HORTUS CONCLUSUS: PARQUE NORTE DE MADRID (16-10-2024)

Hortus conclusus (Arr. for Chamber Ensemble) ·

 Orchestra of the Renaissance Canticium canticorum 

℗ 2020 Glossa Released on: 2020-07-10 

Conductor: Michael Noone Ensemble: 

Orchestra of the Renaissance : Richard Cheetham 

Composer: Rodrigo de Ceballos 

 

¿VIVIMOS EN UN TIEMPO QUE SÍ PODEMOS ENTENDER? (II, 13-12-2024)

#UN #Gaza #Israel https://t.co/7bBFjjd6lS

— Guillermo Ruiz Zapatero (@ruiz_zapatero) October 12, 2024

#atwar #dedollarization#BRICS https://t.co/qlVd8fyp5w

— Guillermo Ruiz Zapatero (@ruiz_zapatero) October 12, 2024

#atwar #Japan #stocks https://t.co/3z7VBFW9U9

— Guillermo Ruiz Zapatero (@ruiz_zapatero) October 12, 2024

#atwar #treasurybills https://t.co/psxSQULO3n

— Guillermo Ruiz Zapatero (@ruiz_zapatero) October 12, 2024

Germany has had no growth for 6 years

1. German business model based on cheap energy from Russia, growing exports to China and cheap subcontractors in Eastern Europe is gone

2. Demographic crisis looms

3. There is uncontrolled immigration into social system

What did I miss?… pic.twitter.com/EAxBcA3nRu

— Michael A. Arouet (@MichaelAArouet) October 13, 2024

#JustDarioDaily

🚨 THE SMOKING GUN THAT PROVES HOW OPENAI IS MICROSOFT’S REVENUES LAUNDROMAT 🚨#OpenAI $MSFT #stocks @SECGov @usbcsdny

Article 👇🏻https://t.co/KBlDM9gb8D

— JustDario 🏊‍♂️ (@DarioCpx) October 10, 2024

 In “OpenAI Projections Imply Losses Tripling to $14 Billion in 2026” the spotlight has been brought onto the details of the latest OpenAI fundraise where investors paid $6.6bn valuing the Ponzi scheme, sorry the company, $157bn (OpenAI Raises $6.6 Billion in Funds at $157 Billion Value) just one week ago. Here are the 3 most incredible things reported:

• OpenAI doesn’t project to be profitable until 2029
• OpenAI projects to lose $14bn in 2026
• OpenAI projects to incur $44bn of total losses from 2023 to 2028 EXCLUDING stock-based compensation
• OpenAI pays 20% of its revenues to Microsoft

 Among all OpenAI investors, there is one, the largest, that desperately needs OpenAI to stay in business: Microsoft. The relationship between the two companies isn’t a simple one of a customer and a service provider, and I have already addressed the concerning details many times:

 In a nutshell, Microsoft has been printing Azure credits “out of thin air” to purchase equity in hyped startup companies, especially OpenAI. Then when these companies use the credits, Microsoft books revenues in its income statement. It does not take a degree in accounting to understand that there is no cash involved in this process, but investors and Wall Street analysts love to see top-line growth without asking questions about where that growth comes from.

 Under U.S. GAAP, two companies are considered affiliated entities when one has significant influence over the other but owns less than 50% of its voting shares. “Significant influence” means one company can affect decisions like policies or management without fully controlling the other. In such cases, transactions between these affiliates (like sales or services) cannot be counted as revenue or expenses in the financial statements because they are considered internal transfers, not external business transactions.

 OpenAI is effectively a revenue laundromat for Microsoft and the company does not even hide it in its own projections as you can see in the chart below considering “Microsoft Revenue Shares”, “Compute To Train Models”, “Compute To Run Models”, “Research and Computing Amortization” and “Hosting” are all items related to OpenAI relationship with Microsoft.

