They went to sea in a Sieve, they did,
In a Sieve they went to sea:
In spite of all their friends could say,
On a winter's morn, on a stormy day,
In a Sieve they went to sea!

me .. saltimbanco del mondo,

e giullare del Re..

quando non ha niente da fare

lo fa,

sempre con la medesima geometrica postura..

movimenti asincroni in simmetriche stesure

di dita e parole..

Sire, il filosofo diceva che

ogni uomo è un'isola..

eppure a me la cosa non riguardava visto che sono una donna..

invece si.

io sono un'isola..

fluttuante sopra le acque..

oppure è un'illusione..

iperbolico compendio

delle emozioni che vado colorando con la musica

ascoltando i riverberi della luce sulle onde

su cui si va infuocando il sole..

poi..l'incendio del cielo si va smorzando..

ed è allora..

in quell'acqua color porpora

che lancio il mio cuore..

chi ha detto che il mare è tenebroso

non conosce passione..

non vibra alla vela di vento

della calura estiva

arsa di sabbia..

non ha assaggiato l'incanto del mondo

in un sorriso di due occhi lucenti..

vibranti..

non ha concentrato in un bacio tutte le gioie di ciascun istante..

questo..

mi consacro corpo e anima

alla ricerca dell'isola..

senza tempo nè premura d'ammarare..

mentre il sapore di mare

raccolto nel mio piatto si fonde

col nettare dorato

che dalle mie labbra

scorre sino

al petto..

come amanti, affamati.. assetati..

ecco mio Re:

Fool bitter Fool

sono io..

che vado in estasi

bevendo l'acqua di sale

su cui la Luna a metà

ci cullava una notte fa..

o Re, se tu fossi il mio fool ti bastonerei..

Due June 10

In 2005 we started looking into leading indicators, possible measures and enablers for success and operational excellence. in 2005 - 2006 TEKES funded research projects InnoSpring and InnoSpa provided context and connections to researchers in academia and to other practitioners in Finnish companies. During these projects I decided to change my PhD study theme from management renewal in academia to innovation theme in business context. After a career move in 2002 from academia to business, innovation in business context was closer my own work. My dear professor Eero Eloranta was very supportive. In his own special style, which I appreciate a lot, he wondered - ".. why on earth do you have to change and choose new theme, why not to stay with one you know more off? This will require hell of a lot reading to build a body of knowledge in the area that you do not anything about!"

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Exploration started. Reading articles, books, classics on innovation, change, philosophy... scouting websites, attending lectures, seminars, meetings, workshop both at Nokia and externally. Luckily we had an active group of people at corporate strategy organizing lecture series at Nokia House. My aspiration for PhD studies had been for several years in the personal development plan, that is discussed and agreed annually. So when I planned to have a study leave in October 2006 - March 2007, everything went well by following "Long Term Educational Guidelines" . So I was able to participate intensively into starting phase Rendez - research project.

Questions and more questions emerged ... how to enhance innovation and innovativeness, how to enable meaningful renewal, what are the measures for the success, what factors enabling or hampering innovation and innovativeness, how to manage innovation, can you even manage innovation, what ind of measurement system ca be used to manage innovation, what if the system kills creativity and demotivates people, what are the definitions for innovation, what are the models innovation, what are the possible application areas for innovation , how innovation and innovation are rewarded and recognized....

Luckily there is a very inspiring group of people - professor David Hawk, Taina Tukainen & Tuula Antola, David Ing, Marianne Kosits and professor Annaleena Parhankangas - who have accompanied and helped me so much during this long and interesting journey, that is finally approaching it's end. And the quest continues...

Sometimes though, you hear weird things.  Sometimes a little bit of radio chatter sneaks through, and the ice-cold veil of coolness is dropped, revealing the gentle, sometimes angry, sometimes pathetic individual that lies beneath.

Yesterday, I heard this on Chicago O'Hare's landing frequency:

• ATC:  B625, you're cleared to land.
• B625:  Roger that, B625
• ATC:  B625, are you a Lear[jet]?
• B625:  ... * silence * ...
• ATC:  B625, this is tower, are you a Lear?
• B625:  Tower, no...I'm a prop [plane]... *sigh*..... I wish I was a Lear...
• ATC:  B625, roger that, thank you

Poor guy.

