British engineers Harry Hitchins and Hubert Cecil Booth and constructed in 1897 by the English engineer Lieutenant Walter Bassett Bassett (1864-1907), Royal Navy, son of Charles Bassett (1834-1908), MP, of Watermouth Castle, Devon. Its purpose was to celebrate the Golden Jubilee of Emperor Franz Josef I, and it was one of the earliest Ferris wheels ever built. Bassett's Ferris wheel manufacturing business was not a commercial success, and he died in 1907 almost bankrupt.
A permit for its demolition was issued in 1916, but because of a lack of funds with which to carry out the destruction, it survived.
It was built with 30 gondolas, but was severely damaged in World War II and when it was rebuilt only 15 gondolas were replaced.
The wheel is driven by a circumferential cable which leaves the wheel and passes through the drive mechanism under the base, and its spokes are steel cables, in tension.
When the 64.75-metre (212 ft) tall Wiener Riesenrad was constructed in 1897, both the original 80.4-metre (264 ft) Ferris Wheel in the US (constructed 1893, demolished 1906) and the 94-metre (308 ft) Great Wheel in England (constructed 1895, demolished 1907) were taller. The 100-metre (328 ft) Grande Roue de Paris, constructed in 1900, was taller still. However, when the Grande Roue de Paris was demolished in 1920, the Riesenrad became the world's tallest extant Ferris wheel, and it remained so for the next 65 years, until the construction of the 85-metre (279 ft) Technostar in Japan in 1985.
In popular culture
The Riesenrad appeared in the post-World War II film noir The Third Man (1949)
The wheel is featured in the 1973 spy thriller Scorpio (1973)
The 1987 James Bond film, The Living Daylights features scenes throughout the Prater, around the wheel, and a lengthy romantic scene on the wheel.
The wheel appears in the novel The Star of Kazan by Eva Ibbotson
The wheel appears in Max Ophüls' Letter from an Unknown Woman (1948).
Scenes in Richard Linklater's Before Sunrise (1995) were filmed around the Prater and on the wheel.
The wheel appears in The Glass Room by Simon Mawer.
The Riesenrad appears in the film Woman in Gold (2015), about the repatriation of a Klimt portrait stolen by the Nazis from a Jewish Viennese family.
The wheel appears in Kommissar Rex the Austrian television series
Winter City in Burnout 3: Takedown is based on Vienna and includes the Riesenrad.
Akuma Aizawa:
"When I say 'love', the sound comes out of my mouth and it hits the other person's ear, travels through this byzantine conduit in their brain, you know, through their memories of love, or lack of love, and they register what I'm saying and they say 'Yes, they understand'..but how do I know they understand because words are inert. They're just symbols. They're dead, you know... and so much of our experience is INTANGIBLE. So much of what we perceive cannot be expressed, it's unspeakable. And yet, when we communicate with one another, and we feel that we have connected and we think that we're understood, I think we have a feeling of almost spiritual communion, and that feeling might be transient, but I think it's what we live for".
- Richard Linklater, Waking Life
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#artinstallation #DonRiverValleyPark #duanelinklater #castconcrete #art #publicart #sunset #fall #autumn #discoverthedonvalley #gargoyle #bloorstreet #bloorstreetviaduct #bloorviaduct #bridge #subway #torontotransitcommission #torontospeaks #monstersforbeautypermanentandindividuality
The series is called wintercount . . . And so in my culture my Omaskeko Cree culture, we ask each other this question of how old are you ? And when we ask each other that question in Cree, if we were to translate, that would literally be saying, how many winters are you? If we are looking at a lifetime of a person, that person as half winter, the sort of way I look at it, right? And so this [is a] really beautiful way to think about the presence of winter.
— Duane Linklater
One of several cast concrete sculptures by North Bay, Ont., artist Duane Linklater, along the Don River Trail
Artist - Duane Linklater / 2017 .... Striking installation of cast concrete gargoyles on the Lower Don Trail. The sculptures are cast replicas of gargoyles adorning prominent buildings in downtown Toronto ....