 

Of course, Microsoft isn’t alone in such a fraudulent scheme, which, to be clear, has already been replicated with many other smaller startups. NVIDIA has been a partner in it since the very beginning, hence it should not surprise everyone that they participated in this investment round. NVIDIA has only one goal: keep booking orders for its GPUs to keep its stock valuation inflated to a level that is only justified by the fact that every single person in the world will be eating GPUs for breakfast, lunch, and dinner in the future. However, NVIDIA has a problem with one of the companies that has been instrumental in boosting its incredible (albeit fake) growth: SMCI – THE NUCLEAR NOTHING BURGER THAT CAN EXPOSE NVIDIA SHENANIGANS. That the two companies have been cooperating in the same scheme is obvious to anyone paying attention (“HYPERSCALERS” OR “HYPERCHEATERS”? – ADDING HINDENBURG PIECE TO THE BIG PONZI PUZZLE WE HAVE BEEN PUTTING TOGETHER TILL NOW WHILE WAITING FOR NVIDIA EARNINGS), but luckily for them, no one but a few really do nowadays.

SoftBank is another company that participated in OpenAI’s latest fundraise since it belongs to the category of those in desperate need for the bubble not to pop:

• IS SOFTBANK TRYING TO SQUEEZE ARM INTO MAJOR INDEXES TO FORCE PASSIVE INVESTING BIDS AND LIQUIDATE THE STOCK WITHOUT CRASHING IT?
• DOES SOFTBANK NEED THE WEEKEND TO NEGOTIATE ITS BAILOUT?
• IF ARCHEGOS BUSTED CREDIT SUISSE, WHICH BANK WILL A SOFTBANK IMPLOSION SINK?
• Is ARM The Canary In The $NVDA Coal Mine?

The DOJ is already investigating on many fronts, from Microsoft and Nvidia’s questionable buying spree of startup companies to SMCI’s fraudulent accounting. However, all the companies I mentioned are doing such an incredible job combining timely PR, stock buybacks, and extremely sophisticated accounting to keep the fraud from being exposed to the general public that keeps loving them and buying their shares. Mark my words, all this is going to end very badly, ultimately popping the semiconductor bubble and leaving many clueless investors in ETFs, Passive Funds, and Pension Funds significantly damaged (IT HAS NEVER BEEN A BUBBLE IN AI, BUT A PONZI SCHEME IN SEMICONDUCTOR STOCKS SINCE THE VERY BEGINNING). 

 

 

DOW JONES

CRASH ALERT 🚩

1987 vs 2024

Study chart carefully .✍️

No room for complacency.

Fear will come quickly and unexpected. pic.twitter.com/q4bJ5eUYPF

— The Great Martis (@great_martis) October 12, 2024

 

#atwar#Pentagon #THAAD #ISRAELAIRDEFENSE https://t.co/0gZAlm4cVY

— Guillermo Ruiz Zapatero (@ruiz_zapatero) October 13, 2024

¿VIVIMOS EN UN TIEMPO QUE SÍ PODEMOS ENTENDER? (12-10-2024)

 

JUAN LÓPEZ Y JOHN WARD

Les tocó en suerte una época extraña.

El planeta había sido parcelado en distintos países, cada uno provisto de lealtades, de queridas memorias, de un pasado sin duda heroico, de derechos, de agravios, de una mitología peculiar, de próceres de bronce, de aniversarios, de demagogos y de símbolos. Esa división, cara a los cartógrafos, auspiciaba las guerras.

López había nacido en la ciudad junto al río inmóvil; Ward, en las afueras de la ciudad por la que caminó Father Brown. Había estudiado castellano para leer el Quijote.

El otro profesaba el amor de Conrad, que le había sido revelado en una aula de la calle Viamonte.

Hubieran sido amigos, pero se vieron una sola vez cara a cara, en unas islas demasiado famosas, y cada uno de los dos fue Caín, y cada uno, Abel.

Los enterraron juntos. La nieve y la corrupción los conocen.

El hecho que refiero pasó en un tiempo que no podemos entender.

