[D-G] viaggio in cosmo ./ corrected ending of this first part
hwenk at web.de
Sat Jan 6 13:35:34 PST 2007
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.
From: deleuze-guattari-bounces at lists.driftline.org
[mailto:deleuze-guattari-bounces at lists.driftline.org]On Behalf Of adline
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
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.
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.
-- 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.
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
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.
By all means resist the sound of the powerful -- That are often
called some kind of sirenes of Ulysses - say sleeping,
Or the cosmic help by fine brain tissue,
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.
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.
with his two eyes. -- So it is stored in his memory,
with his insights and feelings accompanied.
Then he gets impatient.
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
on the other side of the room. She is filmed by Rosselinis eyes in
close shot. -- Looks like
he is expecteng something from her, or he likes close shot
She speaks in a microphone that she handles herself. -- In the background
the sound engeneer?
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"
Let me answer you in the form of a riddle:
becomes each day more childish. Everybody has
the mad desire to be the most childish possible.
I dont say ingenuous, I say childish. By childishness
we have fallen to the lowest end of the human
-- 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. Thats what --
Suddenly the philosphical owl becomes a real owl
makes me angry! This total lack of shame.
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.
saituation is still the unchanged same?
What have you been doing since 1977, the year you
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
settlement. As holographic characters gradually uncover the ground and
discover the sculpture of two lovers caught intertwined by the Vesuvios
lava, Rosselini on a branch of an olive tree meditates, his own voice
What is touching, is the weakness of mankind.
It is not mans 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
Nothing has changed since Robertos movie.
All is the same, exeption made of our -- Is Bergamann like
rosselini - still in 1963?
body. Antropomorphic Monkeys
What should we do? To carry on Viaggio in Italia?
Where is Roberto?
Its 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
sculptures by the holographic characters. The ruins are covered with
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?
Ask Roberto. But I would prefer to keep intact
our work in the original Viaggio in Italya.
Other monkeys gather around the couple.
Whos 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?
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.
What do you have on the skull Ingrid. Tell it all.
I fear we could destroy what we achieved in the past -- very defensive
But the trouble is our past work has been already partly
destroyed by the lack of courage in new generations
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.
the Cosmos is not always evolutive in the good sense
Why have we become orang-outangs?
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.
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
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.
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
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
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.
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
make such a city comfortabble.
Roberto who are the monkeys, for you, in your storyworld?
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
But look at me:
I am an owl, and thus a creature of the
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
be fine --
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
any set, I find it absurd the monkeys should
behave as slaves and build a city over the
Ingrid, were you to have any significant role in my new movie,
you would be a bridge between species, but probably
something happening between an
owl -- to understandi it charming
is to take this
she should leave at once.
and a monkey could well seed, escaping to the
of existing monkeys and possibly existing
in a steel armoured city?
I was trying to figure it all why were humans
shaped holographically in this movie, and I just
there are strong doubts casted here against
viability of staying wholly oneself in such
enslavering environment. They use the -- this
indeed ain't easy. --
Yes, but doubts, mind you: no definitive
would humans look like once gazed at by the
external wild animals, that we still need to become by --
this necessety is not obvious at
all to me --
way, what could such humans look like: or reversedly
we, as we are watched by such all encompassing human eye,
as much technologically powered would he have evolved
Enough talking. Now lets bring our ideas to live!
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
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
List address: deleuze-guattari at driftline.org
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