[D-G] viaggio in cosmo ./ corrected ending of this first part
hwenk
hwenk at web.de
Sat Jan 6 13:35:34 PST 2007
Hello Adline,
As thie project seem to mean a lot to you and in order
to keep us both alive, I have decided aftr some while to comment it.
-----Original Message-----
From: deleuze-guattari-bounces at lists.driftline.org
[mailto:deleuze-guattari-bounces at lists.driftline.org]On Behalf Of adline
vanlindenbergh
Sent: Samstag, 18. November 2006 18:02
To: adline vanlindenbergh;
deleuze-guattari-driftline.org at lists.driftline.org;
deleuze-guattari-driftline.org at lists.driftline.org
Cc: elierab at gmail.com
Subject: Re: [D-G] viaggio in cosmo ./ corrected ending of this first
part
please read this one with proper ending so far
the problem is they talk so much, i think to do inserts during the time
so they are not seen transfixed.
On Sat, 18 Nov 200
Part 1: Viaggio in Cosmo, by Roberto Rosselini as the Owl
Title: An Ecclipse
DAY. In a blue key room in downtown Vancouver, the Owl and six actors:
Havah, Adama, Lilith, Filya Houtman, Bart Twains & Walt Disney
Rosselini as an Owl, flying around the six actors sitting on a sofa. His
eyes are recording what he is gazing at. We are getting to see through
his eyes. He recedes to one side of the blue room. Lilith stands up and
approaches the window bay, using her two hands as telescope.
LILITH
The Planet Gulliver -- ´t´his is something big
earthlike, could be very productive, strong and useful
is obscuring the star
of Slumberland. -- so people are sleeping in a comfortable way
Contact with the Mirroring
Past is rapidly arising. -- The past "last like an alp on the
conciusness of the living" (Marx quote out of mempry.
Also we see our experiences as hammeded
by the strong happpenings of the pasz or the during infliunce of long
past habits and sourroundings
This is a little bit Deleuze Guattari
subjectivation and soul experience theory.
The Ecclipse
-- This is very old and good idea, Shared by
Deleuze and Guattari,
take awy the obstacle and the flow of
light or contact
with the productive will come.
ADAMA
Make sure everybody in this room -- There is only learining and contact
to the "real" if you are awake
remembers how to stay awake.
Rosselini makes a complete turn and shouts “Music!” to the sound --- he is
well equipped, good that he has an engeneer
and so
not to turn the radi on himself. Maybe there are some more
advanced technical deeds to do.
engeneer. A radio is turned on, a faint radio noise eshews.
ADAMA
By all means resist the sound of the powerful -- That are often
called some kind of sirenes of Ulysses - say sleeping,
slumbering struggelded
pained concoiusness.
Or the cosmic help by fine brain tissue,
the
sight and feeling of the world beyond everday little trouble -
and the chance to turn everday life a little bit more fine,
tissue, cosmic like.
Cosmo radios! They can numb you out of activity.
ROSSELINI
Now everyone start digging the ground while -- that is also a old idea,
fist we have to dig the ground, solve all unsolved problems,
having the absolute right theory about everything, to work hard.
That are the "Philosphical workes" of Nietzsche - and Deleuze
/(who ma ythought to be one himsdelf). That is because we are not
so happy and satisfied with the thories that we think, we
already have enough insights. Or deep inside it is not allowed
to be awaked and happy without digging and working.
Or the experience that digging and working makes us more
strong and awake - if is not dumb work and digging.
Maybe we think, we have to seek "within the depth of the
body" (Deleutze, logic of sense)
Filya comes here
Actors raise up and begin to move blue painted clothes from a big heave
next to the sofa and scatter them all around the room. -- that maybe
become clear later.
Rosselini is
filming
with his two eyes. -- So it is stored in his memory,
with his insights and feelings accompanied.
Then he gets impatient.
ROSSELINI
Filya, what are you waiting for? -- That is aöso a old good idea --
Waiting for Godot?
Filya was distracted. She crosses the distance between her and Rosselini --
so she didn't wait. We are always distracted, mostly without
noticing it.
on the other side of the room. She is filmed by Rosselini’s eyes in
close shot. -- Looks like
he is expecteng something from her, or he likes close shot
watching
She speaks in a microphone that she handles herself. -- In the background
the sound engeneer?
FILYA HOUTMAN
Roberto Rosselini reappeared among us
in the eternal present passing and becoming. -- eternal is interesting,
but present i sknown to everbody.
Old problem - present and enternety. Eternity is in every
present - also guaranteeing that there is present eternally.
Shaped in feathers of an owl, -- the owls
from philosphy of Athene (Minerva)
his eyes films
6 actors he has casted to
play in his new movie: Viaggio in Cosmo.
- Mister Rosselini, can you tell the audience what
are you doing in the gait of an owl? -- What has he to do with "eternal"
philosophy?
ROSSELINI
Let me answer you in the form of a riddle:
Today’s art
becomes each day more childish. Everybody has
the mad desire to be the most childish possible.
I don’t say ingenuous, I say childish. By childishness
we have fallen to the lowest end of the human
ladder.
