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Encyclopedias, dictionaries, circles

Jesus Aguado, Dictionary of Symbols, Bracket, Sevilla, 2010

Alberto Savinio, New Encyclopedia , Cliff, Barcelona, \u200b\u200b2010

Aguado, Jesus (Madrid, 1961): "Poet, translator and anthologist English (...) His work is contained in the following publications: First poems of shipwreck in 1984, My enemy in 1987 , a body Seeds in 1988, The impossible love, winner of Hyperion in 1990, Book of tributes in 1993, The pleasure of metamorphosis (Anthology 1984-1993) in 1996, The Fugitive in 1998, Parts puzzle in 1999, Poems of Vikram Babu in 2000, The fat and Other Poems in 2001, What you say about me in 2002, wounds in 2004 and Cunning vacuum in 2005 "(from Wikipedia).

Circle: "the substantive encyclopedia, born etymology of the claim to exhaust the world's knowledge by circling" Italo Calvino, Six Memos for the next millennium.

Discóbolo : "To my knowledge, nobody has asked why Myron chose between all winners of the games Olympics that year, representing the discus thrower. Given their prestige and political influence (a personal friend of several partners of Pericles and liked him and he distinguished him almost as much as Phidias, his artistic adviser) could have chosen the javelin thrower, sprinter or fighter. Why the discus thrower, who won an athletic form of the type considered second rate? Scholars have looked at Myron's predilection for the movement, novelty into an art which until then had been mostly static works. From this, someone even said that "in the dispute of his time as a permanent and Parmenides and various and transient Heraclitus [Miron] is delivered with enthusiasm next to it. "If I'm right and you will see that this review touches but does not pose the real problem. But before we go a little further. / Of the few reliable data have come from the life of Myron is a very significant and was a member of an academy that included philosophers, surveyors, historians, politicians, artists, etc. Another of those belonging to it, Pelops Heraclitean, wrote a treatise on retaining the title, "The hatred of all circular, and only a few fragments difficult to understand. We know that was dedicated to Myron weeks before the celebration of games that would hit the discus thrower then carve it. / On the other hand, as one scholar says, "the sphere and the circle are the paradigms, diagrams and records basic topological operation of reason in Greece." This is true not only in the metaphysical or theological, but also politically, in the arts (including architecture, music or poetry), the ethical and philosophical and even the military strategy. The circle was the basic form from which everything emanated and to which they had to build all the others. Everything is designed as a circular system, from the gables to the tragedies, short of his ideal of perfection. Democracy is the daughter of this vision: we are all equal as the spokes radiate from the center of a circle. The same cops or temples were traced along a circular plane. Anaximander said that the Cosmos is composed of concentric cartwheels, Parmenides that the world was only circular rings or crowns, Heraclitus used a mode described as circular reasoning (such as "The Everything comes the One, the One and All" , whose structure is ABBA). Plato, and then Myron, devotes several books (including "Time") to show the spherical nature of the most important: the Demiurge, the Universe, Soul ... And Aristotle say in his "Metaphysics" that mimic specific things that are essentially circular itself, which in turn imitates the circular movement of the celestial spheres, which mimic the absolute stillness of Principle or Unmoved Mover. / In view of all this (summary review that does justice to the richness of the subject) can be tested and an answer to the question of why Myron sculpted the discus thrower (and do so perhaps encouraged by the dedication of Pelops Heraclitean). The discus thrower, in our view, is but an allegory. The athletic motif is an excuse to advertise or ask for something more: the pitcher is not really preparing to throw a disc, so you have in his hand is a whole conception of the Cosmos and man's relationship with it, a conception that, for reasons that are lost, it was uncomfortable and, probably, to the Academy to which he belonged. The Discus Thrower is the man who, tense and concentrated to the limit (this is not to beat a brand but to escape from a prison), wants to break the circle into a tree or a wall, break it into pieces advantage is asleep in their fingers and before you back into one of their radios. / The discus thrower is critical to a civilization ... and the longing for another? What could it be? Myron does not think because maybe then the disk as a circle but as a sort of oversized center launch the shift to another place: the Far East, India? Myron If, as is likely to happen given the times in which he lived, would have received news of the Indus culture, is not it possible that he had dreamed of Hellas replace the navel of the world for that place as mysterious and far away ? In that case would remain a critical discus thrower, but also an invitation to travel. And by the way she chose to explain the bronze (which is only mined in the confines "oriental" in the Greek world) for his work instead of white marble was the material almost this kind of official orders "Jesus Aguado, Dictionary of Symbols , pp. 82-84.

