Solar Eclipse 2015 March 20

The Deadly Sun
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For us to have sight of the sun we are first told the light from it will destroy our vision. We are in the light everyday without fear we are accustomed to protecting our eyes by using an aid such as the Ultra violet ray’s filter incorporated in glasses.

Straight away the strength of the sun and it’s association to us is present.

Sunlight emitted from the Sun takes Eight and a third minutes to reach us. The light from other planets is traveling from billions of light years before though we can look through the night sky at this ancient light.
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The distance between the earth and sun is around 93 Million Miles.
In kilometers is 150,000 million kilometers which divided by the speed of light, 300,000 kilometers per second then the eight seconds shows the proximity of this major planet in our solar system.
Celestial once uniform
Our solar year comprises the 365 revolutions which brings around each season of our calendar.

Into this derived calendar over millennia these behaviours of the sun have been become patterns which our presence on earth has consumed and adapted to then recorded.
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Only since the discovery of notation have we discovered how far back the recognition of the solar effect had celestial realisation, entering into how we explain to ourselves the continuation of our planets as a system both fluid and static.

The static meaning is used to highlight the times preheating us, in which the sun will have crossed the moon and the earth comes between the sun and the moon.

Numerically the latter is highly frequent whereas what we witnessed on 20 March 2015 is not only very infrequent it has a set of appearances which the Jewish faith have taken to signify the timely extrapolation of their Biblical history. The patterns are so pronounced they appear as visionary.

The occurrences of Jewish upheavals are seen in Biblical texts with Israel affected by the events known and actual have almost formed, co-inciding as a will or expectation that at times The Jewish faith believe they will be challenged and confronted with fundamental elements and outcomes as is present at the point of the celestial indicators of the eight moons.
Eight Blood Moons
This year contains eight blood moons in sequence of which the eighth is after our common week of seven duration predicates the new day of learning or reckoning.

So Exodus and various religious tracts are unfolded to bear witness on us.

But how this is known is the greatest question of all. God only knows.
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It is not known but merely the very creation by giants of imagination, the authors of our historical revelation, recording for themselves the events of Christian thinking, told with the narrator not Jesus but Moses.
The Israelites being so outside of The Lord God, could not themselves listen directly to God but were totally reliant on the words given to Moses.
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Jesus was on the side of God and Gods word was the word Jesus taught us.

The words of Moses deserve and are worthy of faith but are not the entirety of faith nor is the word of The Lord set to divide or set apart some from others. Jesus told us to be aware of the simple truth and reject all other things.
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The Easter Time
We are coming towards a time, Easter, when we again realise the world is of our habitation not our making and until we return to God forsaking all sin of war, hurt and harm, from ignoring our love for our neighbour as given us then we are on the path away from God and the pain of the crucifixion is our eclipse.

We are not in the sight of God when we ignore the wisdom given. We are in anticipation of of the words of the Lords Prayer.

We are in the hearing of the sound of the world washing us in the water here since the world became.

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Within air, the air, nitrogen, oxygen carbon monoxide and other spoiling polluting gases in which we reside silently breathing until God takes us away from this life and returns us to his.

Other Occula

We see as we have seen on the Sun the formation of Crescents. Some called Occula.

Occula
This a protrusion on the occipital bone of the skull that forms a joint with the first cervical vertebra, enabling the head to move relative to the neck.
On our nails are a crescent shape. The fingernail from under our skin revealing an inner fixed point.

The edge extends the crescent stays within us at the finger and between the head and body there is this Occula bone being a sign of the two elements most evident and whole being joined.

Across the world we explore connections with even wider universal discovery exciting and forever making us totally in search of inexplicable and forever creating insights to sit around and explain the order our planet may find itself in at this moment and the next.

John Graham

22 March 2015

Belfast

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X+Y

Director : Morgan Matthews. UK. 2014. 1hr 51mins. Cert. 12a rating TBC.
Cast. Asa Butterfield as Nathan, Rafe Spall, Sally Hawkins, Jo Yang, Eddie Marsan, Edward Baker-Close, Percelle Ascott, Alexa Davies, Alex Lawther, Jake Davies, Martin McCann, Tasha Connor, Paul J. Dove.
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Natural Intelligence.
Beyond the realm of most people neurological uses for their brain comes another group of humans whose functioning on pattern reasoning and personal development are caught in a maelstrom of immensity of brain capability and of mental incapacity.

X+Y refers to a rational theory recognition which is non-numerical but hinting at the 26 letters of the English alphabet it has been the authors, writers dominion in which to describe ourselves and our realism.
1. + 2. Premise and Plot
The whole film is a conveyer belt of elite education taking on the form of competition between nations in loosely moralistic or ethical educational terms but effective as a driver both metaphorical and actual for exploratory developmental reasons of 1. + 2. Premise and Plot.
It has as a nice counter foil to the potential lack of exploratory visual content the school of learned Mathematicians gets to train in Tiawan where there is a love interest to create even further mind athletics within the head of Nathan and his contemporaries.

The 59th International Mathematical Olympiad is mind games of the intellect for the savant flexible youngsters from all over the world. Nothing decisions just slightly unhinged and unbracketed until the human mind comes up with a better than advanced Eurovision Song Contest type evaluation model for the brain.
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The future sings.
So we enter the world of a juvenile brain developing from the age of nine.

His name is Nathan Butterfield, if I’m not mistaken he resides in Sheffield, or is it possibly Derby. There is a train journey taken on the Glorious East Midlands Railway, through the Glorious English rolling green fields to give a flavour of the land of giants where walked before us.
After the team return to England the niece of Chinese team leader who is equally gifted but more emotionally cognisant than many of the other prodigies, the girl Jo Yang is given sight of the significance of the world of education, seen from the former regal heights of the Cambridge centrality of advancement in their field. The academic milieu is now spread into every crevice of the developing world with integers belonging through the crescendo and avalanche of information once until the last twenty years executed at millisecond speed to all the new custodians of the future.
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Wordsworth, Darwin, Babbage, Turing, Perkins, Stephenson, Shakespeare, Blake, Newton, Faraday and many many others. The sense of England and the United Kingdom all to presently blighted by the richest rapacious from all in the neighbourhoods known as earth choosing to plunder that Glory for all it’s worth.

Nathan, an only child, is at nine beginning to show his enthusiastic parents, Michael played by Michael McCann of local origin, and Julie played by Sally Hawkins. The film is directed with small but detailed regard to carefully minimal chosen flashbacks, of the origins of the growth Nathan and the characters witness very ably and with equality of intelligent for us to gain insight and our sense of kindred fellowship by the astute Director
Morgan Matthews in collaboration with the pacing pattern forming Writer and story teller James Graham.

The acting is superb and fairly flawless. The resonances for families, especially one child, one parent families, savant teachers! as well as the families of nations striving to interact with our brains and that university of a thing we carry round in our head called a brain is insightful.
Library closed today. Back at four. Study after dark required. Forgotten non returned books and knowledge passed on intuitively or by the consumption this film centers on is like time itself. Unchanging. Unmoving. Unfilled. Uncaptured. None is unedifying but it, the film, shows us the huge gulf in human understanding of ourselves. Again it enters last years obsession from ‘Her’ through to ‘Still Alice’ of this cinematic travel of now.

There is no theory for everything, no Turing, Hawking turning point but the vastness yet unknown. Mr Humphreys, Rafe Spall hands his pupil over to an excited troop controller for the trip to Taiwan where the culture is vibrant and shown linear, meaning it is deeply fashioned by its culture and here holds onto its identity unlike the majority of the West.
The expandable University of our minds
Nathan is confronted by limits. His limits are extended and extended by firstly the immense capacity of his parents to love within their means.
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Then next by the teacher savant , Mr Humphreys, Rafe Spall, recommended to them by the upper school he is taken to once his prodigious talent for Mathematics and pattern recognition is signified and singled out for treatment by that other set of pattern recognisers, whose actual strength lie in the more obtuse and less challenge blue parameters of the Medical facts, the Doctors.

They know less about the brain than can be needed for a human to function at the given pace of genetic and scientific discovery. Patterns are now dual aspect. Intellectual/Medical
Once the plain area of the skills displayed by Nathan would tenuate around mere mathematical prodigy.
Now they encompass duality of mental frameworks and in the case of his savant teacher! – apologies for not having mentioned him sooner – as he is a wonderful key in unlocking the unfurling genius – Rafe Spall as Jamie Humpreys, whose portrayal of a Mathmatics tutor is well, masterful.
His incumbency is in a shape shifting parallel to Nathan’s and provides a hook to claw into the emotional narrative so deftly and for the most part uplifting lay, heartwarmingly and rivetingly strong in cinematic value.
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Parental demands.
Sally Hawkins as his mother is painfully dealt with some times in excoriatingly painful mental torment. It is felt deeply through her raw acting and the directorial and writing treatment, delivering us a hard tough film.
Less prominent but as important is father Michaels own view of his sons ability and their strong bond is evident throughout for different and scarring reasons.

We are sums as maths servants. (used with a singular verb) the systematic treatment of magnitude, relationships between figures and forms, and relations between quantities expressed symbolically. It commands our will to obtain reason and introduces at every moment beauty of existence in the relation of 1 and 0. Sally Hawkins, Martin McCann are us as representatives of the normal state of things.
Rafe Spall and Eddie Marsan are the ‘Mind’ trainers relatively at home on the outside of the drudgery of earth bound subjectivity we rarely encounter, with their reverence to the higher authority, mathematics.

Zhang Mei (Jo Yang),Orion Lee ( Deng Laoshi, both as the Chinese elements of the cast have the ability to run the line of believability of this strange world of weird uplifting scope and potentiality. They inhabit the mathematics as is a relatively dominant pattern formed elasticity of nature which they, Chinese and Eastern philosophy find as their societal fabric.
They have innate human tensions and have beliefs and traditions.
They are exposed and again the emotional development of mankind shifts from extreme accomplishment to inept irrationality, as we are, as the commercial world of ever driven neon exclamation marks and transit modes the Director shows abound, the mass population, despite increasing, evaluates through retention of values and fellowship.

