solyaris

brief forays into (dreams) reality.

[3ug]

"I know this is a strange thing to say as someone who makes music but I find that there are many sounds that humans create to not be very good.  I don’t find as many bad sounds made in nature. The worst kinds of sounds are things like those chime-like announcement sounds that play over and over on the bullet trains or those chimes that play loudly through dreadfully bad speakers in the shopping alleys or in the streets at a given time every single day. You know those sounds right? Those are terrible. It makes me sad to think that people all over Japan are listening to this every day.

I went to Masai Mara National Reserve in Kenya a long time ago, I had the impression that it would be loud there but when I got there, it was incredibly serene. I could hear the sound of hippos in the waters from afar. The loudest natural sound that I heard was the sound of an insect that looked like a beetle flying right at me. I was surprised by how loud that was.　　

In this very quiet environment, there would suddenly be this crunching noise. I would look and it was a Cessna or a large SUV. These were sounds made by humans. I was appalled. That said, I was of course also riding a Cessna and other cars myself so I shouldn’t be the one to complain. I think that with the kinds of design and technologies and the intellect that humans have, we could make things that would not destroy the natural silences around us. However, I don’t think that engineers and designers are thinking enough about how their machines compare against natural sounds.

That was a sad realization for me." – Ryuichi Sakamoto for "Kanjam Kanzenen SHOW" broadcast on February 12, 2023, including unpublished parts.

[3ug]

"The present and the past coexist, but the past shouldn’t be in flashback"

– Alain Resnais

[3ug]

Que importa o sentido se tudo vibra?

Alice Ruiz

[3ug]

Imagine a feast. Doesn't a feast, by it's very nature, refuse to follow a set pattern? If anything, a feast only erupts when it strays from any predetermined pattern, much in the same way that music starts coming to life once you stop trying to matching your movements to it. Maybe you're scared that you might lose your balance and fall off your feet by plunging right into the spirit of a feast, straying from the rhythm of the music, and unbridled by any set notions of what dance should be. The true significance of that word "feast" first dawned on me when I came across Rimbaud's poetry collection "A season in Hell" at a bookstore in Kanda during those chaotic postwar years. There was that one poem, "Feast," which clung to my soul. To this very day I still can't get it out of my head. Only by forsaking the straight and narrow, and casting off all the conventions in place, will my dance ever come to bloom. Lately I keep repeating to myself, "You ought to perform with more care from now on; let your dance step out of your heart.

Kazuo Ohno's World: From Without & Within (Pag. 211)

[3ug]

If a dying warrior has limited power, his dance is short; if his power is grandiose, his dance is magnificent. But regardless of whether his power is small or magnificent, death must stop to witness his last stand on earth. Death cannot overtake the warrior who is recounting the toil of his life for the last time until he has finished his dance.

Don Juan in Journey to Ixtlan by Carlos Castaneda

[3ug]

In the absence of confidence, courage takes over. Confidence operates in the realm of the known, courage in that of the unknown, the uncertain, and the fearsome.

Neel Burton

[3ug]

I’ve always felt that night doesn’t fall. Night rises. There are these incidences in flying where you just sit there. It’s one of the best seats in the house

James Turrell for Interview Magazine (https://www.interviewmagazine.com/art/james-turell)

[3ug]

Words and magic were in the beginning one and the same thing, and even today words retain much of their magical power.

Sigmund Freud, Introductory Lectures on Psychoanalysis

[3ug]

I look to landscape when I need clarity or relief, water most especially. Reminds me of everything I need to know.

Liz Harris for The Creative Independent 

[3ug]

To each dimension, as, with the flight of time, it disappears from view, we should say: now you are becoming the Past. But possibly later at a critical - perhaps fortunate - moment we may meet again on a new dimension, and once again you may become the Present.