Entry: 27. Ling . In a dictionary or encyclopedia, each of the words or terms defined or translated, "Dictionary of the Real Academia de la Lengua.

input or as an art piece : "Make big easy, and typical of inexperienced, make a small box is difficult, and given only to the wise" (A. Savinio, New Encyclopedia, p. 204.

common Tickets: There are only a handful of terms considered together Savinio Aguado and dissimilar in their repertoires: Mother, Don Quixote, Blues, Children, Reality, Parent, People, Roundabout. The obvious differences in treatment that both these concepts are captured in the abysmal gap between the two: Savinio, colder or restrained and encyclopedic, Aguado, no less wise but most polluted of life and emotional energy. The encyclopedia saviniana is the remarkable work of an essayist acute cerebral Aguado dictionary the thesaurus of a poet.

Fair and Carousel: "(...) Just as today we see what one day will know of other (...) felt the precopernicanos the circular motion of the Earth, for us, has become knowledge. Either directly, or indirectly, the circular movement is represented at all times the movement, and movement rather than 'meaning' universal life. Drawing a circle with pencil on paper, or charcoal on the wall, or the tip of the stick in the dust or sand, man has always represented the feeling of something problematic and tied to a mysterious and immense universe. The magic circle is changing tremendously and our condition as we are Redeemer or outside the circle. Children play to run, and in Dante's heaven angelic hierarchies in sublime form carolas. The sense of circular motion has occupied the minds of thinkers Conover even outside the movement itself. Think no means to know, and thoughts that I like are those that are not tied to any knowledge, free thought, selfless thoughts, thoughts' without further order. " And thought 'without further order' was the thought of concentric centers of Elea Parmenides thought, five hundred years before the birth of Jesus Christ. The real founder of the theory of unity explained in his poetry that time we have not kept the birth of the Earth, the Sun, the Moon, "which shines with borrowed light 'common ether, milk heavenly Olympus and the high strength cold stars. He knew that the Earth is spherical and gave to the various regions of the sky called 'crowns', in form of concentric circles that wrap on each other, partly of pure fire and the whole mixture, and of fire mingled with the dark element, ie Earth. (...) Protagoras saw the sign in the circle of perfection, and I am the sign of the prison. And these circles that map worlds and more worlds forever around us, this endless spinning of the universe is not only the form of a vast prison, a merry-go crazy and desperate "Alberto Savinio, New Encyclopedia , pp. 226-230.

words: For Savinio, etymology is the preferred entrance to knowledge: penetrating the words delve into the meaning of the concepts and open the door to the abstraction (the etymological discovery is a light , p. 144; "philology is a huge game of words", p. 276). Their mode of knowledge is vertical. For Aguado, words are metaphorical resonances from each other (reminiscent of Nietzsche), so that all form a score (p. 187), a tapestry extricate where what matters are the nodes: the folds or bridges that open to each other. Their mode of knowledge is, therefore, horizontal .

Remoras: Aguado In the book, the main hindrance is the heterogeneity of materials, which makes it memorable entries mixed with other highly circumstantial, journalistic source. In the book of Savinio, his utter lack of comprehension to understand what Eastern and extreme Eurocentrism, which stretches to the point, at some point (p. 385), to achieve an oxymoron: a European convert the form of the leg .

Savinio, Alberto (Athens, 1891 - Rome, 1952): Andrea Pseudonym de Chirico, a painter, like his brother, Giorgio de Chirico, "writer and musician. Among his works Hermaphrodite (1918), inspired The house (1925), Childhood of Nivasio Dolcemare (1941) and whole life (1945) "(Cliff's Web).

symbols. "(...) The symbols, in addition to being or to be crystals of universal constants or local (the reasons for a particular culture or humanity as such), are also, and who knows, above all, the particular and unique way to grab someone specific to their culture or humanity. From this perspective, symbols are only the images that help a person to a person through other people, landforms, the universal laws, the mysteries of the universe or the events of their everyday existence "Jesus Aguado, Dictionary of Symbols, p. 214. "Born of intimate knowledge (...) are both internal and external, have become so enduring, like all great art images of Greek born knowledge, have become permanent truth "(Hermann Broch, The Death of Virgil ).

[Relationship with the authors reviewed, none with Savinio, friendship with Jesus Aguado. Relationship with publishers of the titles reviewed: none]

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Inglés video of Manifesto

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Response economist as hell.