Conclusion. #### 4.
I liked this film without loving its obvious uplifting sensibility.
The very shape of the story was the central competition motif of which there a television, monthly, weekly, annual diet of comparative analysis is always on somewhere. Here we gain insight to the University of our brains and the limits of expression of the higher plain it has, relatively untouched capability within. The diversity along with developmental hope is the message here I feel.

The exam, the numbers game. The task. The enumeration.
When a world of figures appearing as columns and accreditation is taken at the flood.
From climate to climax a score is attributed. Then the table of caution, of risk is formulated.
Do I need a mathmatical prodigy film? Is it a bit like the Turing film?
The young Alan Turing actor Alex Lawther, incidentally, does another artful rendition of a personable youth in the agreeable character of Issac.
He is of a cooler intellect with emotional reasoning, relatively unselfish.
In other roles some of the young actors find themselves acting as one dimensional and misunderstood (other reviews to call them geeks/weirdos,) and in one instance you have to feel for the challenge of bringing out believably, the restrained emotionally harmed prodigy of a pupil whose misfortune turns in on himself. The young isolated, overtly irrational boy is a subject in himself.

I guess this is also like Whiplash in the sense it involves talent and teacher.

The demand for excellence and how mankind must in order to survive and sustain, be motivated to expand into those cells unused in the university sitting in our heads those resident dormant cells.
Cell theory currently explores our ‘longevity’ by considering the time and effort the cells into destroying – not themselves but by brokerage from another messenger – or pushing up into life regeneratively or emerging as alien to be the life force. The switching off and on being something we aim to eventually control!?

If only we understood how the mind accepted knowledge and natural concealed and hidden properties that may allow us advancement out of a primordial garden.

Those prepared to give room for the development of the story and appreciative of learning techniques will see another narrative opening levels of theory and equations somewhat tangential. It is in the vicinity of too contrived but I accept the plot, premise on the basis the theory of life needs a heads up and assist of filmic pattern making. It is where we are.

John Graham

11 March 2015

Belfast.

A BFI and BBC Film. Producers Laura Hastings-Smith, David M. Thompson

Opening at QFT Belfast on Friday 12 March 2015 to end on Thursday 23 March 2015.

Wider outlets. 12a rating.

It Follows : A Film Review

Dir: David Robert Mitchell. Starring: Maika Monroe, Keir Gilchrist, Jake Weary, Olivia Luccardi. 94 min.
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Wicked.
The terrifying thing that is the teenage mind adjusting to a largely unknown inexperienced world. Born in the USA is a paradise for the horror genre.
Firstly the terrifying Brady Bunch and all the generalities made can be chewed up and spat out with undue repentance to harm and the devil take the hindmost John Carpenter sense of freedom of suspense driven drama.

Spooky and hooky all the teenager vulnerabilities are played upon with a force and vitality which brims with jeopardy.

The horror opens as the child becoming a teenager in an instant, Maika Monroe as Jay , takes on and into her life through the opening terrifying incident at her home, the stricken future promised to her by this it thing.
It is the shape of things to come.

Deliciously and delightfully the standard United States of America suburban landscape is visited once again, not by hurricanes, the industrial implosion, the swathes of reposed houses and the shopping mall culture but by the vicissitudes of the any town pathway between the green blades scorn to a certain height. Even Dallas Buyers Club had this suburban presence.
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The landscape is purposely the container of more than.
Landscape
The film club wishing for reality through the morality of recent movies from Twelve Years a Slave, Selma, Boyhood, Still Alice, Her, The Theory of Everything, even Dallas Buyers Club and with relevance here drawn to the studious Under the Skin – identified here! In a previous critique as a certain cult classic is restorative like a new age enlightenment – showing the questions are astute and plentiful.
Oscar my dear
Julianne Moore has secured an deserved Oscar. So many years a custodian of the woman’s voice of filmic portrayal of – remember the Short Cuts legacy as a reality check. We are in a period of perturbed America. Still Alice is persuasively what the title projects and Julianne portrays.

Unexplained It Follows is a Horror movie of studious independence and holds no golden moment of revelation so standing apart from this reality fix found across the Film industry.

This should be a modest box office for its (normal meaning inferred) set of deserving collaborators. The credit list for extras is practically the entire roll call of a school which I didn’t see coming but shows these days everybody counts.
Horror maketh the known
Except it is all a lie over a truth never revealed.
Not when the puerile lapped up diet of Sniper and the passable comedic escapism of sentimental passage of youth films which are every young persons diet of cinematic large screen initiation.
We of later years use cinema for different purposes. Listening to the traffic of themes passing we are underwhelmed often by genre pics.

That said this is a film intelligently drawn and delivered. It is widescreen America as well as the manicured lawns of middle America. The claustrophobic nuanced interior life’s are quickly brought to the filmgoers attention with the preoccupation with the ordinary disrupted.
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Director excels
The writer-director, David Robert Mitchell has excelled in adding to the stalker in every guise and at every possible inconvenient moment.
The pass it on theme is quickly up and running.
Is it running in the terrified mind of the teenager, is it a part or deposit of life which must be cast off or erased? The horror requires an entourage to protect the followed Maika Monroe. They come in the form of her friends with a newish older friend whose few years advantage later becomes a more assured voice of the possible reach of the follower.
Nighty Nighty
Firstly there has to be, one third in the sleepover to stay within the home of dreaded encounter. The sleepover follows on from the Educational Campus of State education. The Pavlovian essentials of the locked doors and the experience within and between the walls is extremely well delivered and built around the experience only being felt initially by Maika Monroe.
The Relay of Horror.
And then some. It is on the prowl and becomes the unseen except by the Maika playing visually her literal disturbed self with deft darkness and dark sorrowful eyes often wet with crying. Her mind implants these figures as we see them getting closer and closer in their relationship to herself. They are progressively from her past.

The old woman who appears early I was unsure of, except it being Carpenteresque. The indulgences only heighten Horror movies it (normal use) seems, it is the enhanced carried knowledge. Like a relay of Horror. I love this exhibit of entailing dragging film cross fertilisation. In terms of Under the Skin we are between the lens and film, between the innovation of inverted thought. The prospect of reading in our purview these recollected reflections are very artfully profound occurrences. This is what the Croneburg, chronological contextual shifting verb and adjective. The piece of derision laden depiction of failed and troubled humanity is absolutely spine tingling in places when it gathers on the senses.

DisasterPieces is the music ensemble that delivers a score which is modern tone shifting tension riven rifts and shifts true and plentiful. It requires it’s auditory piercing stabbing, point making double six hit. It carries.

The work becomes a journey between past places revisiting the past and the left behind desolated part of any town another place destroyed and the reverse side of the coin.

The deeper reading of this is the stripped back past place which is in the present time replaced by relative comfort.
It may represent the Troll. After I was musing on the internalised Ibsen like influence of narrative taken along a path. Such as the Wild Duck. The inescapable place within that we reside alongside buffered by the use of conformity as well as the device of useful escape mechanisms.
Ibsen Ipso Facto
Why did the mind attack Maika Monroe so? Why do the appearances occur within one without another. They are alone not shared (often the genre requires bulk packaging so resorts to it it The Damned etc.!) there you have it – one genre deconstructed as I do with the mighty Ibsen once more my compelling lead to this place.
The Lady from the Sea anyone?

Talking of which water and swimming feature. There is a visit to a pool and you can mix music with water.
Local band featured here are Go Swim. They are cool to explore the water environment but the film takes on water in an entirely unmethaphorical way. It provides the close to dangerously good cinema wished for but shocking in its effect.
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For Go Swim Go See.

Death of the Pilgrim? Death of the Follower? Death of the Followed?

The irredeemable inexhaustible truth is that before long someone else will be along with an even better version of the stalker as self or unself.

To visit the place first try the widescreen of the world.

Conclusion. ###+ 3+
How is the shape of the film let of the hook by being similar in its (normal use) trace to Horror films familiar and of the recent past?
The famille is everything for the genre. The psychosis a very confrontational deep dish. We eat of the plate from the forest floor and survive the increasing complexities and more conflicting stories the senses take in.

This is a film with plenty of shocks and conveyed terror. It is not a slasher context movie but handled with dexterity and skillful ness by its young cast, the exception being the old lady whose part is all make-up! And a meander through the sets. This is a continuum narrative with no (apparent) flashback. It follows the film is a notable watch. Be watchful.

John Graham

26 February 2015

Belfast
The purview is laid out in the shape of cartoons storybooks, space age science interlocked to the bourgeois system that divides down the line whatever your background the curriculum becomes you unless your mind has opened

What is more terrifying than growing up believing the World is a b

The Duke of Burgundy : A Film Review

Dir. Peter Strickland, UK, 2014. Cert. 18. 1hr 44mins.
Cast. Sidse Babette Knudsen, Chiara D’Ana.
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Cherií as in Burgundy
Some strong hints, in fact heavy hints are deployed by Writer and Director Peter Strickland in positing his films theme.
It is a poor and lame set of metaphors unnecessarily deployed.
The simple fact is most viewers relying on this inroad to the story are not in need of this engagement let alone the subject plainly central, the sum of insects and chiefly the butterfly are infuriatingly numbing.

The sole characters are, save a few lecture hall speakers and a distant neighbour given to leaf sweeping are Cyntia, a dominatrix role playing Lepidopterist – that of said butterfly motif, by Sidse Babette Knudsen, and Evelyn, played by Chiara D’Ana, the younger hireling.
It is almost a costume drama as the clothes Sidse wears are vintage decent decadence and poor Chiara gets to don the simple peasant dressing befitting her sub-servant role. You can never be certain what in the spaces between is offered as equalityoutsideof the roles.