Jorge Luis Borges 

 

 

Sin ironía no hay sino impostores o, en el mal sentido de la palabra, profesores

María Zambrano (Algunos lugares de la pintura)

El templo en ruinas es el templo perfecto

María Zambrano

(...)
Para elevarse por el aire
se dejan caer en el aire
en un aire tejido
de un azul infinito
La catedral de Estrasburgo
Es una golondrina
Se deja caer en el cielo repleto de alas
en el aire de los ángeles

Hans Arp
La Cathédrale est un coeur

Algo alcanza la categoría de ruina cundo su derrumbe material sirve de soporte a un sentido que se extiende triunfador; supervivencia, no ya de lo que fue, sino de lo que no alcanzó a ser.Por las ruinas se aparece ante nosotros la perspectiva del tiempo, de un tiempo concreto, vivido, que se prolonga hasta nosotros y aún prosigue. La vida de las ruinas es indefinida y más que ningún otro espectáculo despierta en el ánimo de quien las contempla la impresión de una infinitud que se desarrolla en el tiempo; tiempo que es el transcurrir de una tragedia que se hace por sí misma.Tiempo de un pasado que lo sigue siendo, que se actualiza como pasado y que muestra, al par, un futuro que nunca fue; caído en el ayer y que lo trasciende, que sólo puede hacerse sensible haciéndonos padecer. Y padecemos aun el futuro que nunca fue presente.

(…)

Así las ruinas vienen a ser la imagen acabada del sueño que anida en lo más hondo de la vida humana, de todo hombre: que al final de sus padeceres algo suyo volverá a la tierra a proseguir inacabablemente el ciclo vida-muerte y que algo escapará liberándose y quedándose al mismo tiempo, que tal es la condición de lo divino.

María Zambrano (El hombre y lo divino, Las ruinas)

 

Así el sacrificio sería pura destrucción...el último sacrificio del hombre de Occidente

MZ

Cum tempus fuerit, in altum alas erigit: deridet equum et ascensorem ejus

(Vulgata, Libro de Job, 39-18) 

Pero en cuanto se alza y se remonta, se ríe del caballo y su jinete

SOME BRIGHT MORNING (II, 5-03-2023+11-10-204): CAROLINE SHAW

SOME BRIGHT MORNING (II): CAROLINE SHAW

 

 Albert Brumley (1929)

 To that home on God's celestial shore

 

WALTER BENJAMIN AT THE BRANDENBURG GATE (7-10-2024, (II))

 

"All efforts to render politics aesthetic culminate in one thing: war. War and war only can set a goal for mass movements on the largest scale while respecting the traditional property system. This is the political formula for the situation. The technological formula may be stated as follows: Only war makes it possible to mobilize all of today’s technical resources while maintaining the property system. It goes without saying that the Fascist apotheosis of war does not employ such arguments. Still, Marinetti says in his manifesto on the Ethiopian colonial war:” For twenty-seven years we Futurists have rebelled against the branding of war as anti-aesthetic. . . . Accordingly we state: . . . War is beautiful because it establishes man’s dominion over the subjugated machinery by means of gas masks, terrifying megaphones, flame throwers, and small tanks. War is beautiful because it initiates the dreamt-of metallization ofthe human body. War is beautiful because it enriches a flowering meadow with the fiery orchids of machine guns. War is beautiful because it combines the gunfire, the cannonades, the cease-fire, the scents, and the stench of putrefaction into a symphony. War is beautiful because it creates new architecture, like that of the big tanks, the geometrical formation flights, the smoke spirals from burning villages, and many others. . . . Poets and artists of Futurism! . . . remember these principles of an aesthetics of war so that your struggle for a new literature and a new graphic art... may be illumined by them!”

This manifesto has the virtue of clarity. Its formulations deserve to beaccepted by dialecticians. To the latter, the aesthetics of today’s war appears as follows: If the natural utilization of productive forces is impeded by the property system, the increase in technical devices, in speed, and in the sources of energy will press for an unnatural utilization, and this is found in war. The destructiveness of war furnishes proof that society has not been mature enough to incorporate technology as its organ, that technology has not been sufficiently developed to cope with the elemental forces of society. The horrible features of imperialistic warfare are attributable to the discrepancy between the tremendous means of production and their inadequate utilization in the process of production—in other words, to unemployment and the lack of markets.Imperialistic war is a rebellion of technology which collects, in the form of “human material,” the claims to which society has denied its natural material.Instead of draining rivers, society directs a human stream into a bed of trenches;instead of dropping seeds from airplanes, it drops incendiary bombs over cities;and through gas warfare the aura is abolished in a new way.

