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DEFIBRILLATION

Each community, or rather the leaders of each community, they choose to identify with the values, or values \u200b\u200bthat have greater utility for survival, nutrition, and perseverance of its own constitution "physical", ie acts to maintain and continue the state of affairs. Values, like any other physical or abstract entities, are an instrument of hegemony. Values \u200b\u200bare intellectual and abstract and is transmitted through the means of spreading the concept, such as newspapers, radio, TV, records, books, cinema. Tutti "oggetti" tangibili e intangibili della trasmissione dell'educazione.

Il capitalismo e i governi "democratici" si occupano della produzione di un loro materiale, e per l'influenza dell'economia capitalistica sia sull'organizzazione e i gruppi della politica, sia sulla produzione astratta e materiale dei contenuti, operano la diffusione di un loro mondo prediletto. Il procedimento come sa bene chiunque abbia un minimo di cognizione storica, è stato graduale. Quando una trentina di anni fa i risultati della resa individualistica delle comunità "occidentali" ha dato i primi frutti vistosi, è esplosa l'insofferenza e la lotta, ma questo procedimento, come denunciava l'amato e oggi di moda Pasolini, ha radici much more distant: the war. But a more in-depth historical analysis could easily assert that the fold in a human dimension individualistic and subjective has a much broader curve, already in motion during the European revolutions and fascism, and the rise of capitalism, and sides now seem gaudy and cumbersome that they are not curved in an introspective dimension - yet the next step - the contemporary man. All this of course is reflected in the weave and how it feeds in the culture. It is clearly visible the state of affairs in the arts: psychology, life, objects, things are treated in the narratives of the person, the small entity considered in the news the facts. Challenging this state of affairs, because of the historical moment is a moment of hegemony in production, has the flavor of the lament of the defeated.

say that today there is no validity in any sense of literature is to tell a lie, but the principle applies today more than ever, so something is not visible is one thing that does not exist, we are forced to say that our eyes, the landscape is bleak. Of course, for reasons of education and stimulate the modern man is potentially more capable of implementing major reflections, complex, to have a more sophisticated and critical to the reality than in the past, but because of the shape of social relations, all this remains locked in the individual dimension, which can occur without a thorough flow of useful information, although the means are there. Anyone who wants to propose or discuss issues, propose always to a limited circle of individuals who are also a reflection of the contacts he has in the real world, plus a number of contacts unexpected "shift" in that virtual place where the discussion is proposal. The situation of those "reasons" in itself is similar to that of an embryo that is forever in its container. It is pure untapped potential.

As should now load compartments of the noble meanings of literary genres, the cages of the same gender are inherently inefficient, dictatorships of the form that prevent normal communication. The problem lies not only in form but in taste and constantly seeks, is nourished and to which it is based, which makes it unsuitable for any variant, although they are numerous. This is the case of yellow and noir. The kinds of cages are a compromise which can not be attributed to the subject if you want to conduct a literature sincere. It is a compromise that may relate to the producers and sellers, but not the souls of the literature, namely the authors.

The relationship with reality can not be secondary in contemporary literature, although the time to suggest an escape from this. The responsibility of intellectuals is great: one can not ignore or do not work for participation in the life, as in real life there is a constant work of administration of meanings in the opposite direction to the sincerity that can only be countered with reason. Unfortunately, the action on the things of life through literature is almost exclusively the texts of journalists, writers prefer to ramble in short stories from the borders and sadly related to privacy. The squalor is great.

The letters must rediscover the relationship with reality. This involves the comparison on a fundamental level, namely on the main instrument of management in contemporary reality: the use of the word. This can not be left in the hands of power or the market because it generates the word man and history.

The rediscovery of applications is also essential as a precondition of knowledge and inspiration. And knowing is a tool that enables them to act, speak, exist. Let the kings of the earth is to know and deal with suicide.

literature in the past has shown that it can touch and show things otherwise unknowable, only to witness the work of the hermetic. How can you ignore such a potential inherent in man?

Also as you can let the work, the action, the figure of people in the past becomes a myth, almost turning the consultation in prayer? This process has a religious flavor, shifts from the rational level - the natural to the intellect - to the irrational product of the mind. Contemplating excludes the discussion and makes vain any great work of human discovery. Imagine what would happen if every great scientific discovery, humanity had stopped to contemplate the figure of the man who has given birth and had not re-used that material to proceed further.

