13/04/2018

"Spectre"



..."Fear puts a spell on us
Always second-guessing love"...




Evidence that even absolute greatness can be misunderstood and rejected....

This song was better off given freely to music lover than in this film.

Ironically, I chave to share that clip in which Radiodead's 'Spectre' is included for you to hear it.
But the film producers actually disregarded the song.



Spectre (2015) Main Title with Radiohead Song & Credit





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Lyrics: 




"Spectre"

I'm lost, I'm a ghost
Dispossessed, taken host
My hunger burns a bullet hole
A spectre of my mortal soul
These rumours and suspicion
Anger is a poison
The only truth that I could see
Is when you put your lips to me
Futures tricked by the past
Spectre, how he laughs

Fear puts a spell on us
Always second-guessing love
My hunger burns a bullet hole
A spectre of my mortal soul
The only truth that I can see
Spectre has come for me




12/04/2018

'Windrush generation' face deportation threat


History cruelly coming back to square one...

And ongoing unfairness!


Anger as 'Windrush generation' face deportation threat


Thousands of people who arrived in the UK as children in the first wave of Commonwealth immigration face being threatened with deportation.
BBC
11 April 2018

A slap in the face for the Windrush generation?

They have lived and worked in the UK for decades but many are now being told they are here illegally.
A new petition on the government's website calling on the Home Office to grant them an amnesty has attracted more than 23,000 signatures.
The Home Office said it would handle applications to stay "sensitively".
The problem arises from the fact that under the 1971 Immigration Act, all Commonwealth citizens already living in the UK were given indefinite leave to remain - but the right to free movement between Commonwealth nations was ended from that date onwards.
However, the Home Office did not keep a record of those granted leave to remain or issue any paperwork confirming it, meaning it is difficult for the individuals to now prove they are in the UK legally.
The Migration Observatory at Oxford University estimates there are 500,000 people resident in the UK who were born in a Commonwealth country and arrived before 1971. 
"This is a slap in the face for the Windrush generation," said Patrick Vernon, who started the petition, a reference to the Empire Windrush, which brought workers from the West Indies to Britain in 1948. 
People who had "worked hard, paid their taxes, raised children and see Britain as their home" were being "threatened and harassed" by the Home Office in what he described as "an historic injustice".
It was particularly ironic, he added, because 2018 was the 70th anniversary of the Empire Windrush's arrival at Tilbury docks, in Essex. 
He said his aim was to gain the 100,000 signatures needed to trigger a debate in Parliament and force the government to stop deportations, establish an amnesty and pay compensation to those who had suffered "loss and hurt". 
Labour MP David Lammy, who is backing the campaign, tweeted: "We invited people as citizens, Home Office treating them like criminals."
People born in Jamaica and other Caribbean countries are thought to be more affected than those from other Commonwealth nations, as they were more likely to arrive on their parent's passports without their own ID documents.
Many have never applied for a passport in their own name or had their immigration status formalised, as they regarded themselves as British.
The Guardian newspaper has highlighted a number of cases of such people being threatened with deportation.
Earlier this year, the Labour peer Lord Faulkner raised the case of Paulette Wilson, a former cook at the House of Commons, who had come to Britain from Jamaica in 1968.
"(She) had never applied for a passport because she assumed she would not need one if she did not intend to travel abroad," he told the House of Lords. 
"One day, she got a letter from the Home Office telling her to register each month at the Solihull immigration centre.
"While she was there on a visit, officials declared that she was an illegal immigrant, had her carted off to the appalling Yarl's Wood immigration removal complex and told her that she would be deported - presumably back to Jamaica, which she had not visited since she left as a child almost 50 years before," he added.
She was saved from deportation by the intervention of her MP, Emma Reynolds, and the Refugee and Migrant Centre in Wolverhampton.
She has now been given leave to remain, said Lord Faulkner, "although she has lost benefits for the past two years, as well as her flat, and has to rely on financial support from her daughter".
He said there were "many others" like Mrs Wilson - and he blamed measures introduced by then Home Secretary Theresa May in 2013 to make the UK a "hostile environment" for illegal immigrants, restricting access to jobs, driving licences, benefits, health care and accommodation.
He said this had "clearly led to overzealous interventions by officials". 

Valued contribution?

