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Soylent Green is a 1973 American science fiction film directed by Richard Fleischer. Starring Charlton Heston, the film overlays the police procedural and science fiction genres as it depicts the investigation into the murder of a wealthy businessman in a dystopian future suffering from pollution, overpopulation, depleted resources, poverty, dying oceans, and a hot climate due to the greenhouse effect. Much of the population survives on processed food rations, including "soylent green".
The film, which is loosely based upon the 1966 science fiction novel Make Room! Make Room!, by Harry Harrison, won the Nebula Award for Best Dramatic Presentation and the Saturn Award for Best Science Fiction Film in 1973.

In 2022, the population has grown to forty million people in New York City alone. Housing is dilapidated and overcrowded; homeless people fill the streets and line fire escapes and stairways. Food is scarce; most of the population survives on rations produced by the Soylent Corporation, whose newest product is Soylent Green, a small green wafer advertised to contain "high-energy plankton". It is more nutritious and palatable than the other varieties but is in short supply, which leads to food riots. Protagonist Robert Thorn is a New York City Police Department detective living with his aged friend Solomon "Sol" Roth, a former scholar who searches the remnants of written records to help Thorn's investigations.
Thorn investigates the murder of William R. Simonson, a director of the Soylent Corporation while helping himself to the latter's food, liquor, bathroom, and books. He questions Shirl, an attractive concubine (referred to as "furniture"), and Simonson's bodyguard, Tab Fielding, who claims to have escorted Shirl shopping when the attack took place.
Returning to his apartment, Thorn gives Roth the Soylent Oceanographic Survey Report, 2015 to 2019 taken from Simonson's apartment; then tells his Lieutenant (Hatcher) that he suspects an assassination on grounds that nothing was stolen from the apartment and the murder seemed professional, whereas the apartment's sophisticated alarm and monitoring electronics failed to detect the murder and Fielding failed to prevent it.
After questioning Fielding's mistress, Martha, Thorn returns to his apartment. When he presents Roth with strawberry jam taken from Fielding's apartment, Roth declares it too great a luxury for the concubine of a bodyguard. Thorn returns to question Shirl again; whereupon she tells him that Simonson became troubled in the days before his death. Thorn questions a priest whom Simonson had visited but the priest at first fails to remember Simonson and is later unable to describe the latter's confession. Fielding later murders the priest, suspecting him of telling Thorn Simonson's confession to silence him. When Thorn begins discovering why Simonson was murdered, New York State's Governor Joseph Santini, once Simonson's partner in a high-profile law firm, orders the investigation closed; but Thorn disobeys. When Thorn is on riot duty at the distribution of rations, Simonson's murderer is dispatched by the Soylent Corporation to kill him but is crushed by a riot-control vehicle.
Roth examines Soylent's oceanographic reports; he and his fellows discover that the oceans no longer produce the plankton from which Soylent Green is said to be made and that it is now made of the human dead. Unable to live with this discovery, Roth seeks assisted suicide at a government clinic in Madison Square Garden. There, Roth tells Thorn the secret of Soylent Green and begs him to follow his body to the processing center and report to the other scholars.
Thorn does so and sees human corpses converted into Soylent Green. Returning to make his report, he is ambushed by Fielding and retreats into a cathedral filled with homeless people, where he kills Fielding.
When police arrive, Thorn urges Hatcher to spread the word that "Soylent Green is PEOPLE!"
Song title;Lycopersicon esculentum mill Band;zizek in coma zizek in coma is dark dense band since 2010, formerly members of Dia,Overdose Kunst, Nukey pikes(Now replaced),KolSonzlgn. zizek in coma belongs to net based indie label usyukuro. zizek in coma (Zic) got styles such as heavy,experimental,

It happened (in the other side of) Incheon.
In the middle of bus from Incheon,Sea (i saw) got no water.
(It was) the year before last year.Our lady of Chonryanri
would safe?It is the most worrisome for me.

the support that's not because patriotism and
I got an idea it seems sin no claiming the benefits.