Economy manifests as hell agree with the proposal of the working time of four hours, though, from what I see, disagree about how to get it.
is worth appreciating that in the midst of this collective madness, an economist has the sense to recognize that continuing to work twelve hours a day, as does most people, when today our productivity is 6 or 7 times that was when they won the eight-hour day, is absolutely insane.
The problem is, as "Mil Demonios" that those who deserve to work less are only those with high productivity, and not those who, like us Peruvians, we have still very low.
I heard many times that argument, in my opinion wrong. Productivity differences between workmen and others, such as exist between countries and others, are expressed at different levels of pay. Highly skilled workers are, of course, higher wages than low grade.
What is wrong is to pretend that the least skilled workers have longer working hours, to compensate for lower productivity. If that is done, the result is a domino effect that ends up prolonging the time of all.
That is exactly what has been happening in recent years, since the famous Asia Tigers began work on 12-hour days, which generated enormous pressure on the competitive world market (now globalized), pressure was exerted on European workers in way fare progressively robbing labor gains (under the threat of "offshoring"). The end result was the introduction in Europe of the working week from 60 to 65 hours, which, incidentally, has been thrown into the basket the 35 hours were imposed at some time in France and Germany.
can not think that highly qualified workers reduce their hours in a sustainable manner if at the same time the least skilled do not reduce or, worse yet, the protracted, thereby offsetting the difference in productivity.
If I am a very efficient worker, and work eight hours, and suddenly a worker is less efficient (anywhere in the world), working twelve hours, you can match my output, and thus I am at risk of losing my work, what I can do?. I will have no choice but I also extend my working day (or reduce my salary, which does not desire), to prevent another employee (my competitor in the labor market) move me.
The working day can only be implemented universally, and even more in the current global economy. Thus, and not otherwise, were obtained eight hours in 1919. Economy
as hell seems to believe that there is no need for strike nor a universal standard, but the free choice of workers will tend, naturally, to work shorter hours.
Keynes thought the same over 80 years ago when he said: "Our grandchildren will work 3 hours a day." Today
Keynes's great-grandchildren (or great-grandchildren of the contemporaries of Keynes, if he had them) are working and do not in sessions of three hours, but twelve. Do you need more proof that, if not through organized action workers on strike (peacefully and democratically, of course), will not achieve the reduction of working hours to which we, too well, right?

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Three invitations to the reading

Karl Huysmans, Adrift; Antonio Machado Books, Madrid , 2010

In a previous post , we talked about social and cultural spaces of misanthropy and Modernity before commenting antimodern of Compagnon, the uníamos to the many negative spaces of the first modern era. Drifting ( A vau l'eau , 1882), published in translation of Juan Díaz de Atauri be inserted squarely in this tradition where ennui was the esprit de siècle and nihilism a constant temptation of thinkers and writers. Jean Folantin drift in this nouvelle is not so, at any time the unfortunate hero does his best to stay home, and the devastating result is that the hostile and ice cream end of the century Paris, where he created new avenues Haussmann reduced the area of \u200b\u200bthe old city, not for Folantin a more welcoming home that reverberates its cold emptiness. At first "fell in their neighborhood, determined not to back out of it" (p. 63), then put her flat in the face of perfect confinement ("spent a pleasant cleaned up organizing in advance of his den" , p. 74), in a significant reduction of living space. More than nihilism and misanthropy in its purest form is what conveys the protagonist, unable to bear anyone because, in reality, neither supports itself. I guess someone will have made a joint reading A vau l'eau and Monsieur Teste, by assuming two moments of contemporary mental space: that of Huysmans paleomoderno modern antonomásico that of Valery. Drifting is a small jewel and sad, which is read by interested sigh.

Martin Rodríguez Gaona, like you. English poetry last: postmodernism, humanism and Network, Trojan Horse, Madrid, 2010

As one of the authors studied in this book I seems well to review the same but, taking into account that many other authors studied and, above all, improving the present contains an interesting set of proposals on English poetry present, past and future, I think it lacks logic does not announce his departure and at least strongly suggest that the reader can judge for yourself. Rodríguez Gaona, a Peruvian poet valuable resident in Spain (and with considerable knowledge of their country of residence, as evidenced by the book), active commentator on this blog since its inception, made a peaceful and subjective analysis of the recent English poetry , with which it is impossible to agree entirely, but be in complete disagreement. From a sociological perspective addresses a variety of topics and authors, presenting a very personal recommendations on what should be the poetry in Castilian in the century just begun. It never hurts watching our poetry scene from an outside perspective, even though Gaona Rodriguez has been part and parcel of what counts, not just as a poet but also as an organizer of events, always keep a healthy perspective on what is Hispanic, which gives his view of the necessary distance.

