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Fragments of a speech gelatinous

The jellies are my favorite candy ever.
me add also that this is just one of those news that would make the joy of the Great Chief Estiqaatsi (to say nothing of his venerable grandfather, Estigranqaatsi ...).

Jellies not grant me too often, you risk falling into a state of dependence hard and pure. If part of my foolish but persistent and chronic mental childishness, I had acquired over the year minimum that is required of self-control and inhibitions, now, faced with a truck and trailer of jellies, I would be able to drive well to get on all fours in no time, leaving behind a massacre of crumpled papers.

The reasons why I love the jellies are varied. The best guess is that of unconscious nature, which could be summed up in the short amount of time allowed by this concise formula: jellies because I like it ... yes!

However, if you were to limit my analysis to the unconscious factors, this article should already menga end here. As I go instead to linger a bit 'with a few pleasantries, I will to dissect the causes of my clear preference for sugary gommoide parallelepiped.

Almost needless to say at this moment I am writing in strict compliance with the Stanislavsky method. The sensations caused by a jelly know them very well from memory, but to talk with the greatest knowledge of the facts, with the identification and transport more intense than you can imagine, no less step to discard one, introducing it at a high rate thereafter between the jaws .

Scrisc showers ... (noise of the map ...) aaahhhmmm (the introduction of sound in the mouth ...).
Here, "I have it": we can continue.

The first thing to remark about gelatin is its close resemblance to those other types of sensual pleasures that stand between the love and the erotic. What is the factor that determines this instant feeling of kinship? In my opinion is definitely soft.

Tutavia, unlike other pleasures Codest actual and real, which often require commitment and hard work is not indifferent to be bundled with gelatin to make the biggest effort is to overcome the barrier yielding sugar surface. That cake flour, the wise "breading" sugar, to me is another example of the genius of gelatin.

Maybe I was too dark in my speak and then I say it more clearly: palleggiando una gelatina fra lingua e palato, veniamo calati molto in prossimità di una sorta di reazione propriocettiva che ricorda chiaramente quella scaturita da un profondo bacio alla francese (per quelli ancora più duri di comprendonio: la classica spanna di lingua in bocca durante una limonata all'ultimo respiro, senza fare prigionieri...).

Se da una parte però, la possanza della voluttà scaturita dalla gelatina è tale da contenere parecchi degli ingredienti del fare peccaminoso, per altri versi non manca di elargire nemmeno le prove più ardue richieste al più sapiente dei peccatori.

Il vero gaudente saggio è infatti colui che sa trarre il massimo dal piacere senza farsi fregare dal medesimo. I Our dear old were often used to assimilate the image of fire pleasure. The metaphor may seem rather tawdry and stale, but if we reflect on a moment we can give an account of how it is not so breathless.

From the fire we can receive so much heat for a long time, or burn the feathers with it in seconds. Everything is manipulated to know, to know how to measure out the right balance between the height of the flames and kept away from the source of heat. The same happens with pleasure, neither more nor less.

Where is the passage of the dynamics degustatorie jelly which best reflects this fundamental relationship with the mechanisms of pleasure? In my opinion, lies in the almost unbearable e semi-tormentosa tentazione di addentare in ogni momento il frutto del proprio trasporto. Per non mordere una gelatina bisogna essere in possesso di un dirittura morale di ordine superiore, di una capacità estrema nel sapersi destreggiare fra i meandri più insidiosi della voluttà.

Con una gelatina in bocca, basta un attimo per mandare in malora un lavorio estatico pazientemente costruito con diversi minuti d'impegno. Esattamente come in tutte le questioni erotico-amorose, la fretta e la precipitazione sono anche qui le più cattive fra le consigliere.
Un piccolo gesto mal riposto, un insignificante guizzo della mandibola ribelle, e facciamo crollare tutto il castello del piacere. Tanto che i frammenti dispersi in bocca di gelatina masticata hanno il sapore deludente della bella occasione perduta, misto ad un lieve retrogusto di senso di colpa.

