Then we want to thank the beloved, but find nothing that suffices. We can only thank with our selves. Love transforms gratitude into loyalty to our selves and unconditional faith in the other. That is how love steadily intensifies its innermost secret. A human fate gives itself over to another human fate, and the duty of pure love is to keep this giving as alive as it was on the first day. But just before the one-year anniversary of their romance, Arendt ended things abruptly, in large part because she wanted to focus on her academic pursuit of philosophy. In a reply to her from January of , Heidegger makes an admirable effort to syncretize the two conflicting forces ripping him asunder — his own heartbreak and the sincerity with which he wishes the best for Arendt.
Still less as I know what my love exacts from you. And the hardest thing is — such isolation cannot be defended by appeal to what it achieves, because there are no measures for that and because one cannot just make allowance for abandoning human relationships… With the burden of this necessary isolation, I always hope for complete isolation form the outside — for a merely apparent return to other people — and for the strength to keep an ultimate and constant distance. For only then can all sacrifice be spared them, along with the necessary rejection.
But this tormented desire is not just unattainable, it is even forgotten — so much so that the most vital human relationships become a spring again and provide the forces that drive one into isolation once more….
Such a life then becomes wholly a matter of exigencies that have no justification. Coming to terms with this in a positive way — not taking a position exclusively as a kind of escape — is what it means to be a philosopher. And yet however tragic the sacrifices of being a philosopher may be, Heidegger encourages young Arendt to make them anyway.
Even as Heidegger emboldens Arendt to go her own way, he articulates his longing for her and his need for their love to persevere:. It is clear — independently of you and me in this final point — that, in your youth and receptive stage of learning, you should not commit yourself here. It is always bad for young people to not summon the strength to go away. It is a sign that the freedom of instincts has died out, and as a result, when they stay they no longer grow in a positive way….
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And perhaps your decision will become an example… If it has good effect, it can only be because it calls for sacrifice from both of us. The evening and your letters have renewed my certainty that everything stays close to what is good, and becomes good… You , even in your situation, must be happy as only those with a young heart and strong expectations and faith can be at the prospect of a new world — new learning, fresh air, and growth. My life continues — without my involvement or merit — with such uncanny certainty that I want to believe the new emptiness that will come with your departure is necessary.
By July of , more than two years after their romance began, they were still very much in love.
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Although you have remained as present to me as you were on the first day, your letter brought you particularly close. I hold your loving hands in mine and pray with you for your happiness. Ask the innermost part of your heart, which has shone on me so often from your wonderfully deep eyes; it will tell you: deep down I am completely and purely sure of this trust. Are they still rich? How old are they? How hot are they? I wanna face-fuck them with butcher knives…What would you do with them Brian? My mathematic calculations were precise — would I kill someone with my own hands if I could have a day with him?
Brian comments:. I can conclusively say that Grindr is not a safe platform for austerity-mongers. Maria Sideri composed, performed and recorded a song remotely for the event The Union. Barefoot, clad in a red dress with a voice pedal and microphone for company, Catherine wove these texts and voices into layers of song and spoken word, poems, rants, movement and actions of yearning, rage, wit and wisdom. Her final episode involved tapping out the rhythm of her speech with Euros thrown onto stage by the audience that she had strapped to her feet with red tape.
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Video responses varied in form and length. I started to write this text some days ago in another hotel room in Zagreb. A place where I was born which I left twenty years ago and where I showed my work after more than six years… . It was recorded four days prior to the event and uses the full fifteen minutes. The movement of the train is fitting as it is expressive of the movement of events and thoughts within the short period that she recorded the missive and performs the happenstance of intertwining themes arising within these few days from which her recollections are drawn and some in the moment of recording.
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On the first night in that hotel I could not sleep at all and neither of my colleagues could… That night more than twenty thousand refugees entered Croatia on their way to Germany. Tracing a new passageway after Hungary indefinitely closed its borders. There were a number of works in which the body was the text or transmitter of a message.
The action involved two glass cylinders; one filled with seawater, the other empty. This could be spoken in Greek or English. The action was to continue for the full fifteen minutes and the aim was to transfer the seawater from one cylinder to the other. My heart is broken. Performance and poetic forms of expression experienced in time, frame a visceral, participatory witnessing. A process of affirmative endurance; that is ethical in its mortal singularity; within an ongoing, fluctuating, embodied duration.
This particular quality of the performative taps into becoming narrativities that often go unacknowledged, unexpressed, unspoken. A process that speaks to recent thought on social agency and the commons that partly inspired the provocation I sent out to the artists. To inhabit the ongoing, unregulated living space of being. To acknowledge that crisis is part of a fixed cycle, debt can never paid off, and as soon as we realise this; that there is nothing to be repaired; we understand that:.
Potentially this also enables the agency to perceive and step out of pervading systems of control, perhaps create another paradigm, an-other meaning. Diana: In hindsight, with the passing of the event and the ongoing political and cultural shifts that are taking over Greece, what are your thoughts about these gestures and mediations?
In what ways do they offer solidarity, and how does that resonate with the wider questions asked surrounding Greece and the European project? Lisa: Much happened since early July across Europe. Tsipras called a general election and was narrowly voted back in just over a week before the event.