Various Authors, SUICIDAME (2010)

www.suicidame.es

SUICIDAME is an interactive and multimedia, which starts in the literature but it goes further, incorporating audio, video, image, music, active participation the author and links. Those responsible are the authors of the already discussed here Hotel No Postmodern (Inéditor, A Coruña, 2008), Alberto T. Blandina, Carolina Otero, Maxi Villarroya and Sergio Velasco, who have joined Ballona Maribel actors, Quique Bataller, Arlette Biot, Jordi Gomar, Pedro Montalban Kroebel and Mary Cremer, the designer Laura King, photographer Juan Terol, Perez Mireia illustrator, working in the audio-Quique Ruiz and creating original songs for this project-Niñamala, Naima and Lull. Carolina Otero has sung some of them, while adding his writing. As can be seen, the result is a complex and creative effort coral, whose daring art and we must thank the authors. The plot is simple: there is a game show involving six characters, where death, assisted suicide is the ultimate prize for the winner. The reader / viewer must be eliminated at each stage to one of the contestants, after reading the monologue where each state the reasons for winning the contest and, consequently, die. That means that unless you play six times, betting on each of them, not read the "complete works", although this is not necessary to read the work, as always happens in interactive literature.

In reality, the need to postpone parallel story lines begins with the same interactivity. The play by Ayn Rand Night of January 16th (1936), as noted by Espen Aarseth, was an early exercise of interactivity: the start of it were selected a number viewers to represent members of the jury. The end of the piece changed according to the verdict that give the defendant's behavior, so will the reader / writer has an important role to the time of writing of the work. According to Aarseth, the concept of "interactive literature" was introduced in the study of literature by Anthony Niesz and Norman Holland in an article in 1984, and since then has been very influential, especially in cyberliterature (and SUICIDAME is, of course , cyberliterature or digital literature). This approach is not only a challenge to read, also in literary criticism: should the critical reading whole project to have an opinion, or just a party, as would a conventional reader? This challenge, in itself, I find stimulating.

I have chosen the second option, reading like a reader who decided to choose only one of the characters, which read becomes semi-linear, since it does not choose the paths forked, but choose one and go ahead, as in children's novels. I preferred to do so to operate on a plausible reading experience, which I imagine majority, about 50 minutes. I chose as the central character to the Siamese Nestor (Victor and Ernesto), I guess because of my weakness to the track twice, leaving behind the very stereotyped, predictable levels Engineer, Susan D and Alisha. The remaining, Joao da Silva and Deathea, were more complex and were finalists in my reading. When I speak of "reading" I mean an expanded sense of it, that includes watching videos of presentation of the characters and listen to recordings of the radio program "Straight to the kidneys", in addition to follow the suggested links (not are hyperlinks to their own work, but to existing pages on the Web and add nothing to the story, except the blog Direct kidneys). The result is interesting reading, although they may be partial buts that disfigure the whole: the videos are technically acceptable, but the interpretations are overacted and their scripts are not so fortunate, the vertical scroll is very uncomfortable reading, the monologues have character, but so little literary, a little left to the vulgarity in the name of a misunderstanding realism, the songs are not bad, but they are expendable, just a couple of characters are believable, with some forgettable, as the presenter Kidney forced and improbable; program radio has no credibility whatsoever as such, deprived of the naturalness of the direct, and hardly defensible as literary dialogue, etc. However, I think we should be positive in these cases and focus on other aspects: the original idea is good, the overall design of the site is careful, readable and encourages reading, multimedia ambition is laudable, some of the stories are evocative, interactivity makes sense within the logic of the narrative television, and generally has been careful at all times and particularly the overall coherence of the project. The coral designs often have two problems: lack of coordination and the heterogeneity of content, full of ups and downs the result. Similar defects plans threaten interactive art, some of which parallel lines are more interested than others. I believe that those responsible for SUICIDAME well have avoided the first problem, but have ignored the second. However, despite its partial deficiencies, I recommend the visit of the project not only for sector successes, but also the immense challenges and opportunities it presents.