The only thing not depicted in metaphor or on the deployment of graphics is the possibly phallic slim antennaed body of the butterfly pairing the stations of the dual wings. The absence of maleness is opening of the forebearing recurring receptiveness of the gynaeceum. The host and house.

An Ottoman becomes the house. Becomes the chamber and is deployed into action in the more illuminating scenes of relationship needs.
The levels of entry to the story are vexed and misshapen male concepts reporting on the female attitude to her sexual role. That role is well evoked in some of the sado-masochistic approaches.

Both women wish to experience the interior lives of their own sexuality each needing different urges to be satiated.

The Fall to Winter
Now it is the season of love, a love for all seasons is as inextinguishable. For most encounters encountered are inhabited timelessly making anything possible if one closes another season of loves fervour responds to the sun or moon also rising. The Duke of Burgundy opens in the fall.

The landscape is European. The atmosphere is surreal. It is dense, forested, isolated, with in the choice of cinematic excursion here set in Hungary. The place able to offer the unusual heightened but faded opulence with a strangely unregarded temperature. Clothes are mere adornments, uniform for signatory place.
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Filmography
So it is excusable, given the subject of love, to begin with an Audrey Hepburn anecdote. The one – according to Hepburn herself, of her discovery when she was stationed with the 1952 film production company of ‘Monte Carlo Baby’ in the south of France for brief location filming, the fairly unnoticed assignment part of a standard contract. Hepburn at the time little known after the Armistice in a European film industry devastated by World War II. This week her co-star in ‘Gigi’ Jean passed away aged 93.

The springboard for exploring the relationship between two women is the entwined shared domesticity and setting found in all relationships eschewed or avowed. Either that or the external issued fan tasty world of ‘Gigi’ were one the fabric is lifted on demand and at a price. Similar fantasy role play is engaged here in this film taking its name from a rare butterfly.
Is there a further feminine Cher, Central France it’s being Bourges?

Cheri is the colour of Burgundy. The least said about that apocryphal use the better. It didn’t appeal on any level as a movie device.
Was it in the least necessary as the thoughts and portrayals were – when you leave and set aside thoughts of the butterfly – more productive.
Butterflies may be ephemeral and beautifully corporeal but that is baggage whereas this film has two sets of thought contesting each other’s extent of loving.

The loving felt is at its tenderest in the bed and touching is singularly a recovery for their relationship. It is also a place of command and struggle but is a place of recoiling physical bonding.

Colette chanced to see the young Hepburn walking across the lobby of the hotel and immediately said to her companion of the moment, “There is my Gigi!”
Colette whose 50 something novels were the French antidote to war and they created the ‘Belle Époque’ world as escape and no one came close to the wise naturalé, evocative, erotic, gravitas with which the French traverse as a fine line between hypocrisy and cant and are able negotiated inside and outside reality, with of course due recognition to Colette.
Léa, in what some regard as the finest of all novels Chéri she demonstrates all the survival skills which Colette associates with femininity which this Duke of Burgundy lesbian affair courts by introducing us to an (unknown?) element of seduction and control which is another inbound s+m chase.

Butterfly Error
The negotiation of romance, intrigue is the whole quotient vessel filled to near overspill in the tumbling dice world of The Duke of Burgundy.
It may involve the fragility of a butterfly.
In the acting of role play inevitably, given time, given devotion, flaws creep in and that grates alike with the viewer and the pair. The imperfections show up the love and utter dependence on this device as a focal part of their loving. It exposes the dynamic a little but not the intrinsic belonging which obviously exists between them.

Perfection is often implied as a goal and the butterfly has this consciously but, well, it’s best left alone. Go onto pleasure in its messy way seems to be one outcome, one possible learnt path on which we happen to tread.

Filmmakers find little to do when love making is underway except use genitailia as the excursion trip without being inside or outside the carriage.
Therefore the use of nudity is ignored so we can use the imagination from early on and absorbing the style of ‘reveal’ the author has chosen.

The actors are blessed with separate forms of beauty. One waif like, suitable to play the submissive. The other more mature, more curvilinear, suited to the solid mind games.

It is where pornography lives, repeat the feat, repeat the feat, are you finding this repeatative, but without the porn. This film does repetition in an entirely provocative way and through strangeness.

Bound over
Colette has given her characters feelings recognised everywhere, by that literal skill she deployed in life and literature. “What a beautiful life I’ve had.” Is her reported reward despite her later life being wheelchair bound.

Feminine Guile
The Duke of Burgundy is not an old fashioned tale of courtesan and pupil.
The femininity is capital currency taken at a slowness, the Milan Kundera slowness lovingly French again, with space and air between the bodies sufficiently involved to suspend, put time away.

One leads, petit mort, the Colettish murder of the passion enflamed.
It is one who leads who falls into the trap set by the victim who in the words of Bukowski suggests ‘Find what you love and let it kill you.’

The game awaits
Ways is there. There never is anything but a complicit and propulsion for the sexual frisson to take the external internal. Have a same word and act out the game. Who is the finest? Who loves the most in whatever role? The play you need to find the deepest pairing without measure is what challenges them? To know how far it can go.

This is a game based film. The erotic of an internal but visually consumptive union replaces repeative sexual performance that film after film produces as the literal filler content. Seed planted, bread rises. Will you do that again? Also the written story they have constricts their reaching their goal.
It is not that straightforward.

Firstly do not ask. It is not for you to ask. You need to listen for the instruction. Do it again. Then the previous interaction is repeated.
Same timeline, touch, pace, continuity precisely as before.
Here it is marked on the floor. The scene has a theatre direction, the Film Director aware of the frame line as well as the entire appearance.
It is exquisite compelling controlled love and the ultimate join up.
Sometimes I found myself analysing the occasions went outside, the nature and occasional v shaped frames of the descending stairs, steps down from the house. The wide cinema and the dense heavily wooded body of the frame.
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Does the film work?
Perhaps it does but it is at times very structurally slow. It through the narrative of role play accounting for nearly two thirds of it highly repeatative. The descriptive tale told is of the proximity of the antecedents of the developed and developing relationships and who chooses the effects physical and mental. The music by ‘Cats Eyes’ is Schrodingers Cat. It is at times excruciatingly over indulgent as soundscape as are the clouds of the flights of insects. Overblown.

Is it quotidian?
Certainly the beauty of the spaces in which these beautiful habitations are not. The quotidian is the place in the minds seeing what eaches need is.

Conclusion. ###3.
What is a film without a few kinks?
The strangeness of certain relationships are worth looking at for how well drawn they are as explorations of unique sexuality.
To communicate this simple two woman chamber piece ponderously slow, repeatitiveness is almost pathological. Prudent in dialogue and each character, I don’t recall even a name for the principles, – they have them of course, Cynthia and Evelyn – the butterflies get the names is unfortunately for me not convincing but a worthy attempt and anti-dote to other cinema treatments gotten into with the self same subjects.
It is very, very watchable with the portentousness of over visually satire like? approaches it becomes relatively indulgent.
It is not markedly English or European even. The book I am reading currently is Henry Fieldings, Joseph Andrews and Shamela (1742) which is full of firm settlements and ejectment all in the course of a virtuous life sought. The plainer it is written the more complex it’s direction becomes and is well equipped for our own obedience to our times?

The playing is tangentially cool and neatly if not inescapably drawn – they are after-all actors acting people acting role play. A candour exists.
A safe word exists! The actors have the burden of constraint heaped upon them unfortunately but deal with it decorously, methodically and beautifully.

Love sometimes passes you by. Only when its past will it become clear?
Can I leave that as an note from which to seek your own tuth?

I’m off to see if I can find where the Chalkhill butterfly, (its one in a frame above their bed) lives it’s short life.

John Graham

19 February 2015

Belfast

Opening at QFT Belfast this Friday 20 February through to Thursday 5 March 2015
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Selma : A Film Review

Selma 2014 US/UK Cert. 12a.
Director. Ava DuVernay. Cast: David Oyelowo, (Martin Luther King Jr.), Carmen Ejogo, (Coretta Scott King), Tom Wilkinson, (Lyndon Baines Johnson), Andre Holland, (Andrew Young), Omar J. Dorsey, (James Orange), Tessa Thompson, (Diane Nash) Colman Domingo, (Ralph Abernathy), Wendell Pierce, Tim Roth, (George Wallace), John Lavelle, (Roy Reed), Jeremy Strong, Dylan Baker, (J. Edgar Hoover), Oprah Winfrey, (Annie Lee Cooper).

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Selma in the 1960’s
When the Television hit the living rooms of modern life in the shapes of mass produced plastic boxes, carrying life through the lens of the Networks and state Media outlets which quickly had become the news digest medium of moving image broadcasting.

The war in Vietnam covered a long period but when in 1960 US President Eisenhower pledged American assistance to the South Vietnamese after decades of sporadic involvement which went back to the early days of the century and further the Television was there there to bring pictures.

Ava DuVernay the Director of Selma clearly is aware of the media presence, the new media, in tackling Selma and the story of the war fought inside America in respect of Racism. The division of white black and other races was a complete unresolved and to a large extent still remains an unresolved mammoth in the Politics of the United States of America as well as every continent on the planet.

