It was winter, 1971, my last semester as a philosophy major at Bucknell University. Studying Plato, Kant, Sartre and company had been invaluable for its own sake; that it had taught me to think critically and act decisively was a bonus.
In the history of art, the importance of patrons has rarely been underestimated. The egregious result of Solomon Guggenheim's support for Rudolf Bauer is one of the most disturbing instances. In Bauer, it receives superlative treatment.
Let's hypothesize a theater of solitude: a single character grappling with his own interminable discourse -- at intervals whispered and shouted; prosaic one moment, poetic or even epic the next. What is the status, in that case, of this voice that speaks nonstop?
Eye contact, along with the connection it may bring, can become a kind of mindfulness practice. We can notice what we're experiencing in our stomach or heart as we gaze into our lover's magical eyes. Maybe there's a delightful sense of warmth and expansiveness, or a fear of losing ourselves.
In this time of provocative and suggestive "quenelles" and bananas hurled at government officials, of rancid hatred and incendiary clamor, of generalized resentment and vindictive rivalries, we have forgotten a word that badly needs reinventing. That word is fraternity.
Young and old, we can also be inspired by his sheer political courage. The two strengths came together in his brave but futile campaign to end attacks on civilians during the Algerian War, which he hoped would reduce suffering and might lead to dialogue.
A 10-day Vipassana meditation retreat with Noble Silence, 4 a.m. starts and 10 hours of meditation daily was never going to be easy, but combining it with communal living and random explosions probably made it even harder.
Pasolini became world renowned in 1964 with the opening of his film about Jesus: The Gospel According to Matthew. It was reviewed in Life magazine, at that time America's major weekly picture magazine.
The Patagonian Hare is full of Lanzmann's cloying self-regard, but we accept it for the single reason that he created Shoah, his 1985 documentary about the Nazi war against the Jews, one of the masterworks of cinema.
Using rarely seen footage from the Russian State Film Archives, documentarian Kevin McNeer has produced a fascinating documentary about the late Soviet political cartoonist and propaganda artist Boris Efimov.