" (...) e ocorreu-me que não há diferença entre os homens, de raça ou de inteligência, tão marcada e profunda como a que separa os enfermos dos saudáveis. (...)" *
mas enquanto passamos a barreira, é tudo tão inaudível e indefinido.
*(F. Scott Fitzgerald, The Great Gatsby, New York: Scribner, 1925)
23 comentários:
Ah! Já estou a perceber de onde veio isto:
http://emnosehtudo.blogspot.pt/2011/04/etiquetas-na-pele.html (etiquetas na pele)
Higgins: It's simple economics. Today it's oil, right? In ten or fifteen years, food. Plutonium. Maybe even sooner. Now, what do you think the people are gonna want us to do then?
Joe Turner: Ask them?
Higgins: Not now - then! Ask 'em when they're running out. Ask 'em when there's no heat in their homes and they're cold. Ask 'em when their engines stop. Ask 'em when people who have never known hunger start going hungry. You wanna know something? They won't want us to ask 'em. They'll just want us to get it for 'em!
in http://www.imdb.com/title/tt0073802/quotes?item=qt0344734
[Wabash talks about his entry into the US intelligence field]
Mr. Wabash: I go even further back than that. Ten years after The Great War, as we used to call it. Before we knew enough to number them.
Higgins: You miss that kind of action, sir?
Mr. Wabash: No, I miss that kind of clarity.
in http://www.imdb.com/title/tt0073802/quotes?item=qt0344730
VIDEO: https://youtu.be/NnnkuOz08GQ?t=8m29s <- Han van Meegeren (1889-1947) and the fake Vermeers
VIDEO: https://youtu.be/uqIVpbja71k?t=36m52s <- Max Jakob Friedländer (http://en.wikipedia.org/wiki/Max_Jakob_Friedl%C3%A4nder)
8 part documentary:
VIDEO: https://www.youtube.com/watch?list=PLoOs2BXV28kt-WxQgNiloKPInccSNwoJU&v=MMynUssKBH8 <- Art of the Third Reich (BBC, 1989) - (ISBN 0-8109-1912-5)
Narrated by Paul Vaughan
Written and Produced by Peter Adam
Graphic Design: Peter Wane
Film Editor: Julian Miller
Art of the Third Reich: Winner of the 1989 British Academy Award in 1989 for Best Arts Documentary of the Year
Nominated for the British Film Institute Award
Nominated for an Ace Award in Los Angeles
Art of the Third Reich – Google Books: http://books.google.pt/books?id=C9xPAAAAMAAJ&dq=isbn:0810919125&cd=1&redir_esc=y
Comentário de leitor
sarka 29 Aug 2011 17:43
http://www.theguardian.com/commentisfree/2011/aug/29/hannah-arendt-adolf-eichmann-banality-of-evil#comment-12190452
Continuação "do comentário":
sarka 29 Aug 2011 18:26
Hi PB
Walter Benjamin talked quite a lot about the allure of Nazi aesthetics. But even he didn't quite get it right. He saw it more as the "tinsel on the cake" - a sort of marketing for the masses.
Which it was in a way. Hitler and especially Goebbels were quite self-conscious about the use of political theatre and media propaganda. But they were nonetheless in love with the production and its implications themselves, so even the occasional ostentatious cynicism and instrumentalism was part of the grand drama in which they cast themselves in starring roles. And which, of coursem, they took perfectly seriously.
in http://www.theguardian.com/commentisfree/2011/aug/29/hannah-arendt-adolf-eichmann-banality-of-evil#comment-12190757
"[...] Os americanos, sentem-se americanos primeiro na hierarquia da identidade antes da imagem do estado a que pertencem. São por exemplo, americanos da Califórnia nós, sentimo-nos portugueses da Europa. [...]"
