#Raul Ruiz

[tomorrowusa]

Dr. Anthony Fauci voluntarily testified before a House committee and debunked MAGA Republican conspiracy theories regarding the COVID-19 pandemic.

While Donald Trump and his lickspittles were telling Americans to drink bleach, take useless malaria pills, stick ultraviolet lights up their butts, and eat horse paste, Dr. Fauci headed an effort to develop vaccines for COVID-19.

A reminder to people with short memories who view the Trump administration as some sort of bucolic paradise: The last quarter of that administration included the worst government response to an infectious disease outbreak since 1920. Trumpsters who want us to ignore Trump's horribly botched response to the pandemic are like cruise-liner enthusiasts who want us to ignore the last 2% of the voyage of the Titanic.

Economic activity ground to a halt in 2020 as the US slid into a recession. I took this picture of a sign at a dollar store which had been completely closed for almost two months.

The whole Trump clan was disdainful of the sacrifices hundreds of millions of Americans were making.

Why has the U.S. COVID-19 response been so bad? Jared Kushner, Vanity Fair suggests.

At Times Square Jared and Ivanka's contemptuousness was made into an ad before Election Day.

If you are looking for the Original Sin of Trump's pandemic response, it was on January 22nd when he basically told CNBC's Joe Kernen that COVID-19 was nothing to worry about.

Of course it wasn't "just fine".

Trump did not declare a state of emergency for seven weeks. That gave the virus plenty of time for it to spread throughout the US.

Republicans know that their Dear Leader totally mishandled the pandemic response. That's why they repeatedly try to make Dr. Fauci a type of scapegoat for Trump's horrendous incompetence. Dr. Fauci has spent his entire career fighting disease. Donald Trump has spent his entire career narcissistically promoting himself.

Harry Truman had a sign on his desk saying: "The Buck Stops Here!" If Trump had a sign on his Oval Office desk (which he seldom used except for photo ops) it would be: "It's Everybody's Fault But Mine!"

Don't be hesitant to remind people of how awful 2020 was. And point the finger of blame at the orange blob who was responsible for the catastrophe.

[frnndlcs]

Mistérios de Lisboa, Raúl Ruiz, 2010

[davidhudson]

Raúl Ruiz, July 25, 1941 – August 19, 2011.

[justinspoliticalcorner]

Lydia O'Connor at HuffPost:

Dr. Anthony Fauci, who was the lead adviser for the government’s response to the COVID-19 pandemic, threw cold water on GOP accusations he masterminded a cover-up of the virus’ origins.

Fauci called the claims “absolutely false and simply preposterous” during a heated appearance before the House Select Subcommittee on the Coronavirus Pandemic on Monday, saying Republicans misrepresented emails between himself and other scientists about the possibility the virus was leaked from a lab. “It is inconceivable that anyone who reads this email could conclude that I was trying to cover up the possibility of a laboratory leak,” Fauci, who served as director of the National Institute of Allergy and Infectious Diseases for nearly 40 years before retiring in 2022, testified. “We spend our whole life trying to determine the causes of infectious diseases, and stop them to protect the American people,” he continued. The panel’s Republicans have not produced any evidence Fauci orchestrated a lab leak coverup, but they continue to emphasize that the nonprofit EcoHealth Alliance received funding from Fauci’s agency to conduct virus research in Wuhan, China ― where COVID-19 was first identified. They also narrowed in on a senior official working under Fauci who deleted messages and may have evaded federal records-keeping laws while emailing with EcoHealth Alliance officials.

Dr. Anthony Fauci spoke in front of House Select Subcommittee on the Coronavirus Pandemic hearing today, and Fauci grilled the Republicans good.

[lafiguraentutapiz]

Le Temps retrouvé. Raúl Ruiz. 1999

[dare-g]

A TV Dante (1991)

[novediscursos]

The Insomniac on the Bridge, Raul Ruiz

[edwordsmyth]

The Hypothesis of the Stolen Painting, Raúl Ruiz (1978)

[f--e-u-e-r-t-r-u-n-k-e--n]

Real Art/"Real" Art/ Real "Art"/Unreal Art/merchandising/marketing. Colection of Notes.

"A software system developed by Peter Jackson and his team, used throughout the production of the documentary series Get Back, finally opened the way for the uncoupling of John’s vocal from his piano part. As a result, the original recording could be brought to life and worked on anew with contributions from all four Beatles." — Description of the official video for "Now and Then" on The Beatles' official YouTube channel. “Our fine arts were developed, their types and uses were established, in times very different from the present, by men whose power of action upon things was insignificant in comparison with ours. But the amazing growth of our techniques, the adaptability and precision they have attained, the ideas and habits they are creating, make it a certainty that profound changes are impending in the ancient craft of the Beautiful. In all the arts there is a physical component which can no longer be considered or treated as it used to be, which cannot remain unaffected by our modern knowledge and power. For the last twenty years neither matter nor space nor time has been what it was from time immemorial. We must expect great innovations to transform the entire technique of the arts, thereby affecting artistic invention itself and perhaps even bringing about an amazing change in our very notion of art.” — Paul Valéry, PIÈCES SUR L’ART

 (...) there may be more to come, according to Jackson. He told the Sunday Times newspaper he has footage from Get Back, in which one or other of the Beatles riffs on a musical idea in the studio. He said: “We can take a performance from Get Back, separate John and George, and then have Paul and Ringo add a chorus or harmonies. You might end up with a decent song but I haven’t had conversations with Paul about that. It’s fanboy stuff, but certainly conceivable.” —Peter Jackson Reveals More Beatles Music “Is Conceivable” After Release Of ‘Final’ Song By Fab Four. Deadline.com.