If you too want to hear the craziness that goes on in ATCs around the world, check out here for live captured streams.  And if you're super nerdy, you can go here to watch the real time flight paths over some major airports and track them on the audio feeds!

Or if you just want a cool story about the SR-71 Blackbird destroying everyone as it passes an ATC, click here.

Amanda Lear - Enigma (Give A Bit Of Mmh To Me) (lyrics)

Give a bit of mmh to me,
and I'll give a bit of mmh to you.
Give a bit of mmh to me,
and I'll give a bit of mmh to you.

And your eyes like a laser,
every time cut me deeper.

Give a bit of mmh to me,(you're a mystery)
and I'll give a bit of mmh to you. (it's so confusing)
Give a bit of mmh to me,(you're a mystery)
and I'll give a bit of mmh to you. (it's so confusing)

For me, you are an enigma,
For me, you really are a mystery...
A mystery (a mystery)

For you, I break all the rules
And for you, I'll go to the moon,
'Cos you're the one
There's no one else.
There's no one else.

Chorus

Are you devil or angel?
Are you question or answer?

Are you real, or am I dreaming?

Chorus

____Full view plz ____

I am a one way motorway
I’m the one that drives away
Then follows you back home
I am a street light shining
I’m a wild light blinding bright
Burning off alone

It’s times like these you learn to live again
It’s times like these you give and give again
It’s times like these you learn to love again
It’s times like these time and time again

I am a new day rising
I’m a brand new sky
To hang the stars upon tonight
I am a little divided
Do I stay or run away
And leave it all behind?

It’s times like these you learn to live again
It’s times like these you give and give again
It’s times like these you learn to love again
It’s times like these time and time again

::: Foo Fighters ::: Times like these lyrics :::

Este es el segundo posteo sobre el escritor argentino y no seré precisamente quien opine sobre su literatura. Para eso disponemos de la palabra autorizada de Jorge Luis Borges. Hace unos días buscando material de Cortázar encontré una edición de la "Biblioteca Personal" del hombre que escribió: "Ni tiniebla ni caos. La tiniebla requiere ojos que ven, como el sonido y el silencio requieren el oído, y el espejo, la forma que lo puebla. Ni el espacio ni el tiempo. Ni siquiera una divinidad que premedita el silencio anterior a la primera noche del tiempo, que será infinita. El gran río de Heráclito el Oscuro su irrevocable curso no ha emprendido, que del pasado fluye hacia el futuro, que del olvido fluye hacia el olvido. Algo que ya padece. Algo que implora. Después de la historia universal. Ahora." (Cosmogonía / La Rosa Profunda / 1975).

Y uno de los tomos de esa publicación está dedicado al autor de Rayuela, cuyo prólogo reza: “Cuando Gabriel Rosetti leyó la novela Cumbres Borrascosas le escribió a un amigo: La acción transcurre en el infierno, pero los lugares, no sé por qué, tienen nombres ingleses. Algo análogo pasa con la obra de Cortázar. Los personajes de la fábula son deliberadamente triviales. Los rige una rutina de causales amores y de casuales discordias. Se mueven entre cosas triviales: marcas de cigarrillo, vidrieras, mostradores, whisky, farmacias, aeropuertos y andenes. Se resignan a los periódicos y a la radio. La topografía corresponde a Buenos Aires o París y podemos creer al principio que se trata de meras crónicas. Poco a poco sentimos que no es así. Muy sutilmente el narrador nos ha atraído a su terrible mundo, en que la dicha es imposible. Es un mundo poroso, en el que se entretejen los seres; la conciencia de un hombre puede entrar en la de un animal o la de un animal en un hombre. También se juega con la materia de la que estamos hechos, el tiempo. En algunos relatos fluyen y se confunden dos series temporales. El estilo no parece cuidado, pero cada palabra ha sido elegida. Nadie puede contar el argumento de un texto de Cortázar; cada texto consta de determinadas palabras en un determinado orden. Si tratamos de resumirlo verificamos que algo precioso se ha perdido.” (J.L.B)

Y pensar que hay algunos que escribieron monografías sobre la obra de Cortázar, plagadas de intrincados análisis y suposiciones insostenibles.

