How can one be instinctively so wrong when everything said has been documented truthfully?
Answer is I: it can not.
Look up every single claim and see that.
That it is inelegantly set confirms to the aesthetic principle of some contrasting beastly bad be added to further embellish by so framing it with its background.
Hurting is not a motive, but redemption is merely an affirmation of innossence.
Couldn’t sleep well, for I dunno why, maybe assuming more plasticity, more or less sensibility toward relationships in general but what’s been said can usually be retracted.
I will be completely honest when I say it’s very hard to live between what’s between a wrong and a right, when they too can reverse roles as do matters of contending the abstraction of past’s folly, the youthful designation before the reversal of endless time with that of timeless expansive but limited space.
When claimed to having gone through it as in an echo chamber, could have been right and wrong simulteniously?
Yes or no.
Sure yes because of delayed gratifying realization that the crossing of the initial boundary, which resembles pain, recurs, in waves of expansion , and the first appears as a tiny reactive circle as the stone hits the water, the pain is harsh, but as the second wave appears in a wider circle, the pain is more consists less of a wider surface tension, as the space gives less feeling of a stab . The balm works its magic over time, as healing begins again at the center.
What you felt I thinking was not a subterfuge , a cause of embarrassment. but in a wider sense, a a new stab where my assumptions turned to a misunderstanding and question of characterization.
At the same time, wearing too many hats is preferable when not used to cover under them, in an attempt to hide that fact that character becomes changeable every time changing hats , as did the ancient Greeks whose masks designated their roles, even showing the various ways of demonstrating who they were, and who would they have become and who they were planning to become versus who they were fated to become.
The echo chamber repeats this message, with poignancy, and triangulates it again, a third time,where the third time , as the cock cries, a a final signal out of its innerds reminds the firgotten third stage . the one the second messaged the the first, not realizing the third ahead, the warning which proceeded to be unheard, not knowing it’s coming, thinking the second to have been the last.
This I learned from Pierce lately, without seeing it as some thing in transit to be concerned with, and it did betray more a fear of repetition of ignorance toward being a complete idiot, this time for real, and not some one who plans to abandon all caution to a wind that has gone away, for that really can’t happen without forgiveness.
I do not want to be swept away, as did most everything else apparent, so holding on, to the framework that this ship of fools so harshly tries to cast away.
Somehow mix all colors and you get white did you try that?
You can not think of a transperancy as white, and it’s hard to envision white as transparent
They say if a perfect diamond as being absolutely colorless
So light really is colorless,
Light is reflected from surfaces . darkness absorbs all light
The absolute mix of all colors of the rainbow results in the flow of light, in waves that has no basis for reflection, except that it’s tranoerancy is unthinkable,
The fow of light from enimation to hitting a surface is processed as consisting of discrete wave like matter called photons
how do we know that?
Blackness is the absorption of all light
The synchrenistic bits of light conform to Pierce’s argument that explains the infinite variation of in-between shades of pastel hues among the primary colors, but that infinity is broken by the thought that if an infinite variation ,as an appearance, it’s firming that flow, is formed by one distinct hue followed by a succeeding appearance of a slightly, minimally presented next discreet familiar hue, ;
How can such discretion of hues firm the flow?
Analogously, the discretion of stillness in the flow of motionless frames produce the flow of images previously cut out of the impression of that flow, into the expression of the distinct frames spliced together to produce movement.
Hence the reflection of light imparts the thought of movement, light reflects the movement, as darkness absorbs it, and results in an unmoving place, where nothing appears to move, anyone there if they are,remains unmoved, still, and invisible if the exist.
They are ghostly apparitions, hungry for sensation. they are hungry ghosts, which can never conceive of getting out of the darkness, for the same reason that they can not see where they are, where they are going, much less who orwhat they are.
They are damned to be unaware of conscious realization of the light, that it can not be transparent . to infer there is something to see, or to infer how the construction of light could have been made to reflect this motion to move.
The Diamond Sutra may have something to say about that,
youtu.be/https://youtu.be/https … Bca3z7bAtE
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nice
Houston Symphony
RUSSIAN ROMANCE: RACHMANINOFF’S PIANO CONCERTO NO. 3
Dec 13, 2022
Russian Romance: Rachmaninoff’s Piano Concerto No. 3
January 13–15 marks the first weekend of the Houston Symphony’s Riots & Scandals Festival, featuring works that scandalized the artistic establishments of their day paired with Yefim Bronfman’s interpretation of Rachmaninoff’s Piano Concerto No. 3. Read on to discover this passionate, virtuoso cornerstone of the piano repertoire.