In conclusion, the new generations of writers and intellectuals should not be afraid to discuss real, they were born for this. Still too few cases of brave men who defy the word power and do not do autopsies on reality. The story goes ride not sustained.

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is coming summer, the heat ... and you want to prepare something delicious yet simple and quick to prepare ... So here is my idea ... because it's not a real recipe but simply expressed a dish using the leftovers of a roast chicken! In fact, I often buy a crispy and tasty roast chicken market and I always go a little bit ... like it again the next day? Here then is my chicken kebab ...

INGRDIENTS:

• chicken
• Arabic bread
• choice of cheese (fontina, asiago, provolone ... anything you like - a semi-soft to be able to grate!)
• salad qb
• mayonnaise to taste

Procedure:

• warmed slightly (should be warm but still remain soft!) Arab bread on a plate while
• shredded (and heat if you like) your roast chicken and the shredded cheese
• turn now to the composition of your kebab ... place the chicken on Arab bread (1 photos ) and distributed cheese (2 photos )
• past all under the grill until the cheese has' loose (picture 3 ) and supplemented by adding a few tablespoons of mayonnaise and salad ( 4 photos)

Fold the bread in two ... and enjoy!

the next recipe! :-) Roby

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DILEMMA OF CONTEMPORARY LITERATURE

That dilemma. Of course cards on its own is not a good move, nor does it appear to be a smart move to promote his own face. Yet it may be an interesting experiment to explore this world by entering the person. What a dilemma. It may be stupid excluded from the new media, a sign of backwardness, inability, manifest maladjustment. It might even be a useful tool. What a dilemma.

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Time

E 'very shy this spring. Despite this, few watery sunshine are enough to melt a little 'blood.

Sleep saturates the head, it seems impossible to rest.

For several days he had not seen the light and even the dreary night can Florentine consular waiting for a good season. Okay, the Florentine night has never been comforting, but groped escape routes is a vice.

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CYCLICALLY

In a given city X reasonably pushed two people move from hatred to a heinous decide to have nothing more to say and share, so you lay off, allowing the other to find another remedy existence.

Another departure with all the emotion they leads is mandatory. The fear of loneliness and the desire for freedom are the two main themes that inhabit the soul of the people concerned. The first, the fear, often inextricably linked to human beings. Some to quell that fear does not go beyond the first fruits of research, preferring mediocrity. The cold it is capable of an unknown city is something that can become lethal. At the same time, the game sold out, and act with due presone peace, the universe of possibilities mathematically possible to awaken a capacity of some kind of life forgotten in the drawer. The flavors now tested in many different times, in bars, night, in the sunny streets, gardens, libraries, seem to return to childhood and a virginity disappeared over time. The initial fear, if you want to live, must end within a reasonable time. It 's the same beauty of a journey, the same. "Leave or die" could be said the negative tone of dyeing each other, imitating the banal proverbs, but in this case we are discussing the fact that a loss may make you happy.

The same loneliness is capable of amazing things.

that remains is to live, trusting to the gods of spring.

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ANIMALS AND THE PRINCIPLE OF DEMOCRACY

A today is among the projects the extension of democracy and human rights the animal world? Of course we aim to extend democracy to the natual world in itself, as one unit (or rather we are more than in the past), see the measures to protect the ecosystem. But this is happening because it was necessary, because it is directly linked to our survival as a species. Few, however, very few have accepted the idea of \u200b\u200bincluding animals in the universal rights that usually are attributed to man. Not long after news of the extension by the English Parliament, of certain human rights to chimpanzees. This is a symptom: someone starts to question, perhaps initially for a principle of identification with the suffering and the existence of otherness animal.

The capture, killing, deportation, extermination, extinction, imprisonment, marketing of animals are in full-persecution of other races (in which the disputed term "race" is appropriate, but only in this ). The conditions are: species, able to communicate with intelligence, gathered in groups with food systems, with Gerace and real political organization (there are systems of power in schools for example) are persecuted. We have to do with the people, it is good that this begins to be discussed. The animal is unable to communicate with us, nor has the means to impose itself on us, otherwise their rights they would have pretended it is unthinkable that anyone who can articulate their existence is not looking for a way of escaping from a tyranny, and that in so far as is possible, is already the case. So, if man is considered so superior in his intelligence, civilization and technology, should have no problem to take responsibility to regulate its relations with the animal world as well as the natural kind.

