joi, 11 iulie 2013
miercuri, 10 iulie 2013
Despre un album de fotografii de calatorie
O tantica a hoinarit prin acele tari cu -stan din Asia si a acumulat un album delicios cu poze. Articolul poate fi gasit aici.
vineri, 5 iulie 2013
Interviu cu Huang Qi
Huang Qi este un blogger militant chinez care a creat un site unde denunţã abuzurile fãcute de autoritãţile chineze care îi sunt aduse la cunoștinţã de victimele sistemului.
The first thing is we have to get the information out. You have to understand that the public security and government agencies are monitoring our site. They read it. News services too. After we publish, it’ll get the attention of the relevant authorities. So we have to send it out and then people can learn about it. That’s how we do it.
…in the early 2000s, you started having people who own property that was being expropriated by the government. The big change now is that middle-class people have entered human rights work. It’s no longer just a few intellectuals or dispossessed poor people. This has pushed our work forward incredibly.
Interviu cu Dan C. Mihăilescu
Cartea, ca orice marfă care se respectă, este bine să circule, să fie cât mai degrabă în ograda cui are mai multă nevoie de ea. Eu unul, nu am avut niciodată mania tezaurizării. Sunt, dimpotrivă, un campion al risipirii.
LIBRIS.RO: Cum vedeţi autorii români în contextul literaturii universale?
DAN C. MIHĂILESCU: Timizi. Complexaţi. Plăpânzi. Cu respiraţie scurtă, fără tupeu, fără osatură, fără proiecte pentru construcţii de anvergură şi descurajaţi ireversibil de mocirla din ţară. Lipsiţi de omnipotenta instituţie care este agentul literar, dar şi de acel extrem de eficient soi de editor care este, în fapt, coautor în toată regula. Deci nu funcţionarul editurii, ca la noi, cel căruia îi duci discheta pentru corectură şi layout, ci expertul în piaţă şi creative writing, cel care taie şi reface manuscrisul, propune scene, scheme, personaje, soluţii, capitole, finaluri, başca reţeta de succes, ba mai are – musai – şi virtuţi de marketing, PR ş.cl.
Dar să ştiţi că nu am deloc de gând să devin un avocat al scriitorului român peste graniţe. Aici rămân ferm de partea Monicăi Lovinescu, care nu înţelegea la ce bun teribilele eforturi ale autorilor noştri de-a se vedea tipăriţi în Apus în câteva exemplare, din care unu la sută vândute, fie şi la edituri de prima mână, în loc să lupte pentru a câştiga piaţa naţională, un potenţial, deci, de câteva milioane de cititori.
Astel încât, deocamdată, i-aş gândi pe scriitorii noştri în context naţional. Asta, în ce priveşte beletristica. În schimb, unde aş lupta masiv la export este la eseistică şi istoria ideilor. Aici, unde suntem în chip flagrant competitivi, aş face totul (ca stat, ca ICR), să traduc în engleză, germană, spaniolă, franceză câteva cărţi semnate de Pleşu, Liiceanu, Patapievici, Culianu, Djuvara…
*sursã foto http://www.esquire.ro
joi, 4 iulie 2013
Interviu cu Antoaneta Ralian
Interviul meritã sã fie citit în întregime
pentru cã este excepţional : aici.
Fragmente:
Zgomotul strazii cum e?
Urat. Nici macar colocvial, cum ar trebui sa fie. Zgomotul strazii e ingrozitor. Traim navala mizeriei, integrarea mahalalei in centru. Si nu o spun fiindca, vezi Doamne, am stat eu toata viata in centru si mahalaua e nu stiu cum. Mahalaua ar putea foarte bine sa se cizeleze, sa se slefuiasca, dar nu o face, dimpotriva, trage in jos pe ceilalti. Si inainte era mult urat si mitocanie, dar parca le simteai mai putin.
De la Iris Murdoch am invatat ca maretia, si nu vorbesc de grandoare, e vecina cu simplitatea. Cu cat omul este mai mare, cu atat e mai simplu.
Se plateau bine traducerile?
Mai bine decat acum. In primul rand existau trei tipuri de traducatori. Traducerile foarte bune se plateau cu 900 de lei, cele de mijloc cam cu 700, iar cele mai usoare cu 500. Acum se platesc otova. Fie ca traduci o carte politista, de doi bani, foarte usoara, fie ca traduci “Ulysse” e acelasi tarif, oricum mizerabil. Suntem tara care platim cel mai prost traducatorii. Mai prost ca bulgarii, mai prost chiar si decat albanezii.
