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Portishead, F ****** Good Trip

For some time now, this blog took a strange twist sonic. There was this post on David Bowie , then this one on Patti Smith . Fewer tickets techie / media, tired of drooling on our journalistic rout ... Want to talk music, photo , literature, culture, life ... always in the light of the great digital revolution. Want to trade and intellectual pleasure, too, find out and discover other wild birds. And then I received this as a UFO editorial meteorite Full blogger. Divine Corinne @ Co_SwEuphoria on Twitter, takes us on his trip with a gonzo-Portishead inimitable style and impeccable musical culture. The large class:

P ecause concert dates are finally fell, 23-24 July 2011 , because he is cold and that will be next summer (trip) hot because Portishead return on stage in London to supervise (masterfully saw the line-up to mew happiness that emerges ) the famous "All Tomorrows Parties" (Uncle Lou, cuckoo). Because what the trio from Bristol We were promised a new album because the side project of Geoff Barrow (Beak) I'm a little crazy I admit, because in reality the voice, that one voice, that of Beth Gibbons I miss him terribly .. Because I wanted to hear, to hear all three. The last time it was "Third" just ... April 28, 2008 and a I paid the luxury of a trip (hop) nostalgic Boarding ... .. for the roller coaster, sorry "Third" ...

C 'is an incredible tale. That which can not ever really recovers. The thunderbolt. A powerful drink that, without warning, grasp your throat and you turn your head and slap a smile on your face ... infinity An eye-heart forever. It's like a Himalayan expedition without oxygen .. And the top of the mountain (so to cause), I saw the light , "Third", a stunning disc, which I was not expecting much, j'adôôre "Dummy" but I never been melted hardcore gang ... And then that famous night of April there was "Third", wriggling my fingers on the book, my eyes rolled back in pleasure, my ears ... An ecstatic journey troubled waters ...

foretaste video "The Rip" live on Jools Holland

A light years in any hype yet heavy legs and other round, the album is anything but a repetition of the famous moldy bran Bristol. Portishead shift abruptly .. One even wonders whether the same gang. To hell with the trip hop, less samples, less bass, less groove, no single frankly obvious, but how upsetting trip! is an organic trip, a little musical bubble damn oppressive, cold, dark , disturbing or glaucous, barred clash where various claustrophobic atmosphere, haunting and hypnotic a maddening darkness, (the kind "Pornography" The Cure to give you an idea or "Sparklehorse" epoch "Vivadixiesubmarinetransmissionplot", prozac, rope, gun and other accessories included despair ..) and the throbbing is strained, the instrumentations are violent and butchered by a sharp ... rhythmic trance minimal, almost tribal. Crepuscular beauty, melancholy and malaise at all levels, this disc is MAGNIFICENT!

On texts carved often touched by grace, welcome home the electro-industrial trips that would not have denied Trent Reznor, hello cowbells borrowed from hip- hop .... Cuckoo passages flatly folk acoustic guitars with beautiful Geoff Barrow has surpassed here ... Hey cellos stunning beauty, hey oh you wonderful battery approach intensely electro whose pulse dizzy or arrangements Underwear and inventiveness disgusting (these synths Adrian Utley aah!). Sumptuous melodic backdrop to sublimate a unique voice, fragile and more crystalline than ever to the frail Beth Gibbons absolutely stunning on this disc and finally cleared of opiate addiction. It's almost more pure than in the past but this minimalism is a staggering emotional power .. The production is terrific class (you can tell they had sniffouiller every sound!)

The Portishead were back after 10-year absence and this landmark album.

Follow me into the tracklist:

Silence Lyrics: P lined in Pandora's box ... In Silence first to open the sonic antics .. speech in Portuguese, I do not know until a synthetic rhythmic electro-elastic, the cowbells, violins that are haunting instrumental tracks like a soundtrack to a creepy space trip that make me think of krautrock in the Can ... The voice is fragile Beth finally over 2 minutes in desperate mode followed by a coward who scratched a few notes stuttering in an atmosphere spectral Did you know I lost? Do You Know What I wanted? asked the girl. The sonic ride always leaves a very 80's synthetic beat with a big synth strings and choke at the bottom and left to speak magma instrumental mime horses galloping to certain death .. The tone is set, sadness, anxiety, melancholy and dark tenacious ...

Hunter: Hunter emotions, tears trap. Chimes illico we snatch a few notes on the guitar sound distilled, a battery and a muffled rhythmic slow charged with emotions and effects ... .. The voice of Beth, flew almost choked as shocking ... veiled appear sound, an engine that crachotte a semblance of clarity piano, gongs which arise Beth skids and bell like an old vinyl , rhythm also derailed as if the diamond had passed away, and then touched the guitar is to clear out a few chords of a disarming sadness, Beth resumes his lament ... And the climax comes at 3'20 with a battery that gets carried away and then betrays the light that is some acoustic beauty that borders on absolute and sensuality that leaves me on the floor .. The guitar is almost mandolin, drums wilts and gets jazzy eclipsing all resistance and is already the end of this fabulous song ... ..

And if I Should Fall Would You hold me?

Nylon Smile words are almost superfluous. The music is addictive, sublime. The lyrics are wonderful. My ear is sumptuous and lovingly Rhythmic vaporous, drums and percussion tribal, with a beautiful guitar sounds with discrete tangled on a slightly oriental carpets and electro ... Beth's voice is heartbreaking beauty and diction of the miss is gorgeous ... I do not know my name or where I'm at the end of the song but I know what state I am: close to Ohio .. on the verge of chaos .. An instant classic.