Nello stesso tempo, la gelatina è foriera di profonde suggestioni metaforiche anche se la consideriamo sotto l'aspetto del suo gusto vero e proprio, del suo aroma effettivo. Non so se avete presente, magari al momento non vi sovviene, perché può darsi che abbiate assaggiato l'ultima un po' di tempo fa, ma fidatevi se vi dico che il gusto della gelatina è sempre “un passo avanti”. La gelatina sa di “irraggiungibilità”, il suo gusto non lo afferri mai in pieno, scappa sempre via, e questo ti spinge a succhiarla con ancor più dedizione, innescando un corto circuito sensoriale senza via escape.

also believe that this is a very erotic because of the gelatin. Typical of the faces of eros is in fact see the finish line moved ever forward, ever forward, while the reward is all the more pursued and appetite as we can keep it alive and integrates in its indefinite and indefinable desirability.

The tastes, smells, feelings of love all the breakers are never hugged enough, never covered with the satisfaction you want. There is always a detail that remains outside, not including a special, which nell'abbaglio of time lived there seems to be a nuance, but in the glare of the memory turns into an unbridgeable gap, deep well of sensual yearnings.

scriteriatamente Then everything can be consumed with a wild gesture solver and that leaves a hint of bitter disappointment, or sipped with a satisfaction, but also unable to clearly explain the mystery through which we passed.
At that point, when it will be reduced to a minimum, but we can swallow the gelatin without fear.

So, whether the patients have improved by a wise and sucking, or they have burned with irresponsible bites, the rule to which not even the pleasure of jelly escapes is unfortunately still the same: "... post gelatinam , Omne animal est sad ...».

Free Sheet Music Space Dementia

The Curious Incident of cinema legend

"... I am a creature of habit,
read the label on the elevator:
what capacity, how many pounds the door,
then opens the door and I already know more. .. "

" clouds of yesterday today tomorrow on our "(" routine )
Elio e le Storie Tese - 1989

*******

friends, but you you feel more or mythological film?

"... there he was, we played the Gillipixel ... has focused on plot, losing those three neurons that were advancing, and now floats in the realm of happy unawareness of the "big bound in brotherhood" .... "

No, here is ... the question may seem strange, but in fact could be a harbinger of some interesting reflections.
"... Of course, the more you understand what the fuck go babbling ..." you reply yet. Okay, but you have come to this and if you grant me the space of one page, I'm going to start no less.

In reality, the issues nested behind my question is this opening, so many and so complex that deserve discussion at university level. But since I imagine that you will not have this time, I'll try to get along with the usual three shit.

What you essentially you're talking about here are two different conceptions of time. On the one hand, the time interpreted as an expression of a cyclical nature that is continually renewed, on the other, the time seen as a progression along which no time is ever exactly the same, nor the next.

would be hard to go to groom the cultural origins of these two historical conceptions. Perhaps a more clever than me you could do a better reconstruction of historical and philological-exegetical conceptually, but as far as I know, I think I can say that the sources of the two ways of understanding the time we can find and do not mix very distinct namely a bit 'in different cultures.

For one thing, the Greek culture contains within it the seeds of both views, having been the cradle of philosophy, but also one of the "apparatus" mythological more complex and articulated of all human history. Greeks, passing for philosophy, is then derived in some way science itself, the territory of election of the "progressive time", but have also gained positions "heretical" as Nietzsche's thought, which is again the cibato feeding the myth and the sense of cyclical return of the ages, not to forget the lessons and actions for Vico (fuck, I'm making pork than two thousand years of culture ...).
Not to mention the abundant flour dumpling that the vast history has received from the Jewish-Christian tradition, in which the concept of a progressive time focused to an end (salvation) has been further enhanced and articulated.

To add further confusion to my summary already weird enough, I can also remember how the other sides of the cyclical sense of time is paradoxically been reviewed with the latest frontiers of physics of the 'infinitely small. " Do not ask me to explain how it is possible, but apparently, I read somewhere, which descends to the minute size of elementary particles, the time that retraces his steps does not constitute an absurdity so obvious, like they do in the "macro-edge" of our human experience. Yes, dear friends for travelers thoughts, it looks like a subatomic particle can trace back the clock, going back in time.

So why I spoke of myth and cinema? Perhaps because there was already enough mess in what I have said so far? Perhaps for this reason, but especially because I think nothing better than these two basic narrative modes, in their "expressive do," manages to get in tune with the essential ways del tempo ciclico (mito) e con quelli del tempo progressivo (cinema).

Nel mito (insieme ai suoi cugini più prossimi, quali possono essere la favola e la leggenda), il racconto è sempre fondato su certi capisaldi fissi ed immodificabili della storia raccontata, intorno ai quali si possono intessere leggere varianti, coloriture, sfumature di toni e di atmosfere, ma mantenendo sempre una generale fedeltà al narrato originario. In virtù di questa sua “natura”, il mito non solo tollera, ma addirittura quasi esige la ripetizione.