-- That is the idea of psychic regression - freudian. It
maybe of help if there is a state of psychich growth which has to
make good, but if it is only regression by repetion and staying
in thsi state it is like an cutting off of higher intelligence,
personality and feelings.
The last is what rosselini indicates.
We have passed to the antropomorphic ape. We soon
will be passed to the owl and to the eel. That’s what --
Suddenly the philosphical owl becomes a real owl
makes me angry! This total lack of shame.
FILYA
But this is more or less what you said to Fereydoun
Hoveyda and Eric Rhomer in Cahiers du Cinéma of 1963. -- Is
rosslini at the stage of 1963 or reality.
The
saituation is still the unchanged same?
What have you been doing since 1977, the year you
disappeared?
ROSSELINI
Death is only a concept. I as Roberto Rosselini
you see, am dead. Yet I am right now surviving death as an owl thru my
-- now the owl becomes something like an angel -
like in wenders "sky over Berlin"
artworks, in the eternal return zone that I am about to show you. And I
want to revive this longing for life on earth by working with
contemporaneous actors and talk in such a new movie about the posthumous
activity of the artist.
Filya passes to the side. Rosselini watches the actors still carrying
clothes “digging the ground”. His focus calibrates and the blue of the
room and of the clothes leaves way to a different landscape. -- new
calibrating gives new sights - also a question of mental
strates, micro, medium and macro.
Title: IN ETERNAL RETURN ZONE. -- In
Deleuzes Nietzsche Interpreration eternal returm is something
like high quality - based on selfaffirmation.
Night. Some of the actors are appearing,
as holographic sculptures digging the ground in an archeological -- It is
surprising that holographic sculptures are able to dig real
ground.
settlement. As holographic characters gradually uncover the ground and
discover the sculpture of two lovers caught intertwined by the Vesuvio’s
lava, Rosselini on a branch of an olive tree meditates, his own voice
reciting:
ROSSELINI
What is touching, is the weakness of mankind.
It is not man’s force. In modern life, man has
lost all heroic feeling about life. It must be brought
back to him, since man is a hero. The daily life
struggle, is a heroic struggle. In order to paint
this, one must start from the bottom.
-- There maybe some heroic struggle and regretfull it
takes place in everday life. A good strategy would be to ban
heroic struggle, which would be not so good for everday life, to
phantasy, reflection, inner struggle, acvity or something. The
need to have something to throw onnes "Gulliver" heroism on it should be
possibly pondered over. What would be worhwhile and fruitful to let the hero
on us, which maybe also a little "ungestüm" - bewilderd, withot stratregy.
Often people which share some feelings and insights have to face this hero.
Then theirer hero so busy with our hero. And the rest of the world stays as
she are. As Nietzsvche put: "Yor maybe wrong withiut to much harm in the
choice of your friends, but a wrong choice in the chioice of your enemy
maybe very harmfull." The most intellegigent choice of enemy is in my eyes
to leave personal hostility as much a as possible. Different interests are
mostly overcome by general accepted ways.
There is a picture of Nietzsche, a wild bull, who has net yet learned to
DIG. I prefer the also used picture of Nietzsche of the gardener of oneself.
And here heroism is very good to be the very last ultma ratio. --
The stone of lava around the two lovers crackles and two orang-outangs
monkeys emerge the archeological remains of Pompeï. -- Is that the stae of
mankind, the orang untangs
INGRID BERGMAN
Nothing has changed since Roberto’s movie.
All is the same, exeption made of our -- Is Bergamann like
rosselini - still in 1963?
body. Antropomorphic Monkeys
GEORGE SANDERS
What should we do? To carry on Viaggio in Italia?
Where is Roberto?
ROBERTO ROSSELINI
It’s him in this owl. You are in fact casted in
the eternal return zone: to play there your -- Are
they worthwhile for eternal return?
own role: Ingrid Bergman and George Sanders
In a new movie called Viaggio in Cosmo
Ingrid is astonished. Other monkeys are excavated out of human -- So the
holographic sculptures are able to get
the "eternal soul" of man. A lot are still
monkeys.
sculptures by the holographic characters. The ruins are covered with
antique paintings.
INGRID BERGMAN
Do you have a mirror?
Filya holograph gives her a small miror. Ingrid powders her nose. -- This
also eternal return?
INGRID BERGMAN (asking George)
Are we still husband and wife?
GEORGE SANDERS
Ask Roberto. But I would prefer to keep intact
our work in the original Viaggio in Italya.
Other monkeys gather around the couple.
OTHER MONKEY
Who’s gonna watch this movie?
Sure Roman slaves ought not to -- they feel not to be rightly
characterised by the holographic sculpturs
be portrayed as less evoluted a specie
than the modern day spectators, right?
INGRID BERGMAN
Personnaly I do mind equally about this new outlook. -- What about
outlook - lok the inner quality - dont forget the powder.
I feel I would need to talk in private with Roberto.
Roberto Rosselini flyes to an other place, Ingrid follows him there.
ROSSELINI
What do you have on the skull Ingrid. Tell it all.