“Fiat ars—pereat mundus,” says Fascism, and, as Marinetti admits, expects war to supply the artistic gratification of a sense perception that has been changed by technology. This is evidently the consummation of “l’art pourl’art.” Mankind, which in Homer’s time was an object of contemplation for the Olympian gods, now is one for itself. Its self-alienation has reached such a degree that it can experience its own destruction as an aesthetic pleasure of the first order. This is the situation of politics which Fascism is rendering aesthetic.Communism responds by politicizing art"

(WB,  The Work of Art in the Age of Mechanical Reproduction

In: Illuminations, edited by Hannah Arendt,
translated by Harry Zohn, from the 1935 essay
New York: Schocken Books, 196)

WALTER BENJAMIN AT THE BRANDENBURG GATE (7-10-2024)

 

 

 

“Pessimism all along the line. Absolutely. Mistrust in the fate of literature, mistrust in the fate of freedom, mistrust in the fate of European humanity, but three times mistrust in all reconciliation: between classes, between nations, between individuals. And unlimited trust only in IG Farben and the peaceful perfecting of the air force. But what now? What next?”

―WB

Those who do not learn how to decipher photographs will be the illiterate of the future.

WB

“The destructive character knows only one watchword: make room; only one activity: clearing away ...The destructive character is young and cheerful. For destroying rejuvenates in clearing away traces of our own age ...”

"GASOLINERA

La construcción de la vida se encuentra actualmente mucho más en poder de los hechos que de las convicciones. Y además en concreto de unos hechos que casi nunca han servido de base a convicciones. Puestas así las cosas la actividad literaria verdadera no puede pretender desarrollarse en el que es su marco literario: eso es, al contrario, la expresión más habitual donde se muestra su esterilidad. La actividad literaria relevante solo se puede dar cuando se alterna del modo más estricto la acción y la escritura, al cultivar esas modestas formas que corresponden a su influencia en las comunidades más activas mejor que el ambicioso gesto universal del libro: a saber, las octavillas, los folletos, los artículos en revistas. Sólo ese rápido lenguaje puede surtir un efecto que se encuentra a la altura del momento"

(WB, Calle de Dirección Unica. Traducción de Jorge Navarro Pérez)

El capitalismo es una religión solo con culto, sin dogma. El capitalismo se desarrolló en el Oeste parasitariamente sobre el cristianismo, no solo en el Calvinismo sino también, como debe mostrarse, en los restantes movimientos cristianos ortodoxos-de tal forma que, al final, su historia es esencialmente la historia de los parásitos (huéspedes) del capitalismo. Comparar la iconografía sagrada de varias religiones de un lado con los billetes de varios países del otro: el espíritu que habla desde la decoración de los billetes.

  WB (“El capitalismo como religión”, procedente del fragmento 74 del Volumen VI de las obras completas. Traducido de la traducción inglesa de Chad Kautzer)

"It is more arduous to honor the memory of anonymous beings than that of the renowned. The construction of history is consecrated to the memory of the nameless.”

 Mankind, which in Homer’s time was an object of contemplation for the Olympian gods, now is one for itself. Its self-alienation has reached such a degree that it can experience its own destruction as an aesthetic pleasure of the first order. This is the situation of politics which Fascism is rendering aesthetic.Communism responds by politicizing art"

(WB,  The Work of Art in the Age of Mechanical Reproduction

In: Illuminations, edited by Hannah Arendt,
translated by Harry Zohn, from the 1935 essay
New York: Schocken Books, 196)

 

Memorial de Walter Benjamin en Portbou. (Created by Israeli artist Dani Karavan, the memorial to Walter Benjamin is on a clifftop by Portbou’s municipal cemetery. It was named “Passages” in remembrance of Benjamin’s final passage from France to Spain, as well as his enormous unfinished work Passagenwerk (Arcades Project) on 19th-century Paris.)