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New Video: Manifesto



I tried to synthesize a 10-minute video my approach to solve the great global rift unemployment, job insecurity and poverty. I ask my friends to grant me just ten minutes of your valuable time to watch this video and if you like, help me spread. We can thus generate a string and prepare the ground to produce a global movement for the 4-hour strike. Thank
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Inception 2: extricatio

[Atención: este post contiene spoilers; NO leer lo que sigue si aún no se ha visto la película]

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I had tried to write it smaller, on the assumption I might not be able to secure the budget I needed. What I found is, it’s not possible to execute this concept in a small fashion. The reason is, as soon as you’re talking about dreams, the potential of the human mind is infinite. And so the scale of the film has to feel infinite. It has to feel like you could go absolutely anywhere by the end of the film. And it has to work on a massive scale.

Christopher Nolan on Inception [1]

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Try playing effectively infinite with finite means, that is the biggest problem of art, according to Paul Valéry. Descartes had also raised, from the philosophical point of view: " Thus, we will not bother ever in disputes about the infinite, it would be absurd for us who are finite, we tried to determine some infinite thing, and thus be supposed finite trying to understand " [2] . It seems absurd that the object, any attempt to infinite creative will be inconsistent, incomplete, false root. Yes, possibly true, but ... how beautiful are the results when someone tries. Are operating mondo, work-world of which we speak in Passages, trying to gather all the elements of a new, nonexistent, or one play all existing. They are pawns in a foolish ambition, boundless, but we should some of the most successful attempts of art, see examples literature: Dante, Joyce, Proust, Musil, etc.

His greatness, in part, lies in its defects. Failure to achieve its enormous objective, structural failure, is present from the first page or perhaps even earlier, when we see the "size" of the work and we say, large but not enough. But we immerse ourselves in the attempt, approach the behemoth and let us go, because deep know what is going to wonder is the effort, the ambition, inhuman and very human at the same time, to overcome , to establish what Steiner called the agon creator with God, attempting to make a world of nothing and give new life. All in vain, of course, the creation is never complete, never perfect, always be filled psyches, details to be clarified, by defining regions, populated streets, relationships that do not fit, narratives that open onto a cul de sac , metaphors worn or repeated references that appeal to existing worlds, fictional or not, and thus break the willing suspension of disbelief that Colerigde claimed for the fantastic. Yes, everything is in vain, but it is not. There is an artistic result, which is independent of program result of the work: the artist at the origin propose building a new world does not mean you have failed if it does, what matters are the ruins intact , shiny, showing that up and running. If they are enough or not for our imagination, to our satisfaction, not for self-determination as an artifact axiological.

Inception frame seems to make mistakes. The second viewing, I did yesterday, brought to light, apart from some others who have seen intelligent viewers as the writer Juan Trejo. Inconsistencies not only with respect to laws "traditional" dreams "of which actually still do not know too much, but even weaknesses of consistency with themselves and strange" dream laws "dictated by the film, for example: 5 minutes of sleep = one hour of time in reality. This standard, perhaps from the movie Contact , where half a second of real time equals 18 hours in a parallel reality and semi-dream, is quite arbitrary. Has no substrate verifiable, but it is a great and necessary element in the argument: one must accept to dive in history, as in Blade Runner must believe in other worlds or in taxis or in perfect flying replicants to move forward. More problems are the storylines of Inception when we began to wonder who is dreaming of what and who can make decisions within the dream of another, as when Cobb and construction of mazes Ariadne (developer and mythological name) decided to "lose" the unconscious of his dead wife to rescue Saito and Fischer, who have been "there" trapped. Another problem would be why Saito has aged Cobb in limbo and no, if the answer is for the time spent either in it for the footage is justified Saito's advanced age, but not vital Cobb stagnation. In short, there are many questions that a revisiting of the film does not clear, perhaps we should have the script in hand to explain these failures narrative ... unless explained by other means.

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hypothesis Singer

The film, "as is" narrative leaves two possibilities:

1) Everything we have seen is more or less logical and possible, within its membership to the fantastic, obviously, under the laws of the plot.

2) Everything is a dream. Everything depends on whether the top down or fall into the final scene.

