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Publishers online and owners: Peter Tase and Sabahudin Hadžialić, Whitefish Bay, WI, United States of America MI OBJEDINJUJEMO RAZLIČITOSTI... WE ARE UNIFYING DIVERSITIES |
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DIOGEN pro kultura magazin vam predstavlja...
DIOGEN pro culture magazine presents to you
DIOGEN pro culture ART FILM
A Blue Bird...Plava Ptica
A Blue Bird represents a journey towards experimentation in art, towards a contemporary dialogue between different points of visual sound perception. The same bird witness, always migrating, always creating a link between the diversity of sound cultures.
A Blue Bird is an audio-visual experience that ranges between documentary, Art-Film and a sound experiment. The music composed for this project is of experimental and minimalist character.
The project is divided into seven chapters and a visual prologue. This transforms the project to an acoustic story. A visual journey to a new sound.
A Blue Bird was filmed in Kaarli Church in Tallinn, Estonia, with the participation of artists from Estonia, Hungary and Argentina. The length of the project is 42:28 minutes. The project will be presented in film festivals and sound art festivals around the world.
“A Blue Bird” (2012)
Directed by Sebastian Wesman
Management Anneli Kõressaar
A Blue Bird is an audio-visual experience that ranges between documentary, Art-Film and a sound experiment. The music composed for this project is of experimental and minimalist character.
The project is divided into seven chapters and a visual prologue. This transforms the project to an acoustic story. A visual journey to a new sound.
A Blue Bird was filmed in Kaarli Church in Tallinn, Estonia, with the participation of artists from Estonia, Hungary and Argentina. The length of the project is 42:28 minutes. The project will be presented in film festivals and sound art festivals around the world.
“A Blue Bird” (2012)
Directed by Sebastian Wesman
Management Anneli Kõressaar
VILLA AMIRA, Street Ante Starčevića 33,
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LP vinyl sell from Bosnia and Herzegovinahttp://lpvinyl.weebly.com/
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Krešendo jednočinka
Početak iritantan, provokativan, blagosti stremi. Najavi otisnutih namjera. Unutar bogomolje. Potraga za identitetom. Tišine. U muzici. Kao da je pred nama priča o Čovjeku-Bogu, odnosno Bogu- Čovjeku. Osobi koja muzikom istražuje nutrinu sopstvenih interesa, koketirajući sa tonalitetima sudbine. Ne samo svoje. I, iznenada, ritmom najave, svjetlost kamere obasjava nutrinu vaseljene u kojoj osobnost se traži. Pokreti kamere, uz podrhtavanje dodira prstiju koji kreaciju svode na mimikriju nade, prikazuje dijelove bića. U muzici, koja isprepliće etno refleksije sa bahanalijama svakodnevnice. Radosno trepereći, unutar kolosalnih svjetionika pretpostavki činjenja, na crvenom tepihu, oprostite, putu, violinista razgovara sa sobom. Nutrinom. U prostoru traženja. Sebe, interesa, identiteta. Da, množine! Kao predstavnik nas, ovdašnjih. Dubina slike filmom optočene ovdje je da pretpostavi entitet crne odore autora samog, bljesku mogućih trvenja činjenja. Nezahvalno je porediti muziku i prostor, dok flešovi isprekidanih namjera nadahnuća pokušavaju zatomiti nadu. Kao da vapi, trga, i pokušava izaći sama svjetlost duha. Na površinu dijeljenja. Dobra. Čak i nemarno očešljana kosa uz neobrijanu, četiri dana staru, bradu umjetnika u fokusu, poruku šalje dok svjetlost u pozadini budi. Muzikom topline, blagosti izraza. Contradictio in adiecto? Ne, upravo mudrost opstanka isprepletenog etniciteta, glasno zrijući vapajima ljudskoga lika. Perfomans ljudskoga glasa je ovdje jauk nadanja. Želja za opstankom. Zaustavivši se na kraju. Mudrosti. Ne samo svoje. Različitost tonaliteta modernog čovjeka u susretu sa arhetipskim oblicima svijesti budi u meni varijacije na temu „mehaničke ptice“ u susretu sa „limenim vojnikom“: Bosna (i Hercegovina) 2020[1] (iz digitalnog dnevnika limenog vojnika) ONI NE lažu Jer nemaju kome Više lagati! ... ONI SE NE kriju Jer sebe nemaju OD Koga Kriti! ... ONI NE žive Jer nemaju zbog Koga živjeti! ... ONI Su Sodoma i gomora naših VIZIJA, pretpostavki i nadanja. Sada.