Every passing moment is another chance to turn it around. Open your eyes.

Halla Oddný Magnúsdóttir & Víkingur Ólafsson J.S. Bach : Gotteszeit ist die allerbeste Zeit

1. We want to sing the love of danger, the habit of energy and rashness. 2. The essential elements of our poetry will be courage, audacity and revolt. 3. Literature has up to now magnified pensive immobility, ecstasy and slumber. We want to exalt movements of aggression, feverish sleeplessness, the double march, the perilous leap, the slap and the blow with the fist. 4. We declare that the splendor of the world has been enriched by a new beauty: the beauty of speed. A racing automobile with its bonnet adorned with great tubes like serpents with explosive breath … a roaring motor car which seems to run on machine-gun fire, is more beautiful than the Victory of Samothrace. 5. We want to sing the man at the wheel, the ideal axis of which crosses the earth, itself hurled along its orbit. 6. The poet must spend himself with warmth, glamour and prodigality to increase the enthusiastic fervor of the primordial elements. 7. Beauty exists only in struggle. There is no masterpiece that has not an aggressive character. Poetry must be a violent assault on the forces of the unknown, to force them to bow before man. 8. We are on the extreme promontory of the centuries! What is the use of looking behind at the moment when we must open the mysterious shutters of the impossible? Time and Space died yesterday. We are already living in the absolute, since we have already created eternal, omnipresent speed. 9. We want to glorify war - the only cure for the world - militarism, patriotism, the destructive gesture of the anarchists, the beautiful ideas which kill, and contempt for woman. 10. We want to demolish museums and libraries, fight morality, feminism and all opportunist and utilitarian cowardice. 11. We will sing of the great crowds agitated by work, pleasure and revolt; the multi-colored and polyphonic surf of revolutions in modern capitals: the nocturnal vibration of the arsenals and the workshops beneath their violent electric moons: the gluttonous railway stations devouring smoking serpents; factories suspended from the clouds by the thread of their smoke; bridges with the leap of gymnasts flung across the diabolic cutlery of sunny rivers: adventurous steamers sniffing the horizon; great-breasted locomotives, puffing on the rails like enormous steel horses with long tubes for bridle, and the gliding flight of aeroplanes whose propeller sounds like the flapping of a flag and the applause of enthusiastic crowds.

“少年よ 神話になれ”

“Hic Rhodus, hic salta!”

石井克人 ・ 茶の味 (2004)

「関心は愛そのもの」

“You musn't be afraid to dream a little bigger, darling.”

The “impossibility” of the Penrose stairs arises because, although each flight appears as a normal upward step, the local condition of “continuously ascending” conflicts with the global requirement that, when arranged in a closed loop, the start and end points must share the same height.

In the mid-17th century, when New York was still the Dutch colony of New Amsterdam, the settlers built a wall along the northern boundary of their small community. It was not an elegant structure, but a practical one: a barrier of earth, wooden planks, and stones, meant to protect them from the threat of British forces, hostile Native American tribes, and even pirates. Running roughly along what is now Wall Street, it was a mark of vulnerability rather than grandeur, a simple defense built by a people who knew the wilderness outside their gates was vast and uncertain. The wall didn’t last long. By the late 1600s, after the British seized the colony and renamed it New York, the wall was torn down, its purpose already obsolete. But the memory of it lingered stubbornly in the name “Wall Street”, a name that would, in time, come to stand for something entirely different: not defense or fear, but ambition, risk, and the restless spirit of a new world trying to build itself into something far larger than the old.

만약 수영 경기에 턴이 없고 거리 표시도 없다면, 400미터를 끝까지 전력으로 헤엄치는 작업은 어떻게 할 길이 없는 암흑의 지옥임에 틀림없다. 턴이 있어야만 그는 400미터를 두 부분으로 나눌 수가 있는 것이다. ‘이것으로 적어도 반이 끝났다’라고 그는 생각한다. 그리고 또 반–이라는 식으로 긴 거리는 점점 세분화되어 간다. 거리의 세분화에 맞추어 의지도 또 세분화된다. 즉 ‘아무튼 이 다음 5미터를 헤엄쳐 버리자’라는 식이다. 5미터를 헤엄치면 400미터의 거리는 80분의 1이 줄어드는 셈이다. 그렇게 생각해야만, 그는 물 속에서 때로는 구토하고 살을 경련시키면서도 마지막 50미터를 전력으로 헤엄칠 수가 있었던 것이다. 다른 선수들이 도대체 어떤 생각을 품고 풀을 왕복하고 있었는지는 알 수 없다. 그러나 그에게 있어서는 그 분할 방식이 가장 성미에 맞았고, 또 가장 진지한 사고 방식인 것처럼 생각되었다. 사물이 아무리 거대하게 보이고 그것에 마주서는 자신의 의지가 아무리 미소하게 보여도, 그것을 ‘5미터만큼’씩 정리해 나가는 것은 결코 불가능하지 않다는 사실을 그는 50미터 풀 속에서 배웠다. 인생에 있어 가장 중요한 것은 제대로 된 형식을 가진 인식이다.

In early 1637, the Dutch Republic experienced one of the earliest recorded financial bubbles, centered around the trade of tulip bulbs. Rare varieties such as the ‘Semper Augustus’ sold for over 5,000 guilders, exceeding the price of many homes along Amsterdam’s canals. Tulpenmanie developed in a society where new financial practices, accessible credit, and a growing middle class encouraged speculative behavior. Prices rose rapidly as tulip contracts were exchanged, often without the physical delivery of the bulbs. When buyers failed to appear at an auction in Haarlem, confidence collapsed, and prices fell by over 90% within days. Although the broader Dutch economy remained stable, many individuals who had heavily invested in tulip contracts suffered significant financial losses. Today, Tulpenmanie is recognized as an early example of how market dynamics, including speculation, leverage, and liquidity risk, can cause asset prices to become disconnected from their intrinsic value. It illustrates the recurring patterns of bubbles that continue to shape modern financial markets.

“I did a week with Roger Federer in Dubai years and years ago and was stunned how hard he worked on the practice court. 4 or 5 hour blocks on practice court. And I never knew this about Roger. Because if you go and watch Roger on the practice warming up for a match, it looks like he’s going out to play with the country club boys. Just slapping the ball around barely moving his feet you know. And he said “Darren, all hard work is done in the lead up. I just have to feel the ball and feel good about my game here.” So everything is done away from the public’s eyes and that’s where all the hard work is done. So everything is set up through that. And if you can accomplish that, then you can accomplish in great things.” - Darren Cahill on Roger Federer’s Work Ethic

Netflix ・ Black Mirror Season 7 ・ V. eulogy (2025)

ヨンソン : Tell me about the book. 森 : He says time is not a real thing, like your body, my body or this table. Our brain makes up mind-frame of time continuity, Past, Present and Future. I think we don't have to experience life like that. Necessarily, as a species. But at the end, we can not escape from this time-frame because our brain evolved this way. I don't know why.