Lyndon Blaine Johnson was only a small part of it.
As far as Martin Luther King Jr. was concerned he was the principle obstacle.
So what linkage has the Film with LBJ and what he was at?
There were 5 U.S. Presidents during its involvement in the Vietnam War. They were:
1. Dwight Eisenhower (1953-1961)
He wanted the breakup of Vietnam to stop the influence of Communism in South East Asia.
2. John F. Kennedy (1961-1963)
He decided to use Machinery sending masses of aid. Three weeks before he was assassinated he had organised a coup against Diem who he was also ‘aiding’.
3. Lyndon Johnson (1963 –1969)
He became embroiled in 1964 vastly upgrading the inner war by the Operation Rolling Thunder. US Combat troops had hit the ground in March 1965. He instituted the draft in the face of anti-war protests across campuses and Wider America.
In 1964, the Gulf of Tonkin incident occurred and its resolution gave Johnson more powers to wage the war in Vietnam. He was the President who ordered the bombing campaign called Operation Rolling Thunder and sent the first combat troops to South Vietnam in March 1965 after an attack of Viet Cong on U.S air base in Pleiku. The draft was instituted soon after that and caused many anti-war protests nationwide especially inside campuses.
4. Richard Nixon (1969 -1974)
He decided Vietnam was not enough and decided to go into Loas and Cambodia. His Christmas bombing of 1972 an especially personal act of retribution on North Vietnam
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So this is the background to the film.
The Proximity of War
To wage war you need troops and so for Texas anti-communist Lyndon Blaine Johnson it must have been obvious that as he had a war of continuous making; it was an inherited war against Communism, sometimes fought with the US also.
The arms industry was a widescoping and labour intensive work and profit wielding operation, giving with it the supremacy of power sought against the Eastern Bloc of Communism post-war that Russia had become and the quite Maoist China had grown into against its agrarian broadly egalitarian principles, the modern America had within it the black community disenfranchised and treated as second class citizens.
Producing Product
Brad Pitt in Producing role and Ava Du Vernay the Director must have sat down together and looked about at a script or treatment to sort out into Selma. The casting is odd and the Criminal Americans, George Wallace, LB Johnson with principle British Actors complete with wavering Texas, Alabama accents and frankly dumbed down ‘psychotic minds and blood thick contempt’ are cop outs by Americans not wishing to put that nest of vipers on their own doorstep.
It makes you wonder do they have what it takes to tell a complete story.
The counterbalance is also that perversely the Mr and Mrs King performances of the good characters is splendidly accurately and deeply prescribing the emotion and humanity both these people undoubtedly possessed. Oprah is not sole a exception in delivering a stunning and extraordinary memorable acting part. There is seldom an American who does not inhabit nor convince you this reality is now in the room.
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Civil Rights
To tell the story of Martin Luther King is a grand project. Quite literally he alone turned the United States of America to the mirror and look into itself.

The hatred , the division, the sectarian, the discriminatory, the exploitation, the inequality the cultural gulf was theirs to own in the USA.
David and Carmen
David Oyeloyo is introduced to us as Martin Luther King in the Brad Pitt peacock way, in a plush hotel room with the peacock feather flock wallpaper alongside the doting wife Coretta played beautifully and smartly by Carmen Ejogo. The Nobel Peace Prize awaits and The scene is our introduction as the Ascot tie is unfurled and retired as with customary and honest reflection, David Oyeloyo conveys the differences existing throughout America as they both have come to this citadel of honorable notoriety.

A very Scandinavian backdrop of pastel mistreatment sand geometric clashes of subdued angst cover the walls behind him on acres of canvas as he receives the acclaim and he has the opportunity to deliver his soliloquy.

The stage is set and we are next to see the memorable, very, very, accomplished performance of the central embodiment of the issue in the form of Oprah Winfrey as Annie Lee Cooper, a nurse sought her right to vote in Selma Courthouse. It is a scene of oppression and dignity plainly conceived and effectively delivering for its writer Paul Webb his and our grasp of where we shall be going.

It is the straight and narrow path which it has been the vision of Martin Luther King to symbolism, focus and harness around the odd gospel doctrinarians that stood the Black communities in good faith through the venal hardships of white slavery and which manifested all over the world in various non-believing forms.

The he actors are well up to this task as most and probably all a have a large part of the memory, the history, the feelings of hurt manifested and manifesting in every core of their existence. This is the story as noted above of holding up mirrors and seeing the reflection inside and out. Of seeing through the impressive though tangibly flawed concept of film another reminder of ourselves flawed and unable to breakdown fears.
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Black Power for a War?
Tom Wilkinson as Lydon Blaine Johnson plays the role of the US President (the one the film ignores who saw the need for troops and Black troops suiting his warring ambitions against Commmunism) as a vexed, lagubrious control freak leader manipulating all about him in an ill fitting suit and displaying cockamayne bullshit language as a means of acting plain stupid when he utilised it as another tool in the armoury. David Oyeloyo is never outplayed and neither is given the reign to overbalanced the other in direction. Quite literally this combat of words and gestural conflict are brilliantly handled by Ava DuVernay.

The same is with almost every passage through the film.

The delivery of the Selma town as being atypical Alabama and spokes town for the cities. The Boston’s, Philidelphias, the Chicagos of America as MLK distilled into a real life narrative to focus, focus and bring explicitly and implicitly onto the new TV screens of America.
Ferguson another Ulster name.
DuVernay composes the bridge scenes when the central plank of the film which is the march to set out from Selma to the town of Montgomery (I wonder now about the white settlers from Ulster? erstwhile fundamentalists?) which has as it’s first physical obstacle the Edmund Pettus Bridge. This happened in 1965. It’s was a scene of passive activism meeting with violence unleashed under the authority of Alabama’s Wallace and with the probable blessing of US President Johnson.
Neither of who wanted any power to reach the hands of ordinary people bearing in mind the Black majority in States of the South.

Such was their land theft and exploitation of white and black workers the whole edifice of control was part of an even broader picture of modern empire.

The scenes on the bridge are pivotal and while large parts of America are adjusting to difference, that it was there to stay in many immigrants from Europe’s eyes, it is was entirely different for the Native American and those whose own history was the relatively young slave nations and continued exploitation throughout America.

DuVernay delivers vividly the issue through pieces of dialogue between for example, Malcolm X played Nigel Thatch and Coretta with Carmen Ejogo understanding only too well how personally high the stakes are set against them both.

There is also the civil rights movement, the Student Nonviolent Coordinating Committee whose players have the raw anger of youth and played out by the respective actors superbly.

On March 7th, “Bloody Sunday,” is the centrality.

Lorraine Toussaint as Amelia Boynton,is brutalised on the march, likewise Tessa Thompson as Diane Nash.
Bloody Sunday and the Courts
In the Courthouse Martin Sheen as presiding Judge has a small role and this must have been another tilt at Hollywood’s finest remaining in the room under the invasion of outsider acting.

I noticed and it is not a spoiler, that as well as being a continuity key, DuVernay has a black and white girl on the central steps of the Court staircase conversing leisurely as the case is awaited, adjudicated and discharged.

It is a bit of sisterhood over the male violence which is at the fearful root of the hatred.

Conclusion. ####4

This is a very pivotal film for America to be making as it will be soon bro into the habit of commemorating and making sense of these times after and amid conflicts fought since elsewhere.

The film is a great accomplishment regardless of any caveats, Americans and Foreigners bring to it. It is smoothly achieved without being overwrought. Without rancour it repeats sometimes in the frame of the old footage of TV. Black and white footage without the sight of blood that it had excess of and it is for people like Oprah to get this story told over and over in countless ways. The witness of the United States of America needs is of campus, State museums right in the heartlands telling each part of the story from wherever it reveals the truth of the divisions. The inter gyration of communities need united in principles and seem through the mirror of History.

Despite misgivings on casting and they are in my mind intentionally non-committal moves of intent, the lack of addressing the Politics in an analytical observant way by critics and commentators, it delivers a many vectored and visually impressive and solid story of Historical narrative handheld with excellence by writer, director and the vast bulk of the cast.

It is a wonderous achievement – the achievement of Martin Luther King that is brought In no small part alive and it should not be the only vehicle to explore and inhibit more adventurous filmmaking in looking into the mirror of America. US Cinema should be up for it having so long relied on false narrative, escapism, fantasy for its Cinematic canon.

Less fantasy please America, more of this opinion shaping medium.

The USA needs this continued analysis and the connections run back in many directions, slavery, imperialism, religious division, to the dislodged from the little Island of Ireland for one. Further as well to the more worrying presently pressing, fore bearers of Jewish diaspora from Europe whose religion is like Middle East politics entwined in the industrialisation of War and all have completely undermined their futures in failures to contend with content of the Bible. The commandment not to kill a fundamental evidence of blind faith.

John Graham

4 February 2015

Go see it at QFT from
Friday 6th February to Thursday 16th February 2015

“Glory,” a song by Common and John Legend ends the film.

The Gerard Conlon Memorial Lecture 2015 Democratic Bankruptcy by Michael Mansfield

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The Gerard Conlon Memorial Lecture 2015
Beginning with the dedication to Gerry Conlon in whose memory we were gathered for the inaugural Lecture in keeping with Gerry’s short and troubled journey through life Michael Mansfield summoned up the Collectivism in St Mary’s College on the fortieth anniversary, 23 January 2015 of Guiseppe Conlons death. His death in prison not going unnoticed under this Lectures range.
Election Year 2015
Michael Mansfield for so many years has seen the broad and the minutiae of the Law and State across the planet operate as he advocated on the rights of people where others declined thus discovering and reciting for us now the true connective tissue with which mankind has found itself bound into. This collectivism being manifest throughout a varied and wide ranging career.

A letter formed the central tenent of the lecture and it was written by Gerard Conlon. It was on the subject of Gerry Conlon’s expressed concerns on the kind of Democracy deficits Michael Mansfield takes up as Democratic Bankruptcy.

That letter appeared from the Gerry Conlon’s archive courtesy of Garth Pierce’s obtained and permitted publication of it on 24 December 2014.

It was a letter to Barack Obama, that well known ancient recidivist Irishman, whose continued practice of using drones to inflict a death trail in War zones outside the parameters of humanism and the false imprisonment of prisoners of difference within Guantanamo Bay haunts the world today

Describing in the letter the conditions of his capture, rendition, torture, beatings, interrogation, imprisonment and eventual stitch up by the British Intelligent Forces Gerard Conlon drew stark comparison with his own journey. Again it is forces operating alongside and directing the security forces, the police and army intelligence ensuring, ensured justice and the value of human life to be consigned to worthlessness rhetoric for the mss to consume in their name.