Comentários de leitores em http://www.publico.pt/mundo/noticia/a-crise-europeia-matou-de-vez-o-federalismo-1636789?page=-1 :
MCA
21/05/2014 15:32
Este tipo de reflexão é extremamente importante mas a Europa não é como os EUA. Temos países com Histórias intensas, culturas profundas, línguas diversas. Admira-me como apesar de tudo chegámos até onde estamos. O federalismo seria o culminar da União mas ao mesmo tempo o abdicar das soberanias e das diferenças.
DNG
Lisboa
21/05/2014 13:40
Os americanos, sentem-se americanos primeiro na hierarquia da identidade antes da imagem do estado a que pertencem. São por exemplo, americanos da Califórnia nós, sentimo-nos portugueses da Europa. Há aqui uma diferença abissal a propósito da missão das crises na história. No caso da América, serviu para a união, no caso da europeu, porque decidiram salvar os bancos e não as pessoas, serviu precisamente para o contrário.
joaocpedro
21/05/2014 13:52
Nos EUA também houve "stimulus package"
Jose
21/05/2014 15:34
A América tem um processo histórico mais curto que o da Europa. As nações europeias são velhíssimas comparadas com o "melting pot" Americano. A construção europeia não pretende copiar os Estados Unidos da América. As guerras na Europa foram feitas sempre para tomar o que era de outros e fazer impérios. Nunca resultou. Não vai resultar. A UE tem de harmonizar os diferentes povos, línguas, religiões, modos de vida, culturas, idiossincrasias, etc. A UE tem de ter geometria variável, ser uma unidade em movimento, flexível e resistente. Uma base a que se aporta de vontade. Não pode ser fruto de acasos, de crises, de momentos. O único denominador comum são os nossos ódios de estimação. O único modo de estar comum vem de sermos o melhor lugar do mundo para o ser humano viver. E a liberdade!!!
DNG
Lisboa
21/05/2014 16:17
O grande problema dos ideais é o seu risco inerente de se tornarem ilusões. Sobretudo quando o caminho que conduz a eles é liderado por irresponsáveis. Apesar do dólar ser um instrumento de domínio, dos americanos exportarem a inflação, de serem demasiado grandes para caírem etc, o certo é que nunca admitiram uma taxa de desemprego acima dos 7% e sempre souberam dos riscos de uma economia a funcionar abaixo do seu potencial. Mas há coisa, a mais importante, os EUA nesta crise, não desafiaram as aprendizagens fundamentais da história da economia...
L'Affaire Dreyfus, paradigme du scandale moderne de la raison d'État
Dans son interprétation classique, l'Affaire Dreyfus fournit l'illustration d'un débat entre tenants de la raison d'État, pour qui l'intérêt de l'État justifiait qu'on refuse toute révision du procès d'Alfred Dreyfus, quand bien même celui-ci aurait été tenu pour innocent. Les adversaires de la raison d'État, défenseurs de Dreyfus, plaçaient ainsi la justice et la défense de l'individu contre l'arbitraire de l'État comme idéal supérieur. Il ne s'agit cependant là que d'une interprétation traditionnelle : Clemenceau lui-même, défenseur de Dreyfus, considérait que l'intérêt de l'armée et de l'État était précisément de respecter les droits de la défense, en particulier celui de connaître les actes d'accusation.
in http://fr.wikipedia.org/wiki/Raison_d%27%C3%89tat#L.27Affaire_Dreyfus.2C_paradigme_du_scandale_moderne_de_la_raison_d.27.C3.89tat
Raison d'État / National interest, etc etc.
VIDEO: https://youtu.be/cK3TMi9GqwE <- Video clip displaying an interview of Hannah Arendt by Roger Errera, shot in New York City in 1973. « Entretien avec Hannah Arendt », video clip of Jean-Claude Lubtchansky and R. Errera, ORTF, 1974, Ina, collection « Un certain regard ».
Interview transcript (PDF file) PDF file - http://www.rogererrera.fr/autres/docs/Transcript_Arendt.pdf
Alternative VIDEO source I: https://youtu.be/rbeQt0aCzvA <- Hannan Arendt 1973 interview "Un certain regard" (L'occasion de cette interview est indiquée à la fin du document. La date d'archivage (1975) est également indiquée... En fait, l'interview date effectivement de 1973.)
