Museum : Finn Juhl

Finn Juhl (Jan 30, 1912 - May 17, 1989)
was a Danish architect, interior and industrial designer, most known for his furniture design. He was one of the leading figures in the creation of "Danish design" in the 1940s and he was the designer who introduced Danish Modern to America.

Finn Juhl's Furniture at Daelim Museum

Seoul Philharmonic Orchestra's Concert in Celebration of the North American Tour

Conductor : Myung-Whun Chung

Theatre : Sejong Center

Igor Stravinsky (Jun 17, 1882 - Apr 6, 1971)

was a Russian, and later French and American composer, pianist and conductor. He is acknowledged by many as one of the most important and influential composers of the 20th century.

Firebird Suite (1919 version)

I.      Introduction – The Firebird and its dance
II.     The Firebird’s variation
III.    The Princesses’ Khorvod
IV.    Berceuse
V.     Finale

Pyotr llyich Tchaikovsky (May 7, 1840 - Nov 6, 1893)

was a Russian composer whose works included symphonies, concertos, operas, ballets, and chamber music. Some of these are amongst the most popular concert and theatrical music in the classical repertoire. He was the first Russian composer whose music made a lasting impression internationally, which he bolstered with appearances as a guest conductor later in his career in Europe and the United States.

 Symphony No. 6 in b minor, Op.74 “Pathetique”

I.        Adagio – Allegro non troppo

II.       Allegro con grazia

III.      Allegro molto vivace

IV.      Adagio lamentoso - Andante

  A letter to Nadezhda von Meck on 23 November/5 December 1877:

"…You see, my dear friend, I am made up of contradictions, and I have reached a very mature age without resting upon anything positive, without having calmed my restless spirit either by religion or philosophy. Undoubtedly I should have gone mad but for music. Music is indeed the most beautiful of all Heaven's gifts to humanity wandering in the darkness. Alone it calms, enlightens, and stills our souls. It is not the straw to which the drowning man clings; but a true friend, refuge, and comforter, for whose sake life is worth living"



Movie : The Ides of March (2011)

Director : George Clooney
Stephen Meyers : Ryan Gosling
Governor Mike Morris : George Clooney
Tom Duffy : Paul Giamatti

영화에 나오는 분들이 다들 친숙해져 영화속에 그들의 캐릭터들이 영화의 스토리 마져 가늠하게 하는거 같다.  Ryan Gosling은 Crazy, Stupid, Love에서 봤었든데... 너무 많이 웃었던 기억이다.  영화는 뭐 다들 알겠지만 정치이야기이다. 좋은 전략과 충성스러운 파트너가 있어야지만 승리할 수 있는.. 음모, 배신, 부도덕함은 정치적 승리를 위해서라면 언제든지 희생되어 질수 있는 가벼운 것로 치부된다. 누군가에게는 아픔일 수 도 있는 일이 적당한 합리화와 사회적 정의라는 이름으로 묻히고, 짓발히게 되는... 크게 신경쓰는 건 아니지만, 올해는 어떤 흥미로운 일들이 일어날지 두고 볼 일이다.

Vincenzo Camuccini, Mort de César, 1798

In modern times, the term Ides of March is best known as the date on which Julius Caesar was killed in 44 B.C. Caesar was stabbed (23 times) to death in the Roman Senate by a group of conspirators led by Marcus Junius Brutus and Gaius Cassius Longinus.



Movie : Flipped (2010)

Director : Rob Reiner
Author : Wendelin Van Draanen
Juli Baker : Madeline Carroll
Bryce Loski : Callan McAuliffe

큰 기대를 하지 않고 보게 되었는데, 영화에 너무 빠져버렸다.  I' flipped 그랬었다.
누군가를 부담스럽게 한다는 건 그 만큼 더 물러서게 하는거 같다.
영화는 소녀의 해맑은 미소로 시작을 해서 짝사랑, 자아, 아픔, 고뇌, 성숙 등 많은 이야기를 들려준다. 소년과 소녀의 풋풋한 사랑이야기 많은 아니였다. 메말라 있는 감정에 봄비 같은 영화였다.