ALL VOICES AT ONCE
After a busy season of concertizing in Europe, it was with pleasure that Rachmaninoff returned with his wife and two daughters to Ivanovka for the summer of 1909. Removed from the bustle of Moscow by more than 250 miles, Ivanovka was a country house owned by his in-laws that had been a perennial source of inspiration and renewal for Rachmaninoff. In a letter, Rachmaninoff described how natural settings could stimulate his imagination: “I go for a long walk in the country. My eye catches the sharp sparks of light on fresh foliage after showers; my ears the rustling undernote of the woods. Or I watch the pale tints of the sky over the horizon after sundown, and they come: all voices at once. Not a bit here, a bit there. All.”
Rachmaninoff proofreads the score of his Piano Concerto No. 3 at Ivanovka
It was not long before the voices began to sing to him of a new work: his Piano Concerto No. 3. Years later, Rachmaninoff recalled how he had composed the germinal melody of the piece: “It simply ‘wrote itself’!…If I had any plan in composing this theme, I was thinking only of sound. I wanted to ‘sing’ the melody on the piano, as a singer would sing it […]”
By the end of the summer, this simple theme would grow into one of the towering masterpieces of the piano concerto repertoire. Rachmaninoff himself gave the premiere the following November in New York with Walter Damrosch leading the New York Symphony. However, the first performance, part of an exhausting but lucrative American tour, was not the one that Rachmaninoff remembered best. Later in the tour he performed the work again with none other than Gustav Mahler conducting the New York Philharmonic. “He devoted himself to the concerto until the accompaniment, which is rather complicated, had been practiced to the point of perfection,” Rachmaninoff recalled.
Despite this success, the concerto was not taken up by other pianists for decades, perhaps in no small part due to its extreme technical requirements—it is one of the most difficult concertos in the repertoire. Much to Rachmaninoff’s chagrin, the pianist Joseph Hoffmann, the work’s dedicatee, never dared to play it. It was not until Vladimir Horowitz championed the concerto in the 1930s that the piece began to be widely performed. Today it is recognized as one of the greatest of all concertos, a test for all pianists and a breathtaking emotional journey for listeners.
THE MUSIC
After a few introductory measures, the piece begins with the remarkable theme that “simply wrote itself,” a haunting melody in D minor introduced by the soloist in unadorned octaves. The violas then take up the theme as the soloist plays cascading arpeggios, which develop into a virtuoso transitional passage that dies away. Throughout the concerto, Rachmaninoff shapes his musical ideas into waves that swell and recede around climactic moments, carefully pacing the unfolding drama. A warmer, contrasting theme emerges as a quiet dialogue between strings and piano. At first, the theme has a march-like character, but it soon becomes lyrical and passionate in the hands of the soloist.
This theme, too, fades away. A return of the opening theme soon wanders off course, and the soloist begins building relentlessly to a harrowing climax. Shadowy music retreats from this intense moment, leading to the concerto’s cadenza, an extended virtuoso passage for the soloist alone. The cadenza effectively doubles as the reprise of the main ideas of the movement, building to a monumental, chordal version of the main theme. After this powerful passage, woodwinds mark the midpoint of the cadenza with dreamy fragments of the main melody. The soloist then continues alone with an expressive reprise of the second theme. The orchestra reenters for a final appearance of the main theme, and the movement ends with a brief, quiet coda.
The slow second movement begins with a sighing, rhapsodic theme introduced by the oboe. The soloist enters with an intense, chromatic cry before beginning its own version of the theme: dreamy at first, it soon becomes more turbulent. During one expressive passage, the violins allude to the main theme of the first movement. The music ebbs and flows, building to a strong, cathartic version of the theme. This dies away to a fast, scherzando passage featuring gossamer runs for the soloist. Beneath, woodwinds play a waltz-like tune derived from the main theme of the first movement. After this episode, the orchestra reprises this movement’s main theme, until the soloist reenters with a virtuoso call to arms.
Red Sunset on the Dnieper (1905–8) by Arkhip Ivanovich Kuindzhi
After three powerful orchestral chords, the soloist launches directly into the finale’s heroic main theme, based on a powerful rhythm that recalls the tattoo of drums and fanfares. A vigorous transition full of marching rhythms to a more lyrical, contrasting theme. A series of delicate variations recalls the rhythms of the heroic, main theme of the finale, but it becomes increasingly apparent that the variations are in fact based on the lyrical second theme from the first movement. After a reminiscence of the haunting main theme of the first movement in the violas and cellos, we hear another memory of the first movement’s second theme. The variations then resume, peacefully dying away to a meditative moment for the soloist.