I'd like to laugh at What You Said, I just can not find purpose a smile ..

The Rip: And then comes the Little Nugget folk electro extraordinary. Foghorns, a skyscraper that sublime knits and the dream garden cultivates melancholy, Beth needed diaphanous, in this ocean of divine grace ... ghostly atmosphere and disillusioned in the middle of which arose a flute and synths Then ... comes the sudden break that sees the acceleration of the tempo grandiose, magnificent, wowhou leading the song drifts into electro and Beth has perhaps never sounded so like Miss Polly Jean's native Dorset ahh that little bouncing and shimmering keyboard on the end 80's atmosphere is irresistible heady pop it almost became a chrysalis butterfly sonic .. Absolute chills

White horses, They Will take me away / And the tenderness I feel Will send the dark underneath

Deep Water: Diving in murky waters ... Curious title that starts with a very surprising one ... ukulele (!) way trip to the fireplace and Beth who sings on this small recreation studded chorus voluntarily surenregistrés to contrast .. Little rhyme or anecdote is almost as nice bright! But nice snook!

As She Walks in the room centered and tall

Plastic: New World makes me terribly to think Radiohead (the atmosphere and the guitars critallines) . I wonder why I do not know what you see - the world is collapsing and threatening organs the earth open beneath our feet on this piece disarmed ... The rhythm is taking short cuts, becomes more audible, more brutal than the previous titles, adding to the discomfort ... At the same time, Miss Gibbons Stamp is more powerful .. This is a piece of latent breaks, the battery works wonders, guitar spins and dances on some notes escorted sounds strange and disturbing. Stamp Beth choked with spleen and we tear out the guts Do not you know life turns me on ... Life ... Always wants me And who catch a cold synths and reverb spit Hello? Nobody answers ...

The journey takes a strange turn and brutal on the following two titles.

We Carry On : piece completely blocked and schizo-built for dance floors. so it starts with a groovy rhythm at the Bjork (Declare Your Independence or almost crap on Post) Avalanche noise and industrial, techno beats, keyboards and guitars mutants disarticulated .. . Taste of life I can not describe . Yep it is difficult to put words to this chant falsely simplistic beauty and scream! It , sound just like a version azimutée a pleasure hitherto unknown Joy Division ..

On and on I carry is

Machine Gun: Artillery is heavier still with the first single devastating ... strange and incredible journey that invites in the same spirit Aphex Twin, Bjork , so anything that Nin ! samples deaf, muffled metallic and industrial rhythm, on which arises body which Beth is an angel of despair Black Angel, a reflection of eternal anguish, .. then the rhythm becomes more syncopated robotic and will almost sinking into delusions noisy techno hypnotic shootés amphetamines that may have arisen in the schizophrenic brain and azimuth of Aphex Twin. It looks like a funeral march dimly lighted by loops, loops sythnés magnificent about to peg out, too, Piece fascinating, dancing, who cares disturbing uncomfortable as it excites me!

If only I could "see, I'll turn myself to me and Recognise The poison in my heart.

After this flood of fury and violence, the break is small and huge draws at a time ...

Small: The intro is gorgeous Beth uncheck a sentence do not you will not recover. If I remember the Night That We put / Tasted a wine That I'll never forget

Voice poignantissime a haunting melody and sublime made some notes of guitars that knit the spleen, a black trip accentuated these cellos troubling, disturbing me .. This title snatched tears at the first hearing before the horse rears , and the chant is done almost seventies or even a trip to the psychedelic Doors or even Floyd on the soundtrack of "Zabrinskie Point Antonioni (the passage delirious with body hair and orgies in the desert for a quarter of an hour) ... Organs unstructured tempo gruesome and repetitive, reverb, exacerbated barred obscure little noises, Flipper trip insane, absolute foot for the listener, organ unfolds and takes us in its wake infernal bass is speaking the powder, the organ is reptilian, unhealthy .. Cellos reappear for the demise of this wonder Beth adds a layer and we finished in beauty leaving us speechless and ecstatic happiness shattered by the sounds that blend in and choke a shambles before resuming their fatal destiny doorsienne and die in a dissonant magma (this battery!) WOW!

Magic Doors: Doors are pushed to the sonic bliss still on! Intro fabulous, the creeping melody of devastating breaks, drum machine, the cowbells, drums against the foot, a falsely nonchalant rhythmic funky beat slowed to an extreme, yet irresistible chorus with piano magnified by a tragic and amazing. Then it turns electro trip escorted from suffocating trumpets and exquisite: carnage

I'm Losing Myself, I can not hide my desire

Threads: Ultimate panic of the compass to see the exciting and excited verge on the final stop. Filled with sweet melancholy and languid despair. I love this guitar almost western. The chant is swaying, the strings are heartbreaking, the battery is suppressed everywhere. I love love this guitar almost English, these trumpets that make us vicious sore dog in the body and heart and my voice god, that voice screaming in the middle of a jazzy beat that rust out and the fog horns, these synths that engulf us to the point of no return with this guitar that haunts us! There was a desire to dive again!

I'm tired of my mind Always

unsure ... so I'm Always

L has mass is known and is black, implacable, uncomfortable but exciting. We intend by the beating of a heart that twirls to exalted Listening to this gem. This is mine, is that many other cast too, I hope it will soon be yours! We do not listen to this disc. There snorkel and you come out moist with happiness, captivated to the core

Co_SwEuphoria

a bonus ticket to this wonderful guest, the host offers his favorite piece of Third: Hunter, here in Paris in a private concert:

Multiplication Table Chart

Patti Smith, setter rockin memory and analog

E Miss tells us about a time when literature and music, art and culture were not yet dematerialized products sold on Amazon and the iTunes store by the "content industry". An era where analog a book, disc, an array does not consume in two clicks and could radically change your life , make you a writer, artist, without going through the box "Star Academy" .

