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The Flophouse on the Bow’ry

By NYTimes reporter Dan Barry:
On the Bow’ry, The Long Story of the Building at 104-106 Bowery. (nytimes.com)
About New York; Last in Flophouse, Alone With Bowery Ghosts. (nytimes.com)

I remember walking by the Stevenson hotel. Bowery is still a street with two homeless shelters where the homeless sit in front of the entrance on the sidewalk, sipping from plastic cups of warm coffee, after they are probably required to leave the shelter in the early morning. In the winter morning they would huddle together as New York’s poor masses like puppies in a nest.

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Mer de la Nuit

a dragon’s beak fixated
the eye shrapnel
like the moon without black iris
light whose day never expires
ill defined green night
medusa gazes down
anxious bursts of flaming mushrooms
on pedestals of shadows
only the after effect ever occurred
these walls of mighty troy
rise like the flood

voyeuristic angels stare
from within the windows
not from the inside out, but outside in
like whores from behind the freedom of their curtains
at the horizon
columns of gold
burnt down like ephese
horrendous shrieks
seconds in eternity
stream below these windows

vega single star all stars fallen
the melted day
stains like car horns
heretic shrouds of milky clouds
the whores again behind their windows
i cannot torn their ass apart
these mussels of goodness
remain closed
i here in the enclosed open
on my chest, on my back
fragile with forsaken gesture
alone in spasms of nothingness
their nightmare
their delivery

oh pray for civic chivalric cybele
to escape me and my nightly cruelty
the clouds drift by
like sand running through my fingers
measuring time
but i leave nothing standing
i alone and one star beneath me
the water’s rush of traffic
blind and burning windows
flickering amber
the sea awaits me
for ten long years
the siren’s song sings
in the ruffle of leaves
her naked breasts i suckle from
the maenadic orgy of the bronze night
i the orphan

Tom Baker, Village Night Song (for Langston Hughes)

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1. Pier 34

The warming sun and brisk air of the morning still echoed in my chest around noon as my thoughts were compulsively drawn out of my office in the city into the open air, to escape and breathe the waterly winds at the harbor side. I decided to take a walk to pier 34 during my lunch break and sit on one of the two fingers of the boardwalk that connected the Holland Tunnel Vent Shaft to the Hudson river boulevard. It was only a ten minutes walk to the river from my downtown office, but rarely did any of my coworkers exceed the two blocks radius around the office. Instead they choose to confine themselves for lunch and restrict their lunch time to eating at their desks take-out in foam boxes from the Korean owned deli’s, a sugar coated doughnut from the Bengali breakfast or gyros from one of the many Middle Eastern street carts on the sideways of the city. I resented this imprisonment as if it formed an self-chosen exile of the imagination, a preliminary taste of death.

Close to noon, I scurried out and walked toward the corner of Broadway and Houston. I looked briefly at the two artists suspended in a carriage above the traffic, applying a new advertisement design to a blind wall of the office building on the south-east corner. They painted over an old DKNY wall advertisement of a silhouette of New York City. In their hands the scaled blueprints of what appeared to be a new advertisement for Hollister in a dull sand brown. Dulling! I thought, there is nothing left to chance. Every day tourists had halted to be mesmerized by the DKNY ad facing the Adidas flagship store and had their picture taken in front of it. It was the face of advertising in New York, and in the last year it had become iconic, the closest expression of artistry in a world that sucked the talents of a manifold crowd of youngsters.

I turned the corner and walked west by the Angelika Film Center. Posters hang in large window frames advertising the latest new movie ‘Whatever Works’ by Woody Allen, the archetypal clown of the city, a movie called the Baader Meinhof Complex about the Rote Armee Fraktion, and Extract. I passed the entrance with its round chrome steps leading to the cashier behind her fishbowl glass window, which always left a kind of magical impression on me, reminding me of the sad state I was in. Here was a world to escape to. Here you leave behind the numbing reality with it predictable routines and you stepped into the unpredictable world of erratic dreams and impossible hopes. The threshold to enter was eight steps high, but who had time to. Then, temporary for a lost gap in time, le grand plouf into the world of imagination. Forget your worries, forget boredom, live the life of the stars, your dreams coming true for a moment, before you were puked out again on the potholed asphalt of the New York City streets two hours later facing the bored reality that you could trust was always there waiting for you.

I crossed sixth avenue and stopped at the Blue Ribbon Bakery Market to buy an olive chiabatta, still warm and crunchy, and a square of soft Hudson Valley goat brie for lunch. I meandered through the narrow streets of the West Village toward the pier, and passed the West Side Highway. On the other side of the highway, I peeked through the entrance of the pier 40 building at a group of static kids throwing a baseball at each other in the grass field of the inner yard. I continued and sat down on one of the benches on the southern finger of the pier, letting the sun grown warmer and warmer on my face with my eyes closed. I stared at the oversized seagulls by Ron Baron, in the dark water below, which I had mistaken for real, living if somewhat fat crane birds, the first time I saw them, as I was blinded by the sun that was set high in the southern sky. I was afraid they would hover over me like a thief at the theater, preying for my lunch. An occasional jogger ran by before me, the sun shone intensely. I took my shirt off, revealing my pale, incarcerated chest, void of life, while I unpacked my bread and cheese. Through the fierce beams of sun light I distinguished a squeezed view of the diminished Statue of Liberty Enlightening the World. Her torch burning, guiding the refugees of the past, toward the promise of a better future. But for many there only awaited the bitter disappointments of peddling the remote and dangerous countryside of the mid and wild west, or the inhumane sweatshops where they shared the fate of a day laborer no better than that of the negro slaves. And yet this illusion, this false dream had never died and stopped to appeal new hopeful huddled masses. How desperate is the soul of mankind to hope against reason, to believe rather than to know with certainty, to prefer the illusion of certainty over the truth of uncertainty.

I tore some bread apart and chew on a piece of brie. How perfectly calm I felt with a simple meal, rich in taste and filling the senses rather than filling the stomach. I became swallowed by the afternoon, by time, eating my lunch and feeling the river’s breeze against my heated body and face. The senses, taste, smell, feeling, it all came back to me, my imagination. From a distance, staring east away from the sun, I saw the undisturbed silhouette of the financial district’s skyscrapers, the palaces of capital incorporating the hectic of bankers and beggars, the gains and losses, the human greed, and the human suffering, greed and pity. This greed never stopped, it always rushed on, behind the the pale glass reflection of the silhouette. Behind me, the world of advertising and fashion, that fed and was fed by this greedy capital, that so many chased, higher and higher, reinventing beauty, because it always remained volatile, no matter how persistently these modern Tantaluses pursued it. I lost my sense of time and place in this pursuit. It was life that was filling me now. I realized that I was at the banks of a major sea port on the Atlantic and not in the middle of a blinded labyrinth of sky scrapers. The odor of the Hudson water, although not very salty, even at the river’s edge you never smelt the sea, its sensation was refreshing. I felt the approaching sun, closer and closer on my flight back to life.

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The Death of Literature
Death in literature is an elementary metaphor, as the fear of death is one of our Id’s primal impulses, together with the sexual urge to reproduce and overcome it. The resurrection of our mind is the symbol for the cycle of life, the seasons, birth and death, crucifixion and resurrection, destruction and creation, night and day, there’s probably nothing more universal, nothing more primal than death and life. The article in the Guardian In theory: the death of literature is a great short essay that analyzes the perspective of the Romantics on death in literature as an elementary original perspective that lays at the root of the birth of the modern novel. It’s a very original view with lots of references in high overview, which makes it easy to make any argument, but it’s convincing until midway when the argument becomes an old man’s lamentation on modern times. Here is where the author Andrew Gallix the other essence of the Romantics in my opinion, namely the overcoming of the fear of death in favor of a naive and blind will for creation, this resurrection of the conscious mind is what represents the true power of the Romantic era. In the face of death we are not afraid to throw ourselves in the abyss and love.