The heroic rhythms that began the movement then resurface in the orchestra, driving to a reprise of the finale’s main themes. Suddenly, the orchestra cuts off at the height of the passionate second theme, beginning a tense crescendo. The eerie, brittle sound of strings col legno (playing with the wood of the bow) underlies the soloist’s virtuoso feats as the suspense mounts. At last, the tension breaks, and with powerful chords, the soloist announces a climactic, soaring version of the finale’s passionate second theme. The concerto then races to an exhilarating conclusion, ending with what some suspect is Rachmaninoff’s musical signature: a long-short-short-long rhythm that perfectly fits the syllables of his name. —Calvin Dotsey
Houston Symphony
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A Composer On The Couch: Mahler Meets Freud
Gustav Mahler’s historic visit with Sigmund Freud is the inspiration for a new symphonic program for Marin Alsop and the Baltimore Symphony.
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Hear The Music
The New York Philharmonic, with conductor Leonard Bernstein
Symphony No. 7 - ‘Nachtmusik II’ (4th mvt.)
LISTEN· 14:45
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Symphony No. 5 - ‘Trauermarsch’ (1st mvt.)
LISTEN· 12:30
(To mark the 150 anniversary of Gustav Mahler’s birth, conductor Marin Alsop and author-director Didi Balle focus on a famous meeting between the composer and Sigmund Freud.)
Gustav Mahler (1860-1911) was a turn-of-the-last-century Viennese Mick Jagger. His slight stature (5 feet 4 inches) was in inverse proportion to his outsized reputation as a conductor and composer of such renown that fans chased him down cobblestone streets seeking the maestro’s autograph.
But with fame came detractors, and Mahler ruffled more than a few feathers in his tenure as director of the Vienna Court Opera. He riled the rich by forbidding patrons to enter the concert hall after the opera had begun, robbing them of fashionably late entrances attracting all eyes to their finery and jewels. His notoriously high standards, demanding technically perfect performances, did little to endear him to musicians and singers unaccustomed to a maestro who was both taskmaster and visionary. He tussled with management, endured the petty grievances of sopranos and weathered personality clashes as he forged ahead.
“I demand that every note must be heard exactly as it sounds in my inner ear,” Mahler said. “To achieve this, I exploit all means available to the utmost.”
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As a child, Mahler’s worldview was shaped by poverty, domestic violence and the deaths of seven of his 14 siblings. When his favorite brother, Ernst, became ill, Gustav attempted to cure him by sitting on his bed and telling him stories, but to no avail: His little brother died in his arms. He witnessed his father beating his mother, a woman trapped in a loveless marriage, and could do nothing but flee to the streets. Luckily, he displayed a talent for the piano and music became his salvation and refuge. The childhood themes of death and dread, longing and loss, fate and redemption reverberate in myriad and haunting forms in his symphonies and song cycles.
Every time I conduct a Mahler symphony I feel my life has been changed somehow.
Marin Alsop
Mahler’s instinctive sense to probe the depths of his past make him the first musical artist to delve into the unconscious to self-analyze and self-observe his internal life as the source of inspiration. He embodied a contemporary self-awareness of the unconscious as the point of departure on the creative journey.
“My need to express myself musically – symphonically – begins at the point where the dark feelings hold sway, at the door which leads to the other world – the world in which things are no longer separated by time and space,” he said.
Conductor Marin Alsop will open the fall season of the Baltimore Symphony with music by Gustav Mahler.
Grant Leighton
The dark feelings of which Mahler spoke crescendoed in the three final years of his life, beginning with the death of his beloved 4 1/2-year-old daughter in 1907. It was an unmitigated loss further compounded by his quasi-forced resignation as director of the Vienna Court Opera and his diagnosis of heart disease, for which there was no cure. In 1910, as he was preparing for the Munich premiere of his Symphony No. 8 (“Symphony of a Thousand”) and composing his Symphony No. 10 (as well as maintaining a demanding conducting schedule in Europe and abroad), he made the devastating discovery that his young wife of eight years, Alma, was being pursued by an ardent and persistent suitor who had asked for her hand in marriage. He was an up and coming 27-year-old architect by the name of Walter Gropius.