Just as that the Guildford Four faced, the prisoners of Guantanamo Bay whose journal dairies are currently continuing to be produced in The Guardian faced and had the strength to take expose hypocrisy to the world.

Against the British Sovereignty Establishment, the corrupt vested interests and the manifestly corrupt and contagiously violent and constantly morally and ethically bankrupt regimes of state and new fledgling terrorist anarchists Gerry Conlon sought alongside the elucide and clear thinking Mansfield to explain the workings from the Belly of the Beast, the extraordinary injustice visited upon him and that carried on in a form after release which tormented both him and Paddy Hill of the Birmingham Six, fellow framed prisoner – both entwined against their will in the same bind.

The mental bind and grip of innocence was a bodily interference as well as a mental colossus for which they could not agree on a word to describe the inner ‘guilt’ felt – for bringing the burden of innocence spent under guilt in the years across their families lives inside and outsiderison.

Paddy Hill described that. The strap inside his head I imagined keeping to himself for scrutiny alone the facts, the experience, the ongoing.

Most of us could not even conceive of the original violation of justice for it seems so possible but inconceivably in ours experience.
These servants of corruption who treat others the way they were and many continue to do, were born to the same humanity as us all.
How could they take so wrongfully, into their hands and minds,the lives of innocent people and produce the failures God warns us against?

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Michael Mansfield continued to read this letter. To take us into the field of universal commonality. The letter which Gerry never received a reply to.

The support for the Guantanamo prisoners was fierce and fulsome.
It contained vision, experience taught and learnt not by being suppressed by the anti-Christ of the beast that is the the perpetrator of violence, the facilitator who knows far less and is far greater the administer of evil than the fledgling defender who confronts evil.

There was an insular atrophied scattering of Politicians in the room who when Michael Mansfield continued to criticise the GB government, repeatedly refering to a lack of actual close insight to Northern Ireland he made the point clearly enough to suggest that he despised the duplicity of Politicians.

He estimates 200 of the Houses of Parliament MP’s have interests in companies they continually vote on affairs affecting them. “Conflicts of interest we used to call them” he said.
He bought up the thing most people have hitherto been outlay unaware of – the TTIP deal being fostered by Global corporations giving them globally the Power to sue Governments – Transatlantic Trade and Investment Partnership.
It is being hammered out – (post recent years Bildenberg no doubt) between US and EU handshakes. http://www.38DEGREES.ORG.UK/TTIP.

Our own Politicians rely on the trade as back offices lackeys and any industrialists worth their salt here who are true innovators and inverters will themselves find a gorilla in the room in form of the trade conflicts and resulting wars, yes wars are founded on a lot less than mere material access, thus caring forward in our name corporations largesse over people’s government. Sinn Fein are against it but other parties here are not yet coming clean with their position.

The parties here, Michael Mansfield for politeness sake, were kept onside without failing to bring to our attention issues they decline to engage on.
The sectarianism is abundant and clear as the mantra driving politics here and he has never made any bones about it being our downfall.
In the midst of him telling us things politically, the absences of some and the presence of others here at this lecture signified a great deal.
The hangers on to the Gerard Conlon legacy of course were there.
The quest for truth and justice – jolly god that is that is. Let’s rally.

While various people from the floor, during questions, illustrated on behalf of Michael Mansfield you might say, providing his arguments, it was a stream of stories of the type brought by Gerry Conlon’s revised for a different age. Now. Stories as well telling us that everyone knew – speaking again clearly to us shockingly the falsehoods of the peace, the failure of inquiry and investigation.

The returning Advice from Michael Mansfield was his own mantra to never give up. Your own humanity is of nothing compared to the pursuit of goodness abiding in us all and clearly the given gift of our lives and duration on earth forever enhanced by the love of ones neighbour.
Gerry Comlon a sought to his dying breath to speak up for the Ilene’s and the oppressed and the immensity of what he did was not lost amidst this gathering.

New Movements
The judiciary have been slain here in their pursuit of justice, something which Michael Mansfield said concerns him greatly.
The judiciary are the participating Legal voices. Some are advocates others judges and many aredily living floes to extermination. In some countries.
The public are still setting the agenda. Now the practice of using oral and written confessions has nearly entirely been removed due to the well known abuses. The movement has been to take back their lives.
As Martin Luther King said “Our paradigm is Justice.”

The Governments are inured from harm. They have representatives.
The MPs are succour only and e avoidance of damage is a career attribute often practiced by distance.

To create an alternative system out with the lack of agreement for a Supreme Court etc, to not involve with the London Treaty, is to come out from under these ludicrous English idiosyncrasies which is there for a tiny aloud out working which Hieda exposed we are protected from (either or is the fascism) 99% of adherence challenged is turned back to he state as a winning strident stupidity of the actual existence of it.
Sewell bridge is another strand for the Human Bill of Rights privacy is key and Article 3 prisoner detention wrongs exist.

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That was not something given any detail but it is on the same hinge Human Rights Legislation swings by.
One element made reference to by Michael Mansfield was the recent Oxfam highlighting of Global Poor and Global Wealth.
The often recited polemic of the 1% having 50% of the Worlds wealth includes most Europeans earning over £22,000 with their own accumulated or inherited wealth. It is a strange statistic. Hat is because it is wrong.

Who is in the one percent? Well it turns out are 2.9 million in the UK alone
which is twice that in China and less than France. To have £800,000 gets an entry. So a house valued at a million with £800,000 paid off gets the individual in although a married couple etc. Well there is a base point this illustrates where it came from (Credit Suisse) and it remains a valid statement showing how advanced the Western Economy is.

The next statistic which was equally broadcast able – some are not as they contain secret accumulations – was some 80 people hold as much wealth as the poorest 3.5 billion on the planet. Then there is the wealth gap and that for example 400 million live in abject poverty in India.
Have we figured out the accumulated billions Vladimir Putin has stockpiled and where it is deposited?

Concealment and Maxellisation
Several challenges to suppression of Government initiated inquiry were highlighted. Chief among these was the continual blockage of the Chilcot inquiry up to the commissioning of and subsequent to a raft of discovery.
Since evidence as accumulated, material gathered and some conclusions reached, chief among these the fact it was an unlawful war on Iraq. The obfuscation is only part of the Blair/Bush/Rumsfeld/Powell/Straw axis of evil taking the US and UK into a conflict now summoning reigns of terrorist driven anew, in reaction to the support for evil through manufactured conflict.

Into the Global conflict that belongs to that confined for centuries in its own pasture, comes the Middle East. The countries of Iran and Saudi Arabia which has spread into the adjoining countries dismantling thousands of years of keeping your enemy close. The attacks now on other religions have almost completed the destruction of other faiths.
Hate crime faith based is the clear basis of all the actions once perceived wholly Nationhood based, in which joint ethnicities had – not condoned but stood aside as ‘factions’ took up what was ‘justified’ as national cause.

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There is a hate at ever point of the Inquiry Process, I suggest, Mochael Mansfield has been involved in and continues to be involved in.

Take The Bloody Sunday Inquiry.
Seville conducted it. Michael Mansfield represented the unleashing of hate enraged Scottish Regimental and Government licensed murder.
The outcome though by some has been tarnished was a crucial turning point for many of the families with justice remaining incomplete.
The spiritual relief and achievement many of us were unable to be witness to but mere viewers seeing signals from the Guildhall on the carefully managed day, the almost simultaneous oral statement in the Commons put away anxieties without justice visible.
Catholics killed. Hate crime.
No one convicted. Loss of life.
The Chilcot Inquiry.
Censure exists. A Tony Blair and George Bush motive of hate, whether thought of in those terms but directing War, Violence at and directly upon and towards a perceived threat from a race and enclave wholly Muslim, took their respective Countries under their lying to their own Parliament’s threshold and beyond into a War. No second resolution.
In days were seen Shock and Awe.
No one convicted. Loss of life.
The Lawrence Inquiry. The cover-up of racial motivated murder was and still is a corrupted process. Being left to Noreen and Tony Lawrence to fight.
Only two people were ever convicted. Loss of life.
The Guildford Four Inquiry. Only when Gareth Pierce uncovered the British Government British Intellegence Force integral and directing the willing Police Force to frame four Catholics and the perceived antithesis of the British as conspiratorial Irish people, did exposure of the hatred of
Catholic Irish by the British in allowing any chosen person to fit a crime by hate. Stereotypical hate.
No one convicted either for the Bombing or conspiracy of cover-up.
Loss of life.
The Marchioness and Hillsborough Inquiries involved Police and State cover- up on behalf of the operators.
No one convicted. Loss of life.
These were not hate crimes but the facts presented by the operators concealed the facts requiring the material to be gathered, and in the case of Hillborough was only recently to reach a conclusion but without presently any convictions. The Marchioness was mowed down by a ship turning and 50 people died with one lookout for the boat hit.

Occupy and the Collective
Democratic hearings have emerged. The Peoples Tribunal – Commissions of Inquiry that being a lot like the Peace Foundation founded by among others Bertrand Russell. The Peace Foundation. Now there are Peoples Tribunals on Palestine, the NHS, Iran.
Michael Mansfield held up the Gerard Conlon strength of purpose inherent in him and contended it to exist in us. Whether you have been a part or part from (a lot has gone on on this road was the – well I gulped at the bombast from the Politician who came up with that separateness) the contamination of the Political Process and segregation to suit those ends Michael Mansfield noted in his view a change. All to slow from the sixties, seventies, etc,. Where a collectivism was in tandem.
He cited examples of Peoples Inquiry which he has been a part of and continues with. The Onion as he describes it unravels. The capacity resources multiply and the functions have been gathered by Ed Miller at MIT whose observation shows clearly we cannot nor do multi-task and instead Michael Mansfield has, in my mind, found the necessity for a Public Collectivism to arrange for us importance and direct mental and active focus. Occupy, Pussy Riot took up the important issues and prioritized and put it up on a frame each of us in the Public acknowledge.