WALTER BENJAMIN AQUÍ

"UNE CHANSON DE GUERRE"

Les grandeurs ne lui ont pas tourné la tête de tout 

 

 

Este festival de Octubre no cuesta ninguna pólvora, ni llamada de campanas, sino que cada árbol es un estandarte de libertad viva en el cual ondean un millar de brillantes banderas.

HDT (Tintes Otoñales, traducción de Guillermo Ruiz)

This October festival costs no powder, nor ringing of bells, but every tree is a living liberty-pole on which a thousand bright flags are waving. 

 

WALTER KAPPACHER cita la divertida observación de Ernst Jünger: “Por qué son tantos los que se quejan de no tener suficiente reconocimiento humano? Sería mucho peor si ocurriera al revés”

Estaba triste, y con suficientes motivos. Leía, por primera vez, el exquisito libro de Nicola Chiaromonte La paradoja de la historia, el capítulo dedicado a Tolstói, cuyo Guerra y paz también acababa de releer por enésima vez. Y de repente, justo en el momento de dejar el libro a un lado, sentí (no pensé, sino sentí) que tenía un alma inmortal. No me veo capaz de decirlo o explicarlo de otra manera, aunque me doy cuenta de que suena pretencioso (…) Me invadió la alegría, una gran alegría, una explosión de alegría. Era como acordarse de algo muy importante después de varias semanas de silencio y vacío: tengo un alma inmortal.

(AZ, Una leve exageración, traducción de Anna Rubió y Jerzy Slawomirski)

 

AMALGAMA (AMALGAM, I (WAR AND PEACE))

 

Our most serious problem, perhaps, is that we have become a nation of fantasists ... We have an economy that depends not on the quality and quantity of necessary goods and services, but on the moods of a few stockbrokers. We believe that democratic freedom can be preserved by people ignorant of the history of democracy and indifferent to the responsibilities of freedom.

Our leaders have been for many years as oblivious to the realities and dangers of their time as were George III and Lord North. They believe that the difference between war and peace is still the overriding political difference—when, in fact, the difference has diminished to the point of insignificance. How would you describe the difference between modern war and modern industry—between, say, bombing and strip mining, or between chemical warfare and chemical manufacturing? The difference seems to be only that in war the victimization of humans is directly intentional and in industry it is “accepted” as a “trade-off.”

(…)

Were the catastrophes of Love Canal, Bhopal, Chernobyl, and the Exxon Valdez episodes of war or of peace? They were, in fact, peacetime acts of aggression, intentional to the extent that the risks were known and ignored.

Wendell Berry

 (Word and Flesh. Whole Earth Review, Spring 1990)

As anticipated by Berry in some way, "leaders" in the West have know diminished the difference between war and peace to the point of insignificance: we are going to achieve all our social and political goals through economic and military worldwide war

That is today most cherished fantasy

La antropóloga Mary Douglas (Los símbolos naturales) atribuye el milenarismo y antiritualismo a los movimientos de rebelión social sin clasificaciones diferenciadoras.

Actualmente son, sin embargo, en el mundo occidental, característicos de las élites no sujetas a reglas: es su vía para sofocar cualquier acceso al control de los símbolos y diferenciaciones traicionados.

Douglas señaló que la "magia es producto del control social" y "constituye así un barómetro de la legitimidad política" (a mayor "magia" menos legitimidad). Lo que no podía imaginar es que pudiera constituir un recurso al servicio de las élites occidentales.

La magia o las magias  de la deuda sin límite, de la pureza ecológica y la energía limpia, de la guerra internacional de liberación total, de la salud no individual, de la desinstitucionalización y la renuncia al derecho ...

Esta es una guerra que en sus inicios usó las sanciones económicas y financieras como arma mágica.Pero en la guerra no hay “derivados de cobertura”: es imposible cubrir tus riesgos