INGRID BERGMAN
I fear we could destroy what we achieved in the past -- very defensive
ROBERTO ROSSELINI
But the trouble is our past work has been already partly
destroyed by the lack of courage in new generations
of
artists. We must restart with the perspective
-- I don't think so. A lot of modern artists,
being more a lot as at the time of
Rosselini, are very creative and good.
mind that
the Cosmos is not always evolutive in the good sense
for
mankind.
INGRID BERGMAN
Why have we become orang-outangs?
ROBERTO ROSSELINI
Because we have sacrificed our human development
on the altar of a vilifying subjectivation. Modern day -- that are
missed chances. Maybe by wrong use of
heroism and habits. But that is very
differentiated. But of course there has been
evolution of mankind - maybe not so much as possible.
audiences are not capable to understand us otherwise.
INGRID BERGMAN
Is Cinema a zoo?
--
-- The idea of evolution is also liberated from a unique goal. But I think,
the evolution of the potential of the human body and mind in everyone has
asomething like a high reachable niveau, which to achieve and to generalize
is something like this unique goal. The "own ways" are often stoppings of a
way at all. The way has to be very broad and solid, and this broadness and
solidness is the goal.
Then the world will become also more broad or generous, a lot o of
understanding and solid - without fear.
-- -- hw
ROBERTO ROSSELINI
We must confront this possibility. But as I said earlier
we should look for the possibilities of liberation
immanent to this new condition on Earth. That is the
purpose of such a movie as “Viaggio In Cosmo”.
The six holographic actors approach Rosselini.
WALT DISNEY
Bobby. With Bart we have tried to come back to the -- So the next step
starts by childs (Micky mouse?)
blue room, but it seems we are blocked in this
“dimension”.
BART TWAINS
So we have explored the area. It seems pretty much uncertain with the
Vesuvio frightening the monkeys, always on the brink of a new scandalous
eruption.
OTHER MONKEY 2
Bart Twains and Walt Disney are right about one thing,
we are not protected from the volcano. So we will go
mount an expedition to the archives database to cover Pompeï with
shields props from the Death Star movies. -- The death is
more present in the movie than
in real probability.
BART TWAINS
No need to mount an expedition, I have the files, you just have to
upload the shields into the image properties of the antiquities.
Bart Twains gives materials to the monkeys, who start building a steel
city above the ruins of Pompeï. -- steel is solid, but has to be
creative to
make such a city comfortabble.
INGRID BERGMAN
Roberto who are the monkeys, for you, in your storyworld?
ROBERTO ROSSELINI
Someone said monkeys are for humans a burst of
laughter or a hurting shame. -- As
far as I know, monkeys are not so
much human like as we would like.
I think both reactions in regard of
monkeys and ourselves are
overwhelmed. --
But look at me:
I am an owl, and thus a creature of the
night
or of the Ecclipse. Thus my past life, my
past philosophy is not convenient for me
anymore. I do movies that are not for
humans. -- If it is for surhumans, it
would
be fine --
INGRID BERGMAN
To be dead for such a long time, and to awaken in the
gait of animal is making me so instable. I am longing
to reestablish contact with the human actors
of
any set, I find it absurd the monkeys should
behave as slaves and build a city over the
ruins of
Pompeï.
ROBERTO ROSSELINI
Ingrid, were you to have any significant role in my new movie,
you would be a bridge between species, but probably
more between
something happening between an
owl -- to understandi it charming
is to take this
metaphorical. Otherwise
she should leave at once.
and a monkey could well seed, escaping to the
condition
of existing monkeys and possibly existing
owls
in a steel armoured city?
INGRID BERGMAN
I was trying to figure it all why were humans
shaped holographically in this movie, and I just
got it:
there are strong doubts casted here against
the
viability of staying wholly oneself in such
an
enslavering environment. They use the -- this
indeed ain't easy. --
holographs as
protective shields.
ROBERTO ROSSELINI
Yes, but doubts, mind you: no definitive
conclusion. What
would humans look like once gazed at by the
perception of
external wild animals, that we still need to become by --
this necessety is not obvious at
all to me --
the
way, what could such humans look like: or reversedly
what are
we, as we are watched by such all encompassing human eye,
as much technologically powered would he have evolved
so
far.
INGRID BERGMAN
Enough talking. Now let’s bring our ideas to live!
--
adline vanlindenbergh
bisouxnoursfast at fastmail.fm
--
http://www.fastmail.fm - A fast, anti-spam email service.
In my eyes, there is a lot Deleuze and Guattari in it, some known and by
your treatment a little doubtfoul made "archetyps" of "eternal aesthetics".
If I see films, that have impressed me much in my youth, I also often got
the impression, that they are not
so legendary as they are praised even by film critics. It is much more
actualll "time spirit" in it,
even i´f the films themselves often try to avoid this.
Even the sky of dreams and imaginations depends much on the real actual
state.
This is also a little bit the casee in the reading of Hölderlin, who for
nowadays is very, very idealistic in an abstract sense.
Putting all together, I find it very good, waht you have written.
The real survival is much more worth than an "eternity" by being a member of
the hall of fame.
greetings Harald Wenk
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