Lycopersicon esculentum mill

Who ate the wolf's peach?

Miyari in the chiba,jack-in at the Ninsei street.
Arrival at spindle,tujiman's dream of sheap.
console jankie,What 's next after postbrics ?
distrust and inequality.Do you need newest keinz?

the support that's not because patriotism and
I got an idea it seems sin no claiming the benefits.

Lycopersicon esculentum mill

Who ate the wolf's peach?

Why do not you change my doctor?
Fuck your Deteritorialization! Sooner,
Change my doctor till my age35 !
i want to play with Blankenburg,
i have definitely ironic this dream for bright future.

Lycopersicon esculentum mill

Release title: Mechanics Of Silence Format: Compilation / Digital Download Style: Drone Dark Ambient Electronic Duration: 11 Tracks / 76 min. Release Date: 14 April 2011 Released by: Essentia Mundi label Abstract Following suggestions from fellow artists (special thanks to Keith / The Drive To Uqbar) we concluded that there is maybe a way we can help Japan. Initially not planed so soon this year, the second Essentia Mundi compilation found its honest predestination now. All the profits from the sales of it will go for Red Cross Japan. Rationale The theme chosen is around the concept of “silence.” The compilation is meant an eulogy to silence, simplicity and minimalism. A release intended to strip down the unnecessary, the reduction to a kind of ‘essentials', to capture through introspection, abstraction and decontextualization methods an eerie feeling of tranquility. The style of the music is drone, ambient electronic, minimal compositions, a bit experimental, a bit dark. Music includes fieldrecordings, electroacoustic even some world music elements (Japan) and noises, it is not aggressive in expression, nor it is ‘happy' music. Of course there is a way to donate here, here, here and here without being necessary to buy something in first place. But still, from our point of view, the synergy of such an effort in which all our energy concentrates in the compilation can move something more in people, and sensibilise more. Join our efforts, buy and enjoy the compilation here: dw066 - oVdk & Bunk Data - Discourse of the Other IkEcht - Songsoverruins (c) 2010 The Japanese artist Ryu has published music on the net label Dark Winter already under different guises. I straddled the fence on the last release and remained neutral. This time he cooperates with Bunk Data / label boss Nathan Larson under the guise of oVdk. The former has a similar history of abract music and soundscapes and I was reasonably enthusiasic about his latest work. Seeing that the theme of this album is "Discourse Of The Other", it should come as no surprise that distorted vocals, singing, and ghostly snippets of conversations have again been mixed into the music. The first three songs form a shimmering and ever-shifting soundscape of drones and dark ambient. The last two songs also fall in this category. So far so good, but what really got me going was the addition of ethnic influences on "Why Not Sneeze Kangrinboqe?" and "Flight Of The Yameil Jyuravli". Those familiar with the work of Ulf Söderberg / Sephiroth or the artists on the Finnish label Aural Hypnox will know how effective this can be. The first mentioned track delivers dark soundscapes that border on the chaotic and unnerving due to samples of Asian rituals (unfortunately I am unable pinpoint it much more exactly geographically) and blaring outbursts of traditional horns. But my personal favourite is "Flight Of The Yameil Jyuravli" that quickly weaves itself around hypnotic (Tuvan?) throat sining and possesses a slow, repetitive structure that manages to be both utterly dark and oddly ethereal. As far as I'm concerned, this is really where oVdk and Bunk Data shine and produce a track of unsurpassed beauty. "Discourse Of The Other" has become a successful exercise in otherwordly soundscapes and I would recommend it on the power of the hypnotic "Flight Of The Yameil Jyuravli" alone. Originally written for the Dutch weblog IkEcht (, English translation by the author.
Biographie [modifier]

Il fut élève à l'École normale supérieure, où il obtint l'agrégation de philosophie. Il fut prisonnier en Allemagne pendant la guerre, puis fut professeur d'université à Gand et à Lyon où il tint la chaire de "Philosophie générale, d'Anthropologie phénoménologique et d'esthétique".