Where we need to attend also is the ‘Molly?’ Collusion of the MP’s and the a Press. To come at that is to see the matters the Public are directed towards and away from are those salient issues we need pay attention to.
I believe it is the example of people’s inability to discern information to make decisions affecting their one lives. Being lead in certain directions.

The di-nemesis of the people it’s opposite attribute is an agent or act of retribution or punishment.

We are finding ways of taking individual causes commonly bound into a Public Collective framework.

Michael Mansfield has observed many things in other peoples lives and made them understand them beyond their experience.
As well as evaluating the source of the harm anyone has been subject to or in the loss of life the location of the responsibility causing their loss he resurrects this and them into the creative mind which is able to see.
Witness is now as well as now which has a current evaluative outcome if we chose and very often do take up. We are able to construct for the better understanding and advance of mankind; often that it cannot be repeated.

Gerard Conlon has personified all our life’s travails writ large in the midst of the dilution of ancient principles.

Imagine a time when the neurology and the minds capacity has returned, it won’t be found forward (the essay Religion: Something New) as our recurrent themes and lives forever indicate.

That return to forever to sub-edit The Mahivishnu Orchestra – many will never have heard them and I reject the impulse to take out this spontaneous connection here made will in my view be very dependant in how we approach the most important two things facing us.
The Population Optimum.
The Human Diet.

Both the movement to arrive at an optimum Human Population which is achievable with very simple and very small behaviour changes together with a reversal of diet and towards the plant based diet which the China Study evidences as our own conditioning resolution and itself the breakthrough required away from medical pharma dependency is paramount.

Thank you to the organisors of The Inagural The Gerard Conlon Memorial Lecture 2015 by Michael Mansfield.

Apologies for the concentration on the main central lecture of Michael Mansfield, to Paddy Hill whose own contribution told mostly unrepeatable in polite company

To in the background The Church of Saint Peters Falls Road who cared so long and so lastingly for the Conlon family in their lives and continued journey. Cherish also the possibility the wishes for Religious unity around our one Creator across this world within all worlds.

Canon Dougan. Morning service on 26 January 2015 chose these hymns.

‘To the one who is Love Divine, love is excelling.’

‘Be my Guardian and my guide.’

John Graham

26 January 2015

Belfast

Films of 2014 remembered pre-Oscars

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And the winners are….

The awards are in the cupboard for distribution on Stages floodlit and spot lit across the Globe in 2015 for works that reached us in the year just gone.

So many days of entertainment has been brought to us by the Film Industry without which the world would be more of a collective basket case than it already is.

It speaks against war,poverty, genocide, corruption and mostly our own harm on harm.
Human Harm
In a film not to go on the list ‘The English DoctorHenry Marsh tells of his career which he delftly, lyrically, philosophically, breathtakingly, heartwarmingly but last and most distinguishably honors his own skills with humility and amazing unheard insightful ness of his term as a surgeon of the brain and all that placed him there in the book his wife provided (plagurising the plagiarist himself – nothing’s new I’ll find it for you Larry Page) called Do No Harm. Hippocrates must have heard in from the Barrista or Barman at his social hut.

So already you have a Film unready for the Oven of Acclamation by the Semi-Greenhouse dwelling – LA – hothouse flowers renegades all and sundry.

Two films on Human Rights I have seen and neither makes it onto the Documentary category and one that enters my list but comes off it as few have seen it is Apples of the Golan.

Burn a list out.
My list is to be short -The Guardian listing 10 in 12/12/14 g2 do it ten down to one.

It is short because on any given day they could be in the top spot. So much film acclimation is about its timely delivery. Other times it is due to compelling world themes. Boyhood is particularly good and very good at that. So is Mr Turner, Under the Skin, The Grandmaster, Leviathan, The Imitation Game, there are more. Other film performances are battering down doors and some not having even been on General Release in the UK.
JK Simmons in a film reviewed elsewhere for instance is apparently a shoe-in for Best supporting actor – well being among the early viewers I think not.
He is limited in the role by the very nature of the part and is stereotypically the bad ass teacher with hidden gripes.

Keira Knightly is excellent and is convincing as the Turing foil which BC has in the same sphere every chance of nailing the Big one.
KK is a worthy Best Supporting Actor winner in my eyes.

I find it hard to restrict the year end list to 5 but it is a necessary task in my mind.

A Touch of Sin
Starred up
In Order of Disappearance
Ida
Two days One Night

They are however arranged in the order I table today with my favorite last.

Two Days One night is a beguiling, bewildering, belligerent and superfine edge of the nerves chilling visual narrative told with the finesse of any director you could care to name.
Marion Cotillard creates this part in the manner Fonteyn created her Fredrick Ashton roles. That is with exceptional artistic and wonderous enthrallment. In seeing this film I was literally thinking alongside the walking the movement of seeing Margot Fonteyn completely rowing us into the dance, into the path of the story and us being with her.
How could the comparison be made except through the lucidity and poetry of an exquisite serious acting performance? Only one answer sheer artistry of a performer on their game.

When you watched MF and RN but particularly the women, as all ballet of significance and importance is a homage to the body of a woman.
The waif like strength of Margot Fonteyn beholden alongside the extraordinary masculine figure of the supreme male dancer Nuryev could not be more telling.

Telling is the word. Fellow French actress Juliet Binoche who inhabited my favorite contemporary film ‘Les Amant du Pont-Nuef‘ sought to herself engage with herself and have witnessed through dance this perilous journey.

I was totally absorbed beginning to end with this film for it’s telling of our times.

It’s delicate properly respectful pride of the French people whose identity is a contested place as far as a lot of Europeans are concerned.
(Rider: a lot of this film is shot in Belguim but that’s not the point).

I love the French people though there may be one or two exceptions that spill that cannot deign to wipe it up.
The essence of the people is encapsulated, the French character, flesh and bone, not just in The mesmeric Marion Cotillard but her fellow performers who each also reach the levels of the film making intent and delivering it so extraordinarily.

For me there is no question of it every being taken off the 2014 top of the mantle pride of place. For the second year in a row a French film gets my top vote. Last year it was the quite literally incredible ‘Holy Motors.’
The beauty of film making is distinctly alive in France (..and by locale Belguim..!!)

Further up and down the see-saw are found the wonder filled Polish film, Ida which I defy anyone not to be thoroughly engaged by. It has a generosity of will and sacrifice, saviour, coming of age emotion enriched as it is treated without necessity to adjust to much for the past circumstances which are carried and refuse to leave the stage of life’s drama.

Then there is one which I do not list as it is far too close to home to be yet considered as a depiction of truth. It takes as it’s timeframe 1971, abbreviated it, ’71 and turns it into a slave of the events in Northern Ireland.
It is framed in and around the city of Belfast and uses settings configured and still standing in Sheffield as the flats.
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I once was a colleague of Brian Anson the GLC Architect who employed his Liverpool guile to turn against London’s philistines and was THE prime saviour of London’s Covent Garden – not the Opera House (since reformed and Floral Halled keeping the stage and Main Auditorium as it’s appendage – but the Market. Now Covent Garden District is a lesson in retention of civic space. Brian Anson came to challenge and have pulled down the Division Flats featured in the seventies for their cumbersome social experimentation – ghettos satin is an equally applicable franchise. Franchise Architecture doesn’t work – Jean de Renet and Mies Van de Rohe – never related their compositions of buildings, streets in the sky or skyscraper hip Philosopy much farther than their adopted surfaces. France and USA.

‘71 is a depiction and a violent one. As a film it gives insight to a degree but has no insider knowledge of the huge kind which The Guildford Four had.
On which in my view was only a scratching at the truth.
I am assisted in this view with the absurd way in which Twelve Years a Slave is held in totally undeserving acclaim. It is film racial porn. Fletcher was a name used in Whiplash and that has more Fletching as integral abuse in scale.
While Fassbinder flails and assaults the scene shots of horseman in the fields is disgusting hubris given what actually went in and widely chronicled. It would have turned out to have more credibility had Sam Taylor-Wood tackled it and twice as much delivered. But there you go awards and opinion.

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Who is the slave – the Film Industry?

John Graham

15 January 2015

Belfast

Exodus : The Interview.

imageBefore we reach the denouement we live
Ridley Scott does interviews. The Egyptians do not do open culture.
For the Egyptian Government correctively they have decided to ban the Exodus Movie made by Ridley Scott.

Whiter than was white the film Exodus has Christian (I cannot see where this might take me) Bale, tests the credibility of Moses as he engages as a Spidermany type avenger for The God of God.
Banned
Ramses II is in flowing form, (though and this is not the contested part) gathering in his phoney rule on a high of hubris when Moses appears to the Egypt of Kadesh before even the El Giza marbles. Go Elgin with that discovery.

The Pharaoh at the time of the Exodus is not mentioned in the Bible. Instead it is the name of the city from which the Exodus began, a city built for the Pharaoh by the Israelites and from which the Exodus began. Ex. 1:11.

For banning movies, North Korea, has as media has it, in past weeks sought the film The Interview not to be shown creating a storm which became a box-office profit on ridiculing satire itself embracing assassination.
Ex-Ridicule Charlie Hebro
What came a week or so later and no one likes to make any sub-conscious connection, comes the Charlie Hebro cultural media mayhem ending in many deaths.

Morocco and obviously Turkey or is it Syria, have made the film Exodus an enemies piece of propaganda.

Taking on the Hitties in Syria, Rameses in around 13c BC seems to have upset Moses. Why else does this brother of Judaism become embroiled in what is portrayed as Egyptian to us of the Jews in slavery?

That slavery as now depicted is challenged by Egypt. History is revealing new discoveries which shall themselves create argument.
Sandstone stacks of corridors, some 30 metres long their narrow inscribed walls are now giving further insights as these walls show camps in Gebel El Silsila where the carvings for the Karnak and Luxor temples seem to have been produced. Then they were transported to Luxor.