For Patti Smith it was a meeting at age 16, Arthur Rimbaud :

"His haughty look on the cover of 'Illuminations' hung mine. He was gifted with intelligence which inflamed me irreverent, and I adopted as my compatriot, my brother and even my secret lover. Since I did not even have 99 cents to buy the book, I broke ", she says in " Just Kids " its beautiful autobiography coming out in French Denoël ( see the criticism of "Inrocks" and that of "Telerama" ). Away from fists in torn pockets of his coat, the young poet would have doubtless loved the idea of being stolen by a bohemian sister to a century apart.

For me - who have not become a rock star;) - it was the punk revolution and then the first icon Patti Smith accurately. I was not fourteen when a friend gave me "Horses". "Jesus Died for Somebody's sin but not mine" ( "Jesus died for the sins of somebody but not mine" ): manifesto shouted into the microphone, the slow piano, the rise of voice full of tension, before the blast liberating a furious guitar riff ... his great cover of "Gloria" by Van Morrison picked me like an uppercut. And everything that my musical tastes were forged in stems. A first class trip to London and the punk fury of The Clash and the Sex Pistols received as a shock. New York's trendy and bohemian fantasy CBGB's listening to the rock bit of the Ramones and the Talking Heads so sophisticated ...

To understand the slap those of my generation were the simplest way is to listen to Patti declaim "Gloria" before an audience took guts, flabbergasted. Here in 1979:

If I speak now Patti telling us about Rimbaud, is that "Just kids "is not an autobiography more rock. It is a true literary object, poetry and art that owes nothing to any negro. And a more passionate testimony and nervous in my direction as the craggy old Stone Keith Richards, who has also just released his memoirs - "Life" in French in Robert Laffont - to spread out over 600 pages to illuminate his legend "Sex and drugs and rock'n roll" ... But "Just Kids" is mostly a touchstone, a transition between two generations that vinyl and the digital music . The punk poet does not tell us: "It was better before in my time." It just works transmission plunging itself in the hard disk memory. "I can still connect to the person I was at all ages in my life, from childhood to today" ...

Patti and Robert, 1970 fire escape

Patti Smith first wrote this book to keep the memory crucified by the photographer Robert Mapplethorpe , the great love of his life, disappeared in 1989, to 42 years to AIDS. "The day before Robert's death, I had promised to write a book about friendship, love that we servings (...). I also wanted to write a book about loyalty, the discovery of self through poetry, rock photography. And it inspires other generations .

For use by generations Orphaned utopia, if reasonable and resigned that followed hers, she tells a rock star's chaotic life underground, entirely dedicated to art. An initiation to the outline of a personal Truth, began unwed mother at 17, wandering in the bohemian and a miserable flight to New York where she slept on the street and knew hunger by LA encounter with a Robert Mapplethorpe on acid. Baudelaire in his writing, the description of the trip gives this: "He noticed the blood that ran through the veins in his wrist and the brightness of the edge of his shirt. He began to see the room in separate planes, sirens and dogs, the pulse-pounding walls (...). He noticed his own breathing sounded like a god collapses (...). A thread of memories, which bled its own solitude with the Apocalypse of the world stretched before him like a fudge.

wire memories of Patti pass the Summer of love the assassination of Martin Luther King and Bob Kennedy put his duffel bag at Chelsea Hotel with Robert in full revelation ... gay epicenter of bohemian New York in the year 1969, "The Chelsea was like a dollhouse in limbo " We will encounter the ghosts of past and present Oscar Wilde, Dylan Thomas, Tom Wolfe, Bob Dylan and muse Edie Sedgwik fucked. Zero cult of celebrity, "was my friend William Burroughs, Allen Ginsberg taught me a lot," says it. A passage in the famous Andy Warhol Factory does the rest. But it is a stranger who will reveal his fate by making him listen to the Byrds' song "So You Want to Be a rock'n'roll star. Robert drift prostitutes on the Lower East Side but encourages Patti "I want to be a poet not a singer" , "she said. "One does not preclude the other" , Retorted he.

Patti photographed by Robert for Horses

the day of the anniversary of Rimbaud's death in 1973, Patti Smith gave his first concert Rock and Rimbaud " with guitarist Lenny Kaye in a backyard near Times Square. All together: in 1975 released his debut album "Horses" where she reinterprets therefore "Gloria" Van Morrison's classic, so masterful in weaving the song with one of his poems. The criticism is subdued: "By the abundance its promises, as in takeoffs and silences the most glowing of Horses, the music of Patti Smith connects on deep sources of emotions that very few artists, rock or elsewhere are able to reach , "wrote Lester Bangs in the magazine" Creem "." Horses "is a cartoon ... and now a turning point in rock history. With the Ramones and others as groups like Television, Patti Smith became the figurehead of Punk that will be the star system bloated 70's a real revolution without degrees (the word means "rascal", meaning "without value "in every sense of the term). Initiated in 1969 in Detroit by Iggy and the Stooges, the movement blossomed in the famous New York club CBGB to explode a few months later in London with the Pistols and many others .

