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��ս հեռվից եմ եկել
և հոգնել եմ անվերջ
Եվ այրել է քամին այտերս
Ես օդով եմ սնվել
և աչքերը իմ խեղճ
Մոռացել են վաղուց երազներս :
Ճանապարհը երկար
քայլերով անհամար
Արյունով է պատել ոտքերս
Ծարավել եմ, սակայն
երկու բառ են միայն
Կրկնում չորացած շուրթերս:
Արևի քաղաք
Դու ես իմ հավատն ու փրկությունը միակ
Արևի քաղաք
Քեզ եմ ես փնտրում տարիներ շարունակ
Արևի քաղաք:
Արևի քաղաքում արևոտ երկնքում
Անդադար են փայլում աստղերը,
Արևի քաղաքում այգիներն են ծաղկում
Եվ հոսում արևոտ գետերը:
Եւ մարդիկ երջանիկ և ուրախ են ապրում
Քարոզում են բարին ու սերը ,
Հավատով մեզ սպասում ու միշտ բաց են պահում
Արևի քաղաքի դռները :
Արևի քաղաք Դու ես իմ հավատն ու փրկությունը միակ
Արևի քաղաք
Քեզ եմ ես փնտրում տարիներ շարունակ
Արևի քաղաք...
Արևի քաղաքում այստեղից շատ հեռվում
Կհիշեմ մոռացած երգերը
Արևոտ մի ստվերում իմ հոգնած աչքերում
Կգտնեն ինձ իմ երազները:
Իսկ մարդիք անհավատ թող ասեն նորից,
Թե տանջում են ինձ զուր հույսերը
Ես քայլում եմ առաջ և տեսնում եմ հեռվից
Արևի քաղաքի լույսերը.
Արևի քաղաք
Դու ես իմ հավատն ու փրկությունը միակ
Արևի քաղաք
Քեզ եմ ես փնտրում տարիներ շարունակ
Արևի քաղաք :
Գևորգ Թովմասյան
(~1987-1988թ.)
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youtube
#lacabina #thecabin #RTVE #prisoneroftechnology
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I’ve been thinking about parallel lines between Plato’s allegory of The Ship of Fools, a painting of the same name by Hieronymus Bosch and Ruben Östlund's Triangle of Sadness (2022) lately.
Below is Benjamin Jowett's 1871 translation recounts Plato’s story as follows:
Imagine then a fleet or a ship in which there is a captain who is taller and stronger than any of the crew, but he is a little deaf and has a similar infirmity in sight, and his knowledge of navigation is not much better. The sailors are quarrelling with one another about the steering --every one is of opinion that he has a right to steer, though he has never learned the art of navigation and cannot tell who taught him or when he learned, and will further assert that it cannot be taught, and they are ready to cut in pieces any one who says the contrary. They throng about the captain, begging and praying him to commit the helm to them; and if at any time they do not prevail, but others are preferred to them, they kill the others or throw them overboard, and having first chained up the noble captain's senses with drink or some narcotic drug, they mutiny and take possession of the ship and make free with the stores; thus, eating and drinking, they proceed on their voyage in such a manner as might be expected of them. Him who is their partisan and cleverly aids them in their plot for getting the ship out of the captain's hands into their own whether by force or persuasion, they compliment with the name of sailor, pilot, able seaman, and abuse the other sort of man, whom they call a good-for-nothing; but that the true pilot must pay attention to the year and seasons and sky and stars and winds, and whatever else belongs to his art, if he intends to be really qualified for the command of a ship, and that he must and will be the steerer, whether other people like or not-the possibility of this union of authority with the steerer's art has never seriously entered into their thoughts or been made part of their calling. Now in vessels which are in a state of mutiny and by sailors who are mutineers, how will the true pilot be regarded? Will he not be called by them a prater, a star-gazer, a good-for-nothing?
How many parallel lines do you see between the film, the painting and the actual allegory. To what extent do you think that the director was inspired/influenced by these works?
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انسان ها بیش از هر چیز دیگر،
از اندیشیدن وحشت دارند ، بیش از فقر، حتی بیش از مرگ.
«اندیشه» انقلاب می کند، از تخت به زیر می کشد و نابود می سازد. امتیازات دروغین، سنن و عرف جوامع، و عادات راحت طلبانه ی انسان ها را، بدون ذره ای رحم، از دم تیغ می گذراند.
اندیشه , هیچ قانونی را به رسمیت نمی شناسد؛ آنارشیست است. مراجع قانونی را به پشیزی نمی انگارد و بر خرد کهن نیز وقعی نمی نهد.
اندیشه , به سادگی در گودال جهنم می نگرد و هراسی او را فرا نمی گیرد.
بشر لکه کوچکی مغروق در ژرفای بی پایانی از سکوت است؛ اندیشه این را می بیند و با این حال ، غرورمندانه خود را به نمایش می گذارد، گویی ارباب کائنات است.
«اندیشه» چالاک، آزاد و عظیم است، یگانه روشنایی این جهان، و بزرگ ترین مایه فخر بشر.
برتراند راسل
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The Donkey and the Tiger
The donkey told the tiger: ′′The grass is blue".
The tiger replied: ′′No, the grass is green".
The discussion became heated, and the two decided to submit the issue to the lion, King of the Jungle.