Pero lo que me trae a este posteo es “Latidos”. Tun tun, tun tun. La referencia rítmica por excelencia que ha regido la música desde que la conocemos como tal. Tun tun, tun tun. Golpear una puerta, el paso del tren por la unión de las vías, el “uno dos” del boxeo, carraspear para acomodar la voz, el picaporte hacia arriba y abajo, etc. Está todo el tiempo, esa música está todo el tiempo. La música, el tiempo y el tempo. El ritmo, sus variantes. Las pausas, los silencios. Diálogos sonoros que nos abrazan a diario. Música concreta que llega a bocanadas.

Todos estos elementos tiene “Latidos”, una obra radiofónica de Hernán “Drupy” Risso Patrón. Es un paisaje sonoro pero no, es un radioteatro, un radioarte, una postal sonora, un cuento sonorizado y ninguna de estas al mismo tiempo. Nada es concreto y definitorio en esta pieza radiofónica. Pero algo es seguro, si la diferencia más palpable entre el arte pictórico y el radiofónico es que el primero tiene su esencia en lo espacial y el universo que nos compete lo hace en su temporalidad, Latidos es definitivamente una obra de arte. Quizá sea esta característica del Medio lo que tanto lo une con la literatura de Cortázar. O que lo elije para expresarse. En este caso se trata del cuento “La noche boca arriba”.

“Y salían en ciertas épocas a cazar enemigos, le llamaban la guerra florida”, así comienza, en seco, con la voz de Eduardo Aliverti. Tun tun, tun tun, el corazón en primer plano, ahí, en tu cara para no detenerse hasta el final. Y no por su repetición sino por su metáfora sonora que por momentos parece no estar pero que suena con otras ropas. Dicen que un radiasta (artista radiofónico) se detecta por la exploración que éste realiza del campo sonoro, y Latidos por momentos logra ponerte en escena junto al personaje principal y su desdichado tránsito entre realidades igualmente oscuras.

Para el primer programa de Alea Sonora le realizamos una entrevista a Risso Patrón, (Técnico de grabación y editor de sonido e imágen. Responsable del Sonido de documentales y cortometrajes en video y cine. Editor de sonido de la productora "Pol-ka". Docente de la UBA), pero el audio de ese encuentro quedará para un próximo posteo.

Me quedo con las palabras finales del prólogo que escribiera Jorge Luis Borges sobre la pluma de Julio Cortázar: “Si tratamos de resumirlo verificamos que algo precioso se ha perdido.” Aldea Sonora y este blog son una excusa para disfrutar de obras de arte como Latidos que nos hacen reflexionar sobre de lo que estamos hechos, tiempo.

Hernán Risso Patrón - Latidos 2.0

[audio=http://www.fileden.com/files/2008/2/18/1767095/latidos.mp3 ]

Entrevista a Julio Cortázar realizada por Joaquín Soler Serrano en el año 1977 para la Televisión Española en el ciclo denominado "A Fondo".

As I do not have a set religion for myself (it does not mean that I am an atheist, though), I did not have chances to read the Bible closely. I just had a vague idea of God and the divine values each religion teaches. To briefly put what I have thought before, God values "good"-ness, devils may be the villains, God or Jesus supports the idea of Agape, Buddha supports the idea of mercy, and so on.

But today, I want to question my vague, but long-held beliefs. This year, I read some books that made me think of theodicy. (For more information on the topic, check out Solomon Blaylock's The Problem of Evil)

In Shakespeare's tragic play King Lear, the Nature, the equivalent to God, does not help the "good," but let them go through sufferings. Eventually, not only the "bad" side but also the "good" side met the same fate, death. Also, reading John Milton's Paradise Lost, I wonder whether the “absolute” good in God is absolute and whether the “good” God enforces is the same as the “good” the Fallen humanity believes as God’s teaching.

In Paradise Lost, as expected, God is omnipotent. He does not have any hesitation in enforcing his orders. But despite God's power and ability to protect the "good"-ness of humanity and its innocence, he does not take any action. In fact, he knows that human will not follow his order, and is ready to punish and condemn humanity eternally.