Personaggio: Io mi considero un lubrificatore sociale del mondo dei sogni. Aiuto le persone a diventare lucide, senza problemi. In pratica elimino le paure, le angosce, e lascio solo il bello, lo spasso.
Protagonista: Con diventare lucidi, intendi sapere che si sta sognando, giusto?
Personaggio: Sì, così puoi controllare i sogni. E i sogni controllati sono più realistici dei sogni non lucidi.
Protagonista: Io mi sono appena svegliato da un sogno, ma non era di quelli tipici, era come se fossi entrato in un universo alternativo..
Personaggio: Sì, è un sogno reale. Tecnicamente sognare, è un fenomeno del sogno, ma ci si può anche divertire un casino nei propri sogni! Perché tutti sanno che divertirsi è il massimo [...]Che succedeva nel tuoi sogno?
Protagonista: Ah, c'erano un sacco di persone che parlavano, qualcuno diceva cose assurde. Sembrava quasi uno strano film. Più che altro, pontificavano su qualsiasi argomento, con molta intensità [...]
Personaggio: Questi sogni li puoi controllare.[...] Il trucco è renderti conto che stai sognando, fin dall'inizio. Devi essere capace di riconoscerlo. Devi essere capace di chiederti: oh cavolo ma è un sogno? Sai, quasi nessuno si fa queste domande, né da sveglio, né tantomeno quando dorme. È come se tutti fossero sonnambuli quando sono svegli, e vegliambuli quando dormono. In entrambi i casi, non ne traggono vantaggio.
Protagonista: Quello che mi ha fatto rendere conto che stavo sognando, è stato il mio orologio digitale. Non riuscivo a leggerlo, come se i circuiti si fossero completamente guastati.
Personaggio: Sì, capita abbastanza spesso. Anche le piccole scritte sono difficili da leggere, sono molto instabili. Un altro indizio è quando cerchi di regolare l'intensità della luce, non ci riesci mai! Se ti capita di vedere un interruttore, spingili e prova a vedere se funziona.
È una delle cose che non si possono fare nel sogno lucido... Ma sai che mi frega, io posso volare, posso conversare per quanto mi pare con Albert Schweitzer, posso esplorare queste nuove dimensioni della realtà...Per non parlare della possibilità di fare ogni genere di sesso che voglio! È a dir poco stupendo! Non posso regolare la luce, e allora?
Protagonista: Ma è una delle cose che servono a controllare se stai sognando, giusto?
Personaggio: Si! Come ho detto, anche tu puoi allenarti a conoscere i segni, basta che ogni tanto provi ad accendere una luce. Se la luce è accesa, e tu non riesci a spegnerla, probabilmente stai sognando. Allora puoi darti da fare, e credimi, il campo è sconfinato... Sai a cosa mi sto dedicando? Visioni a 360 gradi! Bello eh?...[...]
_Tratto da "Waking Life".2001_di Richard Linklater_
The series is called wintercount . . . And so in my culture my Omaskeko Cree culture, we ask each other this question of how old are you ? And when we ask each other that question in Cree, if we were to translate, that would literally be saying, how many winters are you? If we are looking at a lifetime of a person, that person as half winter, the sort of way I look at it, right? And so this [is a] really beautiful way to think about the presence of winter.
— Duane Linklater
Featuring more than 150 works from the early 19th century to the present, this exhibition brings together Indigenous, Canadian settler and European perspectives on the subject.
Winter Count delves into concepts of tradition, identity and heritage as it explores how individual artists engage with winter motifs through objects, paintings, sculpture and works on paper. Historic Indigenous belongings are juxtaposed with works by contemporary artists like Inuit printmaker Pitseolak Ashoona and Cree artists Duane Linklater and Kent Monkman, highlighting ancestral knowledge, storytelling and contemporary critique. The exhibition then draws comparisons between Canadian painters such as Maurice Cullen and Clarence Gagnon and French Impressionists Claude Monet and Camille Pissarro, focusing on their distinct approaches to capturing the effects of light on snow. Finally, it reveals a shared visual language among Canadian artists like J.E.H. MacDonald and Lawren S. Harris and their Canadian and Scandinavian counterparts through the lens of winter.
