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Lino Milita
I desideri dei mondi possibili
relegati nell’aliena inconsistenza,
son soppesati come una senescenza
che s’attarda nelle fole insolubili.
Pigre sintesi giudicano le astratte azioni,
infantili albe delle fiabe fatate,
annunciate dalle farfalle eccitate
nel dipingere libere e aeree aspirazioni.
Ma ogni assonante ritmo d’ali rievocato
in mutevoli aperture dei risvegli,
è specchio di ogni petalo illuminato.
E ogni incontro nell’universale meraviglia
nella celebrazione d’un altro apparire
accudisce una nuova e più intensa veglia.
As for the video Ryan McGinley’s Beatiful Rebels click HERE
The Celebrated Artist Reveals the Unexpected Magic of Shooting his Butterfly Film For Edun
Lino Milita
I desideri dei mondi possibili
relegati nell’aliena inconsistenza,
son soppesati come una senescenza
che s’attarda nelle fole insolubili.
Pigre sintesi giudicano le astratte azioni,
infantili albe delle fiabe fatate,
annunciate dalle farfalle eccitate
nel dipingere libere e aeree aspirazioni.
Ma ogni assonante ritmo d’ali rievocato
in mutevoli aperture dei risvegli,
è specchio di ogni petalo illuminato.
E ogni incontro nell’universale meraviglia
nella celebrazione d’un altro apparire
accudisce una nuova e più intensa veglia.
Per il video Di Ryan McGinley’s Beatiful Rebels premere QUI
The Celebrated Artist Reveals the Unexpected Magic of Shooting his Butterfly Film For Edun
Divenire – Lino Milita
Giochi simmetrici in ordinali spazi,
di vaghe estensioni immote,
d’anime acclamati,
vorticosamente precipitano.
Desiderato divenire di fuga aspirata,
da sapido sentore avvolto, e
d’ironico dolce richiamo,
gioiosamente sei amato.
Image taken from HERE
To the music of Ludovico Einaudi “Becoming” click HERE
Divenire – Lino Milita
Giochi simmetrici in ordinali spazi,
di vaghe estensioni immote,
d’anime acclamati,
vorticosamente precipitano.
Desiderato divenire di fuga aspirata,
da sapido sentore avvolto, e
d’ironico dolce richiamo,
gioiosamente sei amato.
Immagine presa da qui QUI
Per la musica di Ludovico Einaudi “Divenire” premere QUI
Tilda: here in “Orlando”, she offers the unconscious is both masculine feminine of each of us, and the story of an empire, and the story of the desire to be a father and a mother. In this film, SHE is a gift: a continuous offer of the possible manifestations of what she can be. She and Tilda’s character, are both a generous range of possible desires of all who we can be.
Image taken from HERE
Beautiful music: the labyrinth is a search for his own meaning of life in the flow of the history of her sex, the history of England. And this music that repeats the rhythm in ascending order for the final explosion: a NEW BIRTH.
This movie, that book, that actress, that woman was Virginia Woolf; that music is a whole: an absolute masterpiece. The video “scene of the labyrinth”: HERE
Tilda: qui in Orlando lei offre il femminile e il maschile inconscio in ognuno di noi, e la storia di un impero, e la storia della volontà di essere padre e madre. Ma in tutto questo film, LEI è un dono: un’offerta continua delle possibili manifestazioni di ciò che LEi può essere. Lei il personaggio, LEI Tilda, sono entrambe un generoso ventaglio di desideri del possibile che tutti possiamo essere.
Immagine presa da QUI
Musica bellissima: il labirinto come ricerca del proprio senso della vita nello scorrere della storia del suo sesso, della storia dell’Inghilterra. E di questa musica che ripete il ritmo in modo ascendente per l’esplosione finale per una NUOVA NASCITA.
Questo film, quel libro, quell’attrice, quella donna che fu Virginia Woolf; quelle musiche è un tutt’uno: un capolavoro assoluto. Il video Orlando: scena del labirinto: QUI
Rachmaninov – Symphonic Dances – Op 45 – 1/5
The Symphonic Dances Rachmaninoff can be set to music with a piano. They have a structure to our ears, can they be understood in an abstract manner, imagining tone and timbre in the percussion (heart), on the breath (lung) and the key (skeleton).
And just because they maintain a distance from the word, and also by the specific noise of an instrument, we, as in the act of writing poetry, through language, our bodies and the mutual feelings that we express in emotions, we transform them in flesh and blood, a common feeling.
And then we dance between these schemes.
Image taken from HERE
We start from the first dance. Do not cheerful: the impact of three descending notes, which forms the basis of the movement, makes its way into pianissimo strings, and then it emerges with rhythmic aggression. The sound of the oboe leads to the transition of the middle section; the alto saxophone states the bad mood; the melody is then taken up by the violins, before returning to the initial section that we called rhythmic dynamism; and the movement is switched off in the same way of com it was started.
We wake up feeling the three notes, our body resumes its forms and it swims in the black vortex that runs on the same without screwing on a fulcrum.
The Scream is the transition to the saxophone.
The tormenting sigh invokes the arches, like the wings of glass, they branch out in polymorphic structures. And we begin again, waiting for the next movement, we being chained in the final rate order not to disperse the memory of self-image.
To listen Symphonic Dances Press Here
