memórias do «movimento … sempre e nunca» – YouTube

just updated my 2008 visual arts
testimonial & allegorical piece

and i retitled it
«movimento … sempre e nunca»

it features new & haunting music by Paul Mottram: “Melisma” (ANW 1440 – Chill Out 4) 

the written description of what the piece meant to me remains the same, tho.

if you have a moment {38 seconds} please check it out or revisit it.

(ps: the prior music had expired so youtube allowed me swap out to this new piece,
altho the sound ends abruptly ~ since no sound fade out function on YT “edit video”). 


… shows
our various
road trips
these past
few years
melded &
obscured &
stacked &
together –
into our
motion &
onward &
upward & outward

& perhaps
even a little


but that beguiling movimento was
recurrently transgressed & violated
by a mystErious dark angel

so i ceased from it &
i ejected from it &
i banished it back to the depths of its loneliness.

i moved forward and away
from all the nonsense & that wasted specter
to a higher level & a more incredible life &
a reinvigorated creatively artistic me.

now there is no hole in
my heart or
my head or
my soul.

(R.I.P. 2004/03/17-2007/07/25)

{all footage owned & shot
by sarah nean bruce
from 2002-2004
edited by e costa}

produce | direct | write | edit 



"Melancholia" by Albrecht Dürer (Image via Wikipedia)

“Melancholia” by Albrecht Dürer (Image via Wikipedia)

WIKI IMAGE DESCRIPTION: Melancholia I The bat-like creature flying through a night sky declares the subject of this famous engraving: Melancolia I. That dark temperament is personified by a female figure seated in the foreground. The winged infant beside her is a ‘genius’ (in the ancient sense, meaning an accompanying spirit). Melancholy has wings and from her belt hang keys and a money bag, symbolizing power and wealth. She is surrounded by measuring instruments. Above her head is a panel of ‘magic’ numbers (they add up to 34 in all directions). At her feet are the tools that can fashion the material world. Yet she does nothing: lost in thought, she turns away from the light.Renaissance philosophers had suggested a new interpretation for melancholy, as the temperament of genius (in the modern sense). Melancholy was possessed by artists, in whom ‘Imagination’ predominates; ‘Reason’ dominates scholars; while the final stage of ‘Spirit’ was the preserve of theologians. If this interpretation is correct, Dürer has presented us with a portrait of his own temperament as an artist.

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