Whilst a home as shelter and safety has become a crucial humanitarian issue for so many entering the land mass known as Europe in the last few weeks and months, many of whom arrive in Europe through Greece. Singular action and imagination embracing multiplicity is necessary in order to remain human. Love Letters to a Post- Europe addressed a particular moment a few months back, a moment that galvanised the will to come together. The gestures and meditations gifted by the artists feel like a beginning of a journey and something to be glad and grateful for — the will and generosity of so many people made it possible and so much more can be done, expressed, explored.
A lot has happened too since I began responding to these questions — but the surrounding issues still remain. Exchange is creation; and the human energy involved is consciousness, the capacity to produce change from the existing conditions. Into the present is flung naked life. Life is flung into the present language…complicated, fresh, full of dark meaning, insisting on discovery… . Programme notes: on having my tongue torn out by the root and dealing with a replacement, I can still taste and feel the tongue of the dead animal in my mouth. Interpreted live by Stefanos Achilleos.
Text translated into Greek by Christina Themeli. The Uprising: On Poetry and Finance. Los Angeles, Semiotext e. Abingdon, Oxfordshire, Routledge. Cambridge, MA, Polity Press. Performed live by Evdokia Delipetrou. Programme notes: A new text about Europe and the past, using objects like flags, apples, dolls and wine. Performed by Tawada in English with Greek surtitles. See p. PhD thesis. London, University of Roehampton. A performance was created through an open call published by Yelp dance company: twenty seven performers participated. The text brings out a range of ideas and issues in the guise of rhetorical, personal and quirky voices, juxtaposing contradictory statements.
The claim of these statements is that they remain separate from party political language, and they prove, once again, citizens are advancing ahead of party organisations. Programme notes: My letter reflects on hospitality, and is dedicated to my friend Merita Hoxha, who died this summer aged 44, and who came to the Cyclades from Albania in Gifted beyond the life in which she found herself, her presence is part of my own history in Greece, troubling it and enriching it through her sharp, joyful, at times difficult experience as a stranger longing to be seated at the table.
Text performed by Evangeli Fili following an email exchange during its writing. It is a game of vulnerability and foolishness, an attempt just to say what I want, clearly, and without any mistakes. It is a search for home and a search for a voice. Demosthenes Agrafiotis. One of them assumes that Europe is the territory in which the cultural difference is respected. The first, the disruption of the normality or regular functioning of a system — biological or social. The second, the crucial moment in any process of decision making, when a judgment is needed in order to assess the objectives and methods.
Programme notes: Responding to the on-going economic and social crisis that marked the beginning of the end of the European Union and everything it represented, this song addresses Europe as a lover and uses the metaphor of a love song to demonstrate the end of the relationship between its member states. Recorded by: Tasos Korkovelos. Piano and voice: Maria Sideri. In the video, Karikis assumes the role of a suited male who is attempting to speak without being able to. He uses a variety of vocal gestures, such as coughing, clearing the throat and mumbling to question notions of gender and authority, eloquence and embarrassment.
Programme notes: I write this love letter to the Europe I have inhabited as a stranger, like writing to the stars from the ground of planet earth. The video is a spontaneous performance made for still camera. It of course talks about the brutality of finance and the Charon of possession. In this sense, it is only the imagination writing love letters to itself, responding to its desire with its own desire. As discussed further on, absence and presence are themes that my performance project, Love Letters , plays with strongly; for the reason the performance employs creative practices that encourage human expression and therefore evoke emotions such as grief and loss.
Hence, does typing a love letter, faxing it, emailing it, coding it, posting it, sharing it — have the same effect, even if its purpose is to communicate via written word the same raw emotion of human pathos? Love Letters at Wickham Theatre, Image by YD. Throughout history, love letters have taken a biblical tenor, literary forms early Renaissance, evolving in the Enlightenment , going beyond being written as literary device for romance and affection.
Instead emerging into a political act of wisdom, an opportunity for self-reflection and introspection. Returning to my initial point, the value and beauty of this ritual of writing a love letter lives in the passionate and intentional desire to capture the message in writing, turning the praxis of writing a love letter into a performance of composition and reflection with the recipient at the heart of this action.
The symbolic actions engaging audiences in the performance project, Love Letters , do not only intervene in the idea of keeping memories private by compelling the audience to participate in an exchange of memories, but also creates a second level of intervention by compelling the audience to witness other people doing the same.
The audience accounts — composed and narrated during the performance of Love Letters — make evident how narrative is a vital component of the human mind, key to making sense of the world around us. This is achieved by having the audience engage with the performer by addressing and dressing her in particular ways so that the shared memories become attached with new environments, connotations and other ways of telling.
The dress worn in every performance is the same. It is a technology that is physically embedded with their memories, as well as the cultural connotations it carries because of its material form.
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To explore this I put together an interdisciplinary team of creatives, including artistic practitioners and technologists with experience of developing interactive technologies for storytelling and immersive performance purposes. Together we aim to concentrate on redeveloping the letter writing engagement and technological interactions of the dress, making it a storytelling object or device. To achieve this we plan to create a technological speaking attachment to the dress using electronics and by augmenting the dress with recordings of the existing collection of letters.
The primary importance is not the technology itself but the pervasive effect it has on the storytelling process. To undertake this project we recently launched a crowdfunding campaign.
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