"Am lucrat la epurarea bibliotecilor. E o amintire odioasa din viata mea, o mare pata de rusine. Am scos din biblioteci mari autori. Am scos Kant, Kirkegaard, Leibniz. Am scos tot ce era filosofie idealista. I-am scos pe D.H. Lawrence si Henry Miller, pe care tot eu aveam sa ii traduc peste ani. Ma durea sufletul. Aveam senzatia ca eu, un nimeni, intru cu bocancii in marea literatura a lumii. Astea toate nu le-as mai vrea pentru nimic in lume!"
Cum vedeti viitorul cartii in format electronic?
Nu pot sa fiu decat subiectiva. Nu as putea niciodata sa citesc o carte in format electronic. Nu pot sa imi scriu traducerile la calculator, fiindca am un fel de relatie senzuala cu hartia, cu creionul. Pe hartie ma regasesc pe mine, tai, scriu pe deasupra, sunt eu cu mine insami. Nu as suporta sa vad ca sta un ecran intre mine si mine. Am inca voluptatea sa tin in mana cartea, altadata aveam si voluptatea parfumului cernelii.
Am preferat intotdeauna sa fiu o traducatoare buna decat o scriitoare mediocra.
Nu credeti in viata de dupa moarte.
Nu, nu cred. Si imi pare rau ca nu cred si ca atunci cand se duce suflul, se duce tot, se alege praful. Dar nu pot sa cred ca miliarde si miliarde de suflete, de spirite, plutesc intr-o stratosfera pe undeva. E o naivitate. Ma gandesc insa uneori la chestii triviale, ca o sa ma intalnesc cu sotul meu in viata de dupa si o sa mergem impreuna la un cinema sau la o cofetarie si o sa ne povestim ce am mai facut de cand nu ne-am vazut.
Fragmente:
Zgomotul strazii cum e?
Urat. Nici macar colocvial, cum ar trebui sa fie. Zgomotul strazii e ingrozitor. Traim navala mizeriei, integrarea mahalalei in centru. Si nu o spun fiindca, vezi Doamne, am stat eu toata viata in centru si mahalaua e nu stiu cum. Mahalaua ar putea foarte bine sa se cizeleze, sa se slefuiasca, dar nu o face, dimpotriva, trage in jos pe ceilalti. Si inainte era mult urat si mitocanie, dar parca le simteai mai putin.
De la Iris Murdoch am invatat ca maretia, si nu vorbesc de grandoare, e vecina cu simplitatea. Cu cat omul este mai mare, cu atat e mai simplu.
Se plateau bine traducerile?
Mai bine decat acum. In primul rand existau trei tipuri de traducatori. Traducerile foarte bune se plateau cu 900 de lei, cele de mijloc cam cu 700, iar cele mai usoare cu 500. Acum se platesc otova. Fie ca traduci o carte politista, de doi bani, foarte usoara, fie ca traduci “Ulysse” e acelasi tarif, oricum mizerabil. Suntem tara care platim cel mai prost traducatorii. Mai prost ca bulgarii, mai prost chiar si decat albanezii.
"Am lucrat la epurarea bibliotecilor. E o amintire odioasa din viata mea, o mare pata de rusine. Am scos din biblioteci mari autori. Am scos Kant, Kirkegaard, Leibniz. Am scos tot ce era filosofie idealista. I-am scos pe D.H. Lawrence si Henry Miller, pe care tot eu aveam sa ii traduc peste ani. Ma durea sufletul. Aveam senzatia ca eu, un nimeni, intru cu bocancii in marea literatura a lumii. Astea toate nu le-as mai vrea pentru nimic in lume!"
Cum vedeti viitorul cartii in format electronic?
Nu pot sa fiu decat subiectiva. Nu as putea niciodata sa citesc o carte in format electronic. Nu pot sa imi scriu traducerile la calculator, fiindca am un fel de relatie senzuala cu hartia, cu creionul. Pe hartie ma regasesc pe mine, tai, scriu pe deasupra, sunt eu cu mine insami. Nu as suporta sa vad ca sta un ecran intre mine si mine. Am inca voluptatea sa tin in mana cartea, altadata aveam si voluptatea parfumului cernelii.
Am preferat intotdeauna sa fiu o traducatoare buna decat o scriitoare mediocra.
Nu credeti in viata de dupa moarte.