“Some of us get dipped in flat, some in satin, some in gloss....but every once in a while, you find someone who's iridescent, and when you do, nothing will ever compare.”

“My heart stopped. It just stopped beating. And for the first time in my life, I had that feeling. You know, like the world is moving all around you, all beneath you, all inside you, and you're floating. Floating in midair. And the only thing keeping you from drifting away is the other person's eyes. They're connected to yours by some invisible physical force, and they hold you fast while the rest of the world swirls and twirls and falls completely away.”

“By the end of that first day, what I'd made was a big mess. But if chaos is a necessary step in the organization of one's universe, that I was well on my way.”

"A painting is more then the sum of it's parts. A cow by itself is just A cow. A meadow by itself is just grass, flowers. And the sun picking through the trees, is just a beam of light. But you put them all together and it can be magic."

http://www.imdb.com/title/tt0817177/

Book : Western Art History

얼마전 TV 프로그램을 통해서 르네상스시대를 접한 후 관심이 많이 생겼다. Western Art History 책을 보면서 너무 멀게만 느껴졌던 미술사와 천재작가들이 친숙해진 느낌이다.
르네상스의 시작, 피렌체로 가서 그들의 영혼을 느끼고 싶다. 그러한 이유로 이탈리아 여행책자를 주문했다.

Gothic Art  - c.1150-1400

The term ‘Gothic’, originally relating to the barbarity of the Gothic tribes (the Ostrogoths and Visigoths) in their destruction of the art of Ancient Rome, was first coined by 16th century Italian Renaissance critics as a term of abuse for various developments in medieval art and architecture up to the start of the 14th century. 'Gothic Art' defines much of the late medieval art that grew out of the Byzantine and Romanesque traditions. These were very formal artistic traditions with rigorous religious conventions that limited the personal creativity of the artist. At this time, the quality of an artwork was judged by the richness of the materials used to create it and the skill with which they were applied. Gothic art is distinguished from its predecessors by an increasing naturalism in the shape and posture of the figures, and an expressive use of line, pattern and color, allowing the artist more freedom of interpretation. Gothic art started in 13th century Italy and developed throughout Europe until the 15th century.

International Gothic - c.1375-1425

The term International Gothic describes a transition of styles across Northern Europe and Italy during the period between Byzantine Art, Late Gothic Art and Early Renaissance art. International Gothic was an elegant, detailed and decorative style that comprised miniatures, illuminated manuscripts and ornate religious altarpieces. These artworks were populated by more natural and sensual figures than their Byzantine and Gothic counterparts, but were still composed within the flattened pictorial space common to all Gothic art before the development of perspective drawing in the 15th century.

Early Renaissance - c.1400-1450

The Early Renaissance was the period of artistic development in Italy when art broke away from the rigid Byzantine and Gothic traditions to develop a more naturalistic approach to drawing and the organization of figures within a landscape. The roots of these changes lay in the more solid rendering of form and the gestural narratives of Giotto's painting. A more precise way of rendering depth was gradually developed through the creative application of perspective drawing in the work of artists such as Masaccio, Uccello, Fra Angelico and Piero della Francesca.

High Renaissance  - c.1480-1520

The word 'Renaissance' means 'rebirth' - a rebirth of the classical ideals from Ancient Rome and Greece. The High Renaissance marks the pinnacle of artistic development in this period of Italian art.
The great artists of the High Renaissance were Leonardo da Vinci and Michelangelo Buonarroti from Florence, Raphael Sanzio from Umbria, and Titian (Tiziano Vecellio) and Tintoretto (Jacopo Robusti) from Venice. They painted artworks of unprecedented skill and beauty and were responsible for raising the status of the artist in society from the level of artisan to an intellectual plane on a par with writers, philosophers and scientists. These great masters achieved what artists had aspired to since the Early Renaissance: a revival of the classical ideals of beauty and form; an anatomical and scientific accuracy in drawing; a sensual and psychological response to color and composition, and an acceptance and appreciation of classical content as the subject matter for art.