Like the present, where a division exists between those that think the labour camps of Qatar, of Dubai, of the UAE, of China’s monolithic regions of mass production are slavery to the workers and work to the owners of the product, the description of slaves is something an answer is difficult to find so far back.

The sure slavery of our recent centuries is clear of wartime and in Chinese history. It is also ignored. The slavery of modern times is veiled and concealed often within the gaze of missionaries who turn to Amnesty or others to blow the whistle while they curate their truth.
Screen Slaves
Dismantling the hubris is Moses (I cannot see where this might take me) the hero epoch making edifice of strength with marbles. His commandments are worthy of hubristic force which is aligned with the words Jesus empowers us.

The Jewish Moses is part of (adopted) an Egyptian family whose mix becomes, became statues of the future world of Jewish and Biblical value out of Asiatic inhospitability, a group or family of extinct languages that includes cuneiform Hittite and its nearest congeners, as Lycian, Lydian, and Luwian. Did they turn away into the birthplace of Jesus as a result of the, Rameses – Moses entry to Israel, to Judaism restored, to become the source for the entry of Jesus.
Czech Egyptian Discoveries this last sx months
4,000 years of history have in the past few years found the working story of the pyramids which presently and until now been contested.

Exodus as in the Bible, is not what you see. What you see is not what is depicted. The sensation of the story is the Revalatory. Those walls found in isolated tall thin corridors within Gebel El Silsila are the finest and epoch making Cartoons of a storyboard which places any present day design into a water based pulp. 3,500 year old posters Ndebele alongside half sphinx like carvings by hunter-gatherers a mere 100,000 years ago.
Blasphemy by idiocy.
The property of renouncing the hypocrisy of Governments is a project of publishing satire as truth and describing the offence of blasphemy by idiocy of malformed truth. Charlie Hedro occupied this vein of luxury.
The vein of luxury found through a skill or aptitude for visualising the unspoken. There are no taboos to be applied. The taboos are to be taken.

The insecurity of others is the stinking pit of exploiting or ridiculing an understanding not obtained of another’s culture. It becomes a dry web of short war substitute intellectual war-heading. It is peripatetic child versions of Aristotelian philosophy. So wrong headed as to be not only offensive due author of destructive vitriol.
Alexander the Geographer
Reference to Alexander the Great makes itself a good point.

The land in which Alexander found his adventures in pleasing his parents of Greece, by obtaining and ruling over more productive fertile territory, for that is all that was at stake (Darius’s tent of captured loot was meaningless tat) only appeared in 350BCE rather appearing to entice comparison of eras as the machinery of the Exodus had marched only so far, into the Israel of the so called promised land. Alexander began the exodus for promising land.

The land of freedom and freedom from sacrifice of the person to indulgence, not the sacrifice of the people on lands newly occupied was of Moses prediction.

It prophesied the appearance of the true Creator. Dreams and hallucinations were frequent in the mind of Mose. The allegorist ran deep.

The veins of Alexander took on the geography in a totally physical sense. His burning passion for his childhood Heniylous friend, now belonging to the fertility which instead of lying west of Asia Minor; the heart being Alexandria, became instead lands of the fertile Persia which had riches aplenty.

Even greater was the green India of similar God fearing, worshiping deities which I think were found by Alexander to be far superior to any he knew.
West India has been so influential. The Gods themselves were created as expressions, fro expressions of the God given, Creator given richness some of which Alexander had only the wildest thought of.

There is in parts of India such essence as prompted out of his late found interest in Yoga Beethoven’s String Quartet No.12 the same balance Alexander may have discovered except his was a pathological illness of intense failing to subdue his violence and striving to command for the sake of his record his future lived after him. Beethoven did not have such problems only a message in alliances of sound.
Before Christ
It is a reinforcement ahead of the appearance of Jesus.
It is a militaristic approach to making decisions of human value.
It is a death nail found to be consigning the future to be hell through the actions of one man exemplifying the means on which nations are built.

The Exodus so defined and so unchallenged in Biblical times became and remains a Godless return for reference.

Mere man, so the present reasoning has it, being incapable of taking into the future the known words of Jesus – whose reckoning through the consignment In figurations of past history so absurd and contorted – they are still fashioned as an operable function and our media of destruction.

When the people within a action are seen to be separate alongside each other and divisions are made and found through a range of cultures descended upon them and carried forward it is seen that there is bound to be conflict. People literally bound in conflict.
More aggrevivng is the prospect of that being the outcome of needlessly doctrinal or forth righteousness displayed in a context outside the values which are the Creators will.

Somewhere and sometime the forgiveness will be fulfilled as when it is needed it is only for the perpetrator to seek it for it to be realised. It is in the finding not the giving.

Where shall it be found by whom and when?

All things are the will of the Creator.

John Graham

14 January 2015

Belfast

Whiplash : A Film Review

On the edge of Knowing.
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Learning the score
This is a lucious, glorious, engaging fast flowing film. It has an endearing pupil, intimidating teacher routine which upsets and provides the grist for the mill of the musical genre that is Jazz based but that enables escape of a kind in allowing you to determine what are the drivers within creativity.
What is Jazz and as it is so much associated with free flowing fluidity of musical timbre is it so, so fixed note mathematically cadenced and hung on the detail such as the on score message of the composers design?

Listen and watch and learn more to gain a worthwhile insight to the background and for many the foreground musical array chosen to balance their auditory needs.

The cast are firstly the Oscar leaning (BSA) JK. Simmons, as Terence Fletcher tilting over the drum kit and life of the singled out for greatness pupil Andrew Neyman played by Miles Teller whose playing is very highly fixed and skilled. Never having been in a Jazz Conservatiore I have no idea of the standards already in place at the get go but if this is the standard an around them both are the whole compliment ensemble needed as a class big band all equipped to carry this dynamic film.

Dynamism is the luxuriant array of sound which from the single stick tap in to the fully accounted for end scores peppered throughout this is foreground sound in film. It is not biographical as has been the recent entry of film to the soundscape of masters too numerous to name heck.

Deliverance
It takes a musically attuned ear to pick up on the note delays, tempo thrust and the delicacy of volume control amidst the disciplined Jazz-band playing which cascades towards us along with the visually arresting array of gorgeous instruments utilised to entertain us.

To cover this film properly requires a working knowledge of how Jazz has been the immigrants song creating legendary musical influences which enter Ito the repertoire we associate with Frank Sinatra, Ella Fitzgerald, Duke Ellington whose vibe was the outlet for the racial differences found into the many States of America. Soul has Jazz Funk has Jazz Pop has Jazz and as the soaks have it, Jazz has Jazz.
Story, the last thing on my mind
Where is the story to come from? Where is the earthy to come from? Where is the core moral? What is the history made or recalled? Who makes it original? Where are the truths and what is the point of Jazz?!

‘Whiplash’ is the name and it feels that way. The Jazz ‘standard’ along with ‘Caravan’ a mope familiar one describe and provide the centrality of the thread which takes us across small School based but high achieving Jazz competition episodes which act as a form of divertissement to the main score – that of the musically being drawn through Blood and Claw (a website exists!) up close and beautifully filmed – encountered which at times seem as voyeuristic torture acts. We are witness to the demands and Andrew Neyman Is equal to delivering what he has been taught.
The names are skittish. Andrews real name Miles Teller and JK Simmons aka, Terence Fletcher, the Fletch arrow tuned, chewed thoroughly.
In taped hands rest the fingertips as extensions of the human rendering the innermost on this ancient instrument the drum. There also goes Superwoman Julie Neymar as a name of the times – no connection to the film whatsoever but Native American fusion.
The only love element in the film happens to be the Rory McIlroy type.
I’ll leave that hanging. He does.

His playing (not Rory’s but close,) is figured around the classic kit.
Every beat around his circular reach is known and every measure is – and here it is massively apparent – the kit is an animal to be tamed and ever service of music is sought of it.
The fine fill of brushes matching hearts cadence while below the bass drum is everyone in the units earshot key underpinning beat.
No matter how inconsequential a note might appear the players from the trombone to the clarinet, to the soprano sax, to the strings of bass and guitar all owe their perception of what goes on to the drums.

It is never do evident when latter on several performance show that Jazz at the finest union of music delivered as a giant memorable dynamic which takes the listener into a bodily felt union with the band. It is the music of democracy and community. Played as a pure recognition of interracial and irrepressible earthly wonder.
Except in the hearing, by being in the presence of this emotive charge it is tangible while being heavens expressed.
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Observatoire on life
It is up to you to use your observations and se how this fragile and seemingly era based music has no chance of remaining static and reflective. Every generation one after the other learn to discover its command over the classically trained and it becomes real time magic. Interpretation is famously about listening to the spaces within the sound. The estrangement of notes.
The Art never evaporates.
Recently, one CP, a fellow on Facebook identified a Nina Simone rendition, if that is what is can be loosely attributed as, of singing Feelings at the Montreaux Jazz Festival of circa. 73 in a movement almost Beckett inspired, of interrupting interpretation as it became obvious the ethereal was upon her, she became overwhelmed it is co-junction on several different levels as the listener. It was perilously close to being a Carl Andre pice of modern analysis.

So you think that (crit?) pretentious rubbish? Close to Pseuds Corner?
It is whatever you make it and the collective resources of your own thoughts may or may not embrace the extent to which we rely on the Arts to produce – not pre-curated thought processes but to unify and reveal the hidden there as simple evidence of a force which is extraordinarily contained in all of us.
Of Africa we are and of Africa so is Jazz as science and product.
How is that?! Listen widely. Jazz epiphany on 6 January.
We are late but what the hell. The two faces of January turn the year onto us.
Origins
It is a City sound unlike the prequel of Country folklore and imported narrative based songs associated with the vast rural spaces.