Nel cinema invece (anche se, per “necessità metaforiche” sto facendo ovviamente un discorso semplificato e forzatamente generalizzato), il materiale progress reported to accumulate in the course of the narrative, which provides a beginning and an end, as were the details of an imaginary straight line thunderstorm. In the cinema (at least as a general rule, and suited to the instrument is so expressive, but then there are certainly exceptions here), the return to the top of the story to tell is to start a stretch.

Sure, it's good also review a movie, but it lives much more than the magic of the first vision. The moments spent in a movie for the first time they live normally as a unique unrepeatable, while visions replicated when we bear satisfaction, not only confirms an abnormal tendency of the film concerned to their own "mythologizing." When the film holds a lot of repeated viewing, is perhaps the fact that they have in them the "power of myth" of the story. A film review is a myth that we love disguised as a feature film.

But in the end, what matters most is how did the two dimensions of history are lived within himself each single person in a vaguely existential separation mixture. In many small newspapers
breakers, I realize that I tend sometimes to the size of the myth, and sometimes rather than film. I speak also of its minimal issues, small trifles of life.

add that probably il fatto di essere “mitologici” oppure “cinematografici”, non ce lo possiamo scegliere. Sono forse propensioni a noi connaturate e allo stesso modo del coraggio di don Abbondio, il “mito” o il “cinema” non ce li possiamo dare da soli.

L’opinione dominante, la tendenza che maggiormente si è diffusa fra le pieghe della modernità, consiste in una preferenza generalmente accordata ad un’esistenza da vivere “cinematograficamente”. Praticamente noi tutti “viventi dell’oggi” siamo stati educati a considerare la ripetitività come un fattore negativo, atteggiamento al quale fa da contraltare una ben più consigliata tendenza a ricercare the new, the unknown, the unheard. The monotony is the most feared of certain biblical plagues, and the troubled find new survey is looming as the promised land to which they should strive for.

Living life "mythological" but could be the egg of Columbus to achieve a state of serenity and balance. Man by nature, but more women (and is not a joke ...) shall be largely "mythology." The
are from a spiritual point of view, because our soul is nourished in the first place of certainties rinsaldate during the experience. In the end, bind to their loved can be seen as a repeat of the strong points of the narrative of his personal myth, that of life itself. Will

really good about something or someone (meaning "something", for example, a job, an environment, the "physical landscape" within which to spend their days, and so on ...) can be seen as the ability to learn always better to tell the tale of his everyday life. I'll be a very naive to say so, but I think we can fall in love, and really, only when we find new sources of interest and passion, who repeats, and repeats what is in their own identity.

The man is also strongly "mythological" especially from the physical point of view. The body is a mythical tale whose narrative revolves strongholds on the cyclical nature "sleep-wake", "hunger-satiety", "wish-fulfillment key ... uh ..." and so on.

The same biology, the chemistry of our own physicality seem to take cues such meanings. During the course of his life, cells and atoms all of which a human is composed completely renewed several times, yet each remains the same "story" has been and will be. I look
a hand, foot, or any muscle or limb or other detail of my body: I \u200b\u200brecognize them, are familiar to me, are the same as when I was a child and boy, and increase with time. Have changed in size and proportions, but remain the same part of me that I could observe at the time, although there are probably even more into a proton or a neutron then.

Why should we deem wise to continually go in pursuit of novelty at all costs, when our whole constitution of humans suggests that we are made to deepen what is stable? It seems to me that the fundamental way forward lies in finding more and more and more valuable to sound tones in the waters of those with permanently fixed as our primary existential horizon.

Then, of course, the temptation to want a reckless life, like those of the film remains very strong, but everyone can make their own evaluations and reflections on the case.

So, dear friends, dear friends and passers-by thought, in the end I do not even know why I started straparlare of these things today.

But you do this: the next time maybe you will show your body in a pool, or on a beach, care about the aesthetic concerns dictated by a string of bacon or a bit 'fuzzy of cellulite. Stop passing the first and proclamategli a loud voice: "This my ... person is a myth !...». And do not worry about the consequences. If you look a bit 'dazed and incredulous, it means that in essence, the fact remains he cracked.