"During long periods of history, the mode of human sense perception changes with humanity’s entire mode of existence. The manner in which human sense perception is organized, the medium in which it is accomplished, is determined not only by nature but by historical circumstances as well." —Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction, Thesis 3.

A hologram of Ronnie James Dio will embark on a world tour, called Dio Returns," with live musicians from Dio Disciples.—Ronnie James Dio Hologram Set For World Tour, billboard.com "In the case of films, mechanical reproduction is not, as with literature and painting, an external condition for mass distribution. Mechanical reproduction is inherent in the very technique of film production. This technique not only permits in the most direct way but virtually causes mass distribution." —Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction.

"In Ruiz’ poetics, impressively hermetic but also endearingly ludic, he shows that the Hollywood doctrine, that narrative must be built around a central conflict, is nonsense. He discusses different kinds of Utopia – “images of nowhere”; how a thing can be true even though it isn’t real; declares that, even though we have explored space we have still to explore time; “films are like human beings: you look at them and they look back at you”; the unconscious secrets of photographic and video images… He advocates a Shamanic cinema that voyages to different worlds, that accounts for all varieties of experience and can preserve the mystery of the world and its hidden details, a vertiginous sense of mutating images…" —James Norton, The Mystery, as Always: Raúl Ruiz, Klimt and the Poetics of Cinema.

The spectacle cannot be understood as the abuse of a world of vision, as the prod uct of the techniques of mass d issem ination of i mages. It is, rather, a Weltanschauung which has become actual, materially translated . It is a vision of the world which has become objectified. (...) The spectacle, understood in its totality, is simultaneously the result and the project of the existing mode of prod uction. It is not a su pplement to the real world, its added d ecoration. It is the heart of the unrealism of the real society. In all its specific forms, as information or propaganda, advertisement or direct consum ption of enterta inments, the spectacle is the present model of socially dominant life. It is the omnipresent affi rmation of the cho ice already made in prod uction and its corollary consumption. The form a nd the content of the spectacle are identically the total justification of the cond it ions and the ends of the existing system. The spectacle is also the permanent presence of this justification, to the extent that it occu pies the principal part of the time lived outside of modern production. — Guy Debord, The society of the spectacle "Hence I was preoccupied by a potentiality untypical in normal film construction and film composition. Operating at the outset with such material and such occurrences, it was natural to speculate principally upon the potentialities of juxtaposition. Less attention was given to an analysis of the actual nature of the pieces juxtaposed. Such attention would not have been sufficient in itself. History has proven that such attention, directed solely to the content of single shots, led in practice to a decline of montage to a level of "special effects," "montage sequences," etc., with all the consequences this involved. What should have been the proper emphasis, what should have received the principal attention, in order that neither element would be unduly exaggerated? It was necessary to turn to that fundamental basis which equally determines both the content enclosed by. single frames and the compositional juxtaposition of these separate contents with each other, i.e., to the content of the whole, of the general and unifying needs." — Sergei Eisenstein , The Film Sense. "El hombre, funcionario jubilado, pasaba sus noches afanado en copiar un cuadro de Jerónimo Bosch. Sus copias eran varias veces más grandes que el original y sólo representaban un detalle do la imagen: sin embargo, dado que otros detalles habían sido agregados a ese detalle, la versión suya daba la impresión de ganar en exactitud. Sin tener conciencia de ello, el pintor imitaba el trabajo de aquellos copistas holandeses descritos por Henry James, quienes, como buenos artesanos que eran, agregaban ciertos detalles a fin de volver su copia más realista. De lo que se deduce que se podría concebir una pintura que, a medida que se la copia, se vuelve cada vez más realista, hasta la saturación de su potencial de realismo, y mucho más allá incluso del efecto conocido como "realismo fotográfico"" — Raúl Ruiz, Poética del Cine I

[taffetastrology]

The signs as Raul Ruiz movie costumes

Aries

Taurus

Gemini

Cancer

Leo

Virgo

Libra

Scorpio

Sagittarius

Capricorn

Aquarius

Pisces

[frnndlcs]

Colloque de chiens, Raúl Ruiz, 1979 

[raulurl]

[leeleebear]

My sona y @patinhascinderelo y @cristorey100 sonas!

[lafiguraentutapiz]

La Ville des pirates. Raúl Ruiz. 1983

[dare-g]

Night Across the Street (2012)

[novediscursos]

Three Crowns of the Sailor, Raul Ruiz