A Home Office spokesperson said: "We value the contribution made by former Commonwealth citizens who have made a life in the UK. 
"We want to assure individuals who have resided in the UK for an extended period but feel they may not have the correct documentation confirming their status that there are existing solutions available. 
"They should take legal advice and submit the appropriate application with correct evidence so we can progress the case.
"We have no intention of making people leave who have the right to remain here," the Home Office added.
The Joint Council for the Welfare of Immigrants said there were cases of Australian, Canadian and South African, Indian and Pakistan-born citizens facing the same problem.
But it was "not as likely you will be asked to demonstrate your immigration status" by landlords or officials if you were "white and of European origin", JCWI chief executive, Satbir Singh, told BBC News. 
The JCWI is calling for Commonwealth citizens who arrived before 1971 to be given the same status as EU citizens living in the UK, who will face a much lower burden of proof of residence than the Commonwealth citizens after Brexit.
The final details have yet to be confirmed but EU citizens may be able to produce things like school registration paperwork or library cards to prove residence, something that would not be accepted from Commonwealth citizens, the campaign group said.

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About AI


About the "Do You Trust This Computer?" documentary. 

The problem's not about trusting the machine. It’s about devaluating what humans are, what emotions, empathy, experience bring in the way we are conscious & intelligent. It is about different kinds of intelligence...


'Do You Trust This Computer?' - Trailer






Do You Trust This Computer? (2018)

Science fiction has long anticipated the rise of machine intelligence. Today, a new generation of self-learning computers has begun to reshape every aspect of our lives. Incomprehensible amounts of data are being created, interpreted, and fed back to us in a tsunami of apps, personal assistants, smart devices, and targeted advertisements. Virtually every industry on earth is experiencing this transformation, from job automation, to medical diagnostics, even military operations. Do You Trust This Computer? explores the promises and perils of our new era. Will A.I. usher in an age of unprecedented potential, or prove to be our final invention?



11/04/2018

KEY scene




Abyss in a box...





Watch the keY (W)hole. "Mulholland Drive" is a very interesting film regarding external manipulation of "timelines".





'Clouds In My Sunshine'



A song of hope...

Despite the worse situations and history, the American "reservations", the Indigenous people of North America managed to perpetrate their culture and message of respect for life.

One example:


Redbone - 'Clouds In My Sunshine' 






From the fifth Redbone album, Wovoka, released in 1973 Epic Records - KE 32462 Lolly Vegas - Vocals, Guitar Pat Vegas - Vocals, Bass Tony Bellamy - Vocal, Guitar Arturo Perez - Drums Produced by Pat and Lolly Vegas Video By Diaz Bros.



'Buffalo soldier'


While reading more on the history of the Indigenous people of North America.


Bob Marley - 'Buffalo soldier'






Lyrics:

Buffalo Soldier, dreadlock Rasta There was a Buffalo Soldier In the heart of America Stolen from Africa, brought to America Fighting on arrival, fighting for survival I mean it, when I analyze these things To me, it makes a lot of sense How the dreadlock Rasta was the Buffalo Soldier And he was taken from Africa, brought to America Fighting on arrival, fighting for survival Said he was a Buffalo Soldier, dreadlock Rasta Buffalo Soldier, in the heart of America If you know your history Then you would know where you coming from Then you wouldn't have to ask me Who the heck do I think I am I'm just a Buffalo Soldier In the heart of America Stolen from Africa, brought to America Said he was fighting on arrival Fighting for survival Said he was a Buffalo Soldier Win the war for America Said he was a, woe yoy yoy, woe woe yoy yoy Woe yoy yoy yo, yo yo woy yo, woe yoy yoy Woe yoe yoe, woe woe yoe yoe Woe yoe yoe yo, yo yo woe yo woe yo yoe Buffalo Soldier, troddin' through the land woo ooh Said he wanna ran, then you wanna hand Troddin' through the land, yea, yea Said he was a Buffalo Soldier Win the war for America Buffalo Soldier, dreadlock Rasta Fighting on arrival, fighting for survival Driven from the mainland To the heart of the Caribbean Singing, woe yoy yoy, woe woe yoy yoy Woe yoy yoy yo, yo yo woy yo woy yo yoy Woy yoy yoy, woy woy yoy yoy Woy yoy yoy yo, yo yo woe yo woe yo yoy Troddin' through San Juan In the arms of America Troddin' through Jamaica, a Buffalo Soldier Fighting on arrival, fighting for survival Buffalo Soldier, dreadlock Rasta Woe yoe yoe, woe woe yoe yoe Woe yoe yeo yo, yo yo woe yo woe yo yoe Mostrar menos




09/04/2018

Chris Maker à la Cinémathèque de Paris




Exposition Chris Marker


A venir: une exposition 
 
CHRIS MARKER
 
 
En mai 2018



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More soon...