Alternative VIDEO source II: https://youtu.be/WjyzX0jJJJc <- sound only! Hannan Arendt 1973 interview "Une certain regard"
"[...] Cétte affaire de securité nationale provient directement de la notion de raison d'état. Cette notion de sécurité nationale que l'on invoque est directement importée d'Europe centrale. Bien sûr, les Allemands et les Français et les Italiens la reconnaissent comme entièrement justifiée parce qu'ils ont toujours vécu sous cette règle. Mais c'était précisement I'héritaqe européen que la Révolution Américaine avait l'intention de briser. [...]"
in http://www.rogererrera.fr/autres/docs/Transcript_Arendt.pdf
"[...] Em Maio de 1950, no que é hoje considerado o discurso fundador da União Europeia, Robert Schuman propôs que a integração da Europa fosse feita em pequenos passos e não “de um só golpe”. Vê-lo e ouvi-lo nos vídeos dos arquivos históricos é constatar num minuto como a Europa mudou. O então ministro francês dos Negócios Estrangeiros disse duas frases com o seu quê de poesia e mistério que ainda hoje nos fazem pensar. A primeira: “A Europa não foi feita, tivemos a guerra.” A segunda: “Para que a paz possa verdadeiramente tentar a sua sorte, é preciso, primeiro, que haja uma Europa.”
Por outras palavras, só há paz na Europa se a Europa for um todo uno. Ou: depois de terem sido incapazes de evitar duas guerras, os países europeus não podem ser deixados soltos, sem um chapéu comum e uma super-estrutura que os amarre à paz e à democracia.
Foi com base nesta ideia que, na Sala do Relógio no Quai d’Orsay, em Paris, com os seus carismáticos óculos pretos de massa, Schuman propôs criar uma aliança para lançar “os alicerces de uma Federação europeia, indispensável à preservação da paz”. [...]"
in http://www.publico.pt/mundo/noticia/a-crise-europeia-matou-de-vez-o-federalismo-1636789?page=-1
VIDEO: https://www.ted.com/talks/maajid_nawaz_a_global_culture_to_fight_extremism?language=en#t-41308 <- [Filmed July 2011] Maajid Nawaz: A global culture to fight extremism
TRANSCRIPT:
"[...]
0:52
So let me begin by first of all giving a very, very brief history of time, if I may indulge. In medieval societies there were defined allegiances. An identity was defined primarily by religion. And then we moved on into an era in the 19th century with the rise of a European nation-state where identities and allegiances were defined by ethnicity. So identity was primarily defined by ethnicity, and the nation-state reflected that. In the age of globalization, we moved on. I call it the era of citizenship -- where people could be from multi-racial, multi-ethnic backgrounds, but all be equal as citizens in a state. You could be American-Italian; you could be American-Irish; you could be British-Pakistani.
1:38
But I believe now that we're moving into a new age, and that age The New York Times dubbed recently as "the age of behavior." How I define the age of behavior is a period of transnational allegiances, where identity is defined more so by ideas and narratives. And these ideas and narratives that bump people across borders are increasingly beginning to affect the way in which people behave. [...]"