Mannerism - c.1520-1580

Mannerism is a 20th century term that was used to describe several exaggerated or mannered styles of art that evolved towards the end of the High Renaissance. Mannerist artists valued a personal and idealized response to beauty over the classical ideal of ‘truth to nature’.
The more robust qualities of Mannerism are found in the exaggerated physiques and contorted figures from the late work of Michelangelo, Raphael, Tintoretto and El Greco.
A more refined response to the Mannerist style is seen in the elegant and elongated figures from the paintings of Agnolo Bronzino, Parmigianino and Jacopo Pontormo.

The Northern Renaissance  - c.1420-1520

The 'Northern Renaissance' is the term given to the art of north and west Europe during the Italian Renaissance.
In the 15th century, art in the north was still linked to the Gothic tradition but rendered with an exquisite naturalistic detail in the new medium of oil paints. Flanders was the main focus of artistic activity with artists such as Robert Campin, Rogier van der Weyden, Hugo van der Goes and Jan van Eyck.
In the 16th century the Gothic influence had its final say in the art of Hieronymus Bosch and Matthias Grünewald. Gradually the influence of the Italian Renaissance took hold, particularly in the work of Albrecht Dürer which offered a Protestant challenge to the authority of the Catholic Church.

Baroque - c.1600- 1700

Baroque was a reaction against the artificial stylization of Mannerism. It spread throughout Europe during the 17th century. Among the great Baroque masters were the Italian painter Caravaggio and sculptor Bernini, the Flemish artist Rubens, Velazquez from Spain, and Rembrandt, the greatest of all Dutch painters.
Baroque art is identified by realistic subjects that depict spectacular action and generate powerful emotions. Religious, mystical and historical subjects, which were often propaganda for the Church or State, were brought to life with characters in contemporary clothing, by naturalistic painting of outstanding virtuosity, dramatic lighting (chiaroscuro) and bold asymmetric and diagonal compositions.

Rococo - c.1700-1775

The term ‘Rococo’ derives from the French word ‘rocaille’ which means rock-work, referring to a style of interior decoration that swirls with arrangements of curves and scrolls. The style was essentially French but spread throughout Europe.

As Mannerism was a stylistic reaction to Renaissance art, so Rococo was a decorative response to the realism of Baroque. While some authorities consider Rococo to be a refined, elegant, and allegorical style, others judge it as pompous, indulgent and pretentious.

Notable Rococo artists were Watteau, Boucher and Fragonard in France, Tiepolo, Guardi and Canaletto in Italy, and to some extent Hogarth in England.

Dutch Art - c.1620-1670

With the spread of Protestantism in Holland and the rejection of Catholic Baroque, Dutch artists had to focus on secular subjects to which there were no objections on religious grounds. Consequently, Dutch art has become famous for its still lifes, portraits, landscapes, interiors and genre painting. Artists tended to specialize narrowly, often in one subject. For example, Willem Kalf painted still lifes, Frans Hals portraits, Jacob van Ruisdael landscapes, and Jan Vermeer was the outstanding genre painter. The exception was Rembrandt, the greatest of the Dutch masters whose genius is evident through a range media and subjects that capture the essence of the human condition.

Neo-Classicism - c.1765-1850

Neo-Classicism was a reaction against the pomposity of Rococo. This was the Age of the Enlightenment and political, social and cultural revolution were in the air. Artists needed a serious art for serious times and once again they looked back to the art of Antiquity as their model. Inspired by the archeological discoveries at Herculaneum and Pompeii, Neo-Classicism had a historical accuracy that earlier classical revivals lacked. Historical scenes of heroism and virtue were used as patriotic propaganda or allegories on contemporary circumstances. Jacques Louis David and Jean Auguste Dominique Ingres were the outstanding virtuosos of Neo-Classical painting.

Romanticism - c.1765-1850

Romanticism valued the expression of emotion over the control of Classicism. This was achieved through spectacular painting technique and the choice of emotive and sensual subjects which often commemorated dramatic contemporary and historical events. In France, Delacroix and Géricault were the pioneers of Romanticism; in England, it was Turner and Constable; in Germany, Caspar David Friedrich and in Spain, Goya.