Judging from my recent readings on God, God seems to be a mere observer. He does not care whether the good remains or whether His people commit "bad." Rather, he just expects something to happen, and waits for the results. He is simply ready to punish those who could not attend to His values. Is God on the "good" side? Is it that the "goodness" that I believed in is different from that of Heaven? I do not know the answers. The only thing I can say is that while reading Paradise Lost, I felt that both Satan and God have good and evil inside them. Satan tempts humanity to fall (bad), but it was to save his own comrades from Hell (good). God leaves humanity to fall (bad), but gives them a chance to be redeemed (good).

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Photo Credits: "Lobster Head Sunlight" by mdmarkus66 on Flickr

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Technorati Tags: kisaplit, kisaplit07, theodicy, paradise, God, Shakespeare, Lear, Milton, good, evil

It’s not that poetry doesn’t work on television. It’s simply that in it’s few forays onto the screen it hasn’t. Not the fault of the poetry, but the fault of those who didn’t do it right and subsequently pronounced “Poetry on television? Doesn’t work”.

Rather like how we feel about Shakespeare on television. Hasn’t worked either. Why? Because Will didn’t write for TV. He wrote epic theatre in mighty verse, for the famous “wooden O”. For an audience out in the open.

The small screen is a quantum leap in the other direction - intimate, up close and personal. And so is poetry. A simple art form (at least in structure) yet full of drama, insight, love, protest and revolutionary ideas. “Mad bad and dangerous to know”, some of it.

Custom made for the close up, poetry. A one to one relationship between poet (for this person, substitute actor) and the audience.

So we went back to the classics…

First to Will himself - a selection of his sonnets, along with speeches from Portia, Hamlet, Ophelia, Macbeth and Prospero. Then to the moody lyrics of Coleridge, Byron, Keats and Shelley; the nature poetry of Wordsworth, Hardy and the sadly unsung John Clare; the personal insights of Elizabeth Barrett Browning and Christina Rossetti (not enough women poets in the oeuvre); the heroic verse of Tennyson and Kipling; a slice of rude poetry from the Earl of Rochester; the comic verse of Lear, Hood and WS Gilbert and the searing WW1 protest of John McCrea, Wifred Owen, and Rupert Brooke.

Top liners, all of them. Offered to you, personally, by some of the best actors in the trade.
____________________
Throughout December, we will be showing short poetry pieces on the Performance Channel.

Agin they evil idea of hell
which they bring to earth to burn the weak;
agin they let they children think love's words
- cunt cock and fuck - are insult and slander

vir reid. They have cut down the woods pour'd
their shite into the rivers and oceans
and hidden the stars in the polluted night -
they'd geld our weal and foul the very wells.

Likr Lyr beneath the fell sky on the blighted heath,
This is but a fool's scalding, a sightless cry.

did i mention SONALI?
she's like baby-sitting ya, and you haven't learn how to say boobs, or indeed suck..
or indeed me wanna suck your boobs!!
and she'll go like
-where have you become so rude?
so, just pretend to be hungry
-you're hungry aren't ya
well gonna make some..
no!!
-no, you're not my baby, so you can't have it that way!
yeah make it even worse to swallow!
i'm not your boyfriend, but i CAN have it THAT WAY!!

oh, here it comes..
another poll that is
(b(r)estfed by a celebrity of your choice)
(could've had it, if i didn't write bits on some blog)

Final Update: Bikerdude, Farkandfunk and Ramsu win the contest. Please send me an email with your address, and a pathbreaking CD containing groundbreaking music shall be shipped to you.

I saw this on Anantha's blog and it got me thinking. What if we superimpose Madras Bashai (The holy, exalted, pure and divine tongue of the wise citizens of Chennai) on Shakespeare? Click on the title links to see the original scenes.

King Lear

Hamlet

Julius Caesar

On a serious note, my personal favourite part of this speech is when Antony is overcome by tears in between and he says "Bear with me, my heart is in the coffin there with Caesar and I must pause till it come back to me". If that isn't eloquence, tell me what is.

On a frivolous note, here's the contest. There's 2 parts.

