That's scary, all the time to be afraid Wreck 2015 (Film, you should check it out).
For some reason, the sight of snow descending on fire always makes me think of the ancient world _ legionaries in sheepskin warming themselves at a brazier: mountain altars where offerings glow between wintry pillars; centaurs with torches cantering beside a frozen sea _ scattered, unco-ordinated shapes from a fabulous past, infinitely removed from life; and yet bringing with them memories of things real and imagined. These classical projections, and something in the physical attitudes of the men themselves as they turned from the fire, suddenly suggested Poussin__ scene in which the Seasons, hand in hand and facing outward, tread in rhythm to the notes of the lyre that the winged and naked greybeard plays. The image of Time brought thoughts of mortality: of human beings, facing outwards like the Seasons, moving hand in hand in intricate measure: stepping slowly, methodically, sometimes a trifle awkwardly, in evolutions that take recognisable shape: or breaking into seeminly meaningless gyrations, while partners disappear only to reappear again, once more giving pattern to the spectacle: unable to control the melody, unable, perhaps, to control the steps of the dance.
A Question of Upbringing
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For some reason, the sight of snow descending on fire always makes me think of the ancient world _ legionaries in sheepskin warming themselves at a brazier: mountain altars where offerings glow between wintry pillars; centaurs with torches cantering beside a frozen sea _ scattered, unco-ordinated shapes from a fabulous past, infinitely removed from life; and yet bringing with them memories of things real and imagined. These classical projections, and something in the physical attitudes of the men themselves as they turned from the fire, suddenly suggested Poussin__ scene in which the Seasons, hand in hand and facing outward, tread in rhythm to the notes of the lyre that the winged and naked greybeard plays. The image of Time brought thoughts of mortality: of human beings, facing outwards like the Seasons, moving hand in hand in intricate measure: stepping slowly, methodically, sometimes a trifle awkwardly, in evolutions that take recognisable shape: or breaking into seeminly meaningless gyrations, while partners disappear only to reappear again, once more giving pattern to the spectacle: unable to control the melody, unable, perhaps, to control the steps of the dance.
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Art is inextricably tied to man's survival - not to his physical survival, but to that on which his physical survival depends: to the preservation and survival of his consciousness.
Teo had once claimed that human history began with a storm: the interval between lightning and thunder, between flash and rumble felt in the body's core, was primitive man's first experiences of time -- the awakening of consciousness, the birth of the gods.
Art, even the art of fullest scope and widest vision, can never really show us the external world. All that it shows us is our own soul, the one world of which we have any real cognisance. And the soul itself, the soul of each one of us, is to each one of us a mystery. It hides in the dark and broods, and consciousness cannot tell us of its workings. Consciousness, indeed, is quite inadequate to explain the contents of personality. It is Art, and Art only, that reveals us to ourselves.
It's time for everybody to start becoming conscious of their conscience.