Named for the pictorial records used by Indigenous nations from the Plains like the Lakota, Winter Count reflects on themes of survival, adaptation and kinship, portraying winter as a transformative force that shapes human experience.
This work features an orange tarp draped in a cloud or mound-like formation adorned with abalone shells, a precious material that has long been traded by Indigenous people and used in ceremony and regalia. The work is an indirect response shaped by the artist's encounter with descriptions of shell mounds in California and the histories linked to the Russian fur trade that enslaved her Peoples. The tarp recalls those used as temporary shelter and protection from weather.
This work features an orange tarp draped in a cloud or mound-like formation adorned with abalone shells, a precious material that has long been traded by Indigenous people and used in ceremony and regalia. The work is an indirect response shaped by the artist's encounter with descriptions of shell mounds in California and the histories linked to the Russian fur trade that enslaved her Peoples. The tarp recalls those used as temporary shelter and protection from weather.
44 Moorfields is an office block located about a minutes walk from Moorgate Station. London is filled with unusual perspectives that arise from various building shapes and sizes... And this seems to be one that is little noted. Behind it here is the skyscraper Linklaters.
para cerrar con broche de oro unas vacaciones de ocio: un meme fruto del egocentrismo y el desocupe. Si tuviera que escoger 24 pelìculas para una isla desierta càles serìan??
Roma - Fellini
Mary Poppins
Waking life - Linklater
Morte a Venezia - Visconti
Tenenbaums - Wes Anderson
Eternal Sunshine of the spotless mind - Michel Gondry
Blade runner - Ridley Scott
One flew over the cuckoo's nest - Milos Foreman
Lost in translation - Sofia Coppola
Amarcord - Fellini
Ese obscuro objeto del deseo - Buñuel
Manhattan - Woody Allen
Doctor Zhivago - David Lean
Blue velvet - david lynch
Bande à part - Godard
Dreams - Kuroswa
The graduate - Mike Nichols
The dreamers - Bernardo Bertolucci
Mago de Oz... - Victor Fleming
Pulp Fiction - ese tipo
La jetée
Edward scissor hands - Tim burton
The Shining - Kubrick
Donnie Darko - Richard Kelly
Io credo che se esiste un qualsiasi Dio non sarebbe in nessuno di noi , nè in me nè in te, ma solo in questo piccolo spazio nel mezzo.
Se c'è una qualsiasi magia in questo mondo sta nel tentativo di capire qualcuno condividendo qualcosa.
Lo so , è quasi impossibile riuscirci, ma che importa in fondo.
La risposta deve essere nel tentativo.
(dal film -Prima dell'alba- di Richard Linklater)
Akuma Aizawa:
"When I say 'love', the sound comes out of my mouth and it hits the other person's ear, travels through this byzantine conduit in their brain, you know, through their memories of love, or lack of love, and they register what I'm saying and they say 'Yes, they understand'..but how do I know they understand because words are inert. They're just symbols. They're dead, you know... and so much of our experience is INTANGIBLE. So much of what we perceive cannot be expressed, it's unspeakable. And yet, when we communicate with one another, and we feel that we have connected and we think that we're understood, I think we have a feeling of almost spiritual communion, and that feeling might be transient, but I think it's what we live for".
- Richard Linklater, Waking Life
About seventeen years ago, I asked one of my friends why she never went on vacation. She said she wouldn't because when she returns, she falls back into the same routine, and it feels as if she never left. During most of my travels, I told myself I wanted to enjoy my time and didn't want to lug the heavy camera that weighed more than I did. But as I get older, I realize I was wrong. People say we must enjoy the moment, but I believe we should put the same effort into capturing it while recording something that will be gone as soon as we leave. And this time, I did something different—I didn't let go of my Nikon. The reason is that my excitement nowadays wears off more quickly, and the more effort I put into recording and saving, the more I feel later that that moment did not just pass, it became a part of me and who I am. P.S. Before the Sunset is one of my films! That ending!!!!!! I bought a book about it from Shakespeare & Co.
The series is called wintercount . . . And so in my culture my Omaskeko Cree culture, we ask each other this question of how old are you ? And when we ask each other that question in Cree, if we were to translate, that would literally be saying, how many winters are you? If we are looking at a lifetime of a person, that person as half winter, the sort of way I look at it, right? And so this [is a] really beautiful way to think about the presence of winter. -
— Duane Linklater
Semantopoly is a creation of Jon Linklater-Johnson. Imagine a game of Monopoly where all the pieces are Happy Webbies, all the properties are websites or technologies and the currency is friends rather than money.
This work features an orange tarp draped in a cloud or mound-like formation adorned with abalone shells, a precious material that has long been traded by Indigenous people and used in ceremony and regalia. The work is an indirect response shaped by the artist's encounter with descriptions of shell mounds in California and the histories linked to the Russian fur trade that enslaved her Peoples. The tarp recalls those used as temporary shelter and protection from weather.
Artist - Duane Linklater / 2017 .... Striking installation of cast concrete gargoyles on the Lower Don Trail. The sculptures are cast replicas of gargoyles adorning prominent buildings in downtown Toronto ....
Born a may child
Enjoying the summer tender mild
Maybe there is a reason
For the month that I
Came into this world
Something inside my head shone and furiously whirled
May you hold in your heart faith
May you have years of hope
May you find the strength to carry on and cope
May you grow ever more
May your life present you with
So many unique portal doors
May you learn by your mistakes
May you give instead of just blindly take
May your heart find it's meaning
May you discover natures cleaner
May you heal yourself as time goes by
May you one day, learn to hold up your weighted head
And learn how to fly
May you cry, for the good times and bad
May you wish for the things you never had
And become a greater being
For all the things do didn't receive
May you learn to hold a card up your tangled sleeve
May you find the courage to up and leave
May your life give you what you need
In the presence of all things natural and nothing of greed
May you live and learn and to the heavens your heart will yern
May you find the comfort of strong arms
May you feel the breeze when your heart is running wild
May you hold the world One day in the center of your closed up palms
Maybe there is a reason that I came to be
During the month of may
Enjoy the summer tender mild.
Written By Sarah Linklater
14th May 2015
Have a Happy Memorial Day
weekend everyone =)
I'll Be Back Soon ,)
Hugs & Kisses ~♥~
© Sharon R. May ~ღ~
The series is called wintercount . . . And so in my culture my Omaskeko Cree culture, we ask each other this question of how old are you ? And when we ask each other that question in Cree, if we were to translate, that would literally be saying, how many winters are you? If we are looking at a lifetime of a person, that person as half winter, the sort of way I look at it, right? And so this [is a] really beautiful way to think about the presence of winter.
— Duane Linklater
The series is called wintercount . . . And so in my culture my Omaskeko Cree culture, we ask each other this question of how old are you ? And when we ask each other that question in Cree, if we were to translate, that would literally be saying, how many winters are you? If we are looking at a lifetime of a person, that person as half winter, the sort of way I look at it, right? And so this [is a] really beautiful way to think about the presence of winter.
— Duane Linklater
The series is called wintercount . . . And so in my culture my Omaskeko Cree culture, we ask each other this question of how old are you ? And when we ask each other that question in Cree, if we were to translate, that would literally be saying, how many winters are you? If we are looking at a lifetime of a person, that person as half winter, the sort of way I look at it, right? And so this [is a] really beautiful way to think about the presence of winter.
— Duane Linklater
en.wikipedia.org/wiki/Eiffel_Tower
An old view of this favorite icon.
I interviewed my former thesis adviser for the Debussy film today, tried to find a good place to fix my car, and attended the reopening of the Austin Studios with Robert Rodriguez and Richard Linklater.
I wish I had brought my camera.
Time to dig into the Debussy editing now.
Explore #437 on Sunday, February 1, 2009
The series is called wintercount . . . And so in my culture my Omaskeko Cree culture, we ask each other this question of how old are you ? And when we ask each other that question in Cree, if we were to translate, that would literally be saying, how many winters are you? If we are looking at a lifetime of a person, that person as half winter, the sort of way I look at it, right? And so this [is a] really beautiful way to think about the presence of winter.
— Duane Linklater