Realism - c.1840-1880

Realism was a French style of painting that focused on the everyday reality of a subject, warts and all. Realist artists such as Millet, Corot, Courbet and Manet reacted against the heightened emotions of Romanticism. They sought an objective truth that reflected the social realities of the common man in his natural environment. Realism was also inspired by a new exploration of 'visual reality' that followed the invention of photography around 1840.

Pre-Raphaelite Brotherhood - c.1848-1854

A blend of Realism and Symbolism emerged in the art of the Pre-Raphaelites, a brotherhood of young English artists who rebelled against the 'Grand Manner', the artificial Mannerist tradition that stretched back to Raphael. Dissatisfied with the art of their own time, they drew inspiration from the Early Renaissance (before Raphael), when artists explored the ideal of 'truth to nature'. The Pre-Raphaelites painted all their works from direct observation with meticulous detail and vibrant colors. They drew their subjects from the Bible, Dante, Shakespeare and contemporary poetry usually with an idealized medieval theme. The founding members of the group were John Everett Millais, William Holman Hunt and Dante Gabriel Rossetti.

http://www.artyfactory.com/art_appreciation/timelines/western_art_timeline.htm

Movie : A Dangerous Method (2011)

Director : David Cronenberg
Wirters : Christopher Hampton, John Kerr
Sabina Spielrein : Keira Knightley
Sigmund Freud : Viggo Mortensen
Carl Jung : Michael Fassbender
Otto Gross : Vincent Cassel

"Carl Jung: Explain this analogy made between the sexes, the death instinct.
Sabina Spielrein: Professor Freud claims that the sexual drive arises from a simple urge towards pleasure. If he's right, the question is why is this urge so often successfully repressed?
Carl Jung: You used to have a theory involving the impulse towards destruction, self destruction. Losing oneself.
Sabina Spielrein: Suppose we think of sexuality as futile, losing oneself as you say, but losing oneself in the other. In other words, destroying ones own individuality. Wouldn't the ego in self defense automatically resist the impulse?
Carl Jung: You mean for selfish not for social reasons?
Sabina Spielrein: Yes. I'm saying that perhaps true sexuality demands the destruction of the ego.
Carl Jung: In other words, the opposite of what Freud proposes."

"Sigmund Freud: You know your paper led to one of the more stimulating discussions we've ever had at our psychoanalysis society. Do you really think the sexual drive is a demonic and destructive force?
Sabina Spielrein: Yes, at the same time as being a creative force. In the sense that it can produce out of the destruction of two individualities a new being, but the individual must always overcome resistance because of the self annihilating nature of the sexual act.
Sigmund Freud: Mm. I've thought against idea for some time. I suppose there must be some kind of indissoluble link between sex and death. I don't think the relationship between the two is quite the way you've portrayed it, but I'm most grateful to you for animating the subject in such a stimulating way. The only slight shark was your introduction at the very end of your paper of the name of Christ"

I Go Out On The Road Alone 
                                                 Mikhail Lermontov (1814-1841)

Alone I set out on the road;
The flinty path is sparkling in the mist;
The night is still. The desert harks to God,
And star with star converses.

The vault is overwhelmed with solemn wonder
The earth in cobalt aura sleeps. . .
Why do I feel so pained and troubled?
What do I harbor: hope, regrets?

I see no hope in years to come,
Have no regrets for things gone by.
All that I seek is peace and freedom!
To lose myself and sleep!

But not the frozen slumber of the grave...
I'd like eternal sleep to leave
My life force dozing in my breast
Gently with my breath to rise and fall;

By night and day, my hearing would be soothed
By voices sweet, singing to me of love.
And over me, forever green,
A dark oak tree would bend and rustle.