Part 1. Desi (Hindi, Tamil, Telugu or Malayalam) dialogue (can be both filmy as well as original dialogue) superimposed on famous Shakespearean scene

Part 2. Shakespearean dialogue superimposed on famous desi movie scene.

Upload your entries to your blogs and paste the link in the comments section. If you do not have a blog, email your entry to me. My email address is krishashok [at] gmail [dot] com. Winning entries will get an mp3 CD featuring Bappi Lahiri's greatest album of all time - Rock Dancer.

And to make this a little more challenging, only entries that do not rely on humour targeting specific individuals, groups or risque references will be considered.

Update: We have responses, and what responses they are! Bikerdude, Ramsu and Farkandfunk have gotten their creative juices flowing like the Yangtze river in spate.

Here are some. Go through the entire comments thread though. If you belong to this select lucky group of Indians who love Shakespeare and desi kitsch equally, you will enjoy this immensely.

Ramsu gives us a few more scenes from R&J, including this Blockbuster Balcony scene featuring Bappi da.

(original: What's in a name? that which we call a rose
By any other name would smell as sweet;
So Romeo would, were he not Romeo call'd )

Farkandfunk spices up Romeo and Benvolio with someT-Rajendar style rhyming dialogue.

And one of my favourites. The Three Witches meet Macbeth,

Bikerdude brings us some God's own flavour,

KuttigaLey, pattigaLey,
MaakrigaLey, peerkrigaLey..
Ningakku ichchiriyengilum puththiyunda dei
Pombey chaettane polum arinjoodey?
Ninda montheykku orotta kuththu kuththiyaalundallaa..

You blocks, you stones,
you worse than senseless things!
O you hard hearts, you cruel men of Rome,
Knew you not Pompey? (Julius Ceasar 1.1.39)
Translated to Trivandrum Malayalam circa 2007

No voy a descubrir a Shakespeare ahora. Elegir una obra entre las tres ó cuatro que leí es complicado pero mi favorita (antes que "Hamlet", "Otelo", "Macbeth" o "Mucho ruido y pocas nueces" sin menospreciar ninguna de ellas, ni mucho menos) es "El rey Lear". El motivo es quizá la dificultad de tener que elegir a quien confiar tu suerte, porque ésta es una cuestión a la que todos nos enfrentaremos alguna vez. Pero no todos tendremos unos celos enfermizos como Otelo o una ambición desmedida como Macbeth por poner un ejemplo.

Lear es un rey de Bretaña que, al llegar a la vejez, dispone repartir su reino entre sus tres hijas. Las dos mayores le adulan y la pequeña (Cordelia) tiene la molesta costumbre de decir las cosas como son y no como a su padre le gustaría oír que fueran.

El rey, creyendo que su hija menor no le ama lo suficiente, la deshereda y la casa sin dote con el rey de Francia. Las dos hijas mayores, al heredar el reino, se dedican a quitarse de encima cuanto pueden al padre. A partir de esto, las dos hijas, sus maridos y varios gentilhombres se dedican a putearse hasta el extremo de provocar una guerra civil.

Finalmente, Lear se da cuenta de cual era la hija a quien debería haber cedido el trono, aunque el final de Cordelia es trágico. Su padre, loco por el dolor, acaba muriendo también. El reino acaba en manos de un vagabundo que ayudó al rey pero que era el hijo exiliado de un conde también confundido por las adulaciones de su hijo bastardo. Bufff, qué difícil es comentar sus obras, sir William.

Lo importante, la moraleja que Shakespeare deja en cada una de sus obras, es la importancia de saber elegir en quién confiar, como ya dije antes. La mayoría de las veces nos ayuda más un reproche de una persona cercana que una adulación, ya dijo alguien que todo lo bueno que nos dicen no es ninguna novedad para nosotros.

Desconozco si se ha hecho alguna película de esta obra, pero si hay varias y queréis elegir una de ellas dirigir vuestras miradas a dos autores que nunca me han defraudado como "shakespearólogos", Orson Welles y Kenneth Branagh.

Father: William Thompson
Mother:

Spouse(1): Thomas Swann
Married:

Children:

• Thomas Swann
• —– Swann [male]

Spouse(2): John Lear
Married: