Milton Glaser

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Bob Dylan poster for CBS Records

Glaser applied his signature psychedelic style to a poster he designed for Columbia Records in 1967 to illustrate Bob Dylan’s Greatest Hits album. The work led to a surge of fame as a graphic designer.

Taking design cues from a self-portrait by French-American artist Marcel Duchamp, the poster sees Dylan’s side profile illustrated as a black silhouette, providing a stark contrast to the rainbow-coloured, swirling lines designed to represent the singer’s curly locks.

Milton Glaser died on this day last June on his birthday.

Μια γαλάζια μέρα

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«Στη σύνθεση του Σπύρου Βασιλείου Μια γαλάζια μέρατα όρια δεν είναι συγκεκριμένα, ο χώρος δεν είναι προσδιορίσιμος. Ο ζωγράφος απομονώνει ένα καράβι, ένα ανοιχτό παράθυρο με όσα θα μπορούσε να διακρίνει κανείς στον εσωτερικό χώρο, ένα δεύτερο παράθυρο του επόμενου ορόφου, μια καρέκλα και περιπατητές. Ο ουρανός και η θάλασσα γίνονται ένα, ο χρόνος σταματά και ο ζωγράφος μάς ταξιδεύει στα παιδικά του χρόνια.»

https://goulandris.gr/el/artwork/vassiliou-spyros-an-azure-day

Munch…The Sun

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“I saw the sun rise up above the rocks – I painted the sun.”

The Sun, 1909 by Edvard Munch

The Sun is perhaps the greatest achievement of modern mural painting. Symmetrically structured, it occupied the enormous front space of Oslo University’s assembly hall, dominating through size, unmitigated frontality, and power of imagery.

All of Munch’s images have an element of ambiguity, and perhaps this is why they never cease to fascinate us. As depicted by Munch, the sun can be understood as a symbol of the eternal and universal, while at the same time its brightly coloured beams remind us of what was then ground-breaking scientific research into x-rays, magnetism and the Northern Lights. For many of us, this image awakens memories of sunlit mornings by the sea.

https://www.munchmuseet.no/en/the-collection/between-us-and-the-sun/

Μοναχικότητα…

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Ο ήλιος να σου χαρίζει τη γλυκιά θαλπωρή, ο μοναδικός ήχος του παφλασμού , και η απόλαυση να μπορείς να στοχάζεσαι. Ευεργετική μοναχικότητα στην ακροθαλασσιά. Όταν τη βρεις μη την σπαταλήσεις. Είναι πολύτιμη επειδή είναι σπάνια και λυτρωτική.

{“Riviera Summer” by Elise Remender}

Η ζωή μας είναι…

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Έχουμε μπροστά μας ένα καλοκαιρινό τριήμερο, και πίσω μας μια τραγωδία και φρίκη που δεν μπορεί να την αντέξει άνθρωπος. Έτσι είναι η ζωή γεμάτη αντιφάσεις χαρές και λύπες, απολαύσεις και δυσκολίες, έγνοιες και ανάπαυλες, γαλήνη και φουρτούνες. Φορές την ελέγχουμε, φορές μας συντρίβει. Φορές στεκόμαστε όρθοί/ές, φορές γονατίζουμε. Οι εναλλαγές των εμπειριών μας εμπλουτίζουν αλλά μπορεί και να μας εξαντλούν ψυχικά και σωματικά. Έρχονται στιγμές που οι λέξεις είναι έτοιμες να ξεχυθούν να ξεφορτώσουμε , και άλλοτε σωρεύονται μέσα βαθιά και το φορτίο γίνεται αβάσταχτο. Ψάχνουμε τρόπους, αναζητούμε ανθρώπους, γυρεύουμε ελπίδα και μια χαραμάδα να περάσει το φως. Αν δεν την βρούμε μπορεί και να καταρρεύσουμε, να τσακιστούμε, αν όμως την συναντήσουμε θα τα προσπεράσουμε. Μπορεί να είναι η δύναμη, μπορεί η σοφία, μπορεί πιθανότατα και τα δύο που τελικά θα φέρουν την ισορροπία, για να μπορούμε να συνεχίζουμε, και να δημιουργούμε λίγα ή πολλά, δεν έχει σημασία. Σημασία έχει να βρίσκουμε νόημα και αξία στις επιλογές μας. Ή να μπορούμε να παραδεχτούμε ότι ήταν λάθος και να αλλάξουμε ρότα.

(«Samba Afterglow» by Rob Brooks)

Της ημέρας….Χούλιο Κορτάσαρ

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Ο Χούλιο Κορτάσαρ γεννήθηκε σαν σήμερα το 1914, στις Βρυξέλλες.

«Αν δεν έγραφα αυτό το βιβλίο εκείνη την εποχή, μάλλον θα έπεφτα στον Σηκουάνα», είπε ο Αργεντίνος συγγραφέας, αναφερόμενος στο μυθιστόρημα «Το κουτσό» (“Rayuela” στο πρωτότυπο). Διάβασα άπειρα επαινετικά για το βιβλίο και τη μετάφραση που ανυπομονώ να το ξεκινήσω, σύντομα ελπίζω.

Βρήκα, όμως αυτό το διήγημα στο γνωστό ιστολόγιο «Μπονζάι» και το παραθέτω:

*Ἀλ­λη­λου­χί­α τῶν κή­πων* (Continuidad de los parques)

ΕΙΧΕ ΑΡΧΙΣΕΙ νὰ δι­α­βά­ζει τὸ μυ­θι­στό­ρη­μα ἐ­δῶ καὶ λί­γες μέ­ρες. Τὸ εἶ­χε ἀ­φή­σει για­τὶ με­σο­λά­βη­σαν ἐ­πεί­γου­σες ὑ­πο­θέ­σεις καὶ τὸ ξα­νά­πια­σε στὸ τρέ­νο, γυρ­νών­τας στὸ κτῆ­μα του· ἀρ­γὰ-ἀρ­γὰ ἀ­φη­νό­ταν νὰ τὸν τρα­βή­ξει τὸ ἐν­δι­α­φέ­ρον, ἡ πλο­κή, ἡ πε­ρι­γρα­φὴ τῶν προ­σώ­πων. Τὸ ἴ­διο βρά­δυ, ἀ­φοῦ ἔ­γρα­ψε ἕ­να γράμ­μα στὸν πλη­ρε­ξού­σιό του καὶ συ­ζή­τη­σε μὲ τὸν ἐ­πι­στά­τη γιὰ τὸ μί­σθω­μα ἑ­νὸς χω­ρα­φιοῦ, ξα­νά­πια­σε τὸ δι­ά­βα­σμα στὴν ἠ­ρε­μί­α τοῦ ἀ­να­γνω­στή­ριου, ἀ­π’ ὅ­που ἡ θέ­α ἁ­πλω­νό­ταν στὸ πάρ­κο μὲ τὶς βε­λα­νι­δι­ές. Χω­μέ­νος στὴν ἀ­γα­πη­μέ­νη του πο­λυ­θρό­να, μὲ τὶς πλά­τες γυ­ρι­σμέ­νες πρὸς τὴν πόρ­τα γιὰ ν’ ἀ­πο­φύ­γει τὴν ἐ­νο­χλη­τι­κὴ πι­θα­νό­τη­τα κά­ποι­ων ἐν­δε­χό­με­νων πε­ρι­σπα­σμῶν, χά­ι­δευ­ε ποῦ καὶ ποῦ μὲ τὸ ἀ­ρι­στε­ρό του χέ­ρι τὸ πρά­σι­νο βε­λοῦ­δο καὶ στρώ­θη­κε νὰ δι­α­βά­ζει τὰ τε­λευ­ταῖ­α κε­φά­λαι­α. Ἡ μνή­μη του εἶ­χε συγ­κρα­τή­σει χω­ρὶς κό­πο τὰ ὀ­νό­μα­τα καὶ τὰ χα­ρα­κτη­ρι­στι­κὰ τῶν κεν­τρι­κῶν ἡ­ρώ­ων· σχε­δὸν ἀ­μέ­σως πα­ρα­σύρ­θη­κε μὲς στὴν ψευ­δαί­σθη­ση τοῦ μυ­θι­στο­ρή­μα­τος. Ἀ­πο­λάμ­βα­νε μὲ πα­ρά­λο­γη σχε­δὸν ἡ­δο­νὴ τὸ ὅ­τι ἀ­πο­μα­κρυ­νό­ταν λί­γο-λί­γο, ἀ­ρά­δα τὴν ἀ­ρά­δα, ἀ­π’ ὅ,τι τὸν πε­ρι­τρι­γύ­ρι­ζε, καὶ πὼς αἰ­σθα­νό­ταν πό­τε-πό­τε τὸ κε­φά­λι του ποὺ ἀ­κουμ­ποῦ­σε ἀ­να­παυ­τι­κὰ στὸ βε­λοῦ­δο τῆς ψη­λῆς ρά­χης, καὶ ὅ­τι τὰ τσι­γά­ρα ἐ­ξα­κο­λου­θοῦ­σαν νὰ βρί­σκον­ται κον­τὰ στὸ χέ­ρι του, καὶ πὼς πέ­ρα ἀ­πὸ τὰ με­γά­λα πα­ρά­θυ­ρα, τὸ ἀ­ε­ρά­κι τοῦ δει­λι­νοῦ χό­ρευ­ε κά­τω ἀ­πὸ τὶς βε­λα­νι­δι­ές. Λέ­ξη μὲ λέ­ξη, ἀ­πορ­ρο­φη­μέ­νος ἀ­πὸ τὴν πο­τα­πὴ τε­λι­κὴ ἐ­πι­λο­γὴ τῶν ἡ­ρώ­ων, ἐ­νῶ ἀ­φη­νό­ταν νὰ χά­νε­ται στὶς εἰ­κό­νες ποὺ σχη­μα­τί­ζον­ταν καὶ ἀ­πο­κτοῦ­σαν χρῶ­μα καὶ κί­νη­ση, πα­ραυ­ρέ­θη­κε αὐ­τό­πτης μάρ­τυ­ρας τῆς τε­λι­κῆς συ­νάν­τη­σης στὴν κα­λύ­βα τοῦ δά­σους. Πρώ­τη μπῆ­κε ἡ γυ­ναί­κα, φο­βι­σμέ­νη· τώ­ρα ἦρ­θε ὁ ἐ­ρα­στὴς μὲ τὸ πρό­σω­πο γρα­τζου­νι­σμέ­νο ἀ­πὸ τὸ τί­ναγ­μα ἑ­νὸς κλα­διοῦ. Τοῦ φι­λοῦ­σε ὑ­πέ­ρο­χα τὶς γρα­τζου­νι­ὲς γιὰ νὰ στα­μα­τή­σει τὸ αἷ­μα, ἐ­νῶ αὐ­τὸς τρα­βι­ό­ταν ν’ ἀ­πο­φύ­γει τὰ χά­δια, δὲν εἶ­χε ἔρ­θει γιὰ νὰ ἐ­πα­να­λά­βει τὴν τε­λε­τουρ­γί­α ἑ­νὸς πά­θους κρυ­φοῦ ποὺ τὸ συγ­κά­λυ­πταν ἕ­νας σω­ρὸς φύλ­λα ξε­ρὰ καὶ μυ­στι­κὰ μο­νο­πά­τια. Τὸ στι­λέ­το ἔ­γι­νε χλια­ρὸ ἀ­κουμ­πών­τας στὸ στῆ­θος του, καὶ ἀ­πὸ κά­τω χτυ­ποῦ­σε ἡ ζα­ρω­μέ­νη ἐ­λευ­θε­ρί­α. Ἕ­νας λα­χα­νια­στὸς δι­ά­λο­γος ξε­τυ­λι­γό­ταν μέ­σα στὶς σε­λί­δες σὰν ἕ­να πο­τά­μι ἀ­πὸ ἑρ­πε­τά, καὶ εἶ­χε τὴν αἴ­σθη­ση πὼς ὅ­λα εἶ­χαν ἀ­πο­φα­σι­στεῖ ἀ­πὸ πάν­τα. Ὣς καὶ αὐ­τὰ τὰ χά­δια ποὺ τύ­λι­γαν τὸ σῶ­μα τοῦ ἐ­ρα­στῆ σὰν γιὰ νὰ τὸν συγ­κρα­τή­σουν καὶ νὰ τὸν με­τα­πεί­σουν, σχε­δί­α­ζαν φρι­κτὰ τὸ πε­ρί­γραμ­μα ἑ­νὸς ἄλ­λου σώ­μα­τος, ποὺ ἔ­πρε­πε ὁ­πωσ­δή­πο­τε νὰ ἐ­ξον­τω­θεῖ. Δὲν εἶ­χαν πα­ρα­λεί­ψει τί­πο­τα: ἄλ­λο­θι, συμ­πτώ­σεις, πι­θα­νὰ λά­θη. Ἀ­πὸ τὴ στιγ­μὴ ἐ­κεί­νη τὸ κά­θε λε­πτὸ εἶ­χε τὴ σκο­πι­μό­τη­τά του, ὑ­πο­λο­γι­σμέ­νη μὲ κά­θε λε­πτο­μέ­ρεια. Τὴν ἄ­γρια καὶ ἀ­μεί­λι­κτη σκη­νὴ ποὺ τῆς ἔ­κα­νε, μό­λις ποὺ δι­έ­κο­πτε πό­τε-πό­τε ἕ­να χέ­ρι νὰ χα­ϊ­δέ­ψει ἕ­να μά­γου­λο. Ἄρ­χι­σε νὰ νυ­χτώ­νει.

Χω­ρὶς νὰ κοι­τά­ζον­ται, δε­μέ­νοι σφι­χτὰ στὸ ἔρ­γο ποὺ εἶ­χαν νὰ ἐκ­πλη­ρώ­σουν, χω­ρί­στη­καν στὴν πόρ­τα τῆς κα­λύ­βας. Ἐ­κεί­νη ἔ­πρε­πε ν’ ἀ­κο­λου­θή­σει τὸ μο­νο­πά­τι ποὺ τρα­βοῦ­σε κα­τὰ τὸ βο­ριά. Ἐ­κεῖ­νος, στὸ ἀν­τί­θε­το μο­νο­πά­τι, γύ­ρι­σε μιὰ στιγ­μὴ νὰ τὴν δεῖ νὰ φεύ­γει, μὲ τὰ μαλ­λιά της λυ­τά. Μὲ τὴ σει­ρά του ἄρ­χι­σε νὰ τρέ­χει κι αὐ­τός, κα­τα­φεύ­γον­τας στὰ δέν­τρα καὶ τοὺς φρά­χτες, ὥ­σπου ξε­χώ­ρι­σε μὲς στὴ μα­βιὰ ὁ­μί­χλη τῆς χα­ραυ­γῆς τὴν ἀ­λέ­α ποὺ ὁ­δη­γοῦ­σε στὸ σπί­τι. Τὰ σκυ­λιὰ δὲν ἔ­πρε­πε νὰ γα­βγί­σουν, καὶ δὲν γά­βγι­σαν. Τὴν ὥ­ρα αὐ­τὴ ὁ ἐ­πι­στά­της δὲν ἔ­πρε­πε νὰ εἶ­ναι ἐ­κεῖ, καὶ δὲν ἦ­ταν. Ἀ­νέ­βη­κε τὰ τρί­α σκα­λο­πά­τια τῆς ἐ­ξώ­πορ­τας καὶ μπῆ­κε. Μέ­σ’ ἀ­π’ τὸ αἷ­μα ποὺ βού­ι­ζε στ’ αὐ­τιά του τοῦ ἐρ­χόν­ταν ἀ­κό­μα τὰ λό­για τῆς γυ­ναί­κας: πρῶ­τα μιὰ γα­λά­ζια αἴ­θου­σα, ὕ­στε­ρα ἕ­νας δι­ά­δρο­μος, με­τὰ μιὰ σκά­λα μὲ χα­λί. Στὸ πά­νω πά­τω­μα, δυ­ὸ πόρ­τες. Στὸ πρῶ­το δω­μά­τιο κα­νείς, στὸ δεύ­τε­ρο κα­νείς. Ἡ πόρ­τα τοῦ μι­κροῦ σα­λο­νιοῦ, καὶ ὑ­στέ­ρα, μὲ τὸ στι­λέ­το στὸ χέ­ρι, τὸ φῶς ἀ­πὸ τὰ με­γά­λα πα­ρά­θυ­ρα, ἡ ψη­λὴ ρά­χης μιᾶς πρά­σι­νης, βε­λού­δι­νης πο­λυ­θρό­νας, τὸ κε­φά­λι τοῦ ἄν­τρα ποὺ κά­θε­ται στὴν πο­λυ­θρό­να δι­α­βά­ζον­τας ἕ­να μυ­θι­στό­ρη­μα.

Πηγή:

Χούλιο Κορτάσαρ (Julio Cortázar): Ἀλ­λη­λου­χί­α τῶν κή­πων

On this day…. Jorge Luis Borges

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By Beti Alonso

The Aleph

by Jorge Luis Borges

O God! I could be bounded in a nutshell, and count myself a King of infinite space…

Hamlet, II, 2

But they will teach us that Eternity is the Standing still of the Present Time, a Nunc-stans (as the schools call

it); which neither they, nor any else understand, no more than they would a Hic-stans for an Infinite greatness

of Place.

Leviathan, IV, 46

On the burning February morning Beatriz Viterbo died, after braving an agony that never for a single moment gave way to self-pity or fear, I noticed that the sidewalk billboards around Constitution Plaza were advertising some new brand or other of American cigarettes. The fact pained me, for I realised that the wide and ceaseless universe was already slipping away from her and that this slight change was the first of an endless series. The universe may change but not me, I thought with a certain sad vanity. I knew that at times my fruitless devotion had annoyed her; now that she was dead, I could devote myself to her memory, without hope but also without humiliation. I recalled that the thirtieth of April was her birthday; on that day to visit her house on Garay Street and pay my respects to her father and to Carlos Argentino Daneri, her first cousin, would be an irreproachable and perhaps unavoidable act of politeness. Once again I would wait in the twilight of the small, cluttered drawing room, once again I would study the details of her many photographs: Beatriz Viterbo in profile and in full colour; Beatriz wearing a mask, during the Carnival of 1921; Beatriz at her First Communion; Beatriz on the day of her wedding to Roberto Alessandri; Beatriz soon after her divorce, at a luncheon at the Turf Club; Beatriz at a seaside resort in Quilmes with Delia San Marco Porcel and Carlos Argentino; Beatriz with the Pekingese lapdog given her by Villegas Haedo; Beatriz, front and three-quarter views, smiling, hand on her chin… I would not be forced, as in the past, to justify my presence with modest offerings of books — books whose pages I finally learned to cut beforehand, so as not to find out, months later, that they lay around unopened.

Continue reading:

Click to access borgesaleph.pdf

Arendt vs Thoreau

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It is not often that a neighbourhood squabble is remembered as a world-historical event. In the summer of 1846, Henry David Thoreau spent a single night in jail in Concord, Massachusetts after refusing to submit his poll tax to the local constable. This minor act of defiance would later be immortalised in Thoreau’s essay ‘On the Duty of Civil Disobedience’ (1849). There, he explains that he had been unwilling to provide material support to a federal government that perpetuated mass injustice – in particular, slavery and the Mexican-American war. While the essay went largely unread in his own lifetime, Thoreau’s theory of civil disobedience would later inspire many of the world’s greatest political thinkers, from Leo Tolstoy and Gandhi to Martin Luther King.

Yet his theory of dissent would have its dissenters, too. The political theorist Hannah Arendt wrote an essay on ‘Civil Disobedience’, published in The New Yorker magazine in September 1970. Thoreau, she argued, was no civil disobedient. In fact, she insisted that his whole moral philosophy was anathema to the collective spirit that ought to guide acts of public refusal. How could the great luminary of civil disobedience be charged with misunderstanding it so profoundly?

Thoreau’s essay offers a forceful critique of state authority and an uncompromising defence of the individual conscience. In Walden (1854), he argued that each man should follow his own individual ‘genius’ rather than social convention, and in ‘On the Duty of Civil Disobedience’ he insists that we should follow our own moral convictions rather than the laws of the land. The citizen, he suggests, must never ‘for a moment, or in the least degree, resign his conscience to the legislation’. For Thoreau, this prescription holds even when the laws are produced through democratic elections and referenda. Indeed, for him, democratic participation only degrades our moral character. When we cast a ballot, he explains, we vote for a principle that we believe is right, but at the same time, assert our willingness to recognise whatever principle – be it right or wrong – the majority favours. In this way, we elevate popular opinion over moral rectitude. Because he places so much stock in his own conscience, and so little in either state authority or democratic opinion, Thoreau believed that he was bound to disobey any law that ran counter to his own convictions. His theory of civil disobedience is grounded in that belief.

Thoreau’s decision to withhold his financial support for the federal government of 1846 was, no doubt, a righteous one. And the theory that inspired that action would go on to inspire many more righteous acts of disobedience. Yet despite these remarkable successes, Arendt argues that Thoreau’s theory was misguided. In particular, she insists that he was wrong to ground civil disobedience in the individual conscience. First, and most simply, she points out that conscience is too subjective a category to justify political action. Leftists who protest the treatment of refugees at the hands of US immigration officers are motivated by conscience, but so was Kim Davis – the conservative county clerk in Kentucky who in 2015 denied marriage licences to same-sex couples. Conscience alone can be used to justify all types of political beliefs and so provides no guarantee of moral action.

Second, Arendt makes the more complex argument that, even when it is morally unimpeachable, conscience is ‘unpolitical’; that is, it encourages us to focus on our own moral purity rather than the collective actions that might bring about real change. Crucially, in calling conscience ‘unpolitical’, Arendt does not mean that it is useless. In fact, she believed that the voice of conscience was often vitally important. In her book Eichmann in Jerusalem (1963), for example, she argues that it was the Nazi officer Adolf Eichmann’s lack of ethical introspection that enabled his participation in the unimaginable evils of the Holocaust. Arendt knew from the experience of Fascism that conscience could prevent subjects from actively advancing profound injustice, but she saw that as a kind of moral bare minimum. The rules of conscience, she argues, ‘do not say what to do; they say what not to do’. In other words: personal conscience can sometimes prevent us from aiding and abetting evil but it does not require us to undertake positive political action to bring about justice.

Thoreau would likely accept the charge that his theory of civil disobedience told men only ‘what not to do’, as he did not believe it was the responsibility of individuals to actively improve the world. ‘It is not a man’s duty, as a matter of course,’ he writes, ‘to devote himself to the eradication of any, even to the most enormous, wrong; he may still properly have other concerns to engage him; but it is his duty, at least, to wash his hands of it…’ Arendt would agree that it is better to abstain from injustice than to participate in it, but she worries that Thoreau’s philosophy might make us complacent about any evil that we aren’t personally complicit in. Because Thoreauvian civil disobedience is so focused on the personal conscience and not, as Arendt puts it, on ‘the world where the wrong is committed’, it risks prioritising individual moral purity over the creation of a more just society.

Perhaps the most striking difference between Thoreau and Arendt is that, while he sees disobedience as necessarily individual, she sees it as, by definition, collective.

Arendt argues that for an act of law-breaking to count as civil disobedience it must be performed openly and publicly (put simply: if you break the law in private, you’re committing a crime, but if you break the law at a protest, you’re making a point). Thoreau’s dramatic refusal to pay his poll tax would meet this definition, but Arendt makes one further distinction: anyone who breaks the law publicly but individually is a mere conscientious objector; those who break the law publicly and collectively are civil disobedients. It is only this latter group – from which she would exclude Thoreau – that is capable of producing real change, she implies. Mass civil disobedience movements generate momentum, apply pressure, and shift political discourse. For Arendt, the greatest civil disobedience movements – Indian independence, civil rights, and the anti-war movement – took inspiration from Thoreau but added a vital commitment to mass, public action. In sharp contrast, Thoreau believed that ‘there is but little virtue in the action of masses of men’.

‘On the Duty of Civil Disobedience’ is an essay of rare moral vision. In it, Thoreau expresses uncompromising critiques of the government of his era, while also capturing the powerful feelings of moral conviction that often undergird acts of civil disobedience. Nevertheless, it is Arendt’s account of the practice that is ultimately more promising. Arendt insists that we focus not on our own conscience but on the injustice committed, and the concrete means of redressing it. This does not mean that civil disobedience has to aim for something moderate or even achievable but that it should be calibrated toward the world – which it has the power to change – and not toward the self – which it can only purify.

Source:

https://aeon.co/amp/ideas/change-the-world-not-yourself-or-how-arendt-called-out-thoreau?__twitter_impression=true

Της ημέρας….

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Πολύ κουβέντα γίνεται σήμερα για την Ιθάκη, μα για λάθος λόγους. Και καθώς κοιτώ τη θάλασσα σκέφτομαι……

«Κι αν πτωχική την βρεις, η Ιθάκη δεν σε γέλασε.

Έτσι σοφός που έγινες, με τόση πείρα,

ήδη θα το κατάλαβες η Ιθάκες τι σημαίνουν.»

‘On the Sea’ by John Keats

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It keeps eternal whisperings around

Desolate shores, and with its mighty swell

Gluts twice ten thousand caverns, till the spell

Of Hecate leaves them their old shadowy sound.

Often ‘tis in such gentle temper found

That scarcely will the very smallest shell

Be moved for days from where it sometime fell,

When last the winds of heaven were unbound.

O ye! who have your eye-balls vexed and tired,

Feast them on the wideness of the sea;

O ye! whose ears are dinned with uproar rude,

Or fed too much with cloying melody,

Sit ye near some old cavern’s mouth and brood

Until ye start, as if the sea-nymphs quired!