“The pragmatist philosopher William James had a crisp and consistent response when asked if life was worth living: maybe”

— Aeon

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“‘No one expects a musician to play a song the same way every night.’ It was this impulse to explore different rhythms and intonations in an already completed work, says our executive producer Kim Hendrickson, that led the visionary director Terrence Malick to dive into reediting one of his most acclaimed films, 2011’s The Tree of Life. The three-hour-plus version he ultimately came up with—just released as part of our new edition, which features the theatrical cut that remains Malick’s preferred form—includes fifty minutes of never-before-seen footage. For fans wondering how this all came about, here’s a look at the process behind one of the most complex and challenging projects we’ve ever undertaken.”

— The Criterion Collection

“A new book of Wilde’s handwritten manuscripts, The Picture of Dorian Gray (SP Books, $250), grants readers unfiltered access to lines of pure, unadulterated affection that the author was compelled to omit if he ever wanted the story to become the literary success it did.”

The New York Times

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“In the fall of 1956, the Soviet Union crushed an uprising in Hungary, swiftly ending an attempt to escape the superpower’s grip on the Eastern bloc. The Soviet tanks that rolled through Budapest also brought an end to the belief of many intellectuals and artists here in the ideals of Communism.

The Hungarian composer Gyorgy Kurtag, then 30, felt his whole world collapse that year. “Not just the outside world, but my inner universe, too,” he once said in an interview.

Mr. Kurtag spent the next two years in Paris, seeking new meaning for his life and work under the guidance of a psychoanalyst. He studied with the composer Olivier Messiaen, and heard the music of Anton Webern and Arnold Schoenberg at concerts given by Pierre Boulez. From the isolation of Communist Hungary, he had emerged into the West’s center of musical modernism.

It was in Paris during this period that Mr. Kurtag first saw Samuel Beckett’s play “Endgame.” The encounter set him on a lifelong journey, studying Beckett’s works and creating music inspired by them. Six decades later, on Nov. 15, this odyssey — and the career of one of the last living giants of 20th-century music — will culminate in Mr. Kurtag’s long-awaited, long-delayed first opera, based on “Endgame,” at the Teatro alla Scala in Milan.”

The New York Times

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“Wittgenstein’s grave is not easy to find. It is a flat stone bearing the words Ludwig Wittgenstein 1889 – 1951 in a sans serif modern font. It has the same stark simplicity as the Modernist house he designed for his sister in Vienna in the 1920s. The grave was recently restored: there is an interesting article with many photographs and details about the grave on the British Wittgenstein Society website. Ray Monk, the interviewee for this episode of Philosophy Sites, is the author of a justly celebrated biography, Ludwig Wittgenstein: The Duty of Genius.”

— Philosophy Sites