Before reaching the clearing in the forest where the lion was sitting on his throne, the donkey started braying: ′′Your Highness, is it true that grass is blue?".
The lion replied: "True, the grass is blue".
The donkey rushed forward and continued: ′′The tiger disagrees with me and contradicts me and annoys me please punish him".
The king then declared: ′′The tiger will be punished with 5 years of silence".
The donkey jumped for joy and went on his way, content and repeating: ′′The grass is blue"...
The tiger accepted his punishment, but he asked the lion: ′′Your Majesty, why have you punished me, after all, the grass is green?"
The lion replied: ′′In fact, the grass is green".
The tiger asked: ′′So why do you punish me?"
The lion replied: ′′The punishment has nothing to do with the question of whether the grass is blue or green. The punishment is because you, a brave, intelligent creature, waste time arguing with a donkey, and then come and bother me with a silly question".
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Guys, this is really important. Until now, Google collected your data, but did not attach your name to it. Now, they can, and will. This new thing they’re doing will allow them to collect your data across searches, your email, Youtube, Maps, Google+, and all their affiliates, and build a complete profile of YOU.
If that doesn’t bother you, maybe this will: they own and can sell all that data, including anything you create and send (artists and writers, take note).
There is a way you can opt out of this ridiculousness. It’s described in the link, but if you’re still not sure about it, please ask me and I’ll guide you through how to turn all this off.
This is my wake-up call. I’ll be locking down my devices and scaling back what I put through the big Google machine, which means you may see less of me across social media. I’m going to keep researching this, but it may mean in order to keep the rights to my creative work, I’ll have to keep it out of Google’s hands. And that may take some doing.
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They've wrapped up something that is quite ugly in a very pretty box and put a name on it that sounds beautiful and it's the wrong name and the wrong wrapping and its ugly inside.
Bret Weinstein
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پاسخ باید ستیزهجویانه باشد، چرا که پرسش کنایهدار و نیشدار است. فلسفه نه به دولت خدمت میکند و نه به کلیسا، فلسفه به خدمتِ هیچ قوّهیِ مستقرّي در نمیآید. کارِ فلسفه ناراحت کردن است. فلسفهاي که هیچکس را ناراحت نکند و با هیچکس ضدّیّت نورزد فلسفه نیست.
کارِ فلسفه آزردنِ حماقت است، فلسفه حماقت را به چیزي شرمآور تبدیل میکند. فلسفه کاربردي ندارد جز افشاکردنِ پستیهایِ اندیشه در تمامیِ اَشکالاش. آیا جز فلسفه رشتهاي هست که به نقدِ تمامیِ رازآمیزگریها، هر خاستگاه و هدفي که داشته باشد، همّت گُمارَد؟
( ژیل دلوز ؛ نیچه و فلسفه ؛ ترجمهی عادل مشایخی)
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غزل شمارهٔ ۱۴۳
سالها دل طلب جام جم از ما میکرد وان چه خود داشت ز بیگانه تمنا میکرد
گوهری کز صدف کون و مکان بیرون است طلب از گمشدگان لب دریا میکرد
مشکل خویش بر پیر مغان بردم دوش کو به تأیید نظر حل معما میکرد
دیدمش خرم و خندان قدح باده به دست و اندر آن آینه صد گونه تماشا میکرد
گفتم این جام جهان بین به تو کی داد حکیم گفت آن روز که این گنبد مینا میکرد
بی دلی در همه احوال خدا با او بود او نمیدیدش و از دور خدا را میکرد
این همه شعبده خویش که میکرد این جا سامری پیش عصا و ید بیضا میکرد
گفت آن یار کز او گشت سر دار بلند جرمش این بود که اسرار هویدا میکرد
فیض روح القدس ار باز مدد فرماید دیگران هم بکنند آن چه مسیحا میکرد
گفتمش سلسله زلف بتان از پی چیست گفت حافظ گلهای از دل شیدا میکرد
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Only the unloved hate.
Charlie Chaplin - The Great Dictator
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موقعیت نبود
گناه نکردیم
تَوَهُم تقوا برمان داشت
Saint Petros - Persian Twitter
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Pretty dope. Armenian version happens all the time.
“Single women with marriage-obsessed parents often rent fake boyfriends or fiancés. If the parents demand to see the boyfriend again, the woman will typically stall for a while, and then say things didn’t work out. But sometimes the parents can’t be put off and matters escalate. Ishii says that, two or three times a year, he stages entire fake weddings. The cost is around five million yen (around forty-seven thousand dollars). In some cases, the bride invites real co-workers, friends, and family members. On others, everyone is an actor except the bride and her parents. The rental best man gives a speech, often bringing the rental guests to tears. When Ishii plays the groom, he experiences complicated emotions. A fake wedding, he says, is just as much work to organize as a real one, and he and the client plan together for months. Invariably, Ishii says, ‘I start to fall for her.’ When it comes to the kiss, some brides prefer to fake it—they touch cheeks so it looks like they’re kissing—but others opt for the real thing. Ishii tries to pretend he’s acting in a movie, but often, he says, ‘I feel like I’m really getting married to this woman.’”
— Elif Batuman, “Japan’s Rent-a-Family Industry”
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Germany Year 90 Nine Zero | Jean-Luc Godard | 1991
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