Der Zauberberg (1982)
An international production of Thomas Mann’s 20th century classic about the first world war, Der Zauberberg (1982).

Divine Mathematics: George Cantor and Infinity
In Dangerous Knowledge – BBC, Georg Cantor’s Continuum Hypothesis and Georg Cantor‘s life is described. Cantor was obsessed with the problem of infinity. Cantor reminds me Pythagoras, who founded a religious school of Pythagoreans who searched the divine truth by revealing the mathematical formulas that described nature. Boltzmann defined a breakthrough in the field of probability, which is crucial for the theory of entropy and chaos.

Solve Puzzles for Science - Fold.it
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The Master and Margarita - Russia TV
The Master and Margarita – Russia TV Russia’s first television production of The Master and Margarita, the novel by Mikhail Bulgakov. Vladimir Bortko is the director and screenwriter of the new adaptation. The mini-series of ten 52-minute episodes was first screened on the state television channel “Россия” (“Russia”) on December, 2005. The Master and Margarita is a novel by Mikhail Bulgakov, woven about the premise of a visit by the Devil to the fervently atheistic Soviet Union. Many critics consider the book to be one of the greatest novels of the 20th century, as well as one of the foremost Soviet satires, directed against a suffocatingly bureaucratic social order.

Hunting the Hidden Dimension
Hunting the Hidden Dimension Pt. 1 This film is about looking at the world around us in a completely different way. If you pay attention, you can see that fractals appear throughout nature. But until Benoit Mandelbrot came along, no one really understood what was there all along. more...

Benoit Mandelbrot, Father of Eternity, Coined the Term 'Fractal'
Benoit Mandelbrot, Mathematician, Dies at 85 Dr. Mandelbrot coined the term “fractal” to refer to a new class of mathematical shapes whose uneven contours could mimic the irregularities found in nature.

Comparative Democracy
Originally, I was playing with the idea that representatives should have to pass an exam to become eligable to run for political office. While listening to C-SPAN broadcasts of Congress committees, or members of Congress giving interviews to NPR, where on some shows they are allowed more speaking time than the 20 or 30 seconds, I am too often shocked by the lack of depth and the absence of fact in their statements. more...

The Tree of Life
The Tree of Life Project (ToL) is a collaborative effort of biologists from around the world. The project provides information about the diversity of organisms on Earth, their evolutionary history (phylogeny), and characteristics. Another project that visualizes the phylogeny of life for the plants phylum is Deep Green by the Green Plant Phylogeny Research Coordination Group of Berkeley University.

Litarary Word Comparison
Introduction This is one of the small research projects that I am currently conducting. I am not pretending to offer or accomplish any scientific added value to the research community in the field of Natural Language Processing (NLP) but humbly submit my efforts to gain further personal learning. While the research remains unfinished and until I publish it formally, I will keep this post as a mini-post. As a Universal Man, a Humanist, a Renaissance Man each individual man has an obligation to question and further his or her knowledge and understanding, as it lies within our capacities. Learning is a tool to humble our heart, and most of all we should mistrust brave hearts. Matt Ridley in his book Nature via Nurture says (says Richard Dawkins in his The Ancestor’s Tale in The Mouse Tale chapter) that “the list of words in David Copperfield is almost the same as the list of words in The Catcher in the Rye.” Springing from this saying, I concluded that it would be an interesting project to create a plotter diagram in which the major works in literature (written, translated or edited into modern English for reasons of ease of comparison) are set out as number of total words versus the number of different words used and another network graph that displays the relative closeness of literary works by words used. The first diagram is the easiest to create of course, so I will start with this first, then moving on to the next network diagram. more...