"어떤 사람은 평범한 사람을 만나고, 어떤 사람은 광택나는 사람을 만나고, 어떤 사람은 빛나는 사람을 만나지. 하지만 모든 사람은 일생에 한번 무지개 같이 변하는 사람을 만난단다. 네가 그런 사람을 만났을 때 더 이상 비교할 수 있는게 없단다"  -Flipped


http://www.imdb.com/title/tt1571222/

Pursuit : Euclid's space

Euclid (300 BC)

Euclid's axioms are five postulates about the behavior of geometric objects; they constitute the foundation upon which Euclid built the entire edifice of geometry that is known today as Euclidean geometry. Before Euclid wrote his famous book The Elements around 300 BC, many geometric ideas were well understood, but in a disorganized way that obscured their logical structure. It was often unclear which facts depended on which others for their proofs, and this vagueness opened the door to circular reasoning and other logical errors. 

First, any two points can be connected by one and only one straight line.
Second, any line segment is contained in a full (infinitely long) line.
Third, given a point and a line segment starting at the point, there is a circle that has the given point as its center and the given line segment as a radius.
Fourth, all right angles are equal to each other (Euclid defines a right angle to be the angle formed when two lines intersect each other perpendicularly, that is, forming equal angles on both sides of the intersection).
Fifth (known as Euclid's parallel postulate), given a line and a point P that is not on the line, there is one and only one line through P that never meets the original line.

Many mathematicians, first the Greeks, then the Arabs in the Middle Ages, then the Europeans in the Renaissance, tried to show that the fifth axiom was a consequence of the others, but with no success. In the middle of the 19th century, the mathematicians Nicolay Lobachevsky, János Bolyai and Eugenio Beltrami independently made a further attempt, using a technique that mathematicians call reductio ad absurdum (see proof by reductio ad absurdum): to prove that something is true, assume the opposite and follow a logical line of arguments until you reach something ridiculous. So they assumed that, given a line and a point P not on the line, it is possible to have more than one line through P that never meets the original line. With this assumption, they built up a framework of logical consequences, waiting for an absurd conclusion to emerge. There was just one problem: the absurd conclusion failed to appear. Using the strict reasoning of pure logic, they constructed an alternative geometry in which Euclid's first four axioms are true, but the fifth is not. Thus, the quest to prove that the fifth axiom was a consequence of the first four led instead to a discovery that astonished the mathematical world: an entirely new, counterintuitive geometry known as hyperbolic geometry. The geometry of Euclid's five axioms is now called Euclidean geometry.




Henri-Louis Bergson (Oct 18, 1859 - Jan 4, 1941)
Bergson considers the appearance of novelty as a result of pure undetermined creation, instead of as the predetermined result of mechanistic forces. His philosophy emphasises pure mobility, unforeseeable novelty, creativity and freedom; thus one can characterize his system as a process philosophy. It touches upon such topics as time and identity, free will, perception, change, memory, consciousness, language, the foundation of mathematics and the limits of reason.
“The present contains nothing more than the past, and what is found in the effect was already in the cause.”

"웃음에 있어서 감정보다 큰 적은 없다. 그리고 살아있는 생명은 결코 반복하는 법이 없다. 우리는 전형적인 웃음의 희극성에는 반복, 역전, 그리고 일련의 사실들의 중복이라고 부를 수 있다.
웃음에 관한 주된 두 이론으로는 우월 이론과 대조 이론이 있다. 
첫째, 우월 이론은 말 그대로 상대방보다 자신이 우월하다는 인식을 통해 즉 우리에게 고통이나 해악을 끼치지는 않는 일종의 과오나 추악함을 자신도 모르게 저지르는 인물에 대해 심적인 우위를 점함으로써 웃는 다는 것이다. 
둘째, 대조 이론은 예상과 결과의 불합리한 대조에 의해 웃음이 유발된다고 보는 것으로 가령 몸집이 아주 큰 남자가 애기 같은 목소리를 내는 것을 보고 우리가 웃는 이유를 설명해 줄 수 있다. 특히 희극작가라면 반드시 무관함과 일치라는 표리부동한 현상에 대해 관객의 관심을 끌려고 끊임없이 애쓴다는 점을 들 수 있겠다.
어떤 사람을 흉내 낸다는 것은 바로 그 사람의 인격 속에 스며들어 있는 자동주의의 부분을 드러내는 것이다. 그리하여 흉내는 당연히 희극적인 것이 되며 그것이 우리를 웃게 만드는 것은 조금도 놀라운 일이 아니다. 어떤 희극적인 효과가 어떤 원인으로부터 기인했을 때, 그 원인이 자연스럽게 보이면 보일수록 그 효과는 더욱 더 희극적이 된다."


