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THE DANCE OF REALITY (2014), a film by Alejandro Jodorowsky #CompulsiveCinephilia

by Alejandro Jodorowsky

Produced and directed by Alejandro Jodorowsky, THE DANCE OF REALITY is his first film in 23 years. The legendary filmmaker was born in 1929 in Tocopilla, a coastal town on the edge of the Chilean desert where the film was shot. It was there that Jodorowsky underwent an unhappy and alienated childhood as part of an uprooted family. Blending his personal history with metaphor, mythology and poetry, The Dance of Reality reflects Alejandro Jodorowsky’s philosophy that reality is not objective but rather a “dance” created by our own imaginations.(c) Official Site

Download: http://bit.ly/1MwOROl

Reviews: http://www.rottentomatoes.com/m/the_dance_of_reality/


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alejandro-jodorowsky DuneJODOROWSKY’S DUNE [DOCUMENTARY] 


DARK CITY (1998, 1 hr. 41 min), by Alex Proyas #CompulsiveCinephilia

DARK CITY (1998)
Directed by Alex Proyas
Reviews @ Rotten Tomatoes

Dark City trades in such weighty themes as memory, thought control, human will and the altering of reality, but is engaging mostly in the degree to which it creates and sustains a visually startling alternate universe.” Todd McCarthy, Variety

“Proyas floods the screen with cinematic and literary references ranging from Murnau and Lang to Kafka and Orwell, creating a unique yet utterly convincing world.” Andrea C. Basora, Newsweek (Full Review| April 28, 2008)

“Proyas assembles his inspirations into a unique amalgam with the power of myth to tap the fears and desires of our collective unconscious.” Peter Canavese, Groucho Reviews (Full Review… | August 5, 2008)

“The revolution will put you in the driver’s seat.”


“The Revolution Will Not Be Televised”
by Gil-Scott Heron

You will not be able to stay home, brother.
You will not be able to plug in, turn on and cop out.
You will not be able to lose yourself on skag and
skip out for beer during commercials,
Because the revolution will not be televised.

The revolution will not be televised.
The revolution will not be brought to you by Xerox
In 4 parts without commercial interruptions.
The revolution will not show you pictures of Nixon
blowing a bugle and leading a charge by John
Mitchell, General Abrams and Mendel Rivers to eat
hog maws confiscated from a Harlem sanctuary.

The revolution will not be televised.
The revolution will not be brought to you by the
Schaefer Award Theatre and will not star Natalie
Woods and Steve McQueen or Bullwinkle and Julia.
The revolution will not give your mouth sex appeal.
The revolution will not get rid of the nubs.
The revolution will not make you look five pounds
thinner, the revolution will not be televised, Brother.

There will be no pictures of you and Willie Mays
pushing that shopping cart down the block on the dead run,
or trying to slide that color television into a stolen ambulance.
NBC will not be able predict the winner at 8:32
on reports from 29 districts.
The revolution will not be televised.

There will be no pictures of pigs shooting down
brothers in the instant replay.
There will be no pictures of Whitney Young being
run out of Harlem on a rail with a brand new process.
There will be no slow motion or still life of Roy
Wilkens strolling through Watts in a Red, Black and
Green liberation jumpsuit that he had been saving
For just the right occasion.

Green Acres, The Beverly Hillbillies, and Hooterville
Junction will no longer be so god damned relevant, and
women will not care if Dick finally screwed
Jane on Search for Tomorrow because Black people
will be in the street looking for a brighter day.
The revolution will not be televised.

There will be no highlights on the eleven o’clock
news and no pictures of hairy armed women
liberationists and Jackie Onassis blowing her nose.
The theme song will not be written by Jim Webb or
Francis Scott Key, nor sung by Glen Campbell, Tom
Jones, Johnny Cash or Englebert Humperdink.
The revolution will not be televised.

The revolution will not be right back
after a message about a white tornado, white lightning, or white people.
You will not have to worry about a dove in your
bedroom, a tiger in your tank, or the giant in your toilet bowl.
The revolution will not go better with Coke.
The revolution will not fight the germs that may cause bad breath.
The revolution will put you in the driver’s seat.

The revolution will not be televised, will not be televised,
will not be televised, will not be televised.
The revolution will be no re-run brothers;
The revolution will be live.

Jean-Marie Guyau (1854-1888)


“Les vieillards sont, en général, plus inclinés que les jeunes gens à devotion. Il y a sans doute bien des raisons à cela, l’approche de la mort, l’affaiblissement du corps et de l’intelligence, le besoin croissant d’un appui, etc., mais il en existe un raison plus profonde: le vieillard, toujours plus isolé que le jeune homme et privé des excitations de l’instinct sexuel, est réduit à une moindre dépense d’affection e d’amour. Ainsi s’accumule en lui un trésor d’affection non utilisé, qu’il est libre d’appliquer à tel ou tel objet; or l’amour de Dieu est celui qui coûte le moins d’efforts, qui s’accomode le mieux à l’indolence naturelle des vieillards, à leur souci d’eux-mêmes; ils deviennent donc dévots, moitié par égoisme, moitié par besoin de préoccupations désinteressées. Dans notre coeur à tous brûle toujours quelque grain d’encens dont nous laissons le parfum monter à Dieu quand nous ne pouvons plus le donner à la terre.

