Florensky & Tarkovsky

Destul de recent, la editura Cambridge Scholars Press, a aparut un nou volum dedicat cineastului rus si surselor sale de inspiratie: Through the Mirror. Reflections on the Films of Andrei Tarkovsky.

Cartea mi-a starnit interesul mai ales dupa lectura urmatorului fragmentel:

By commenting on some studies on the filmmaker in the Swedish, Danish and Russian literature, Torsten Kälvemark demonstrates the importance of Russian religious philosophy for Tarkovsky’s thoughts, in particular in the person of philosopher, mathematician, and theologian Pavel Aleksandrovich Florensky (1882–1937). Seen from his perspective, the symbol (the image) is more than just a semiotic unit. The symbol is an ontological entity that not only signifies something else “but also manifests it in reality, possesses its energy, and appears as a living mutual interpenetration of two entities” (Kälvemark quoting Victor Bychkov 137). One can therefore understand Tarkovsky’s famous tautological statement that a specific symbol in his films is what it is and nothing else. It comes as no surprise that Florensky considered the Eastern Icon as the highest form of artistic expression.

Suntem la LI, serialul nostru in care discutam despre teologii putrede si  dogme ascutite, despre provocarile umanoizilor post-industriali, demonizati si monitorizati etern. Dogma nu este altceva decat un impuls electric, inghetat in creierul Oricarui Dumnezeu. Care, odata coborat pe pamant, a dezgetat, prin focul rugului, o multime de paratrasnete umane.

In anul de gratie 2002, label-ul rusesc Insofar Vapor Bulk a publicat un CD intitulat: In Memoriam Tarkovsky. Albumul contine 4 piese, 4 stalpi ai adevarului electronic si industrial, interpretate de maestri ai genurilor  Experimental / Ambient / Noise. Dintre acestia, am ales sa va prezint doi: Stanislav Kreitchi si Roger Doyle.