Who has the good fortune to live with an animal, where is not in a state of moral sterility, can be achieved by allowing it to this empathy to understand how it can be neutral, for example kill and feed. Why, then, simply to believe that only your dog, cat or whatever to live their lives with such intensity as to make it (as is often heard to say) "almost human" if not "human" in a restrictive definition or at least inappropriate, if not totally out of place. Their existence in fact makes sense in itself, as beings with their own characteristics.

short, among the major issues that arise at this point in human progress, as well as human rights, as well as respect for nature and problems of living with this, should come to terms with the other beings in different and varied smart forms that populate the world. We have the resources to understand and solve the food problems, we the political intelligence to process the forms of human rights and coexistence. Why not do it, where are the reasons to the contrary? In favor of the extension of rights is a simple reason: whatever is to be able to perceive, in their receptive sense, any form of violence or has limited rights. So we must ask:

I can feel physical pain?

are able to perceive psychological suffering?

suffer from the limitations of freedom?

communicate?

They have links with one another?

And so on. The responses reflect a world, that animal, which has the right to dignity and life as that man, because it is rich, complex and intense as that which we live. In other words, they are also citizens of other life forms that populate a given geographical area.

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PHOSPHORUS

PHOTO: Former Yugoslavia on the left, 90, on the right a Nazi concentration camp

The day of remembrance.

"Manhunt in the streets of Rome.

Hunting usurper Jew living space, the Jew that impoverishes us with his greed, hunt for Jews that one day over and govern prederà our nations, segregation. "

"Jew. Stranger."

Memory, clearly and firmly despise those episodes very specific: the hunt for Jews, and his murder, the extermination of the intruder.

"He can not enter.

Hit the shops."

The memory itself is as barren as a stone monuments "to people." The story without elaboration is dead matter, because history does not come back in exactly the same forms. The executioners have the same names every year and the massacre is not called every day holocaust. The executioners are not always defeated, there are always others to us.

In fact, many of us were hunters of men.

What happened in those years? How did this happen? What happened is that something has moved from the bottom of men. The barbarism exploded and disappeared with the end of the war was only asleep. In each of us dozing on a SS ask that we shall divide every 27 January. Each of us is able to persecute, torture, kill, deport. Each of us must ask that this potential is the potential of every person.

In our streets, hatred, suspicion, desire for persecution?

In our quiet streets do not get the voices of the daily massacres, thousands of shoah flowers from Africa to the Balkans, from Chile to Lampedusa.

hunting aliens and the Holocaust?

starving peoples and the Holocaust? Yo,
effects of peacekeeping / peace are wars of the Shoah?

Everything has a price to be somewhere else in the world, so our gestures, our wealth, our peace. Enter any momentum in the world system has consequences and a state of affairs is due to the reactions avutesi or already in progress. So opening my refrigerator filled dropped a bomb on the other side of the planet, starve thousands of living beings, cruelly kill creatures. Open the refrigerator and I apply mass murder. In there there the booty, a treasure stolen. Leaving the house I go to the bar, have a coffee, chat with someone. No sniper today stopped me. With this I can also do the shopping. I turn on my car and a group of hunting lifts off. I turn on the light and a forest catches fire. I put the pan on the stove and pigs somewhere start yelling voice frighteningly similar to that of humans.

Whenever I judge another culture a phosphorous bomb explodes.

someone insists, never destroyed. Someone insists peacekeeping missions - export of civilization, democracy. But it does not seem to live among us. But it has no evidence of what he says.

L'olocausto è solo ebraico o accomuna molti popoli nel corso della storia? L'olocausto è una presenza costante nella storia e dunque nella nostra vita? L'olocausto è il prezzo da pagare per il progresso? L'olocausto è frutto di forze barbare che di tanto in tanto riaffiorano nella storia? Occorre abituarsi alla presenza di questi fatti? Stiamo rimuovendo episodi e negando la loro presenza costante, dicendo a noi stessi che non accadrà mai più? Cos'è e dov'è l'olocausto? Abbiamo abolito la schiavitù? Il colonialismo è finito? Quali uomini perseguitano altri uomini e dove? Coloro che parteciparono alle persecuzioni ebraiche erano folli? Lo fecero solo dei soldati? Perchè molti nazisti non have denied? Because many people have continued to deny the veracity of certain facts, including those who entered the death camps after the war to see with their eyes? Because what is crazy for us, atrocious, absurd, for others it was fair or right? A last question the answer is not madness, too simple, too hasty to conclude the matter.

Meanwhile, if I look out the window, I see the action of phosphorus or memory.