There are two possibilities. A Alvy Singer has pointed out, maybe do a post on his blog to explain: all we see is from the beginning, a dream or metasueño of Cobb, which has implemented the inception to solve the recurrence dream obsessive projects to his dead wife. What we see is the long presence in his head an idea that it must be removed by the end of his life, for what is needed throughout a complex that includes spy subplot, in turn, a inception in one of its projections (Fischer). In this case, venture here that Singer-can develop the relationship between Fischer and his father would be a transcript of the Cobb and his father, also limited Cobb seems to follow strictly the teachings of his father, without being able to create anything new for yourself. This inception metainception or higher before we see in the film, would be the way to prove to his father (played by Michael Caine in the film) that is capable of creative and originally used the resources at your fingertips in pursuit of a more ambitious (and practical). This hypothesis resolves all inconsistencies Singer narrative of the film: what we see is pure unconscious Cobb, so that the plot, the unconscious in place the implant, will whatever is necessary to achieve the ultimate purpose of redemption.

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pharmacy hypothesis

A fourth explanation that occurred to me yesterday watching film for the second time. I will walk around the bush: when team members will visit the chemist, there are twelve people in the basement of your pharmacy or a clinic shared the same dream. The chemist brings an element that will be very important later: the use of a sedative (other details of lightness of the plot, since from the beginning there sedative to everyone each time they connect to the device sheath) of great power. Cobb wants to test the effects of the drug itself, and lies to try. Immediately descends to the deepest level of your unconscious, where it is prey / recreated his dead wife. He wakes up, or so it seems, agitated, goes to a bathroom, where water is poured on the face to wake desperately spinning the spinner to see who is awake, but the sudden arrival of Saito pull the top makes it to the ground, so can not verify if it has awakened ... or are still dreaming the pharmacy. My thesis is that Cobb has not woken up, and everything is happening in loop in the pharmacy. This explains why the unconscious is always present in the dreams of others, and therefore can, from Fischer's unconscious (which is what moves the whole snow scene), down to the ordinary world he has with his wife and deploy it Fischer projections and Saito, making the latter age and be chasing him for 50 years to find. Supports my hypothesis that there is no "jump" or "kick" him out of sleep do you have in the pharmacy while under the sedation effects of the chemical. What we see, 70% of the film, is his dream, 30% of the principle is a long prologue to understand what comes next. The dream is what Cobb want to happen to break free.

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Conclusions

(no)

These four are just four of many possible explanations for Inception . I think Nolan has them all and some more in the deck. Is assumed to have been writing and mulling over this story since 1995, has been nearly fifteen years to suggest (it) twists, oxymorons plot, narrative tapes Moebius, loopholes script, etc. Nobody will ever know much of the film as himself, of course. 15 years would have to be obsessed with it -In my case, do not rule, to reach the level of depth and knowledge about the same as he has. This film takes place as with the Lynch film, as noted here a few months ago: no matter whether or not it makes sense, what matters is the trail that leaves, what moves us. If in the case of Lynch's perplexity is the absence of explanation or information, uncertainty Inception reached by the prodigious multiplication of possibilities and data.

I think Nolan has used to build his dream world (In which the temporal maze, as stated in the first post, replaces the maze spatial Hell Dante), the cosmological theory of wormholes, this theory appears already used in Contact to explain the parallel temporalities, but it is also Jorge Luis Borges, who uses it in stories like "The Secret Miracle," for example. Borges knew the scientific theory of Hugh Everett III and De Witt of spatial holes (which is a hypothesis, not proven evidence), as demonstrated by some analysts Borges work. This comes about because in the interview with the New York Times cited above, Nolan acknowledges that Borges was reading when he wrote Inception. Could be by Borges, Contact or Philip K. Dick, who also uses the action The man in the castle . The point is that the confluence of time that elapses at different speeds, but parallel and connected, it is essential for the film, whatever its origin . Which reminds me of this poem by Eugenio Montale, which seems to be a fifth and final explanation Inception: the film as a dream of Nolan (owner of "assemblies and needles"), to unravel their own mazes emotional.

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TIME AND TIME

There is no single time: there are many tapes

that slide parallel

often opposite and rarely

intersect. It's when you discover

the only truth, revealed,

is canceled at the point who cares

assemblies and needles. And it falls again

the only time. But at that moment

when only the few living recognized

to say goodbye, never see you later. [3]

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[1] http://artsbeat.blogs.nytimes.com/2010/06/30/a- man-and-his-dream-christopher-nolan-and-inception /

[2] René Descartes, Principles of philosophy, I, 26.

[3] Extracted from Eugenio Montale, 37 poems, Hyperion, Madrid, 1996, translation by Ángel Crespo.