Signalons aussi la perte des êtres aimés, les malheurs de toute sorte, les infirmités irréparables, comme provoquant naturellement une expansion vers Dieu. Au Moyen Âge, la misère a été parfois un des plus importants facteurs de la piété; qu’il arrive à un homme un très grand malheur immérité, il y a toute chance pour qu’il devienne croyant et religieux, à moins qu’au contraire il ne se fasse athée: cela dépend souvent de sa force d’esprit, de ses habitudes, de son éducation. Quand on frappe un animal, il peut arriver également qu’il vous morde ou qu’il se couche à vos pieds. Toutes les fois que notre coeur est violemment refoulé, il se produit en nous une réaction inévitable; il faut que nous répondions du dedans aux coups venus du dehors: cette réponse est tantôt la révolte, tantôt l’adoration.

Tous les faibles, tous les déshérités, tous les souffrants, tous ceux à qui le malheur ne laisse même pas la force nécessaire pour s’indigner, n’ont q’un recours: l’humilité douce et consolante de l’amour divin. Quiconque sur terre n’aime pas assez et n’est pas assez aimé, cherchera toujours à se tourner vers le ciel…”

Jean-Marie Guyau (1854-1888)
L’Irréligion de L’Avenir.
Paris, 1930, Librairie Félix Alcan. Pg. 99


Franz Liszt (1811-1886), “Faust Symphony”

Fantasy Based on Goethe’s ‘Faust’ (1834), by Theodore Von Holst (1810-1844)

Fantasy Based on Goethe’s ‘Faust’ (1834), by Theodore Von Holst (1810-1844). Via Tate.

A Faust Symphony in three character pictures (German: Eine Faust-Symphonie in drei Charakterbildern), S.108, or simply the “Faust Symphony”, was written by Hungarian composer Franz Liszt and was inspired by Johann Wolfgang von Goethe’s drama, Faust. The symphony was premiered in Weimar on September 5, 1857, for the inauguration of the Goethe–Schiller Monument there.

The first clue as to the work’s structure is in Liszt’s title: “A Faust Symphony in Three Character Sketches after Goethe: (1) Faust, (2) Gretchen, (3) Mephistopheles.” Liszt does not attempt to tell the story of Goethe’s drama. Rather, he creates musical portraits of the three main protagonists. By doing so, though this symphony is a multi-movement work and employs a chorus in its final moments, Liszt adopts the same aesthetic position as in his symphonic poems. The work is approximately seventy-five minutes in duration… – Wikipedia


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You might also enjoy…  Composers & Musicians previously published on Awestruck Wanderer: Fela Kuti || Dvořák || Jeff Buckley || George Harrison || Love’s Forever Changes || Jimi Hendrix

The Keepers Of Our Past & The Guides To Our Future (By Arundhati Roy)


“The day capitalism is forced to tolerate non-capitalist societies in its midst and to acknowledge limits in its quest for domination, the day it is forced to recognize that its supply of raw material will not be endless, is the day when change will come. If there is any hope for the world at all, it does not live in climate-change conference rooms or in cities with tall buildings. It lives low down on the ground, with its arms around the people who go to battle every day to protect their forests, their mountains and their rivers because they know that the forests, the mountains and the rivers protect them.

The first step towards reimagining a world gone terribly wrong would be to stop the annihilation of those who have a different imagination — an imagination that is outside of capitalism as well as communism. An imagination which has an altogether different understanding of what constitutes happiness and fulfillment. To gain this philosophical space, it is necessary to concede some physical space for the survival of those who may look like the keepers of our past, but who may really be the guides to our future.”

—Arundhati Roy

(The image that illustrates this post was found in Flick; it’s a “Pachamama” Mural in Bariloche (Argentina), near the artisan market. “Pachamama” refers to “Mother Earth” and is central to many indigenous cultures across South America.)

Vanishing Into Darkness


“Disparition” by Yemeni photographer Bushra Almutawakel, illustrating how women could vanish into darkness and invisibility, step by step, under fundamentalist pressure and the full niqab. Source: http://bit.ly/Pe6o2DThis post was shared on Facebook by more than 50.000 people!

Recommend reading:

Commodity Fetishism


The Tribune of the Uffizi (1772–78), by Johann Zoffany, depicts the commodity-fetishism metamorphosis of oil paintings into culture-industry products.



The Value of Art in this Time of Transition: Daniel Pinchbeck at TED

Read some Pinchbeck’s writings: