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Thread: Ôá ÐÜíôá êáé ôá ÊïÜëá

  1. #51
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    Default Ãåëïéüôçôåò ôïõ cocosite.gr

    Áêñïáæüìïõí ôéò ðñïÜëëåò ôï Üëìðïõì Hotel California êáé ìïõ êüëëçóå óôïí íïõ ï áêñïôåëåýôéïò óôß÷ïò ôïõ ïìþíõìïõ ôñáãïõäéïý: "You can check out any time you like - But you can never leave".

    ÐñïóÝîôå ôï îåêáñäéóôéêü ðáñÜäïîï: áðçõäéóìÝíï ìÝëïò ôïõ cocosite.gr áðïöáóßæåé íá ðÜøåé íá óõììåôÝ÷åé óôá äñþìåíá ôïõ åí ëüãù óÜéô êáé, êáôÜ ôç äéÜñêåéá óïõñåáëéóôéêÞò óôé÷ïìõèßáò ìå ôïí õðåñóõíôïíéóôÞ (ï ïðïßïò åßôå Ýêáíå ðùò äåí áíôéëáìâÜíïíôáí ôï ôé åß÷å ãñáöôåß åßôå üíôùò äåí åß÷å ôç óôïé÷åéþäç åõöõÀá íá áíôéëçöèåß áõôÜ ðïõ åß÷áí ðñáãìáôéêÜ ãñáöôåß), æÞôçóå íá äéáãñáöåß, äéá ðáíôüò, ï ëïãáñéáóìüò ôïõ êáèþò êáé üëá ôá ìçíýìáôÜ ôïõ Üìåóá.

    Óôç äéÝíåîç Ýóðåõóå íá ðáñÝìâåé êáé ôï ìáíôñüóêõëï ôïõ cocosite.gr, ìå ôï ãíùóôü "áîéáãÜðçôï" ýöïò ôïõ, äçëþíïíôáò üôé ôá ìçíýìáôá äå èá äéáãñáöïýí Üìåóá, èá äéáãñáöïýí üôáí êáé áí ôï èåëÞóïõí ïé "áñ÷Ýò" Þ êáé ðïôÝ. ÁõôÞ ç óõãêåêñéìÝíç ðáñÝìâáóç Ý÷åé ðëÝïí äéáãñáöåß - ïðïßá Ýêðëçîéò!

    ÔÝëïò ðÜíôùí, åíþ ï ëïãáñéáóìüò ÷ñÞóôç Ý÷åé äéáãñáöåß, ôá ìçíýìáôá äåí Ý÷ïõí äéáãñáöåß, ï ðñþçí ÷ñÞóôçò ÷áñáêôçñßæåôáé ùò Guest!!!

    Ôé Guest âñå áðßèáíïé; Hostage Þ Prisoner åßíáé ï ðñïóÞêùí ÷áñáêôçñéóìüò....

    Ôïõò áöéåñþíù ôïõò óôß÷ïõò ôïõ Hotel California ìå ôç äÝïõóá ðñïóáñìïãÞ...

    On the dark superhighway, cool songs in my ears
    Warm sounds of guitarras, bring to my eyes tears
    Up ahead in the distance, I saw a promising site
    My head grew happy and my sight grew bright
    I thought that site could be right

    There he stood at the doorway
    The Administrator from Hell
    And I was thinking to myself,
    'This couldn't be heaven, this should be hell'
    Then he lit up a cigar and he showed me the way
    There were voices down the corridor,
    I thought I heard them say...

    Welcome to the site of conspicuous spending
    Such a lovely place
    Such a lovely face
    Plenty of gear at the site for the audiophile's ear
    Any kind of gear, you can find it here

    Some guys are tiffany-twisted, they got the Mercedes Benz
    They've got a lot of pricey, pricey gear, and think their dick's immense
    Disco dance in the courtyard, sweet summer sweat
    Some dance to remember, some dance to forget

    So I called up the Captain,
    "Please bring the Klein Mein"
    He said, "We haven't had those speakers here since nineteen sixty nine"
    And still those speakers are blasting from far away,
    Wake you up in the middle of the night
    Just to hear them play...

    Welcome to the site of conspicuous spending
    Such a lovely place (such a lovely place)
    Such a lovely face
    They livin' it up at the site of expense immensive
    What a nice surprise, (what a nice surprise)
    but you're not immersive

    Subwoofers on the ceiling,
    Thick cables at exorbitant prices
    And he said "We are all just prisoners here, of our own devices"
    And in the master's chambers,
    They summoned for the priest
    They stared him with their fiery eyes,
    But they just unleashed the beast

    Last thing I remember, I was
    Running for the door
    I had to find the passage back
    To the place I was before
    "Relax," said the Admin,
    "We are programmed to deceive.
    You can checkout any time you like,
    But you can never leave!"




    https://www.youtube.com/watch?v=5EHyht_Kx5I
    In the high country of the mind one has to become adjusted to the thinner air of uncertainty...
    Robert M. Pirsig

  2. #52
    Join Date
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    Being semiaquatic, I inhabit small streams and rivers Down Under.
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    Wink ¸÷ïõí ïðïéáäÞðïôå ó÷Ýóç ïé (êÜèå åßäïõò) ÷áúåíôÜäåò/ðïæåñÜäåò ìå ôç ìïõóéêÞ;

    Ðñéí áðü 14 ÷ñüíéá åß÷å ãñÜøåé ï RDoherty ôï åîÞò åîáéñåôéêÜ åýóôï÷ï ó÷üëéï:

    "Áò óõíåéóöÝñù ëßãï lateral thinking: ôéò óïâáñüôåñåò êáé ïõóéáóôéêüôåñåò ãíþìåò ðïõ Ý÷ù áêïýóåé ãéá ôç ìïõóéêÞ, ôéò Ý÷ù áêïýóåé áðü Ýíáí ößëï ìïõ ðïõ Ý÷åé Ýíá ðëáóôéêü óýóôçìá Sony ìå ç÷åßá óå ñÜöéá âéâëéïèÞêçò. Áðü hi-endaäåò Ý÷ù áêïýóåé ðïëëÜ êáé óùóôÜ ãéá ìðÜóóá, ðñßìá, äõíáìéêÜ êáé åéêüíåò, áëëÜ ãéá ôçí ïõóßá ôçò ìïõóéêÞò ðïôÝ ôßðïôá."

    Ìéá ðñþôç äéåõêñßíéóç:

    Ôù êáéñþ åêåßíù, ôçò "éó÷õñÞò ÅëëÜäáò", hi-endÜäåò èåùñïýôáí ìüíïí ïé êÜôï÷ïé ðáíÜêñéâùí ç÷çôéêþí óõóôçìÜôùí, ïìïý ìåôÜ üëùí ôùí ðáñåëêïìÝíùí, ïé ïðïßïé ÷ëåýáæáí êáé õðïôéìïýóáí üëïõò ôïõò õðüëïéðïõò êáôü÷ïõò öèçíüôåñùí ç÷çôéêþí óõóôçìÜôùí.

    ¼ðùò Ý÷ù îáíáðåß, ôï íá êáôÝ÷åé - êáé ìüíï - êÜðïéïò Ýíá ðáíÜêñéâï ç÷ïóýóôçìá, Ýíá áðïëýôùò "ëÜèïò" ç÷ïóýóôçìá, êáèþò êáé êÜèå åßäïõò ÷ñÞóéìï Þ Ü÷ñçóôï ðáñåëêüìåíï, ïõäÝíá ëïãéêü êáé å÷Ýöñïíá Üíèñùðï èá Ýðñåðå íá åíï÷ëåß. Áõôü ðïõ ðñïóâÜëëåé êáé åíï÷ëåß åßíáé ç åðßäåéîç êáé ç áõôïðñïâïëÞ ôïõ êÜèå åßäïõò øþíéïõ êáé ðïæåñÜ.

    Óôéò ìÝñåò ìáò, ðÝñá áðü ôïõò ðáñáäïóéáêïýò hi-endÜäåò, áíèåß êáé ôï alter ego ôïõò: ïé áêñïáìáôéêüöéëïé õøçëÞò ðéóôüôçôáò êáé áðáéôÞóåùí ïé ïðïßïé, ðñïêåéìÝíïõ íá áðïëáýóïõí ôç ìïõóéêÞ, èåùñïýí üôé ðñÝðåé íá äáðáíþíôáé áíôéóôïß÷ùò åîùöñåíéêÞ ðïóÜ ìå âÜóç, üìùò, ôéò "åðéóôçìïíéêÝò ðñïûðïèÝóåéò áêñüáóçò ìïõóéêÞò". Ïýôå êáé ìå áõôïýò èá Ýðñåðå íá Ý÷åé ðñüâëçìá Ýíáò ëïãéêüò êáé å÷Ýöñùí Üíèñùðïò - óôï âáèìü, âåâáßùò, ðïõ áõôïß äåí ... áíáðáñÜãïõí ìå õøçëÞ ðéóôüôçôá (pun intended) ôá ãåëïßá ìïôßâá óõìðåñéöïñÜò êáé åðé÷åéñçìáôïëïãßáò ôùí ðáñáäïóéáêþí hi-endÜäùí.

    Åßíáé äå åîü÷ùò äéáóêåäáóôéêü íá ðáñáêïëïõèåß êáíåßò ôïõò Ïìçñéêïýò êáõãÜäåò ìåôáîý ôùí ðáñáäïóéáêþí êáé ôùí åðéóôçìïíéêïöáíþí hi-endÜäùí ó÷åôéêÜ ìå êáëþäéá Þ Üëëá ðáñåëêüìåíá. Åßíáé óá íá âëÝðåéò Ýíáí ìåèõóìÝíï íá óôÝêåôáé áðÝíáíôé óå Ýíáí êáèñÝðôç êáé íá ôóáêþíåôáé... Ãåëïéüôçôåò!

    Áò åðéóôñÝøù óôï ó÷üëéï ôïõ RDoherty:

    "Áðü hi-endaäåò Ý÷ù áêïýóåé ðïëëÜ êáé óùóôÜ ãéá ìðÜóóá, ðñßìá, äõíáìéêÜ êáé åéêüíåò, áëëÜ ãéá ôçí ïõóßá ôçò ìïõóéêÞò ðïôÝ ôßðïôá."

    Ìá áêñéâþò Ýôóé åßíáé: áðü hi-endÜäåò (êÜèå åßäïõò) èá áêïýóåéò êáé ðïëëÜ êáé óùóôÜ ãéá ìðÜóóá, ðñßìá, äõíáìéêÜ êáé åéêüíåò, ãéá ôñïöïäïóßá, êáëþäéá êáé âåëôéùôéêÜ, ãéá óáìðãïýöåñ, éììÝñóéâ, ñïõì ôñÞôìåíôò, ìåôñÞóåéò, upmixing êëð. êëð. .... AD NAUSEAM!

    Äåí åßíáé äõíáôü íá áêïýóåéò ôï ïôéäÞðïôå ãéá ôçí ïõóßá ôçò ìïõóéêÞò åðåéäÞ, ðïëý áðëÜ, áìöüôåñïé ïõäüëùò åíäéáöÝñïíôáé ãéá ôçí ïõóßá ôçò ìïõóéêÞò.

    Ïé ìåí åíäéáöÝñïíôáé ãéá ôï ðþò áðïäßäåé ôï áêñéâü ôïõò ç÷ïóýóôçìá êáé ìå ôé ðñüóèåôåò áãïñÝò ìðïñåß áõôü íá "âåëôéùèåß" Ýôé ðåñáéôÝñù. Ïé äå åíäéáöÝñïíôáé íá åðéôåõ÷èåß ç áðïëýôùò ðéóôÞ áíáðáñáãùãÞ ìéáò ç÷ïãñÜöçóçò êáé ìå ôé ðñüóèåôåò áÝíáåò áãïñÝò ìðïñåß íá åðéôý÷ïõí ôïí óôü÷ï ðïõ ðñïóôÜæåé ... ç ßäéá ç "ÅðéóôÞìç ôçò ÁêïõóôéêÞò".

    Ðùò, ëïéðüí, íá áó÷ïëçèïýí ìå ôçí ïõóßá ôçò ìïõóéêÞò üôáí ïé ìåí áó÷ïëïýíôáé áðïêëåéóôéêÜ ìå ôï ðüóï áêñéâü êáé åíôõðùóéáêü, óå ó÷Ýóç ìå ôùí õðïëïßðùí, åßíáé ôï ç÷ïóýóôçìÜ ôïõò åíþ ïé äå áó÷ïëïýíôáé áðïêëåéóôéêÜ ìå ôï áí ôï ç÷ïóýóôçìÜ ôïõò, ôï ðëÝïí Üñôéï åðéóôçìïíéêÜ - êáé ðáíÜêñéâï, áíáðáñÜãåé ðéóôÜ ôçí êÜèå ç÷ïãñÜöçóç.

    Áêïýãïíôáò, åðß ðáñáäåßãìáôé, ôï Amused to Death ïé ìåí ðñïóÝ÷ïõí ôá ç÷çôéêÜ åöÝ êáé ïé äå ôá áâõóóáëÝá ìðÜóá êáé ôïí åíôõðùóéáêü surround Þ÷ï êáé, áìöüôåñïé, äåí ðáßñíïõí ÷áìðÜñé ðùò ï ÑïãÞñïò êáôáêåñáõíþíåé ôçí åðéäåéêôéêÞ õðåñêáôáíÜëùóç êáé ôéò êáôáóôñïöéêÝò óõíÝðåéÝò ôçò óôïí ðëáíÞôç ... Go figure....

    ÌÞðùò, ëïéðüí, åßíáé, ëÝù ôþñá, ðñïôéìüôåñï ïé ìåí íá åðéäßäïíôáé ëéãüôåñï óå Ýñåõíåò áãïñÜò êáé ïé äå ëéãüôåñï óå åìâñéèÞ åðéóôçìïíéêÞ äéåñåýíçóç ôùí ðñïûðïèÝóåùí ôçò õøçëÞò ðéóôüôçôáò áíáðáñáãùãÞò êáé, Ýôóé ãéá áëëáãÞ êáé ðïéêéëßá, íá ìåëåôÞóïõí áìöüôåñïé áõôü ðïõ õðïôßèåôáé ðùò ôïõò åíäéáöÝñåé ðñùôáñ÷éêÜ: ôçí ßäéá ôç ìïõóéêÞ - ôçí éóôïñßá ôçò, ôçí åîÝëéîÞ ôçò, ðñïóåããßóåéò åðß ôçò óçìáóßáò êáé ôçò ïõóßáò ôçò, ôçí åðßäñáóÞ ôçò, ôçí áéóèçôéêÞ, ôçí ïìïñöéÜ êáé ôï ìåãáëåßï ôçò....

    Ìåôáîý ìáò ... äåí ôñÝöù øåõäáéóèÞóåéò.
    In the high country of the mind one has to become adjusted to the thinner air of uncertainty...
    Robert M. Pirsig

  3. #53
    Join Date
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    Being semiaquatic, I inhabit small streams and rivers Down Under.
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    Default Excerpt from Lila. An Inquiry Into Morals

    In a subject-object metaphysics morals and art are worlds apart, morals being concerned with the subject quality and art with object quality. But in the Metaphysics of Quality that division doesn¢t exist. They¢re the same. They both become much more intelligible when references to what is subjective and what is objective are completely thrown away and references to what is static and what is Dynamic are taken up instead.

    He found an example within the field of music. He said, imagine that you walk down a street past, say, a car where someone has the radio on and it plays a tune you¢ve never heard before but which is so fantastically good it just stops you in your tracks. You listen until it¢s done. Days later you remember exactly what that street looked like when you heard that music. You remember what was in the store window you stood in front of. You remember what the colors of the cars in the street were, where the clouds were in the sky above the buildings across the street, and it all comes back so vividly you wonder what song they were playing, and so you wait until you hear it again. If it¢s that good you¢ll hear it again because other people will have heard it too and have had the same feelings and that will make it popular.

    One day it comes on the radio again and you get the same feeling again and you catch the name and you rush down the street to the record store and buy it and can hardly wait until you can get it home and play it.

    You get home. You play it. It¢s really good. It doesn¢t quite transform the whole room into something different but it¢s really good. You play it again. Really good. You play it another time. Still good, but you¢re not so sure you want to play it again. But you play it again. It¢s OK but now you definitely don¢t want to play it again. You put it away.

    The next day you play it again, and it¢s OK, but something is gone. You still like it and always will, you say. You play it again. Yeah, that¢s sure a good record. But you file it away and once in a while play it again for a friend and maybe months or years later bring it out as a memory of something you were once crazy about.

    Now what has happened? You can say you¢ve gotten tired of the song but what does that mean? Has the song lost its quality? If it has, why do you still say it¢s a good record? Either it¢s good or it¢s not good. If it¢s good why don¢t you play it? If it¢s not good why do you tell your friend it¢s good?

    If you think about this question long enough you will come to see that the same kind of division between Dynamic Quality and static quality that exists in the field of morals also exists in the field of art. The first good, that made you want to buy the record, was Dynamic Quality. Dynamic Quality comes as a sort of surprise. What the record did was weaken for a moment your existing static patterns in such a way that the Dynamic Quality all around you shone through. It was free, without static forms. The second good, the kind that made you want to recommend it to a friend, even when you had lost your own enthusiasm for it, is static quality. Static quality is what you normally expect.




    ¸íá ðáñÜäåéãìá ôùí áíùôÝñù åßíái áõôü ðïõ Ýíéùóå ï Eric Clapton üôáí ðñùôïÜêïõóå óôï ñáäéüöùíï ôïõ áõôïêéíÞôïõ ôïõ Ýíá ôñáãïýäé óôï ïðïßï êéèÜñá Ýðáéæå ï Stevie Ray Vaughan:

    "I don't think anyone has commanded my respect more, to this day. The first time I heard Stevie Ray, I thought, "Whoever this is, he is going to shake the world." I was in my car and I remember thinking, I have to find out, before the day is over, who that guitar player is. That doesn't happen to me very often, that I get that way about listening to music. I mean, about three or four times in my life I've felt that way, in a car, listening to the radio, where I've stopped the car, pulled over, listened, and thought, I've got to find out before the end of the day, not, you know, sooner or later, but I have to know NOW who that is."
    In the high country of the mind one has to become adjusted to the thinner air of uncertainty...
    Robert M. Pirsig

  4. #54

    Default Sein und Zeit

    Êáèþò ðåñíÜåé ï ÷ñüíïò èõìÜôáé êáíåßò ìüíï ôá ðñÜãìáôá ðïõ Ý÷ïõí êÜðïéá éäéáßôåñç óçìáóßá. ¸÷ù ëïéðüí îå÷Üóåé åíôåëþò ôçí ðñþôç ìïõ çìÝñá óôï ó÷ïëåßï, ôïí ðñþôï ìïõ Ýñùôá êáé ôï ôåëåõôáßï ìïõ ôóéãÜñï, èõìÜìáé üìùò ìå êÜèå ëåðôïìÝñåéá ôçí ðñþôç öïñÜ ðïõ Üêïõóá ôïí ×Ýíôñéî óå ìéá åêðïìðÞ ôïõ ÃéÜííç Ðåôñßäç êÜðïéï áðüãåõìá ôïõ ÌáÀïõ. ¹ôáí ôï Purple Haze êáé ìéá ðáñÜîåíç óêÝøç ìå ÷ôýðçóå ðñéí âõèéóôþ óôï satori: «Ðþò åßíáé äõíáôüí íá õðÜñ÷åé êÜôé ôÝôïéï; Êé üìùò èá ðñÝðåé íá õðÜñ÷åé!». ÐïôÝ äåí êáôÜöåñá íá äþóù éêáíïðïéçôéêÞ áðÜíôçóç, áöïý ç éäéïöõÀá äåí åîçãåßôáé, ìå ôá ÷ñüíéá üìùò ìïõ öáßíåôáé üôé âñÞêá ìéá Üêñç.
    Ôï ìõóôéêü ôïõ ×Ýíôñéî êñýâåôáé ßóùò óôç ó÷Ýóç ôïõ ìå ôï ÷ñüíï, ôïí ïðïßï êáé êÜìðôåé ìå ôç âáñýôçôá ôçò ìïõóéêÞò ôïõ. Ôï ðáßîéìü ôïõ äåí áêïëïõèåß êÜðïéïí êáèéåñùìÝíï ñõèìü, áëëÜ åðéìçêýíåé êáé óõìðéÝæåé ôï ÷ñïíéêü óõíå÷Ýò óýìöùíá ìå ôéò åóùôåñéêÝò åðéôáãÝò ôçò ßäéáò ôçò ìïõóéêÞò, äçìéïõñãþíôáò ìéá äéáôáñá÷Þ ôçò áíôßëçøçò ôüóï ðñùôüãíùñç, áëëÜ êáé ôüóï óõíåðÞ, üóï êáé ç ãåùìåôñßá ôïõ Ñßìáí. ÌðñïóôÜ ôïõ üëïé ïé Üëëïé êéèáñßóôåò áêïýãïíôáé áã÷ùìÝíïé êáé âéáóôéêïß, åíþ áõôüò êéèáñùäåß ùò åîïõóßáí Ý÷ùí. Ðïëëïß öõóéêÜ ðñïóðÜèçóáí íá ôïí ìéìçèïýí Þ êáé íá ôïí îåðåñÜóïõí, áëëÜ åéò ìÜôçí: ãéá íá ãßíåéò ×Ýíôñéî, ðñÝðåé íá åßóáé ï ×Ýíôñéî..
    Last edited by stefanow; 05-04-2020 at 10:17 AM.

  5. #55
    Join Date
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    Being semiaquatic, I inhabit small streams and rivers Down Under.
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    Default Menschliches, Allzumenschliches

    Quote Originally Posted by stefanow View Post
    ¹ôáí ôï Purple Haze êáé ìéá ðáñÜîåíç óêÝøç ìå ÷ôýðçóå ðñéí âõèéóôþ óôï satori: «Ðþò åßíáé äõíáôüí íá õðÜñ÷åé êÜôé ôÝôïéï; Êé üìùò èá ðñÝðåé íá õðÜñ÷åé!». ÐïôÝ äåí êáôÜöåñá íá äþóù éêáíïðïéçôéêÞ áðÜíôçóç, áöïý ç éäéïöõÀá äåí åîçãåßôáé, ìå ôá ÷ñüíéá üìùò ìïõ öáßíåôáé üôé âñÞêá ìéá Üêñç.
    Ôï ìõóôéêü ôïõ ×Ýíôñéî êñýâåôáé ßóùò óôç ó÷Ýóç ôïõ ìå ôï ÷ñüíï, ôïí ïðïßï êáé êÜìðôåé ìå ôç âáñýôçôá ôçò ìïõóéêÞò ôïõ. Ôï ðáßîéìü ôïõ äåí áêïëïõèåß êÜðïéïí êáèéåñùìÝíï ñõèìü, áëëÜ åðéìçêýíåé êáé óõìðéÝæåé ôï ÷ñïíéêü óõíå÷Ýò óýìöùíá ìå ôéò åóùôåñéêÝò åðéôáãÝò ôçò ßäéáò ôçò ìïõóéêÞò, äçìéïõñãþíôáò ìéá äéáôáñá÷Þ ôçò áíôßëçøçò ôüóï ðñùôüãíùñç, áëëÜ êáé ôüóï óõíåðÞ, üóï êáé ç ãåùìåôñßá ôïõ Ñßìáí.
    Ìðá, ôï "ìõóôéêü" ôïõ ×Ýíôñéî åßíáé ãíùóôü ôïéò ðÜóé: ¹ôáí ... åîùãÞéíïò.

    Áíôßóôïé÷ç ðåñßðôùóç ìå ôïí Ñüìðåñô Ôæüíóïí ï ïðïßïò õðÝãñáøå óõìâüëáéï ìå ôïí Åùóöüñï óå Ýíá óôáõñïäñüìé ôïõ Íüôïõ êÜðïõ êÜðïôå...

    Ôïýôùí ëå÷èÝíôùí, êáé äåäïìÝíïõ üôé de gustibus et citharicinēs non est disputandum ìïõ åßíáé ìÜëëïí áäýíáôï, ôüóåò äåêáåôßåò ìåôÜ, íá îáíáìáôáåðéäïèþ óå äéáìÜ÷åò ó÷åôéêÜ ìå ôï ðïéïò ôçí Ýðáéæå êáëýôåñá... (Ï Stevie)
    Last edited by Ornithorhynchus Anatinus; 05-04-2020 at 02:05 PM.
    In the high country of the mind one has to become adjusted to the thinner air of uncertainty...
    Robert M. Pirsig

  6. #56
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    Default Purple Haze

    Quote Originally Posted by stefanow View Post
    ¹ôáí ôï Purple Haze êáé ìéá ðáñÜîåíç óêÝøç ìå ÷ôýðçóå ðñéí âõèéóôþ óôï satori...
    OK èá ôï øéëïîåöôõëßóù ôþñá, üìùò èõìÞèçêá Ýíá áðüóðáóìá áðü âéâëßï ôïõ Iain Banks ôï ïðïßï üôáí ôï åß÷á äéáâÜóåé ðíßãçêá áðü ôá ãÝëéá, ìéëÜìå ãéá êëÜìá êáíïíéêü. Éäïý:

    "Henriss… never liked him either; fat lipped beggar… queer, y'know; thass wha he's singing you know; d'you know that? 'Scuse me while I kiss this guy… disgussin… absluley disgussin…»

    "Fergus, do shut up."

    "'Scuse me, while I kiss this guy'… bloody poofter coon."

    "I'm sorry about this, Lachy."

    "That's okay, Mrs U. You no goin to put your seat belt on, no.

    "No; not for short journeys —»

    "Lachy? Lachy… Lachy! Lachy; I'm sorry about your eye really really sorry; never forgave myself, never… here, shake…»

    Fergus tried to lever himself up from the rear bench seat of the old Rover, but failed. He got as far as lifting his head and getting one shoulder off the seat, but then collapsed back onto the leather, and let his eyes close.

    The car rumbled about him… even more restful than the noise of train wheels in the old days; he tried to remember the old days…

    "You sure you don't mind doing this, Lachy?" Fiona said, swinging the car off the main road and onto the drive that led to the castle. The headlights made a tunnel of the trees and rhododendrons. "Na, it's okay."

    Lachlan Watt had been about to leave Hamish and Antonia's party when Fergus had fallen over and Fiona had decided it was time to take her husband home; she had offered Lachy a lift back to his brother's house, but when they'd got there Fergus had seemed fast asleep, snoring loudly and taking no apparent notice of Fiona shaking him and shouting at him; Lachy had volunteered to come back to the castle to help get Fergus out of the car and upstairs to bed; Fiona would run Lachy back afterwards.

    "God that man's a nuisance," Fiona said, as they turned the corner in the drive and the lights of the castle came into view against the coal-dark night. "Like I say; I could have got the baby-sitter to help me with him, but she's just a skelf… not our regular girl. She's built like a rugby player, could probably put Ferg over her shoulder, but not this girl. Leanne's her name… that's her car there; doesn't look old enough to drive if you ask me…»

    Fiona brought the Rover to a halt behind a beaten-up mini, standing on the gravel in front of the castle's main entrance. "This really is awful good of you, Lachy."

    "Aye, it's no problem, Mrs U."

    Fiona turned to him. She smiled. "Lachy; it's Fiona. You make me feel old when you call me Mrs U."

    "Sorry; Fiona." Lachy grinned.

    He had been a thin, light-framed boy, and he had grown to become a lean, wiry man; the years of life on merchant ships, and then in Australia, had left his skin looking well-used, like soft and fine-grained — but slightly distressed — leather. His hair was unfashionably short, and both eyes glittered. It was a spare, uncluttered, characterful face, especially compared to Fergus's.

    "That's better." Fiona smiled. She turned and looked in disgust at the body in the back seat, just as Fergus started to snore again. "Well; better get this lump out of the car, I suppose."

    Fergus had gone back into a deep sleep. They couldn't wake him. Fiona went in to tell the baby sitter she was free to go, while Lachy tried to rouse Fergus.

    "Hoi you; Fergus. Ferg; wake up, man."

    "Aarg… Henriss, bassard."

    "Fergus; wake up, Fergus." Lachlan tried slapping the man's cheeks; his heavy jowls wobbled like jellies.

    "Hhnn..:

    'Wake up," Lachlan said, slapping Fergus's cheeks again, harder. "Wake up," he said quietly. "Ye upper class cunt ye." He fairly walloped Ferg on one chop.

    Fergus awoke suddenly; arms waving about, eyes wild and bright, making no sound other than a faint gurgling noise. Then he rolled off the seat into the footwell and immediately started snoring again.

    ÁöéåñùìÝíï åîáéñåôéêÜ!



    https://www.youtube.com/watch?v=cJunCsrhJjg
    In the high country of the mind one has to become adjusted to the thinner air of uncertainty...
    Robert M. Pirsig

  7. #57
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    Default Mondegreen

    Ôï åîùöñåíéêü 'Scuse me while I kiss this guy ìïõ èýìéóå åðßóçò êáé ôï Üëëï îåêáñäéóôéêü: Big Old Jedi Wino (Ýíáíôé ôïõ Big Old Jet Airliner) ïðüôå, åõêáéñßáò äïèåßóçò, ôï Ýøáîá ëßãï.

    ÕðÜñ÷åé ìÜëéóôá êáé ï êáôÜëëçëïò üñïò áðü ôï 1954.

    Áò äïýìå ôé ëÝåé ç Âéêéðáßäåéá (óôá îÝíá):

    A mondegreen is a mishearing or misinterpretation of a phrase as a result of near-homophony, in a way that gives it a new meaning. Mondegreens are most often created by a person listening to a poem or a song; the listener, being unable to clearly hear a lyric, substitutes words that sound similar and make some kind of sense.

    American writer Sylvia Wright coined the term in 1954, writing that as a girl, when her mother read to her from Percy's Reliques, she had misheard the lyric "layd him on the green" in the fourth line of the Scottish ballad "The Bonny Earl of Murray" as "Lady Mondegreen".

    "Mondegreen" was included in the 2000 edition of the Random House Webster's College Dictionary, and in the Oxford English Dictionary in 2002. Merriam-Webster's Collegiate Dictionary added the word in 2008.

    Íá 'íáé êáëÜ êÜðïéá ðáëëçêÜñéá êé' Ýôóé ìðïñïýìå íá âñïýìå óôï Youtube äéÜöïñá ùñáßá, üðùò:





    https://www.youtube.com/watch?v=ZNuONs3Mghk

    Ðñïóï÷Þ, öÞìåò óýìöùíá ìå ôéò ïðïßåò üóï öèçíüôåñï Þ üóï ðéï "ëÜèïò" åßíáé Ýíá ç÷ïóýóôçìá ôüóá ðåñéóóüôåñá åßíáé êáé ôá mondegreens ôá ïðïßá ðñïêáëåß åëÝã÷ïíôáé ùò áðïëýôùò áíáëçèåßò...
    In the high country of the mind one has to become adjusted to the thinner air of uncertainty...
    Robert M. Pirsig

  8. #58

    Default That thin, wild mercury sound

    ËÝíå ðùò áí êÜôé óʼ áñÝóåé, óʼ áñÝóåé áðʼ ôçí áñ÷Þ. Not so with Blonde on Blonde. Ôï ãíþñéóá ðñþôç öïñÜ óôá äåêáåííéÜ êáé ìïõ öÜíçêå óõíçèéóìÝíï ìðëïõæ ñïê. Ï Dylan áêïõãüôáí Þäç ãåñáóìÝíïò êáé ôï ãêñïõð öáéíüôáí íá óÝñíåôáé. Ç êáóÝôá ðïõ ìïõ Ýäùóáí äåí åß÷å üëï ôï Üëìðïõì êáé ï Þ÷ïò Þôáí ôñéóÜèëéïò. Äõï ÷ñüíéá ìåôÜ ç êáóÝôá äåí åß÷å áëëÜîåé, Üëëáîá üìùò åãþ. Ç äåýôåñç öïñÜ ðïõ ôçí Üêïõóá õðÞñîå ìïéñáßá. Ãéá ÷ñüíéá îõðíïýóá êáé êïéìüìïõíá ìå ôá ôñáãïýäéá. ¼ôáí áðïóõíôÝèçêå ç ôáéíßá, äïêßìáóá âéíýëéï êáé cd. Ðáßæáíå êáëýôåñá, áëëÜ äåí Þôáí ôï ßäéï. ÊÜôé ôïõò Ýëåéðå. ÓôáìÜôçóá íá ô' áêïýù. Áñãüôåñá ôï îáíáâñÞêá óå sacd: äåí îÝñù ðþò, áëëÜ ìïõ Ýäéíå ôçí ßäéá ôñïìåñÞ áßóèçóç ìå ôçí áíåêäéÞãçôç êáóÝôá.
    Óôï Blonde on Blonde ï Dylan åãêáôÝëåéøå ôç ìåôñïíïìéêÞ ôåëåéüôçôá ôïõ Highway 61 Revisited êáé Üöçóå ôïõò ìïõóéêïýò ôïõ íʼ áíáóÜíïõí. ÅãêáôÝëåéøå üìùò êáé ôïí åáõôü ôïõ: íáñêùôéêÜ, åììïíÝò, êõíéóìüò. Ôá ôñáãïýäéá ôá Ýãñáøå óôï ðüäé. Ôï ãêñïõð îåêéíïýóå íá ðáßæåé ÷ùñßò íá îÝñåé ðþò èá ôåëåéþóåé. ÁõôÜ üìùò åßíáé øéëÜ ãñÜììáôá ãéá ôïí ÐåöùôéóìÝíï. Ôá êïììÜôéá åßíáé üëá åñùôéêÜ, ãéá íá ìçí ðù êáé êáøïýñéêá, ï Dylan üìùò éó÷õñßæåôáé üôé ìéëÜíå ãéá ôç ÄåõôÝñá Ðáñïõóßá. Ôïí ðéóôåýù: åßíáé ï ìüíïò ìåôÜ ôïí Joyce ðïõ ìåôïõóßùóå ôï ôåôñéììÝíï, ôï êáèçìåñéíü, ôï åõôåëÝò, óå áíåðáíÜëçðôï, ìåôáöõóéêü, áéþíéï. Ôï äßóêï ôïí Üêïõóá ÷éëéÜäåò öïñÝò, ãéá íá óéãïõñåõôþ üôé èá ôïí èõìÜìáé êáé ìåôÜ èÜíáôïí. Ãéáôß ÷ùñßò ôç ÌïõóéêÞ áõôüò ï êüóìïò èõìßæåé âïõâÞ êùìùäßá. Êáé ðïëý öïâÜìáé üôé ôï ßäéï èá èõìßæåé êáé ï åðüìåíïò.

  9. #59
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    Default Ãñáöéêüôçôåò by Don Giovagnni

    Ãåéá÷áñáíôáíêáéôáêïõêéáìðáãëÜí!

    Ìå ëÝíå Don Giovagnni êáé êÜíù êáôÜëçøç ôïõ ëïãáñéáóìïý ôïõ Ïñíéèüñõ÷ïõ íá ðù êåãþ 2-3 êïõâÝíôåò ãéáôß ôá Ý÷ù ðáñåé êñáíßù ìå êÜðïéïõò ãñáöéêïýò åäù ìåóá. Ãñáöïõí äéáöïñá ôñåëÜ ãéá ôï ðùò áêïýíå ìïõóéêÞ íáðïýìå êéåôò.

    Íôáî åîáñôÜôáé áðü ôéò áðáéôÞóåéò ðïõ Ý÷åé ï êÜèå Ýíáò ìáò óáí ôåëéêïò áðïäÝêôçò ,óáí áêñïáôÞò ç ôçëåèåáôÞò êáé áðü ôïí óåâáóìü ðïõ ïöåßëïõìå íá äåß÷íïõìå óôïõò åáõôïõó Ìáò óôïõò êáëëéôÝ÷íåò êáé óôçí äïõëåéÜ ôïõò ðïõ ìáò ðñïóöÝñåé øõ÷áãùãßá ãåíéêüôåñá.

    Ãéá íá áêïýò ìïõóéêÞ öôÜíåé ìéá êáóÝôá ðïõ äåí Ý÷åé üëï ôï Üëìðïõì êáé ï Þ÷ïò åßíáé ôñéóÜèëéïò.( ëÝíå êÜðïéïé....ãñáöéêïß åäþ ìÝóá.... )

    ¼ìùò ....

    Ï êÜèå êáëëéôÝ÷íçò ,ðáñáãùãüò,ôñáãïõäéóôÞò, êáé ãåíéêÜ üëïé áõôïé ðïõ Ý÷ïõí äïõëÝøåé ,ðïõ åßíáé ðáñÜ ðïëëïß ,þóôå íá âãÜëïõí Ýíá óïâáñü áðïôÝëåóìá ôï êÜíïõí ãéá íá ìðïñïýìå åìåßò íá åõ÷áñéóôçèïýìå ôçí äïõëåéÜ ôïõò. Ãéá íá åêôéìÞóïõìå ôçí äéáöïñåôéêüôçôá ôïõò .

    Ôï óåâüìáóôå áõôü üôáí áêïýìå áðü ìéá êáóÝôá ðïõ äåí Ý÷åé üëï ôï Üëìðïõì êáé ï Þ÷ïò åßíáé ôñéóÜèëéïò?

    Áêïýù êÜðïéïõò ãñáöéêïýò íá ëÝíå üôé áêïýíå îåñùãþ Robert Allen Zimmerman ( ôïõ ïðïßïõ ïé ðáñáãùãÝò ïýôå áðü êïñõöáßá óõóôÞìáôÜ äåí áêïýãïíôáé óùóôÜ ) ìå áõôüí ôïí ôñüðï êáé üôé ôïõò åßíáé áñêåôü.....

    Åßìáé óßãïõñïò üôé ï Robert Allen Zimmerman äåí èá Þôáí êáèïëïõ åõ÷áñéóôçìÝíïò áí áðïëáìâÜíåéò ôçí äïõëåéÜ ôïõ áðü ìéá êáóÝôá ðïõ äåí Ý÷åé üëï ôï Üëìðïõì êáé ï Þ÷ïò åßíáé ôñéóÜèëéïò ....Ý÷åé äïõëÝøåé ðïëëÝò þñåò êáé êÜôù áðü äýóêïëåò óõíèÞêåò ãéá íá åôïéìÜòåé Ýíá ðñïúüí ðïõ óßãïõñá åßíáé íôñïðÞ íá ëåò üôé ìðïñåß íá ðáßîåé áðü ìéá êáóÝôá ðïõ äåí Ý÷åé üëï ôï Üëìðïõì êáé ï Þ÷ïò åßíáé ôñéóÜèëéïò . Êáé áõôü éó÷ýåé ãéá üëïõò ôïõò óïâáñïýò êáëëéôÝ÷íåò.

    Åßíáé íôñïðÞ êáé äåí äåß÷íåé óåâáóìü óôçí äïõëåéÜ ôïõ êáëëéôÝ÷íç ç áêñüáóç áðü ðåñéïñéóìÝíùí äõíáôïôÞôùí ìÝóá ðáñáãùãÞò.

    Ïöåßëïõìå íá óåâüìáóôå ôçí ìïõóéêÞ êáé ôïõò áíèñþðïõò ôçò ,ðïõ êïõñÜæïíôáé íá âãÜëïõí Ýíá áîéïðñåðÝò áðïôÝëåóìá .

    Ðùò äåß÷íïõìå ôçí åêôõìçóç ìáò áí áêïýìå ôçí äïõëåéÜ ôïõò áðü êáóÝôåò ðïõ äåí Ý÷ïõí üëï ôï Üëìðïõì êáé ï Þ÷ïò åßíáé ôñéóÜèëéïò?

    Ðùò ìðïñïýìå íá ëÝìå üôé áãáðÜìå ôçí ìïõóéêÞ üôáí áõôü ðïõ áêïýìå äåí Ý÷åé êáìßá ó÷Ýóç ìå áõôü ðïõ Ý÷åé óôï ìõáëü ôïõ ï êáëëéôÝ÷íçò ?

    ¼ôáí áêïýò áðü ìéá êáóÝôá ðïõ äåí Ý÷åé üëï ôï Üëìðïõì êáé ï Þ÷ïò åßíáé ôñéóÜèëéïò ç êáôáãñáôæïõíéóìÝíïõò âéíôáæ äßóêïõò ôé áêñéâùò íïìßæåéò üôé áêïýò?

    Êáôáëáâáßíù üôé ôï ïéêïíïìéêü åßíáé Ýíá ìåãÜëï èÝìá. Ôï forum óå áõôü ôï èÝìá Ýñ÷åôáé íá âïçèÞóåé . ÐáñÜäïîïò üìùò âëÝðåéò Üôïìá ìå ÷éëéÜäåò ìõíçìáôá íá õðïóôçñßæïõí áõôÝò ôéò áðüøåéò.

    ÁíáöÝñïìáé óå áõôïýò ðïõ õðåñçöáíåýïíôáé üôé áêïýíå ìïõóéêÞ áðü ìéá êáóÝôá ðïõ äåí Ý÷åé üëï ôï Üëìðïõì êáé ï Þ÷ïò åßíáé ôñéóÜèëéïò êáé ôïõò åßíáé êáé áñêåôü.

    Ìéá êáóÝôá ðïõ äåí Ý÷åé üëï ôï Üëìðïõì êáé ï Þ÷ïò åßíáé ôñéóÜèëéïò îÝñåôå Ôé åßíáé ?

    Å....åßíáé êÜðïéïé ðïõ ìáò ëÝíå êáôÜ êáéñïýò üôé ôïõò åßíáé áñêåôü !

    Ôçí ôõöëÜ ôïõò ôçí ìáýñç.......

    Áóôáäéáëïóõí÷õóôçêáðáëéåäùìåóáìåáõôåòôéòãñáöéêüôçô åóò....
    In the high country of the mind one has to become adjusted to the thinner air of uncertainty...
    Robert M. Pirsig

  10. #60
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    Default Ç óçìáóßá ôçò ÊëáóéêÞò ÌïõóéêÞò óôçí åðï÷Þ ìáò.

    Ãåííáßå Ðñßãêéðá,

    ìὴ äῶôå ôὸ ἅãéïí ôïῖò êõóὶí ìçäὲ âÜëçôå ôïὺò ìáñãáñßôáò
    ὑìῶí ἔìðñïóèåí ôῶí ÷ïßñùí ìÞðïôå êáôáðáôÞóïõóéí áὐôïὺò
    ἐí ôïῖò ðïóὶí áὐôῶí êáὶ óôñáöÝíôåò ῥÞîùóéí ὑìᾶò.
    In the high country of the mind one has to become adjusted to the thinner air of uncertainty...
    Robert M. Pirsig

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