Falling Into Place?




Radiohead - 'Jigsaw Falling Into Place' - Live At Reading Festival 2009







'Jigsaw Falling Into Place' 

Lyrics

Just as you take my hand, Just as you write my number down, Just as the drinks arrive, Just as they play your favorite song... As your blather disappears, No longer wound up like a spring. Before you've had too much, Come back and focus again. The wall's abandon shape, You've got a Cheshire cat grin. All blurring into one, This place is on a mission. Before the night owl, Before the animal noises, Closed circuit cameras, Before you're comatose. Before you run away from me, Before you're lost between the notes, The beat goes round and round, The beat goes round and round! I never really got there, I just pretended that I had. What's the point of instruments? Words are a sawed off shotgun. Come on and let it out, Come on and let it out, Come on and let it out, Come on and let it out. Before you run away from me, Before you're lost between the notes, Just as you take the mic, Just as you dance, dance, dance... Jigsaw falling into place, There is nothing to explain. Regard each other as you pass: She looks back, you look back. Not just once, not just twice. Wish away the nightmare, Wish away the nightmare. You've got a light, you can feel it on your back. You've got a light, you can feel it on your back. Jigsaw falling into place.


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A few words from John Akomfrah




Barbican Meets : John Akomfrah




We meet British artist John Akomfrah to talk art, climate change and how he drew inspiration from his own life for his new commission in The Curve. 'John Akomfrah: Purple' takes place in The Curve until 7 January 2018 http://bit.ly/2hM7zNg Pushing the boundaries of theatre, dance, film, music and visual art, the Barbican is a world-class arts and learning centre.


08/04/2018

Exposition « Les racines poussent aussi dans le béton »


Rendez-Vous dès samedi prochain à Créteil, près de Paris :

« Les racines poussent aussi dans le béton »






Exposition monographique de Kader Attia
Du 14 avril au 16 septembre 2018



Pour cette exposition au MAC VAL, « Les racines poussent aussi dans le béton », Kader Attia imagine une réflexion en forme de parcours initiatique, autour de l’architecture et de sa relation aux corps. 

Une exposition qu’il imagine comme une « conversation intime avec le public du MAC VAL » pour ensemble « sonder les maux et les joies qui articulent la vie dans les cités ». 
Ayant grandi à Garges-lès-Gonesse, il souligne la familiarité des paysages (architectures, population, transports en communs etc…), et a la sensation, à chaque fois qu’il vient au MAC VAL, de « rentrer à la maison ».




« Les racines poussent aussi dans le béton »
Pour investir l’immense espace d’exposition temporaire que le MAC VAL met à sa disposition dès le printemps 2018, Kader Attia créé un parcours initiatique construit autour de deux notions étroitement mêlées : l’architecture et sa relation aux corps. L’exposition-événement
« Les racines poussent aussi dans le béton » s’attache à livrer des pistes de réflexion sur des questionnements qui s’ancrent dans le travail que mène l’artiste depuis de nombreuses années et dans une Histoire partagée : quels regards porter sur les grands projets urbains de l’après-guerre, grands ensembles caractéristiques de ce qu’on appelle les cités dortoirs, qui incarnent des versions fortement digérées et abâtardies des théories et recherches modernistes et utopiques de la première moitié du 20e siècle, et dont les racines sont pourtant à chercher du côté des architectures de terres du Mzab aux portes du Sahara ? Que reste-t-il de l’utopie ? Du vivre ensemble ? Quelles relations ambivalentes entretient-on avec son espace de vie, privée ou publique ? Avec son histoire ? Avec ses racines ?
Dans une optique de désaliénation, de déconstruction du regard colonial et moderne, de réappropriation des récits collectifs et individuels, l’exposition « Les racines poussent aussi dans le béton » explore les relations entre corps physique et corps social, à travers une interrogation des effets de l’architecture sur la psyché, des affects aux corps, sans esquiver la dimension paradoxale et fantasmatique (le retour au pays par exemple) de ces questions.
Poursuivant ses recherches sur les membres fantômes, l’artiste envisage ici l’architecture dans sa dimension de prolongation des esprits et des corps, explorant la tension espace privé/espace public (notamment au travers des figures du transsexuel, du chibani, et de tous les corps réprimés et objectivés au détriment de leur subjectivité...). Le corps est appréhendé tout autant comme contrôlé, mais également dans ses possibilités infinies de révolution et d’action.
Un grand nombre d’oeuvres est produit spécifiquement pour ce nouveau projet qui s’ancre dans une réflexion autobiographique.
Ce parcours labyrinthique s’ouvre sur l’errance du personnage de Jean Gabin, de Pépé le Moko (Julien Duvivier, 1937) à Mélodie en sous-sol(Henri Verneuil, 1963). Les corps des visiteurs sont conditionnés dans une déambulation qui sollicite tous les sens et met en exergue l’itinéraire d’un enfant de banlieue.
L’artiste souhaite également construire une sorte de « conversation intime avec le public » pour ensemble « sonder les maux et les joies qui articulent la vie dans les cités ». Ayant grandi à Garges-lès-Gonesse, il souligne la familiarité des paysages (architectures, population, transports en commun, etc.), et la sensation qu’il a, à chaque fois qu’il vient au MAC VAL, de « rentrer à la maison ».
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Né en 1970 à Dugny (93), Kader Attia vit et travaille entre Paris et Berlin. Lauréat du prix Marcel Duchamp en 2016, il est devenu une figure incontournable de la scène artistique internationale depuis le début des années 2000.
Il parcourt le territoire de l’art comme un espace de réflexion et d’action. Psychanalyse, anthropologie, ethnologie, philosophie… Il décline différentes formes analytiques pour faire émerger, dans le champ de l’art, les refoulés et blessures de l’Histoire, les traumatismes et les peurs inhérentes à nos sociétés. Soulignant les dominations, les replis identitaires, militant pour une décolonisation des savoirs et des récits, il met en Å“uvre depuis plusieurs années le concept de réparation.
Sa pratique de l’art étant en prise avec le réel, il a initié La Colonie, espace de savoir-vivre et de partage des savoirs, dans le 10e arrondissement de Paris, près de la Gare du Nord.
Pour cette exposition au MAC VAL, « Les racines poussent aussi dans le béton », Kader Attia imagine une réflexion, en forme de parcours initiatique, autour de l’architecture et de sa relation aux corps. Une exposition qu’il imagine comme une « conversation intime avec le public du MAC VAL » pour ensemble « sonder les maux et les joies qui articulent la vie dans les cités ». Ayant grandi à Garges-lès-Gonesse, il souligne la familiarité des paysages (architectures, population, transports en communs etc…), et a la sensation, à chaque fois qu’il vient au MAC VAL, de « rentrer à la maison ».
Quels regards porter sur les grands projets urbains de l’après-guerre, grands ensembles caractéristiques de ce qu’on appelle les cités dortoirs, qui incarnent des versions fortement digérées et abâtardies des théories et recherches modernistes et utopiques de la première moitié du 20e siècle, et dont les racines sont pourtant à chercher du côté des architectures de terres du Mzab aux portes du Sahara ? Que reste-t-il de l’utopie ? Du vivre ensemble ? Quelles relations ambivalentes entretient-on avec son espace de vie, privée ou publique ? Avec son histoire ? Avec ses racines ?
Dans une optique de désaliénation, de déconstruction du regard colonial et moderne, de réappropriation des récits collectifs et individuels, l’exposition explore les relations entre corps et corps social, à travers une interrogation des effets de l’architecture sur la psyché, des affects aux corps, sans esquiver la dimension paradoxale et fantasmatique (le fameux retour au pays par exemple) de ces questions. Poursuivant ses recherches sur les membres fantômes, l’artiste envisage ici l’architecture dans sa dimension de prolongation des esprits et des corps, explorant la tension espace privé/espace public (notamment au travers des figures du transsexuel, du chibani et de tous les corps réprimés et objectivés au détriment de leur subjectivité...). Le corps est appréhendé tout autant comme contrôlé, mais également dans ses possibilités infinies de révolution et d’action.
Frank Lamy
Commissaire de l’exposition
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Pour un aperçu visuel : http://www.macval.fr/francais/expositions-temporaires/les-racines-poussent-aussi-dans-le-beton/oeuvres/article/the-end-and-the-beginning