It’s hard to think of a Grand Canyon or Texas handle on Jazz.
Influences came into the big screen cinematic portrayals eventually via. The Gerswins, Berekley, big country music which suited the big screen. Oklahoma an instant nostalgia presented in the newly 3,000 seater cinemas and often Broadway stimulated show business.
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Here is today’s generation displaying the art of musicianship in the form making of Jazz is an integral justification of Americas sense of self.
Both races are represented in this as the vibe. The players are youthful scholars at the fictional New York Schafer School which sucks in excellence and budding talent.
Buddy Rich the drummers big band leader supreme is the core student Andrew prime loader of studious appraisal. He is inducted into a school set up band by the industrial ferociously driven and therefore corrosive egomaniac Fletcher. Proud of his Hugh Jackman like big arms (turns out he’s a pianist!) he escorts his shine, both bald head clean shaven head, his black shod shoes into the precision of the room of the School where a band assembles. His set up and his direct tool of control. Known as the Studio, it seems this is the martial core part of the work of a Jazz semester.

America has its form of educational style which deliver greatness in awkward uninhibited professionals as dynamically American. Think Lawyers, Scientists, Medicians, Philosophers and Journalists, those last two a case apart, and compare with the spectrum educations in India, (elitist) South America (colonial) English (eclectic elitism) German (Bauhaus, Baccalaureate) and the range seems also democratic.

Unfortunately this democratic rhythm to education is in this visualisation of a musical kind brings us into the Deadman walking opprobrium that is Fletcher’s heavy homophobic, racial stereotyping, mid America hating, myosin it’s attitude which is feigned but practiced as it is in keeping with the directions Jazz in his mind congregates around.

Jazz is nothing of the sort of course. The likes of Nina Simone, Ella Fitzgerald, Aretha Franklin pursued their genius of vocal dexterity inside the macho world of large ensembles.

Andrew is faced with this acidic reckoning and the tutor Fletcher opens up implausibly – if he didn’t know of Buddy a Rich before hand he needn’t have bothered turning up but the Buddy Rich album Birdland (joe Zwaninul) my personal talisman of music, appeared to be advised! listening! As if.

I recalled the Weather Report of my own ears induction in the sound of live Jazz, then regarded as – well it was a sideline of progressive music as others would have it, – except in the band the Austrian born, Vienna born, classically trained Joe Zwaniul.

JW was not only author of Birdland but the free expressionist exponent and core influence for the likes of Miles Davis and all players surrounding, the never to be buried Jazz Gods messengers music trail. His In a Silent Way setting up another stage and level of Jazz which gave license to the likes of Herbie Hancock and Miles Davis to create their own dominion.

This is the sphere of worldly Jazz Fletcher wishes Andrew to follow on from.
You can see this in every searing, humiliating frame Fletcher knows his gift is not sufficient to carry his own broad and well rendered skills. The teacher has found a protege and that is for him a fix except he almost destroys the prospect. The driving and completion, some false excruciating scenes are exercises in non modal countenance
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Conclusion. 3+###
Making their mark is the premise. As a young actor Miles Teller excels as the encouraged and discouraged but always courageous central character. JK Simmons tries his dampest, the repertoire for him is limited to serious grimacing face pulling enraged, sometimes a tad inanimate physicality, hand conduct with the repose generated by his contained thoughtfulness delivered by a face full of Bourbon or stronger muscle depletion character.

The film is a handsome piece of film making from the first film Director
and the choice is perfect imperious winter hardship at arms length viewing.
It’s entertaining and musically interesting without fail for those risen above novice, rookie – the pupil in class and I think this has been my only spoiler and it’s believe me minimal – is a squeaker – because it opens ears to the directions of Jazz. The self same name of Bill Evans with Miles Davis collaborative double album. It comes nowhere near the Jazz fusion esoteric drumming driven out by Billy Cobham and other advanced drummers.
The jazz playing gets about a three as it is schoolyard and ‘good playing’ the higher plain jazz is instrumentally there to be found live and in all cross over platforms yours to discover.

I got a thrill out of it tapping away discretely and entering the action belonging vibe that Jazz subscribes uniquely.

Looking at others stretching themselves to get there is a very common harmonious audience player relationship and seeing all those visually expressive instruments swing together is bravo musical film making.
Enjoy but don’t destroy.
It looks like being popular and students will get a kick out of it.

John Graham

14 January 2015

Belfast

Opens at QFT Belfast on this Friday 15th January and other screens around.

Turns out to be True

What became of reflection?
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In the day when three Algerian citizens living in France turned on a group of creative, professional, traditionalist, ridicule illustrators, one thing appeared clear. The escalation of hated is fueled by failures in the human race to communicate. To turn hate into murder is an unexplained step.

The people of who we in the UK had little idea of the activities and product of their own minds which they put across in a niche of political satirism little was said here of the families and partners left behind.
The family had become the Nation. Or so it appeared.

Blasphemous satire was the alleged motive that became depiction playing into the hands of the individuals belonging to the self determined ideology of their own basis of theology. An ideology without theology.

For centuries the art form which now depicts the extreme diversity of humanity is found like an island, abandoned by mediated satire, in an age of digitized and brutalized media it’s vulnerability to hatred has been realised in the most destructive way imaginable. Is it worse than a missionary boiled in a pot?. Of course it is. We now have the means to make sociological judgements based on wider reasoning.

Were it disseminated alongside editorial as is the case in virtually all so called heavyweight media the ‘cartoon’ vexates as the crude visual metaphor unreal he’d by the journalistic endeavours so often.
Therein lies a very clear distction. One that conducts itself inside a message not itself being the message.

Like at the beginning of the French film ‘Ridicule’ the fact is the French are ‘piss-poor at it. It is not Moliere but now men are dead and this is an unspeakable violation of the right to be free to create your own measure of the world.

For the choice of expression to find itself in print media of a circulation of 60,000, bringing representative of a nations culture and a target for incensed propagandists for a cause creating itself around brutalism and against the higher authority of and will of the Creator, is a new level of ridicule gone bad.

This is a driven ferocity hell bent on creating hell on earth against all Muslim and Other Religious thought.

Traditions of becoming a challenger on behaviour of a Creator are found and faced in the margins of media they become capsules of storms seen gaining momentum in sight, like a passing tornado followed on satellite, to fade and leave behind destruction in a calm. Such is the currency of digital.

To the vast majority, confronted only when the traditions of journalism of following the currency, literally, of the moment know as the present, enter the fray, provided with instant direct news and reportable of the outcomes the undercurrent of themes known and dispersed amongst us are unknown.

The gunmen now themselves subject to killing after leaving their siege firing and in the face of gunfire in their radicalisation were responding to the Abu-Grade prison camp images and the pyramids of the naked pile of prisoners being humiliated and the easily recalled image of the shrouded hooded prisoner on a platform no bigger than their feet with their hands raised slightly imploring justice and showing a mind containing dignity.
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They have been chased around France and came out in the end in a senseless bloody replay of ‘Butch Cassidy and the Sundance Kid’.

Serious journalism has been seeking answers and providing insight and analysis all along as ridicule has diversified the depictions of conscious.
So it has ever been. Now however the proximity of the ills and origins – now beyond state – of perceived identity and ideology have abandoned reason to the functions of a new order of allegiance.

Serbs, Croats must be wondering what the price of Kingdom is, of how they find a way to repair their past. Senseless young men and women are on the opposite side of the hill they were once on were they put the lives of others as worthless and choose to destroy figures representing the opposite.

The opposites living inside the same human design, the same physiology programmed with an bitter intensity brought out of the past rendering their future into a shambolic mess.

How this has manifested is not presently the (they need restored and he wants to do that) paramount need for focus or attribution.
The primary focus is the realisation of the seismic drift caused by media that defines expression and presents disclosure has itself become the root of propaganda.

Capital is gained in such tiny acts. They ‘represent’, they are the acidic corrosive fusion of ideas and a destructive force capitalizing on the idea.
In this tiny act the family of those lost to a trio of gunmen were not the foremost print or visual connection. The abandonment of reality was instant and the idea of a nations values and freedom of speech became the cause for concern.

This has been taken up through outrage and found to be a place for ‘nationhood’ to recapture lost found while protagonists for free speech ignore the lack of it within the greater and hidden sections of deal making political and financial agendas.

The Anglo-Saxon meeting to discuss Banking and separate ideologies of monetary approach to the management of their population and the dispersal of generated wealth and power is matched in tandem by the New Isis World Gold Bank. Except the small Isis monetarised Banking System only partially yet realised in the form of an actual Currency producing Factory or ‘Treasury’ is a mirror of the the corruption of principles as edict.

The Isis collection bowls stretch into the homes and businesses of Europe, various Charity front organisations to such an extent citizens in foreign lands, particularly Turkey manifest the structures enabling the collection and recruitment sponsorship of the Isis to turn into forces.

Such forces, since the shut down of the Gold market transfers having readily and complicit capacity for enabling gifting funds into Isis in both Syria and Turkey stifled they operation has turned to the ancient currency of hegemony the monetaristion itself. Creating Gold coin from stolen sources and now from redirected finance is designed to find the power to overturn.
Isis have the readiness and in world terms a tiny fraction of banking.
The Jewish faith whose own reaction to Isis is virtually silent is in real terms many many multiples of rich unfashionable wealth.

With that wealth is bought singularity. Impeccably religiousity. Implacable values of truth. All founde on a conversation between Gods and Crucifixion.

This weekend the diversity of the families of those killed will have gathered to begin burying their loved ones prematurely taken form them.
Since they were only some days after seeing them most probably over Christmas and New Year and memories formed even between their closest which were to carry them forward and now strained have become irreplaceable very significant precious memories it is beyond imagining what sorrow has been felt or what sorrow continues?

May the wounds of bitterness heal quickly and their memories last forever.

John Graham

9 January 2015

Belfast

From the Dave Duggan play AH6905

The dead abound, the dead abound,
How do we keep them in the ground,

The past remains, the past remains
How do we satisfy its claims

The truth cries out, the truth cries out,
How do we answer to its shout,