Paul Klee, Essays on the Nature of Art, pag 39 (Eliot Deutsch)

[3ug]

As if I were not a man who sleeps at night, and regularly has all the same experiences while asleep as madmen do when awake indeed sometimes even more improbable ones. How often, asleep at night, am I convinced of just such familiar events that I am here in my dressing-gown, sitting by the fire when in fact I am lying undressed in bed! Yet at the moment my eyes are certainly wide awake when I look at this piece of paper; I shake my head and it is not asleep; as I stretch out and feel my hand I do so deliberately, and I know what I am doing. All this would not happen with such distinctness to someone asleep. Indeed! As if I did not remember other occasions when I have been tricked by exactly similar thoughts while asleep! As I think about this more carefully, I see plainly that there are never any sure signs by means of which being awake can be distinguished from being asleep. The result is that I begin to feel dazed, and this very feeling only reinforces the notion that I may be asleep.1

CSM II 13 (The Philosophical Writings of Descartes, translated by Cottingham, Stoothoff and Murdoch, Cambridge University Press, 1984, vol. II, p. 13.)

[3ug]

What I want is to open up. I want to know what’s inside me. I want everybody to open up. I’m like an imbecile with a can opener in his hand, wondering where to begin—to open up the earth. I know that underneath the mess everything is marvelous. I’m sure of it.

Sexus, Henry Miller

[3ug]

A day is sufficient to its own illusions. You can never recover the illusions of that day. Its sensual qualities–its received images and events, its particularities, the phenomenal evidence that convinces you it was a day at all–are as elusive as the emotional lenses you passed across them. It’s not just that you won’t see it that way twice. It’s that what you saw can never be duplicated either. Memory commits you to the nuance; the fog. If you act on memory you commit yourself on the basis of echoes: unpredictable, faint, fading even as they were generated. No basis on which to inch out across your life, and yet all you have.

M. John Harrison, Bay 1987

[3ug]

Whatever I have accepted until now as most true has come to me through my senses. But occasionally I have found that they have deceived me, and it is unwise to trust completely those who have deceived us even once.

Meditations on First Philosophy, René Descartes

[3ug]

He who dreams of drinking wine may weep when morning comes; he who dreams of weeping may in the morning go off to hunt. While he is dreaming he does not know it is a dream, and in his dream he may even try to interpret a dream. Only after he wakes does he know it was a dream. And someday there will be a great awakening when we know that this is all a great dream. Yet the stupid believe they are awake, busily and brightly assuming they understand things, calling this man ruler, that one herdsman ‑ how dense! Confucius and you are both dreaming! And when I say you are dreaming, I am dreaming, too. Words like these will be labeled the Supreme Swindle. Yet, after ten thousand generations, a great sage may appear who will know their meaning, and it will still be as though he appeared with astonishing speed.

Zhuàngzi, "Discussion on making all things equal” (The Dream Argument) 

[3ug]

So the film ends by X’s leaving the hotel with the lady. As they leave, the screen goes to black, and the voice of X says: The park of this hotel was a kind of garden without any trees or flowers, without any foliage... Gravel, stone, marble and straight lines marked out rigid spaces, areas without mystery. At first glance, it seemed impossible to lose your way … At first glance … Down straight paths, between statues with frozen gestures and granite slabs, where even now, you were losing your way forever, in the stillness of the night, alone with me. The film breaks decisively with that closed id-world of inconsistent possibilities. A and X have left the world of the unconscious (as described by Freud), where there is no negative, no sense of time, for a world where one can lose one’s way. They have become free.

Norman Holland on Last Year at Marienbad (1961) by Alain Resnais

[3ug]

The laws of logic—above all, the law of contradiction—do not hold for processes in the id (instincts). Contradictory impulses exist side by side without neutralizing each other or drawing apart; at most they combine in compromise formations . . . There is nothing in the id which can be compared to negation, and we are astonished to find in it an exception to the philosophers’ assertion that space and time are necessary forms of our mental acts. In the id there is nothing corresponding to the idea of time, no recognition of the passage of time. . . . Naturally, the id knows no values, no good and evil, no morality.

New Introductory Lectures (1932), Freud