“ Pred nama je vapaj čovjeka koji dubinu mraka želi zamijeniti svjetlošću nade. Mučninu neviđenja i mutnih vizija, jasnoćom zrijenja. Ljudskoga. Sebe. Kao da su pred nama slike raspadajućih filmova braće Lumiere, ali i otrcanih mudrosti. I, odjednom, na mjestu onoga koji poruku šalje, mijenjajući posrednika između boga i čovjeka, ali i vice versa, muzika odgovora se budi. Kakva? Ona koju šalje odsjaj jauka bića. Čovječanstvu usmjerenog. Grijehove ispirajući kao pronađeno zlato u potoku tuge. I dok kroz prste odlazi sva trulež bića, na dlanovima ostaje zlatni prah nade. Poetike filma u muzici, ili obrnuto. Svejedno je. Zaista! Najmanje je to, u ovom trenutku, važno. Jer, svijeće tinjaju muzikom opijene, na mjestima odlazećih grubosti i dolazećih milosti. Iako ponekad, samo naizgled, nesuvisli, pred nama se otvaraju tonovi objedinjavanja muzike i slike...filmovane stvarnosti. Ne samo svoje. Zamišljajući planine, on nameće uzuse potrage. Ponovo! Za smislom. U ritmu mogućih alternativa. Upravo ritmom. A šta je to alternativa ritmu? Oh, teatar apsurda Beketu teži dok Jonesque se smješi. Mozart dolazi dok Weismann opstaje. U borbi za cilj mudrosti - sveobuhvatnu dobrotu. Mozaik opstojnosti kreirajući, pogled tone i ponovo se diže, boreći se sa mrakom nesuvislosti upravo ljudskoga grijeha. Kamera prostor osvaja dok muzika, kao leptir što svjetlosti teži, nestaje u mraku sadašnjosti. Budeći se u drugom vremenu i prostoru. Glasno uzdišući tonalitetima sudbine. I ponovo je pred nama violinista. On, koji teži, želi, moli. Ritmom, prije svega, ljubavi...žestoke, pronicljive, iskrene ljubavi. Krešendo jednočinka se ovdje, i sada, pred nama, pretvara u monolit iskaza, vjerovatnost opstanka i nadu stremljenja. Glasovi nutrine postaju vanjština interpretacije dok reski tonovi violine istinu vabe. Kamera miruje, hipnotizirana mnoštvom jednog čovjeka. I nestaje u mraku, budeći se laganim pokretima smisla. Mijenjajući pozicije, autor muzikom opstaje. U molitvi. Žrtvom postaje i muzika sama. Šaljući poruku kako i ona nije ništa drugo do spremnost bića ovdašnjeg da sopstvenom žrtvom pomogne nama. U pronalaženju odgovora. Na oprost grijeha. O apsurdu, o mores! Nije li pronalaženje odgovora pitanje samo? Ako smo sudbinski povezani u grijehu, zbog čega i u oprostu ne bi bili? Bez obzira koje vjere, rase i/ili porijekla bili? Jedan je Bog. Zovemo ga samo na drugačiji način. Istovjetnosti težeći. Plavoj ptici stremeći unutar crno-bijele krešendo jednočinke. Ili mi se to samo čini? Sabahudin Hadžialić gl.i odg.urednik [1] Sarajevo, BiH, 24.7.2009.g. (autor S.H.) 
Sebastian Wesman
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Crescendo act play
Start irritates, provocative, aspires towards gentleness. To the announcement of imprinted intentions. Inside the place of worship. The search for identity. Of silence. Within the music. Such like that we have a story about a Man-God, or God-Man, in front of us. Person who explores music inside inwards of his own interests, flirting with tonalities of destiny. Not just his own. And, suddenly, through the pace of announcements, the light of camera shines on inwards of the Universe in which personality is required for. Movement of the camera, through the touch of fingers which flutter down the creation to mimicry of hope, is showing pieces of the being. Within the music, which interweaves ethno reflections with bacchanalia of everyday life. Joyfully flickering, within the assumptions of committing a colossal lighthouse, on the red carpet, sorry, the path, violinists talk with himself. with his inwards. Within the searching space. Of himself, his interests, identity of his own. Yes, of the plural! As a representative of us, local ones. Depth of the image - encrusted with the film is here to assume an entity of the black uniform of author himself, through flashes of potential friction acts. Ungrateful is to compare music and space, while flushes of broken intentions of inspirations are trying to jugulate the hope. As if he cries, plucks, and trying to get out on surface as the spirit of light itself. On the surface of the hands. Of the Good one. Even casually coiffed hair with unshaven, four days old, beard of the artist in focus, sends the message while the light in the background of the act awakening. Of the music of warmth, tenderness of expression. Contradictio in adiecto? No, just, exactly, the wisdom of survival of the interlaced ethnicity, aged loudly through the cries of the human figure. A performance of the human voice is here a cry of hope. The desire for survival. Stopping at the end. Of the wisdom. Not just of his own. Diversity of the tonalities of modern man encountering with the archetypal forms of consciousness awakens in me variations on the theme of "mechanical bird" in the encounter with the "tin soldier": Bosnia (and Herzegovina) 2020 [1] (from the digital diary of tin soldier) They do not have to lie because they do not have anybody to lie to.... ... They do not have to hide because they do not have to hide at all any more... .... They do not have to live because they do not have to live for anybody .... They are Sodom and Gomorrah of our visions, presumptions and hopes. ... Now!" In front of us is the cry of a man who wants to replace the depth of the dark with the light of hope. Nausea of not-doing nausea of blurred vision, clarity of aged. Human one. Of himself. As if there is, in front of us, the pictures of rotting Lumière brothers films, but also hackneyed wisdom. And, suddenly, at