"사람은 육체라는 3차원 요소와 마음이라는 그 보다 높은 고차원의 두가지 요소로 형성된 즉 3차원의 존재이며, 그속에 마음이라는 고차원의 요소를 가지고 있음으로 고차원의 인식력을 가지고 삶을 영위할 수 있는 가능성을 가지고 있는 존재라고 할 수 있다. 육체의 3차원에서 고차원의 마음으로, 저차원의 마음에서 고차원으로 연결시켜 갈 수 있는 것이 있다면 그것은 바로 사랑이 일것이다. 사랑은 자아중심에서 나와 남을 분리시켜온 그 상태를 타인에로의 전환 즉 에고가 없어지고 약화된 상태에서 타인에게 무언가 주어 가는 주는 사랑만이 자기라는 조그만 틀을 깰 수 있는 하나의 계기를 준다고 생각한다. 자신을 계속 확장시킴으로서 마지막에 우주와 자신이 하나라는  순간을 맞이할 때 본래부터 우리가 가지고 있는 완전한 기쁨, 완전한 생명에 이르는 길이 아닐까.. "


나를 놀랍게 하는것은 사고의 전환인다.  2000년간 절대적이라고 믿고 있던 공리도, 여러 차원에서 존재하는 마음도 사고의 전환을 통해서 더 높은 차원의 세계로 올라갈 수 있는 것이다. 또 나를 안타갑게 하는것은 높은 차원과 낮은 차원을 오가는 마음은 삶을 풍요롭게도 했다가도 지옥에 떨어지는 경험을 동시에 느끼게 한다는 것이다. 완전한 삶을 지향하는 삶, 영원한 사랑을 할 수는 없지만, 사랑한다는 것은 날 분명히 높은 차원의 세계를 경험하게 하는거 같다. 

Book : Ulysses

Author : James Augustine Aloysius Joyce (Feb 2, 1882 - Jan 13, 1941)

음음음.. Bilbe & Ulysses 를 새로이 접하고 있는 나로써는 서로 다른 방향을 지향하면서도 이성과 본능을 오가는 인간의 고뇌에 대해서는 비슷한 점을 발견할 수 있는거 같다.
나약한 존재로써의 인간과 추하다고 생각하는 동물적 본능에서 벗어나고자 하는 노력, 그러나 우리는 생물학적 동물에서 벗어나지 못함으로 인하여 그러그러한 생각과 고민을 하는거 같다. 왜냐하면 우리는 사랑에 대해서 정의를 내리고 싶어하기 때문이다.

이성 <--> 인문학(철학) <--> 사랑 <-->본능

" 자연과 예술은 분리될 수 없는 것이며, 자연과 예술의 궁극적인 의미는 사랑인 것이다 ."

Love Came to Us

Love came to us in time gone by

When one at twilight shyly played

And one in fear was standing nigh -- -

For Love at first is all afraid.

We were grave lovers. Love is past

That had his sweet hours many a one;

Welcome to us now at the last

The ways that we shall go upon.

부러움이란?
인간의 정력적 결합에서 정력적 피스톤 및 실린더 운동을 위한 상위 자세에 특히 적합한 육제척, 정신적인 남성조직체. 이것이 없이는 수동적이지만 둔하지 않은 육체적, 정신적인 여성 조직체에 깃든 영속적이지만 예민하지 않은 색욕의 완전한 만족은 불가능하므로.

질투란?
자유로운 상태에서 정기가 넘치는 자연 본능이, 흡인력의 작용과 반작용을 교대로 실현했으므로. 작용자와 반작용자 사이의 흡인력이 끊임없이 변화하고 증감하면서 반비례의 관계를 유지하여, 끊임없는 환상 확장과 역방사적 돌입을 되풀이했으므로. 흡인력의 강도가 여러 가지로 변화하는 상태를 살피면서 증감의 자제심만 잃지 않으면 여러 가지 강도의 쾌감을 맛보는 것도 가능했으므로.