The rest of the careers of Patti Smith belongs to the history of rock . And one that still haunts the scene of his long black silhouette of Shamanic High Priestess does not extend there. She prefers to dedicate the last pages of "Just Kids" in memory of Robert dying that erases nearly that of the other man in her life, guitarist Fred Sonic Smith MC5 (legendary protopunk Detroit) married in 1979, disappeared in 1994. "My last image of him was like the first. A young man asleep, bathed in light, which opened his eyes with a smile of recognition to those who had never been a stranger" .

Rimbaud, Andy Warhol, Janis Joplin, Jimmy Hendrix, Robert Mapplethorpe and others ... " Heroes Patti may have disappeared, but she is still with us and for us, so strongly that his music is finally something (...) " , summed up one day gonzo-critical Lester Bangs. says it all. Generation to that of vinyl music dematerialized Patti Smith made setter memory of his rock and roll pantheon, and poetical staff become universal today ... Hopefully, "Just Kids "will be read by kids today who will find the springs of eternal youth and rebellious art and rock'n'roll, strength and utopia.

Jean-Christophe Féraud

* "Just Kids" Patti Smith was awarded a National Book Award (Non Fiction category) Nov. 23 United States

** Youth is eternal ... I can not resist the pleasure to offer you bonus this wonderful recent cover of "Smells Like Teen Spirit" Kurt Cobain. Patti, who looks more and more like a shaman, sings like an Indian prayer:

Broken Red Capillaries On Face And Chest

Homophobia and the Bible, the Book of Patrick Negrier

Chagall - Moses

Books for reflection and learning are not so common today, many are biased or under the guise of a scientific veneer only serve to maintain the media image of the author.

are also rare books that dare to touch the major tenets of our society such as Religions. Again, if we retain only the West, one can only note the delay accumulated unimaginable by the churches on the necessary "Dusting" of biblical texts.

Think about these books is not a hobby specialists cut off, these books and their interpretations have created in the past wars as filthy as Rogue, convictions and terrible endless suffering. Insidiously these writings, not rid of their dross, still exude their poison, the more we see daily the renunciation of all forms of thinking, which is almost the "brand" of a society based on futility, ease and superstitions found.

Sascha Schneider

In France it is more tolerable today to hear of yet condemnations from the Catholic Church or otherwise, that, despising the separation of Church and State, continues to affect men and women who want to live simply and openly gay. There in that case has no respect for traditions and customs of our country and its history, but the incessant pounding of a doctrine which confuses spirituality and individual freedoms, seeks to impose on all the same mask of "delighted" to the nursery to give glory to God!

Thus, blindness, shelving theologians too "innovative", stubbornness, manipulation, all accumulates to continue to let the Bible in its matrix of darkness , contradictions and errors.

errors that may affect both the meaning of any passage that the veracity of award of any other book in the Old or New Testament.

believer but I remain detached from any form of membership in churches and contained dogmatic about their traditions! Surely one of the keys to this inertia of theological thought: "Tradition", which finally prevailed on the Truth, the "Ritual", which as in certain mental illness, outweighs the simple movements of life.

El Greco - Christ

But if we pose the idea that God exists, how can we imagine it away from any reason, any clarity, falling into all forms of discrimination, hatred or fanciful condemnations, advocating a scheme of hierarchical society and simplistic "man-woman" which not give any account of the plurality of human sensitivity and diversity of his own creation.

These men of the Church they serve God through him or their own fears and their own aggression before the world? This could explain their vision so narrow and snarling all variants of love on earth ...

Should we not stop urgently to paint God through human carriers of selfishness and death?

's book Patrick Negrier "Against Homophobia, homosexuality in the Bible", published Cartridge , is among the rare books that feed an in-depth on biblical texts and their true meaning. Those who prefer the Tradition to Truth will be horrified to see that their vision of hatred and disgust turned to dust under the tools of the researcher as an "archaeologist" emerges, cleans and restores the words, situations , myths, rituals, customs and practices which were used in the crucible of the Bible, through the ancient civilizations of the Middle East. In a word Negrier Patrick did an excellent job of exegesis!

thank the tremendous work that allows us to have another approach to biblical texts and saw another light as possible to that of a God of compassion and love.

I'll let you discover the different notes that Patrick Negrier has kindly sent me by allowing me publish them on my blog, because it is part of researchers, rare and perfectionists, who extend their thinking long after the publication of their book.

JLG

(see my previous article on the book Patrick Negrier ).

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P de Champaigne - Elie sleep

Corrigenda and supplements

my book Against Homophobia

by Patrick Negrier

Despite that the literary model of the Egyptian episode biblical murder of Abel by Cain contained an element homosexual, I can not see today the persistence of this theme of homosexuality in the biblical version of the episode's murder Abel by his brother Cain, who murder should be attributed solely to the economic and political jealousy of Cain against Abel whose enrichment in the eyes of the clan was reason enough to forget the devolution of the function of traditional clan leader's son older (ie Cain), and to confer this function on or chieftain rich (ie Abel) therefore more able to nurture and protect the clan despite his mere status of younger son.

G Dupre - Cain

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Gen. 26.1 to 31 shows how Isaac, having recalled that Abimelech king of the Philistines, had not attacked when Isaac had lied publicly trying to convince the Philistines Rebecca (his wife) was his sister, swore in fair return Abimelech that he did not assault despite homosexuality practiced by Abimelek with the head of his army Pikoli (Gen. 21,22) and then with his friend Ahouzzat (Gen. 26:26). That in many sexualities reciprocity between Otherness: Thou shalt love thy neighbor as thyself (Lev. 19:18).

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noted as a significant feature of moral psychology bisexuality when Judah found himself without a wife (or as a young man or as a widower), he exercised with his sexuality a man Hirah whose name means "the white" (Gen. 38,1.12).

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Christians and Jewish fundamentalists seize, abruptly verses from Leviticus. 18:22 and Lev. 20.13 to condemn male homosexuality. But in doing so, they mistakenly believe that the Bible is a simple book outlining a single thought, while it is instead a veritable library of different authors, defending opposing interests, and consequently expressing views otherwise. It is this great lesson comparative literature teaches us that the study of the Pentateuch, the collection of the first five books of the Bible. After the Genesis is the book of the major principles, the following four books deal with similar themes, but by offering everyone about every topic of divergent and conflicting views. The study compared four last books of the Pentateuch shows that Exodus was written by the leader of the people by Moses and the judges who seconded him in his office of judge; that Leviticus was written by priests aaronides; the Book of Numbers was written by spiritual teachers (prophets moralists outside the path of the rite), and finally that Deuteronomy was written by the prophets policies (which are the path of rituals). Now if the theme of homosexuality, we compare the respective positions of the authors of these four books of different socio-cultural origins, we find:

a) Exodus (book of policies) is not interested in prohibiting homosexuality and sexuality that adultery (Ex 20,14);

b) Leviticus (book of priests) condemns homosexuality only masculine

c) that the book of Numbers (book of spiritual masters) criticizes the Moabites, is homophobic wagons (Num. 21.26 to 30, 22-24);

d) and finally the book Deuteronomy (book of political prophets) only: one in Deut. 22.5 to prohibit wartime Jewish soldiers to defeat the enemy by using the strategy is to wear clothes of the opposite sex to better attract the enemy to put to death more easily, and secondly in Deut. 23.18 to 19 to forbid Jews to practice their own sacred male prostitution (Academic), the fact that this text prohibits the Israelites who have given up paying a prostitute abroad instead pay that sum to the treasury of the temple showing clear that the Israelite men practiced homosexuality as the only foreign customers of prostitutes. It appears this analysis as homophobia, ignored by authors of Exodus, Numbers and Deuteronomy, was that the mere fact of priests authors of Leviticus. This raises our question: why was not she homophobia in Israel the fact that only priests authors of Leviticus?

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beginning of an answer to this question appears in the fact that Leviticus only condemns male homosexuality and not female homosexuality which the Bible Yet in Genesis provides a first example in the person of Dinah (Gen. 34.1). If the priests of Leviticus attempted to prohibit male homosexuality but not female homosexuality, so it had a problem not with homosexuality per se but only with the homosexuality practiced by men, the female homosexuality is their apparently completely indifferent. Now, as the authors of Leviticus priests were only men, so we have to conclude that it is through jealousy that priests authors of Leviticus censored male homosexuality while losing interest in female homosexuality that they bore no shading (indeed the Israelite women were unfairly excluded from the exercise of the priesthood by the dominant macho men priests of the time, and represented therefore not rivals for the men priests). How male homosexuality was shadowing it to the priests of Leviticus authors who were all men? The reason is simple: the priests were forced to marry a woman to have at least one child to whom they should send their hereditary priest. It appears that if men Levitical priests authors censured Israel homosexuals (not gay) because they were jealous of those lay homosexuals who are not priests, were not forced to marry a woman, and therefore could thus freely practice homosexuality, freedom was precisely forbidden to priests forced to marry and be faithful to their wives, adultery is forbidden in the Decalogue of Exodus. It is clear from this analysis that homophobia priests authors of Leviticus had first as a cause a spring psycho-moral jealousy (see for example like in Numb. 25.10, the evocation of "jealousy" murderous priest Pinhas - "mouth of a serpent" - about the union a Jew with a Madyan).

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Second part of the answer: Lev. 18.1 and Lev. 20.1 exhibit homophobia (among other items) as a word of YHVH to Moses gold this is false because when we consult the Exodus written by Moses, we do not find any expressions of homophobia.

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Third response element: Lev. This 18.1-5 male homosexuality (among other items) as a practice whose Egyptian and Canaanite son of Israel worshiping the god YHVH must differentiate themselves: and such a blend is wrong for two reasons. First the authors of Leviticus priests wanted the Israelites differentiate their practices of worship Egyptian and Canaanite, but this is a contradiction because all those who have thoroughly studied the cultures of Egypt, Mesopotamia Elamite and know that these are the matrices of direct Yahwist religion of the Jews (Ps. 87.4). And then present homosexuality as an expression of Egyptian and Canaanite cultures is an aberration because homosexuality is a fact of nature as possible expressions of the sensitivity of sexual and emotional human universal, is totally transcendent (ie, ie foreign) to ethnic and cultural representations of the various countries of the world, and that is why there is and always will be homosexuals in all countries regardless of their cultures.

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Fourth response element: the degree of orthodoxy of the book of Leviticus was minor because the authors had wrongly allowed to add items to the right of canon law in Israel was limited to "ten words" of the Decalogue (Ex 34.28; Deut. 4.13, 10.4), and two verses of the Pentateuch had absolutely wanted to remind the authors of Leviticus that priests were forbidden " add 'articles entitled to these "ten commandments" (Deut. 5.22, an expression of political prophets; Numb. 11.25, expression of the spiritual masters). Or by adding the number of legal publications (such as homophobic verses in Leviticus. 18:22 and Lev. 20:13) to the Decalogue, the authors of Leviticus have betrayed them, despite the unorthodox nature of their writing, and therefore not Orthodox, homophobic articles of Leviticus should not be taken into account but instead be discarded without any concession as non-Orthodox.

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The problem of the legal obligation for male priests authors of Leviticus, to marry a woman, was treated in Jug. 19 which shows a hand with a striking example of how a homosexual overcomes the Levite Leviticus prohibited. 18.22 and Lev. 20.13 a lesbian taking a concubine in order to impersonate the eyes of public opinion for a so-called heterosexual, which does not preclude also secretly having sex with his own servant, and finally deliver his concubine to ruthless violent xenophobic Give'ah people who end up killing her. This Haggada ("legendary story instructive") was there a response from the authors of the book of Judges (prophets policies) to show all the tribes of Israel and especially to the tribe of Levi unconscious envious (author of the homophobic Leviticus) that the requirements of Leviticus. 18:22 and Lev. 20.13 were criminal since they resulted in a deadly civil war in Israel.

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Chagall - Noemie

2.1 Ruth teaches us that the husband of Noemi "knew" (MYD ') a man. Now that the verbal form MYD 'is not vocalized indicates that this "knowledge" was not speakable, we should not talk about it, imagine what this man was at least bisexual. Or conversely the disastrous example of Jug. 19, Ruth 2.1 shows clearly that a homosexual or bisexual may make sense of moral authority, to overcome his bisexuality personal nature to exercise its right to charitably goel (right of redemption was not mandatory but only morally Recommended Gen. 38; Ruth) to yield offspring remained a widow without children, in this case the Moabite Ruth (familialistic homophobic at that!).

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Note that whenever a biblical author criticizes the typical people of Sodom (figure of xenophobic and homophobic violence) and Moab (the figure familialist homophobic), it is critical of homophobia. Examples of criticisms leveled against these two types of homophobic: Ex 15.15; Deut. 2.9 to 19, 23.4-7, 29.22, 32.32 (observant and perceptive reader will not fail to note a contrario that Leviticus contains no criticism of Sodom and Moab, which he shared ideology homophobic).

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In my book Against Homophobia, the chapter title "Homosexuality teaching" should more accurately be replaced by "The pedagogy from to homosexual "as if the prophets Elijah and Elisha physically united but modestly to a homosexual emotionally isolated and immersed in a kind of neurotic distress to save his life, it is not because these two prophets were homosexuals is indeed a rescuer can perform a mouth mouth on a person of his own sex to revive her without being himself homosexual.

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The prophet Habakkuk in Hab. 2.15 criticizes homosexuality hedonistic voyeurs.

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In my book the subtitle "Homosexuality teaching practiced by Jesus" should be replaced by Jesus and the transformation of the educational homosensualité.

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5.1 to 20 Mc's episode takes place in the city of gerahs, Decapolis city inhabited by ultra-Orthodox Jews (I Mac. 13 Mac and II. 10) for most anti-gay ideology in accordance with homophobic Leviticus (expression of the extreme right of the time) but nevertheless has dominated - 63 by the Romans who must necessarily temper the enthusiasm of these Ultra-Orthodox Jews of Decapolis. In this episode the demon refused to leave the Roman Decapolis where homosexuality was regulated, so it was a gay barely reached by the homophobia of Jewish ultra-orthodox Decapolis since they were subject to political power and morality who accepted Roman homosexuality in regulation. But what kind of gay was he here? He refuses to remain attached to strings that made him a slave. Yet according to Roman mores slaves were used as passive sexual objects by the Romans. We must therefore conclude that if the demon refused her a slave, because, refusing to be used as a passive sex object by the Romans, it was a practicing homosexual.

*

In Mk 7:31-37 Jesus of Nazareth healed a gay social homophobia. Indeed, Jesus put his fingers in the ears of the deaf-mute, with his mouth and then spitting it touched his tongue, he could not do that with his own language as he had already put his fingers in the ears of deaf-mute. In other words Jesus kissed her on the mouth a deaf-mute to cure his deafness and difficulty speaking. Why this person was he a deaf-mute? The answer to this question is simple : The action takes place in Decapolis where the Maccabees had installed ultra-Orthodox Jewish supporters such as the ideology of Leviticus including homophobic (I Mac. 13-14). It appears that it is homophobia social Decapolis Jews who had made this individual deaf and stuttering, and that the educational intervention homosensualité (exclusively oral and therefore sexually continent, that is to say chaste) practiced by Jesus on the deaf-mute who, by providing a first experience homosensualité this individual, the liberation of social status of homosexual made sourdbègue by homophobia social ultra-Orthodox Jews of Decapolis.

*

The fact that the nazir Jesus of Nazareth, his dedication to YHVH doomed to a state of sexual abstinence (Num. 6.1 - 21), ie chastity, has charitably "loved" the apostle John at the point of accepting the latter, who was apparently sensitive homosensuelle rests on his chest, does not mean that Jesus shared this sensitivity but only as son of a man open to the understanding of everyone and everything, he felt it was his moral duty not to reject an apostle of his affection than other men did not like because of its sensitivity sexual minority.