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HATRED OF THE STATE

If everything about the young, from their entertainment to their projects is systematically castrated, if the areas where young minds are put to the test and fervent in research are stifled, if millions of young people living on an income from hunger, have no home, and ask for "pocket money" later this month for the bills, if million young people become the main source of financial gain from the university to the areas of apprenticeship, but does not benefit from the movement of capital, which is consequently generated, if the ideas of youth are Folklore, where youth culture is imbued with immaturity , lightness, batons, not worthy of serious listening, if intelligence does not fall in the areas of youth decisions, if not the best roles and responsibility of the youth, however, if you have the courage di parlare di questa stessa gioventù come priva di ideali e di idee, come molle, assente, dispersa negli svaghi massacranti, incallitta nella bruttezza della perdizione, deperita, stanca, senza ambizioni, senza progetti, depressa, demotivata, fannullona, allora questo è odio. Io mi sento odiato dal mio stato ogni mattina in autobus diretto verso la mia immutabile condizione, e ogni sera a cena al suono di ogni parola del sottofondo dei telegiornali, e a ogni sguardo sospettoso delle pattuglie, mi sento odiato in quanto giovane quando miei coetanei mi raccontano di sfruttamento, di povertà, della sensazione di vuoto che tutto questo genera, quando sento il nulla dei discorsi dei partecipanti al potere. In tutto questo io mi sento perseguitato from my state, I feel a burden to my country .

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ricotta cannoli cream




Some time ago I did a course of pastries a few hours, but very intensive, where, among other things prepared we have taught to do these fabulous guns!

I did not think were that simple and that the end result was so satisfying!

Excellent ... as those taken in the bakery! Guaranteed!


Ingredients:

• puff pastry (preferably in rectangular format ... you will have less waste!)
  
• chantilly cream or plain custard




• sugar water to taste granulated qb


• hazelnut taste

metal cones to give shape to guns or tubes, like my ... you get with tubes 2 cannoncini alla volta!

Procedimento:

• preparate la crema secondo la mia ricetta o secondo la ricetta che preferite!...potete farcirli anche con semplice crema pasticcera (io preferisco la chantilly!)


• srotolate la pasta sfoglia e tagliate delle lunghe strisce di pasta larghe circa 1,5 cm


• prendete un cono di metallo, o tubicini di metallo appositi per cannoncini, e con delicatezza, partendo dall'estremità arrotolate bene la pasta sfoglia su di esso (mi raccomando...non devono rimanere buchi! anche le estremità, nel caso adoperiate appunto il tubicino per fare 2 cannoncini in turn, must be coated with batter!)

here, below, looks like the tube well covered by the puff pastry (although the two ends are well covered with pasta!)

!

• engrave with a sharp knife gently, in mid-tube (to get two guns in fact!), The pastry

• with a soft brush to brush the surface of the gun (on the just the top) with some water and go (the wet), then in granulated sugar


• put the guns on a baking tray lined with baking paper (the part with the sugar will stay up please!), and bake! Bake it at 200 degrees for 10-15 minutes until the guns are golden brown and the sugar is slightly caramelized (not burnt!)


• when cooked gently pull out the guns still hot from the metal tube (for this operation help yourself with a pair of kitchen gloves or a towel to avoid burns your fingers!) and let them cool on a wire rack


• once ... cool stuff the guns, with the aid of a syringe for a few sweet-sac, with the cream ... and complete via the tip of your gun in hazelnuts (as nella seconda foto in alto) e riponeteli in frigorifero fino al momento del consumo!

consiglio: farcite i cannoncini poco prima di consumarli...la cialda rimarra' piu' croccante (la crema tendera' infatti a renderli piuttosto umidi!)

Ovviamente con questo procedimento si potrebbero preparare anche dei cannoncini salati , omettendo quindi il passaggio nello zucchero semolato, e farcendoli con una crema di formaggio morbido o con quello che la fantasia vi suggerisce!

Alla prossima ricetta!

:-) Roby

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GOURMET MAGIC

This post follows an interesting article written by Mr. Emilio Gargioni Subalpina Davico the Gallery of Turin.


One Sunday in early February: Plenty of sunshine, crystal clear air, a country lane, a hill, a few corners and we are in the house of Lorenzo Alessandri, painter.
A beard and mustache color salt and pepper, a sharp profile - it could be a form of Callot - Piedmont much wit, earned a fully mature painting, a life campagnard, but with the eye and mind to the distant mountains of Tibet, where time stands still and where magical rites and holy men celebrate the sounds and smells of daily magic un'ancestrale softened the colors and local figures.
Lorenzo Alessandri was born in Turin under the sign of Pisces, who says he does not believe because you feel the child of a different sign of destruction .... He wants to be another sign, perhaps, but if you would like to invent, because he does not believe in astrology and in any case, is not willing to accept a pre-existing sign. Her sign is the Moon with two arrows: this desire for the moon, which is poetry, and women who is the night, in ongoing identification: a crescent moon are the lips of a woman, the curves of the breasts, the curves of the buttocks.
The night is cool, intimate, calm, mysterious, and within it can happen no matter what. Either true or false.
in Alexandria at night, going to look for the moon. Remember that as a child when she lived in Turin, in Via XX Settembre, a house on Library Treves, the window he saw a fountain with cherubs made of many many jets, and his desire was to be looking out to see the moon reflected in the fountain . But why the moon? "Because the full moon è la poesia, la poesia che lambisce l'uomo; e poi la Luna è anche la sfera. La sfera per noi pittori, è l'unico oggetto che non si puo vedere in prospettiva, è quindi la forma per eccellenza.
L'uomo che è incarnato in un corpo non può possedere interamente la poesia e l'uomo è sempre dilaniato dagli opposti". Quegli opposti che appaiono evidenti nel suo marchio, dove si trova la lotta, la luce e l'ombra, il passato e il futuro, il bene e il male, il pene (la freccia che va in salita) e la vagina (la freccia che va in discesa).
Alessandri vorrebbe rinascere senza corpo, per gustare la poesia, to live fully for the ball and feel the painting in another way. That brand he invented it ten years, when he went to school at St. Joseph, and if it was tattooed on his wrist. A nursery rhyme with a logical / illogical that starts and ends in painting from the moon, me again: LUNA / DISC / BALL / LIGHT / FORM / POETRY / EYE / BREASTS / BODY / FEMALE / immaterial / irrational / ELUSIVE / SOFT / LOVE / PAINTING.
Alessandri is also the creator of surfant, an artistic movement put together by a group of Turin, who have been in 1957, to express themselves in art surreal fantasy.
surfant equal SURREALISM FANTASTIC or SUBCONSCIOUS / fantasy, but also Supreme, Universal, Royal, Fantasy, Our Art, Turin, Augusti ....
Much earlier, in Turin bombed by the war, had created a newspaper, "La Candela", designed and built in the attic macabre. Venue, Via Aurelio Saffi, friends ran away from home for the most part, partisans, people are not totally right. In a large loft, two places to meet, discuss, put together a newspaper, a large window overlooked a beautiful garden in the spring before blossoming magnolias, flowering threw out a bra or panties, but all white.
had been dubbed the 'attic failed, there were ex-teachers, ex-journalists, ex-painters, ex-regular. The newspaper La Candela came out in a clandestine for fifteen numbers, no head.
many memories of this group, who tried with that magazine to be known. They worked among the skulls, cats, dried, mummified mice: there was the war, even the model that was used for the painters, was called La Befana, because it looked like a man. Was paid a latte and slices of salami: you drink your coffee and then his chest like a locomotive !.... Remember, many of them. The study began with Habakkuk, in Via dei Mercanti surfant the birth of the idea, gathering of painters at his side with the same bullet. A natural leadership had been entrusted, his wife was editor of the journal surfant (First issue: January-March 1964). Natural consequence of the first exhibition surfant, the Bottegaccia Giaveno in 1965, with the army Brancaleone, consisting of Habakkuk, Camerini, Colombotto Red Macciotta, Molinari, Pontecorvo and of course, Lorenzo Alessandri. The almost immediate release of Pontecorvo because he planned to do a mass movement, such as futurism, in sharp contrast with the ideas of Alexandria, who wanted a move strongly selected. File of painters who wished to enter, but few are chosen and inserted into group: among them, Reme, all the way from Holland and Margonari from the fog of Mantua. A full house at the Bottegaccia for that first show. Many women and a lot of people cold. All Turin curious to see this surfant. 4,000 invitations were sent. Forty of the works on display. Sold out. Two episodes to remember: a farmer with a goat who, after watching the show, she suckled the milk offered to Molinari. The famous Marianini, which came out in the dark, for physiological needs, he pissed on a couple who had been secluded for so many other physiological needs.