태연함이란?
유사성에 기초한 비유사성의 관계라 할 수 있는 남성과 여성, 이들 각각의 타고난 본성에 따라 수행된, 그들의 타고난 본성을 표현한 것으로 혹은 그들의 타고난 본성이 나타난 결과인 것으로 이해될 수 있는, 모든 자연스러운 행위와 마찬가지로 자연스러운 것으므로.

Poem : 사랑은 웃음을 만든다.

사랑은 웃음을 만든다

                           - 용혜원

사랑하고 있는, 사랑 받고 있는 사람은 웃음이 넘쳐 나지만

사랑받지 못하는 사람의 얼굴에는 웃음을 찾아볼 수 없다.

우리의 삶의 모습은 얼굴 표정에 나타난다.

우리는 사랑으로 웃음을 만들어 가야 한다.

열렬히 사랑하는 사람은 감정이 풍부하기에

웃음 또한 아름답다.

우리 삶에는 웃음이 필요하다.

우리가 만나는 사람들에게 미소로 대하면

그들도 우리에게 미소로 답한다.

미소는 삶의 잔잔한 평안을 맛보게 한다.

행복은 우리의 마음에서 피어나는 웃음꽃 속에서 자란다.

이해의 마음은 우리 삶의 여러 관계를 부드럽게 한다.

미소는 이해를 키우는 씨앗이다.

우리의 마음이 옹졸하고 비겁하면

결코 행복한 웃음을 지을 수 없다.

사랑을 머금고 피어나는 밝은 표정은

우리 곁의 모든 사람에게 밝은 기운을 나눠 준다.

웃음은 삶을 아름답고 여유있게 만들어 준다.

우리의 삶을 행복하게 만들어 주는 것은 사랑이다.

우리가 서로 사랑하고 있다면

기쁘고 명랑하고 쾌활하게 살아가야 한다.

얼굴 가득 짙게 드리운 그늘은 마음이 괴롭고

산란하다는 것을 보여 준다.

사랑은 이런 그늘에 행복의 햇살을 비춘다.

눈빛에 행복한 웃음이 가득한 사람은

마음에도 행복이 가득하다.

사랑은 즐거움의 원천이다.

사랑하면 행복을 우리의 가슴에 품고

웃음 가득한 삶을 누리게 된다.

Book : 솔로몬의 지혜

Author : 현길언 (Feb 2, 1940 - present )


누구나 옳바르게 살기를 원하지만 옳고 바르게 사는 것이 당연하다는 것을 알면 알수록 그렇게 살지 못하는 것이 인간이다. 왜냐하면 그렇게 살아가는 것은 외롭고 고통스럽기 때문이다. 그래서 동행자가 필요하다.

Jason Mraz - The Woman I Love

Movie : Tyrannosaur (2011)

Director : Paddy Considine
Joseph : Peter Mullan
Hannah : Olivia Colman

퇴근길에 생각보다 비가 많이 오지 않아서 집에 가는길에 영화를 보게 되었다.
폭력, 분노, 소외의 감정들과 신앙, 치유, 안정의 감정들이 영화속을 넘나들며 영화에 빠져들게 했다. 분명히 거친 영화였지만, 불안정한 인간 내면의 모습들을 치유해 가는 영화였다.

http://www.imdb.com/title/tt1204340/

Movie : Atonement (2007)

Director : Joe Wright
Briony Tallis : Saoirse Ronan
Bobbie Turner : James McAvoy
Cecilia Tallis : Keira Knightley

"The story can resume. The one I had been planning on that evening walk. I can become again the man who once crossed the surrey park at dusk, in my best suit, swaggering on the promise of life. The man who, with the clarity of passion, made love to you in the library. The story can resume. I will return. Find you, love you, marry you and live without shame."