in https://www.ted.com/talks/maajid_nawaz_a_global_culture_to_fight_extremism/transcript?language=en
http://www.nytimes.com/2011/06/24/opinion/24iht-edcohen24.html <- [Roger Cohen, JUNE 23, 2011] Positive Disruption
http://www.nytimes.com/2011/07/08/opinion/08brooks.html <- [David Brooks, JULY 7, 2011] The Unexamined Society
O conteúdo dos 2 vídeos abaixo é o mesmo (o mesmo programa foi emitido duas vezes na televisão):
VÍDEO: http://www.rtp.pt/play/p1580/e161892/tanto-para-conversar <- [28 Jul, 2014] Programa "Tanto para conversar" (RTP 2) - Inês Meneses entrevista Bernardo Pinto de Almeida (escritor)
VÍDEO: http://www.rtp.pt/play/p1580/e175058/tanto-para-conversar <- [08 Dez, 2014]
http://www.publico.pt/culturaipsilon/noticia/civilizacao-e-barbarie-1682988
OPINIÃO
Civilização e barbárie
ANTÓNIO GUERREIRO
23/01/2015 - 01:06
OPINIÃO – ESTAÇÃO METEOROLÓGICA
"[...] Em síntese, para Marc Mazower, a Europa do século XX não se define pelo seu apego aos valores e às práticas das democracias liberais, mas por uma reacção à violência que atingiu o seu máximo durante a Segunda Guerra. É, aliás, olhando para trás, para esse passado em que o número de mortos representa a ambição dos projectos em causa, que se poderá constatar, hoje, que “a Europa sofra de exaustão ideólogica e que a política se tenha tornado numa actividade desprovida de qualquer visão”. [...]"
in http://www.publico.pt/culturaipsilon/noticia/um-seculo-de-violencia-1692554
Livro: O Continente das Trevas: O Século XX na Europa (Autoria: Marc Mazower)
"[...] Konrad Kwiet comments on Himmler's association of the "heaviest task" the SS ever had to perform with the Anständigkeit (decency) that had been preserved of it:[1]
It is precisely this monstrous combination of murder and morality, of crime and decency at the core of the perpetrator's mentality. In the scope of the Nazi ethic, an entirely new concept of decency was created and made as a duty. Hannah Arendt coined the term "banality of evil", other authors emphasize the "normality of crime". Almost all perpetrators were characterized by their ability to return to the routine of every day life, and to lead a "normal" life after perpetrating murder. Most reacted with surprise, confusion and anger when they were prosecuted and reminded of the past. Ignorance and innocence were stressed before the court. The murderers were – with exceptions – spared from the traumatic experiences that survivors were left with.
Hans Buchheim comments that the accused perpetrators very probably lacked a mens rea. Himmler's revaluation of soldierly virtues was not a total negation of moral norms, but a suspension of them for the exceptional situation of the extermination of the Jews, which had been passed off as a historical necessity. Therefore Himmler endorsed the murder of the Jews not by instruction, but via the "correct" ideological motives, while letting similar murders committed out of sadism or selfishness be prosecutable.[2] [...]
[1] Konrad Kwiet: Rassenpolitik und Völkermord, in: Enzyklopädie des Nationalsozialismus, dtv, 2nd edition, Munich 1998, p. 64.
[2] Hans Buchheim: Anatomie des SS-Staates Volume 1: Die SS – das Herrschaftsinstrument. Befehl und Gehorsam. dtv (1. edition 1967) 2. edition Munich 1979, ISBN 3-423-02915-3, pp. 247–253 and p. 266f. [...]"
in https://en.wikipedia.org/wiki/Posen_speeches#Historical_reception
"[...] Closer to the truth was the simplification of Artur Sammler in his monologue on Hannah Arendt in Saul Bellow’s 1970 novel Mr. Sammler’s Planet:
Politically, psychologically, the Germans had an idea of genius. The banality was only camouflage. What better way to get the curse out of murder than to make it look ordinary, boring, or trite?… There was a conspiracy against the sacredness of life. Banality is the adopted disguise of a very powerful will to abolish conscience. Is such a project trivial? [...]"
in www.nybooks.com/articles/archives/2013/nov/21/arendt-eichmann-new-truth/
https://en.wikipedia.org/wiki/Mr._Sammler%27s_Planet
"[...] o jihadismo, tal como o nazismo, é motivado por um real sentido de virtude moral. Porque sem virtude, não seria de todo possível fazer o voto de matar tanta gente que nunca fez mal a ninguém. [...]"
in http://www.publico.pt/ciencia/noticia/dizer-que-estes-fanaticos-nada-tem-a-ver-com-o-islao-e-o-cumulo-do-politicamente-correcto-mas-e-contraproducente-1683399
http://www.imdb.com/title/tt0266624/
The Himmler Project (2000)
"Das Himmler Projekt" (original title)
182 min | Documentary | February 2000 (Germany)
The speech of Heinrich Himmler, held on Oct. 4th, 1943 in front of 92 SS generals at the castle Posen, read by Manfred Zapatka.