Nu, nu cred. Si imi pare rau ca nu cred si ca atunci cand se duce suflul, se duce tot, se alege praful. Dar nu pot sa cred ca miliarde si miliarde de suflete, de spirite, plutesc intr-o stratosfera pe undeva. E o naivitate. Ma gandesc insa uneori la chestii triviale, ca o sa ma intalnesc cu sotul meu in viata de dupa si o sa mergem impreuna la un cinema sau la o cofetarie si o sa ne povestim ce am mai facut de cand nu ne-am vazut.
luni, 10 iunie 2013
De ce se vinde bine arta?
Al-Jazeera analizeazã aici la
Inside Story de ce se vând atât de bine operele de artã, în special picturile.
Dacã în 1990 dealerii de artã și casele de licitaţie au vândut opere de artã în valoare de 27 de miliarde de dolari, în 2007 valoarea tranzacţiilor s-a dublat ajungând la 66 de miliarde de dolari, iar în 2012 piaţa de artã s-a pãstrat la 56 de miliarde, în ciuda crizei economice mondiale.
Cel mai scump tablou vândut vreodatã este Jucãtorii de cãrţi al lui Cezanne.
Dacã în 1990 dealerii de artã și casele de licitaţie au vândut opere de artã în valoare de 27 de miliarde de dolari, în 2007 valoarea tranzacţiilor s-a dublat ajungând la 66 de miliarde de dolari, iar în 2012 piaţa de artã s-a pãstrat la 56 de miliarde, în ciuda crizei economice mondiale.
Cel mai scump tablou vândut vreodatã este Jucãtorii de cãrţi al lui Cezanne.
duminică, 19 mai 2013
The Mindscape of Alan Moore
Alan Moore vorbește
puţin despre viaţa sa, despre cum a ajuns sã creeze, despre ce vrea sã
transmitã. Filmul e pe Youtube.
Dacã nu știţi cine e Alan Moore, atunci asociaţi-l cu asta și rezolvaţi problema:
Despre benzi desenate:
I feel that if we only see comics in relationship to movies, then the best that they will ever be are films that do not move.
I decided that what might be useful was to try and link up the elements of fantasy horror from our imaginations, werewolves, vampires, zombies, and the like, with real life horrors, racism, sexism, pollution, the collapse of the environment, and thus lend these social issues some of the weight that fantasy fiction could offer. Most of us have little to fear from vampires. And yet we live in cultures that are every bit as dangerous despite the non-existence of terrible supernatural forces.
Despre celebritate:
I realized that I was becoming a celebrity, which was nothing I’d ever expected, given that comic writer was about the most obscure profession in the world when I actually entered the job. The thing about fame is that fame in its current sense had not really existed before the 20th century. […] In the 20th century however, with these massive surges in communication, suddenly a different sort of fame was possible. And I tend to think that what fame has done it has replaced the sea as the element of choice of adventure for young people. […] in the 20th century you might decide that you want to run away and form a pop band. The difference is that in the 19th century, before running away to sea, you would have at least some understanding of what the element was that you were dealing with and you would have perhaps, say, learned to swim. The thing is that there is no manual for how to cope with fame, so you’ll get some otherwise likeable young person who has done one good comic book, one good film, one good record, who is suddenly told that they are a genius and who believes it and who runs out sort of laughing and splashing into the billows of celebrity and whose heroin sodden corpse is washed up a few weeks later in the shallows of the tabloids.
Despre magicienii lumii moderne:
On my fortieth birthday, rather than merely bore my friends by having anything as mundane as a midlife crisis, I decided that it might actually be more interesting to actually terrify them by going completely mad and declaring myself a magician. […] it seemed to be a logical end step in my career as a writer […] if you suddenly declare yourself to be a magician without any knowledge of what that entails, then one day you are likely to wake up and to discover that is exactly what you are.
Art is, like magic, the science of manipulating symbols, words or images, to achieve changes in consciousness. […]And I believe this is why an artist or writer is the closest thing in the contemporary world that you are likely to see to a shaman.
A magician might curse you. That might make your hands lay funny or you might have a child born with a club foot. If a bard were to place not a curse upon you, but a satire, then that could destroy you.
Writers and people who had command of words were respected and feared as people who manipulated magic. In latter times I think that artists and writers have allowed themselves to be sold down the river. They have accepted the prevailing belief that art, that writing are merely forms of entertainment. They’re not seen as transformative forces that can change a human being, that can change a society. They are seen as simple entertainment, things with which we can fill 20 minutes, half an hour while we’re waiting to die. It is not the job of artists to give audience what the audience want. If the audience knew what they needed, then they would not be the audience. They would be the artists. It is the job of artists to give the audience what they need.