“I've never had a moment's doubt. I love you. I believe in you completely. You are my dearest one. My reason for life. E.A”  - Ian McEwan, Atonement


http://www.imdb.com/title/tt0783233/

Movie : A Monster in Paris (2011)

Director : Bibo Bergeron
Franceur(voice) : Bob Balaban
Lucille(voice) : Vanessa Paradis
Raoul(voice) : Adam Goldberg

사실 파리가 배경이라는 이유만으로 선택한 영화였는데 기대이상으로 너무 재미있었다.
몬스터가 벼룩이라는 설정도 너무 웃기다. ㅋㅋ 

La Seine

                             - Vanessa Paradis

She overflows her shores so confident
the Seine, the Seine, the Seine
So pretty it enchanted me
the Seine, the Seine, the Seine
The moon's shining on her clearly
the Seine, the Seine, the Seine
You're not alone, in Paris is
the Seine, the Seine, the Seine

I don't know, don't know, don't know why
it's like that, the Seine and me.
I don't know, don't know, don't know why
we love each other like the Seine and me.

Crystal clear when you are on
the Seine, the Seine, the Seine
it's extravagant when the angel's there
the Seine, the Seine, the Seine

I don't know, don't know, don't know why
it's like that, the Seine and me.
I don't know, don't know, don't know why
we love each other like the Seine and me.

on the Pont des Arts
My heart falters
between the waters
the air is so good
the air so pure
I breathe it
our reflections perched on the bridge

we love each other like the Seine and me.
we love each other like the Seine and me.
we love each other like the Seine and me.
Find More lyrics at www.sweetslyrics.com
we love each other like the Seine and me.

tellement jolie, elle m'ensorcelle, mon coeur vacille, On s'aime comme ça, vous et moi

http://www.imdb.com/title/tt0961097/

Poem : April is the Cruellest Month

Thomas Stearns Eliot (Sep 26, 1888 - Jan 4, 1965)

April is the Cruellest Month

                       from The Waste Land

April is the curellest month, breeding

Lilacs our of the dead land, mixing

Memory and desire, stirring

Dull roots with spring rain.

Winter kept us warm, covering

Earth in foretful snow, feeding

A little life with dried tubers.

Poem : 멈출수 없는 사랑이 길이다

멈출수 없는 사랑이 길이다 - 오철수

길의 끝은 숨는다
바다에서 산에서 절벽에서
숨어버리며 강요한다. 다른 길을
이제까지의 생각으로는 찾을 수 없는
이제까지의 다리로 걸을 수 없는
새로운 길을
물론 거기에서 돌아서도 길이고
오던 길과 다른 새로운 길임을 모르는 바 아니지만
나 이미 심장 속에 길을 넣어버렸으니
길은 자라나야 한다.
나를 가둔 푸른 물결을 향해
초록으로 뒤덮힌 산과 무량한 저 창공으로
심장은 쿵쿵 뛰어야 한다
쭉쭉 뻗어나가야 한다
고작 한 여인에게 시들지 않은
붉은 장미꽃 한 송이를 전하기 위해선들 어떠랴
오호라, 위대함에 목적이 무슨 상관이란 말인가
쿵쿵, 모든 유혹은 내게서 나와야 한다
절망을 접어 내 심장이 뛰는 꽃이면 된다
길은 애당초 뛰고 싶고 살고 싶고 가고 싶은
나에 대한 나의 명령이었으니
길이 숨은 끝부터는
멈출 수 없는 사랑이 길이다.


"모든 길은 나에게서 나와 지금의 나를 넘어서는 그 자체입니다.
  나를 이루어 가는 삶이 바로 길이어야 합니다."

Music : Here with me

  Singer : Dido

"Here With Me"

I didn't hear you leave
I wonder how am I still here
And I don't want to move a thing
It might change my memory

[Chorus:]
Oh I am what I am
I'll do what I want
But I can't hide
I won't go
I won't sleep
I can't breathe
Until you're resting here with me
I won't leave
I can't hide
I cannot be
Until you're resting here with me

I don't want to call my friends
They might wake me from this dream
And I can't leave this bed
Risk forgetting all that's been

[Chorus]