Director:
Romuald Karmakar
Writers:
Stefan Eberlein, Romuald Karmakar
Stars:
Manfred Zapatka | See full cast and crew »
Storyline:
Experimental feature, in which the actor Manfred Zapatka reads a three-hour-long famous speech by Gestapo leader Heinrich Himmler, held on the 4th of October 1943 in front of leading Nazi officers at the Golden Hall of Posen Castle; giving an impressive insight into the perversions of Nazi ideology. Written by Moritz Muehlenhoff
"[...] Insofar as they are critical of society as it presently exists, but nevertheless take a dim view of the prospects of the human race, utopias may verge on satire, as do Swift's and More's and Wells's; but insofar as they endorse the view that humanity is perfectible, or can at least be vastly improved, they will resemble idealising romances, as do Bellamy's and Morris's. The first world war marked the end of the romantic-idealistic utopian dream in literature, just as several real-life utopian plans were about to be launched with disastrous effects. The Communist regime in Russia and the Nazi takeover of Germany both began as utopian visions.
But as had already been discovered in literary utopias, perfectibility breaks on the rock of dissent. What do you do with people who don't endorse your views or fit in with your plans? [...]"
FULL TEXT: http://www.theguardian.com/books/2007/nov/17/classics.margaretatwood
KILL HITLER
http://t3.gstatic.com/images?q=tbn:ANd9GcQAHQvzDHv2joRBd6UTuVlUjaK3wL1kUPU6SMSvQK1yaXOO0e78
Esta ideia de se andar às voltas e às voltas e às voltas...
http://www.imdb.com/title/tt1276104/
Looper (2012)
Psychological warfare, the essence of Dirty War.
TORTURE. We Have Ways of Making You Talk. (http://www.imdb.com/title/tt1523370/)
PLAYLIST (9 VIDEOS): https://www.youtube.com/watch?v=Yqy_bf7AloA&list=PL09CC60A21137A607 <- We Have Ways of Making You Talk (TV Movie 2005) [90 min]
VIDEO (1/9): https://youtu.be/Yqy_bf7AloA
VIDEO (2/9): https://youtu.be/_5ToFWqPEXY
VIDEO (3/9): https://youtu.be/maOGXgDrcS0
VIDEO (4/9): https://youtu.be/x_Xhx_eY7ws
VIDEO (5/9): https://youtu.be/jP0IVnPeBW0
VIDEO (6/9): https://youtu.be/Ao_q2Wj9nSU
VIDEO (7/9): https://youtu.be/a6DPI4wZ6oc
VIDEO (8/9): https://youtu.be/O5ptS_kJNAM
VIDEO (9/9): https://youtu.be/fKLrQlLne2c
Pareidolia? (Apophenia?)
A mente liga os pontos segundo padrões familiares?
VIDEO: https://youtu.be/LDNLOqSl5Q4?t=10m28s <- Ice Age Art: A Culture Show Special
Andrew Graham-Dixon travels to Northern Spain to visit some of the world's oldest works of art, hundreds of meters beneath the surface of the earth. In limestone caves he is astonished to find a series of vivid paintings, some of which are over 33,000 years old, which appear to link modern man to our ice age ancestors.
https://imdb.com/title/tt0435950/
VIDEO: https://youtu.be/PoCGg1ltCSI?t=2m30s <- Ice Age Art: A Culture Show Special (with Andrew Graham-Dixon)
https://imdb.com/title/tt0435950/
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