The discovery of their mutual attraction took its toll on Mahler’s weakened heart and precarious psyche, prompting the introverted composer to seek a session with the father of psychoanalysis, Dr. Sigmund Freud. Imagine: two of Vienna’s most famous and remarkable men spend four hours together discussing infidelity, love, loss, childhood, conducting, composing and possibly even demons
Mahler and Freud’s summer afternoon session – weaving a storyline of Mahler’s life with excerpts of his music – is the subject of my latest program, titled “Analyze This: Mahler and Freud,” a commission by the Baltimore Symphony that premieres Nov. 5 and 6,
Analyze This: Mahler And Freud
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#respect
Karmic law and final judgement. Differences and similarities.
For reasons to investigate ideas relating to eternal return and reincarnation as as understood by the last man . all relative trough the changing filter of the Revelation.
As overly ambitiously encompassing it is, and just as building a foundation to clear understanding behind the cosmic will through astounding miracles, that astound the mind
and others ( boggle the mind-better recall)
resurrection into life or into death
babies are singularities, even if exact copies of each other
your choice
Heidegger’s thrownness isn’t reincarnation—we are each a story born/begun in the middle of THE story.
Epic 
Ok, that was too.
To I dunno of what,
Just as meant to be.
Looking back? Problem so why look that way(Sade) said
Babies become really frightened to be left alone.
They would rather spend their time in dark bars playing same sad songs, it’s ok though as an art project or something your best assailant,…
As this is merely a passing fancy, but the though I never lived before or loved, came to my mind as some
That love , to evolve into, is actually always there as lover and friend, and we need to remind ourselves of that
Sure there is fear, and most fear their sons who have gone, and love and fear are thus related: fear love’s passing, fear of its sent and balm.
For instance, but nothing comes up, feeling numb, and nearly talking to myself, wiring this but as I have been preaching all along, I’lit is phenomenal how you start to open up, to become chatty, etcetera.
It is into the phenomenall divorce that brings down it:
Now: come up:
Waisting a gift away leaves me speechless.
What are you trying to say?
That this life is too short to worry about rhetoric, when taking a Kantian walk up that ancient Lu looking park with it’ narrow bluis hazed upward snaking trail perfumed again as deliciousluly the first time about 50 years ago .
Then tomatoes began thrown at the stand up teller, of tales need perpetuate the concern and love in reserve.
Sign above his inner door; b
WRITE.
and LIVE.
Whatdoyawant?
Nothing. Nutting?
No
So what or what of it?
Carry your own cross, bear your own calculus of it as if no special concern showed on your face
Suddenly the defense council jumped to his fear and shouted I object for the reasons for insanity have not been shown to exist, for the jury is not taken by the absence of the whereabouts of,
Ok, borrow something from James Joyce, and blow it up and see how it reduces to mere colors focused on a potato eaters peasent face shiny with perspiration,
The setting beams of orange lemon, like soft liquor ,seeps into unconsciousness against a flat skyline.
Or, eliminate the need for all that, by a classy- classic reduction, and put it up as a literal triangulation: short cutting it .
Like exactly:
Theism-agnosticism-atheism
and put money on it to see if projection reveal The Truth at near the end , which never does., absolutely, where a chink of a missed link can collapse the whole construction.
The missing link in the architecture could have been insured against future uncertainty by the doubly soft and hard driven programmers, kind of intuiting a need for an over the top messages coded: ‘miracle’
Otherwise that species of configuration needs a travel back and reverse polarity, this way, simulations can be simulated to simulate, in essence:
So what’s the cache?
There is one, I’m pretty sure, and can it expand/be extended:
to a game of catch up? Not cat chup
sup
Catch up of the specific to the general, leaving a huge bubble, of a race against time, for identifying unity, as a balancing act, but can such an act be purloined by some measly gesture that I am trying to make, an enigma then some kind of mysterious secret.
However the stakes were internally extremely high, and such transformations to escalate into the realms of miraculous necessity.
At any rate, the single attempt to sky-hook into the singularity using parellel bars, is an ample educated guess of conditions to be met, before the bubble can thermodynamics into the binary phase through some initially limited analogically premissed /pro-missed stuff. as I learned it the hard way.
So the idea of identification did not come out of nowhere, it came out after the enigma failed to solve it’s own hiddenness.
p.30 presence as
unconcealment (alêtheia) - hiddenness
as mercy; thrownness means we enter existence in
the middle of a story
p.33 temporality (Zeitlichkeit) of Dasein
Temporality (Temporalität) of Being
All same thing, in no particular order: C.S. Lewis talks about tao (way) at end of
Abolition of Man pivot of the dao - that chick that was
applying for a job
Heidegger’s talk turning & way
Quote from above makes sense and is loosely related to topic
genius
#Wheaties
#dontforget