Much of magic as I understand it in the Western
occult tradition is the search for the Self with capital S. This is understood
as being the Great Work, as being the gold that alchemists sought, as being the
Will, the Soul, the thing that we have inside us that is behind the intellect,
the body, the dreams. The inner dynamo of us if you like. Now this is the
single most important thing that we can ever attain, the knowledge of our own Self.
Despre pornografie:
There is a brain-penis-blood ratio that tends to get in the way of writing intelligent pornography. If it becomes too intelligent all the blood rushes through your brain, you lose your erection. If it becomes too sexually exciting, you are no longer in any state to appreciate its aesthetic value.
There is no reason why a horny piece of literature that is purely about sex could not be as beautiful, as meaningful and have as absorbing characters as any other piece of fiction.
Preferate:
The substance that has most effect upon our culture and upon our lives is completely invisible. We can only see its effects. This substance is information.
I was reading recently that people from the cutting edge of quantum physics believe that information is a “super weird substance” […] which underlies everything in the universe, which is more fundamental than gravity, or electro-magnetism or the two nuclear forces.
Dacã nu știţi cine e Alan Moore, atunci asociaţi-l cu asta și rezolvaţi problema:
Despre benzi desenate:
I feel that if we only see comics in relationship to movies, then the best that they will ever be are films that do not move.
I decided that what might be useful was to try and link up the elements of fantasy horror from our imaginations, werewolves, vampires, zombies, and the like, with real life horrors, racism, sexism, pollution, the collapse of the environment, and thus lend these social issues some of the weight that fantasy fiction could offer. Most of us have little to fear from vampires. And yet we live in cultures that are every bit as dangerous despite the non-existence of terrible supernatural forces.
Despre celebritate:
I realized that I was becoming a celebrity, which was nothing I’d ever expected, given that comic writer was about the most obscure profession in the world when I actually entered the job. The thing about fame is that fame in its current sense had not really existed before the 20th century. […] In the 20th century however, with these massive surges in communication, suddenly a different sort of fame was possible. And I tend to think that what fame has done it has replaced the sea as the element of choice of adventure for young people. […] in the 20th century you might decide that you want to run away and form a pop band. The difference is that in the 19th century, before running away to sea, you would have at least some understanding of what the element was that you were dealing with and you would have perhaps, say, learned to swim. The thing is that there is no manual for how to cope with fame, so you’ll get some otherwise likeable young person who has done one good comic book, one good film, one good record, who is suddenly told that they are a genius and who believes it and who runs out sort of laughing and splashing into the billows of celebrity and whose heroin sodden corpse is washed up a few weeks later in the shallows of the tabloids.
Despre magicienii lumii moderne:
On my fortieth birthday, rather than merely bore my friends by having anything as mundane as a midlife crisis, I decided that it might actually be more interesting to actually terrify them by going completely mad and declaring myself a magician. […] it seemed to be a logical end step in my career as a writer […] if you suddenly declare yourself to be a magician without any knowledge of what that entails, then one day you are likely to wake up and to discover that is exactly what you are.
Art is, like magic, the science of manipulating symbols, words or images, to achieve changes in consciousness. […]And I believe this is why an artist or writer is the closest thing in the contemporary world that you are likely to see to a shaman.
A magician might curse you. That might make your hands lay funny or you might have a child born with a club foot. If a bard were to place not a curse upon you, but a satire, then that could destroy you.
Writers and people who had command of words were respected and feared as people who manipulated magic. In latter times I think that artists and writers have allowed themselves to be sold down the river. They have accepted the prevailing belief that art, that writing are merely forms of entertainment. They’re not seen as transformative forces that can change a human being, that can change a society. They are seen as simple entertainment, things with which we can fill 20 minutes, half an hour while we’re waiting to die. It is not the job of artists to give audience what the audience want. If the audience knew what they needed, then they would not be the audience. They would be the artists. It is the job of artists to give the audience what they need.
Despre pornografie:
There is a brain-penis-blood ratio that tends to get in the way of writing intelligent pornography. If it becomes too intelligent all the blood rushes through your brain, you lose your erection. If it becomes too sexually exciting, you are no longer in any state to appreciate its aesthetic value.
There is no reason why a horny piece of literature that is purely about sex could not be as beautiful, as meaningful and have as absorbing characters as any other piece of fiction.
Preferate:
The substance that has most effect upon our culture and upon our lives is completely invisible. We can only see its effects. This substance is information.
I was reading recently that people from the cutting edge of quantum physics believe that information is a “super weird substance” […] which underlies everything in the universe, which is more fundamental than gravity, or electro-magnetism or the two nuclear forces.
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