*

In Jn 13,23.25 21.20 and the apostle John spills onto the torso of Jesus of Nazareth who was a Nazarite, that is to say a man "devoted" to YHVH and therefore living chastely in sexual continence. John spoke of the friendship that Jesus was using two verbs : Egap (Jn 13.23, 19.26, 21,7.20) and ephilei (Jn 20:2). Egap refers to a moral relationship of love (like that of master and disciple), however, that ephilei (term used by Mary Magdalene to appoint his personal perception of subjective and therefore the relationship between Jesus and John) refers to an emotional relationship, between sentimental alter-ego who understand and accept each other. If John has described himself as a disciple whom Jesus loved, a friendship both charitable (Jn 19:26 resumed the vocabulary used in Tob family adoption. 8.21 and 11.17 on the heterosexual couples) and affective (point subjective view of perhaps envious Mary Magdalene) was to serve as a negative contrast has himself John was loved by others in general or the moral of charity or the emotional feelings (he was so hated). There would be here to wonder why John, "loved" the only charitably Jesus was loved by others in general or in terms of charity or to plan a comprehensive condition.

*

Erastus (Greek figure typical Practitioner's teaching on homosexuality), auxiliary Paul (Acts 19,22), but located between by Paul Tertius ("Third") and Quartus ("fourth") was well regarded by Paul as a simple zero (Rom . 16.22 to 23) despite its useful role as treasurer of the Church of Corinth. This only confirms the malicious homophobic and frankly uncharitable Paul.

*

G Reni - Peter and Paul

When in II Peter 3.15 to 16 the chief Apostle Simon Peter critically dusnoeta tina ("a few things misunderstood") contained in the epistles of Paul, he calls on Christians to show the patience of Jesus Christ which Paul spoke in his letters. Now if we have the curiosity to see the letters in which Paul speaks specifically of the patience of Jesus Christ, we note with dismay that three of these passages related to homosexuality censored by Paul makrothumia (I Rom. 2.4; Tim. 1.16) and "suffer injustice" (I Cor. 6.7). Moreover, it is even more striking that in his letter where Simon Peter urged Christians to "wait" in imitation of Jesus of Nazareth, he treated precisely in II Peter 2.6-10's episode of Sodom, remember, was a city of xenophobic and homophobic violence. It appears that when Simon Peter urged Christians to be patient as Jesus Christ face to passages where Paul spoke of this patience in connection with its own censorship of homosexuality, Simon-Pierre de facto invited Christians to imitate Jesus of Nazareth by him as proof of patience with these dusnoeta tina ("things misunderstood") by Paul on homosexuality. Thus it appears that Simon-Pierre politely but firmly opposed to the passages where Paul spoke of homosexuality without understanding.

Patrick Negrier, summer solstice 2010.

Captain Morgan Best With

What about " Data journalism "? We talk on France Culture ...

L e journalism is primarily a matter of flesh and narrative. It is an imperfect and subjective human science that lends itself easily to any attempt to streamline computer ... That's what I tried to explain this Sunday, Nov. 14 broadcast on France Culture where I ais invited to discuss the "data-journalism" by Xavier Delaporte , the producer of the excellent Place of issue online. Around the micro facing me (?), And two young However brightest of the famous "Data journalism" Caroline Goulard of ActuVisu and Nicolas Kayser-Bril Site Owni . Together we kindly redid the game initiated a discussion on this blog.

Since c e ticket a little controversy where I wondered about the relevance of this new technique of presenting information in visual form exclusively, I figure great critic of the famous " Data journalism. " Because I still believe and always a beautiful pen is much better than all the Excel tables to tell the world with the real pieces of humanity within. And I also believe that the reader is still able to read 5000 characters or more, if he tells a story of his time. I do not agree with those who think "a picture is worth a thousand words" or who believe that " hypercommentaires in a world of true mediation of reality is through the data" ( as wrote Nicolas Vambremeersch in an article published by Slate ). But I'm not quite blunt: with the dematerialization of information on all digital screens, the data- journalism is a real plus for understanding and analysis of the news in the making when he combines the talents of journalist, the statistician, a computer graphics designer and programmer to create beautiful interactive and animated graphics in the service drive on a PC, smartphone or iPad. We'll have more work to "pool". newsrooms will have to form this new technique is to collect masses of complex data (numbers, statistics, annual reports ...) to extract relevant information before presenting it in for I am very visual, educational and sometimes entertaining. In the words of Caroline Goulard, "the data-journalism can better understand the world" . It will contribute to making "fine media" online. That is obvious. But I am convinced that should not confuse the essential - the journalism - and the illustration bears the narrative . The actual mediation of reality by the journalist will always by word, writing, narrative, analysis, put into perspective and commentary. Without this the picture does not say anything or deceive the viewer. " virtual image is the machine that sees, feels for you and your liquid assets as being in favor of a passive " , wrote Paul Virilio.

But finally, at the end of the debate, we tend to agree with Caroline and Nicolas.

Well, I hope we have been clear in all the three micro-France Culture to talk about this little radio. Judge for yourself by clicking on the player of the show below:

Player - France Culture

Tiberium Wars Install Interupted

Gone With our images ...

"Death of a Republican soldier", photo taken by Robert Capa September 5, 1936

R obert Capa seizing the moment when the ball broke a Franco English Republican militiaman, Cerro Muriano somewhere on the front of Andalusia. I always loved this picture. First, because it is one of the best photos ever taken by a war reporter. I also love what it stands for political and prophetic: hope and freedom murdered by fascism in 1936 in cowardly indifference of the great Western democracies. I love last but not least because eye of the photographer was able to capture and transmit to us miraculously * this life halved , a tiny fragment of personal history ground in the great cauldron of the Story being done.

Can we still make today a photo with this unique symbolic power at the time of the overdose of dematerialized images crashing on all the screens of our lives? By dint of blow to trivialize mpx multiplied to infinity and gigabytes stored on our hard drives, digital civilization Is killing photography in the sense that they could hear from his "invention" by Niépce in 1826? Because I was wondering the other day when leaving the beautiful expo Larry Clark, one of the few photographer and film director to have captured the ephemeral eternal adolescence ( about this see this post from my colleague Capucine Cousin and it on the blog of Diana's news with a magnifying glass). And I asked myself the same question last night when leaving the cinema. seen "The man who wanted to live his life," or how a Romain Duris fugitive kills the winner digital it became an attempt to return to life through the viewfinder of an old Nikon that reveals himself as in a silver bath ...

Photo by Larry Clark exhibition "Kiss the Pass Hello"

Etymologically, it photography the art of representing the real image "light writing" . I'm not sure today that we write the light exiting at every turn our compact digital cameras, smartphones and even our reflex to take our pictures insignificant on the fly, burst, then post them on Facebook. ;
At the time of the film, we had especially the illusion of capturing the moment , steal a millisecond in time that passes, to capture a fragment of humanity in time T. Take a picture was even a ceremonial . Dabord one must be sure of his shot: a film = 24 or 36 exposures. not one more. And printing cost candy. Then choose the focal length in a jiffy to give more or less of field, set the aperture according to the light, choose your shutter speed to freeze or not ... I'm moving my teeth amateur photographer on the Praktica my father ... a rugged, accurate and rustic manufactured in Dresden, then in East Germany. Then there was this tremendous Olympus OM-10 and its optical Zuiko for my 18 years. A concentrate of Japanese technology, the smallest SLR in the year 1984. I still have it. In the picture the draw, he had to give it time. Bring his film to be developed to get his prints. Or do so-even in the magic of the darkroom.

I remember as a child complicit in those hours spent with my father, this hero, under the red light, the only tolerated in these places. It was more ceremonial, but religion. There was first bombing of the enlarger light to fix the negative image on white paper. It was then soaked in a bath of the draw ... and then revealing miracle at the end of the clip, you saw the image miraculously appear on paper as a Badge reward method and patience it took to get there, the snapshot to the revelation. Then it was the stop bath to stop the chemical reaction. And finally, bath fixer give life to the cliché. Who has not experienced this religion of silver does not know voodoo photography : I stole a moment of your life, it is worth ...

James Stewart in "Rear Window"

We took pictures to keep the memory of a space-time bubble happiness, leave a testimony of our fragile lives, pass on the family memory, witness of history in the making ... quick smile at life and say shit to death.

I combine the past because things have changed since the advent of the digital civilization. The more than century-old company Eastman Kodak dropped the money not disappear. ; His British counterpart Ilford has stopped producing these films black and white 400 ASA were glad of my father. SLRs are no longer that pretty mechanical noise which triggered the shutter curtain ... unless you program them to mimic the past.
Take not one, but ten but a hundred photos without thinking . Transmit them in seconds with a digital camera or a smartphone on a computer screen, a tablet or a television. Scroll lazily from hundreds of pictures stored on your PC, check what we like, touch the plate as a surgeon photoshop image, broadcast a drunken one-night holiday memory or a network with a click and forget it immediately. There are so many possible and available images that we do more photography.

No magic at the click Digital. On a hundred shots taken at haphazard, chance will make things right. It will remain a good ten publishable on Facebook or Twitter ... Why bother to frame? Worry about the cons-day or head that is about you? The camera will automatically correct exposure and occur only if we smiled. France has more than 50 million telephones, most with a digital lens 5-8 megapixels. And almost as many compact digital cameras or SLR. We take each year billions of pictures. Show anything to show, to pose, but what is he? What is their life beyond the fun of the moment? We see them again once distributed or stored? Almost never. It takes new, be amazed, and yet still consume more images. Where are the photo albums that we had fun or nostalgia to open, alone or with family? It no longer made, no time. printing while keeping power, the illusion of eternity lurking in the depths of a hard drive, external drive or a USB key. At the risk of any mention of losing his memory and not to build the story of a family, nation, humanity as Emmanuel Hoog recalled recently in his essay "Memory Year Zero".

Photo Larry Clark on the set of "Wassup Rockers"

photograph So do we still? I wonder. "If the photography expressed the industrial society of the nineteenth century, with its desire to capture his life mechanically, digital photography and truly belongs property to a new society of the twenty-first century, first crossed by his desire to appear " meets the historian of photography Andre Rouille. short Yes and no. The modern objective the facilitation of photography , the fluidity of the scanned image taken and distributed in two clicks, saving time and democratization of the hobby. I do not say no. Even Larry Clark cited above began to shoot digital and film the young Latino punk-Skatters Wassup Rockers images in saturated couleur.Photographes professionals, artists, paparazzi, reporters, war ... everyone there is set. For my part, I myself am a convert now nearly ten years with the advent of digital cameras. A decade that Olylmpus OM-10 and Canon EOS-500 who succeeded him sleep in a closet. But they will resume service. I do not know why less time is radiant, it is less hopeful, the more I want to write the light on reality.
Jean-Christophe Féraud

* It is debate about the authenticity of this picture taken September 5, 1936 by Robert Capa and published in the wake of the French magazine "VU". Some say it is a staged propaganda for the English Republican cause. Other than the policeman took the pose when he was hit by a bullet, Capa's fault really. In reality , the photo is probably authentic. Other war reporters succeed "exploit" to seize this moment where the war takes its due from the Russian front in the war Vietnam, through the Normandy invasion. Robert Capa will leave him as his life, walking on a mine in Tonkin, May 25, 1954, in the last days of French Indochina. But no other photographer was present to memorialize his death in witness.