the site of the one who sends the message, through changing the mediator between God and Man, and vice versa, the answering music is awakening. What kind? The one which sends glows of the screaming creatures. Directed towards humanity. Syringing the sins as the found gold in the stream of sorrow. While, through the fingers, goes all the rot of the being, on the palms remains the gold dust of the hope. Poetics of film in music, or vice versa. It does not matter. Indeed! At least it is, at this point, important. Because candles are smoldering intoxicated with the music, on the places of outgoing roughness and incoming grace. Although sometimes, just seemingly, discursive, in front of us opens the tones of merging of the music and images ... the filmed reality. Not just his own. Imagining the mountains, he imposes, as particular, elements of pursuit. Again! For the meaning. Within the rhythm of the possible alternatives. With exactly that rhythm. And what is an alternative to the rhythm? Oh, theater of the absurd strives towards Beckett while Jonesque is smiling. Mozart is coming while Weismann is surviving. In the battle for the goal of wisdom - Comprehensive goodness. Creating a mosaic of existence, view sinks and rises again, fighting with the discursive darkness of human sin, just. The camera ia capturing the space while the music, as a butterfly who tends towards the light, disappearing into the darkness of the present. Waking up in a different time and place. Loudly sighing with the tones of fate. And again in front of us is violinist. He who seeks, wants, prays. Through rhythm, above all, of love... fierce, insightful, honest love. Crescendo act play here, and now, in front of is transferring into a monolith of testimony, the likelihood of survival and hope of aspirations. Voices of inwards becomes the exterior of interpretation while sour tones of a violin are alluring for the truth. The camera stands quietly, hypnotized with the abundance of one person. And disappears into the darkness, waking through the weightless movements of the sense. Changing the positions, the author survives through the music. In prayer. Victim becomes the music itself. Sending the message that the music is nothing more than willingness of the local being to sacrifice his own immolation to help us. In finding answers. For the forgiveness of sins. Oh absurdity, oh mores! Is not it just finding the answer the question itself? If we are fatefully linked within the sin, why would not be linked within forgiveness as well? No matter which religion, race and / or provenance we are? God is one. We call Him just in a different way. Striving for sameness. Blue bird inside Aspiring towards the Blue Bird within black-and-white crescendo act play. Or perhaps it just seems like that? Sabahudin Hadzialic Editor in chief DIOGEN pro culture magazine [1] Sarajevo, Bosnia, 24.7.2009.g. (Author S.H.) |
| crescendo_act_play...sabahudin_hadzialic_about_a_blue_bird_of_sebastian_wesman..27.9.2012..pdf |
| kresendo_jednocinka...sabahudin_hadzialic_o_plavoj_ptici_sebastiana_wesmana_27.9.2012.pdf |
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Odabrani dijelovi filma i još ponešto...Selected parts of the movie and something else
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Copyright © 2015 Peter Tase & Sabahudin Hadžialić
Design: Sabi / Autors & Sabahudin Hadžialić. Design LOGO - Stevo Basara.
Freelance gl. i odg. urednik od / Freelance Editor in chief as of 2009: Sabahudin Hadžialić
All Rights Reserved. Publishers and owners: Peter Tase & Sabahudin Hadžialić
Whitefish Bay, WI, United States of America
Diogen pro kultura magazin (Online)
ISSN 2296-0929
Diogen pro kultura magazin (Print)
ISSN 2296-0937
Library of Congress USA / Biblioteka - Knjižnica Kongresa SAD
Contact Editorial board E-mail: [email protected];
Narudžbe/Order: http://www.diogenpro.com/diogen-all-in-one.html
Pošta/Mail USA: Peter Tase, 5023 NORTH BERKELEY BLVD. WHITEFISH BAY, WI, 53217, USA
Pošta/Mail BiH: Sabahudin Hadžialić, Grbavička 32, 71000 Sarajevo i/ili Dr. Wagner 18/II, 70230 Bugojno, Bosna i Hercegovina
Design: Sabi / Autors & Sabahudin Hadžialić. Design LOGO - Stevo Basara.
Freelance gl. i odg. urednik od / Freelance Editor in chief as of 2009: Sabahudin Hadžialić
All Rights Reserved. Publishers and owners: Peter Tase & Sabahudin Hadžialić
Whitefish Bay, WI, United States of America
Diogen pro kultura magazin (Online)
ISSN 2296-0929
Diogen pro kultura magazin (Print)
ISSN 2296-0937
Library of Congress USA / Biblioteka - Knjižnica Kongresa SAD
Contact Editorial board E-mail: [email protected];
Narudžbe/Order: http://www.diogenpro.com/diogen-all-in-one.html
Pošta/Mail USA: Peter Tase, 5023 NORTH BERKELEY BLVD. WHITEFISH BAY, WI, 53217, USA
Pošta/Mail BiH: Sabahudin Hadžialić, Grbavička 32, 71000 Sarajevo i/ili Dr. Wagner 18/II, 70230 Bugojno, Bosna i Hercegovina