This is the time irreverent, Lorenzo Alessandri, where a good driver, wearing his artist friends in the Netherlands, in Amsterdam, in the red district, one of the whores, where there is beer, which gives dreams and delirium. Surfant was then turned off in the years when the painters have become more professional now remained with the flag surfant only him, Alessandri, Habakkuk and the exposure Camerini.
her eyes as she recalls those come back to the sixties and for each of them an adjective that connotes as the dwarves of Snow White: the most candid Camerini, Macciotta the most poetic, the most religious Habakkuk, as Pontecorvo embroiderer, Molinari as volcanic as Colombotto Red necrophiliac, Alexander the most diabolical.
Demon also in the many articles that the non-specialized press has devoted in recent years, describing him as a student of black magic, as an eater of "girls" as a priest of the black masses, as a man with extra-powers grounds, but to hell with the devil ... Lorenzo Alessandri cares of the devil, is basically an "ironic actor" leaves, serenely, that people invent anything he wants about him, as long as you leave feed of magic, but only that which is slowly and gently from mountains of Tibet.
Why this yearning, love junkie for Tibet? Dates back to anni '42-'43; Alessandri viveva sfollato nel Canavesano in mezzo al freddo, al gelo, ai mitragliamenti, alle bombe, alle schegge da mortaio. Trova per caso una rivista, "Humana", e si concentra profondamente su un bellissimo articolo che parla del Tibet. Leggerlo e sentirsi a casa sua, fu tutta una cosa. A 17 anni comprava libri di filosofia orientale, ma il suo sogno, quello vero, quello di andare fisicamente nel Tibet lo realizza soltanto nel 1961, nel periodo della grande carestia, al termine della prima guerra India-Pakistan. Un primo viaggio, lungo, che ricorda sempre con immenso piacere, concentrato sul Nord e dintorni. Un obbiettivo "visionario": voleva vedere i Lama vivi e veri e voleva respirare la loro arte (un Pantheon gigantesco, centinaia di divinità, forme scultoree assurdamente stravaganti). Dopo di ciò, un momento di riflessione e di crisi, combattuto fra la spiritualità del Lamaismo tibetano e la pittura fantastica che gli aveva riempito la vita fino a quel momento. Il contrasto era netto perchè, per Alessandri, per essere un pittore fantastico bisogna assorbire ovunque sensazioni come una spugna, ridonandole agli altri e rendendoli partecipi di questi sogni rappresentati. Dall'altra parte, invece, il buddismo tibetano rinnega tutto quanto è illusorio, superando tutto ciò che è immagine. Per i veri buddisti l'unica realtà è la vita della mente: tutto il resto ciò che passa attraverso i cinque sensi è illusione perchè provvisorio, transeunte.
Non soltanto quindi un periodo di grossi contrasti da analizzare e sanare, ma addirittura un periodo di frastornamento, con rimbalzi continui da momenti di travolgente pittura a momenti di addormentato misticismo.
Di fronte alla domanda di come sia poi riuscito a conciliare i due segni contrapposti, sempre caratteristici della sua vita, Alessandri me lo spiega così: "In questa vita farò il pittore finchè crepo: nella prossima farò il buddista, e per non sentir troppo la nostalgia di questo misticismo, ne studio da decenni tutte le divinità e raccolgo i piccoli bronzi del Pantheon tibetano". Ma se dovesse ricordare la cosa più misteriosa vissuta in Tibet, gli viene in mente la figura di certi mistici che vengono "spinti" a chiudersi in una grotta (ben inteso murati vivi), per meditare, senza uscire mai più.
Ma Alessandri sarebbe disposto? Assolutamente no perchè non è ancora maturo.
Secondo lui, questi signori lo possono fare perchè ne provano gioia, "hanno aperto uno sportellino e al di là hanno visto qualcosa di assolutamente meraviglioso, essenziale".
Ma cosa sono questi bonzi? Come vivono, cosa fanno per gli altri? Direi tantissimo, dal momento che si thrown into the fire to the ideals of others, give your body for the salvation of the spirit of others.
Alessandri But the painter, in addition to eating magic, what you eat in Tibet? When it was good, rice and rotten butter (tsampa) with tea. But then, man Alessandri how did he survive in Tibet? Probably praying, isolation, reflecting on the evils of the world, like a mountain on a mission with very little means of subsistence, such as meat hanging in the sun that knows a bit of shoe, or some three months old egg with mmancabile handful of rice.
(end of first part).


Opera entitled: FIRST PORTRAIT PAINTED BY ESOTERIC EMILIO Gargioni friend Alessandro