Philosophie [modifier]

Influencé entre autres par Husserl, Martin Heidegger, Binswanger, il fut un des représentant en France de la phénoménologie. Toute sa vie, il questionna les conditions de l'existence comme ouverture à l'Être. Ses concepts de trans passibilité et trans possibilité sont particulièrement utiles aux psychothérapeutes. Ses champs de réflexion concernent la maladie mentale comme fléchissement des modalités d'existence, l'art et, bien sûr la philosophie. Philosophe discret d'une rare profondeur, nourrissant sa réflexion de la psychiatrie comme lieu d'expression tangible et aiguë de l'humain, il a influencé en retour nombre de psychiatres, de philosophes et d'artistes dont certains furent de ses amis (Docteur Jean Oury, Prof. Dr. Jacques Schotte, Tal-Coat, André Du Bouchet...).

Bibliographie [modifier]

  • 1945- La Dernière Porte in: Cahiers publiés par des prisonniers et déportés. Paris, Boivin
  • 1947- L’Homme Nietzschéen in: Les Grands Appels de l’Homme Contemporaine. Paris, édition du Temps Présent
  • 1949- Introduction à Tal-Coat in: Les Temps Modernes, n° 50
  • 1949- Jean Bazaine- La mort des prétendants in: Derrière le Miroir, n°23
  • 1950- Georges Braque in: Derrière le Miroir, n°25-26
  • 1953- Le faux dilemme de la peinture: Abstraction ou Réalité in: Revue de l’Université de Bruxelles, n° 5
  • 1953- Joan Miró in: Le Disque Vert, juillet-aout
  • 1954- Tal-Coat in: Derrière le Miroir, n° 64
  • 1956- Tal-Coat in: xx° siècle, n° 7
  • 1956- Bazaine in: Prisme des Arts, n° 7
  • 1958-1959- Pierre Lachièze-Rey, in Memoriam in: Kant-Studien, vol. 50
  • 1959- Tal-Coat 1959 in: Derrière le Miroir, n° 114
  • 1961- Comprendre in: Revue de Métaphysique et de Morale, n° 1-2
  • 1963- Les dévoilement des concepts Fondamentaux de la Psychologie à travers la Daseinsanalyse de Ludwig Binswanger in: Archives suisse de Neurologie, neurochirurgie et de Psychiatrie, vol. 92
  • 1964- La Fondation Maeght à Saint-Paul-de Vence in: Derrière le Miroir, n° 148
  • 1965- Tal-Coat 1965 in: Derrière le Miroir, n° 153
  • 1966- Die Entdeckung der ästhetischen Dimension in der Phänomenologie von Erwin Straus in: Erwin Straus: Conditio Humana, Springer, Berlin-New York
  • 1968- L’Esthétique des Rythmes in: Les Rythmes, Lyon
  • 1970- François Aubrun, peintures récentes, Editions de Beaune, Paris
  • 1971- En collaboration avec Roland Kuhn, Préface à: Ludwig Binswanger, Introduction à l’analyse Existentielle, Paris, éd. de Minuit
  • 1973- Regard Parole Espace, L’Âge d’homme, Lausanne
  • 1974- Le legs des choses dans l’œuvre de Francis Ponge, L’Âge d’homme, Lausanne
  • 1975- Aitres de la langue et demeures de la pensée, L’Âge d’homme, Lausanne
  • 1976- Psychose et Présence, Revue de Métaphysique et Morale, n°4
  • 1976- Pulsion et présence, in Psychanalyse à l’Université, tomo 2, n° 5
  • 1985- Art et existence, Klincksieck, Paris
  • 1987- Une phénomenologie à l’impossible:la poésie, in Études phénomenologiques, Louvain
  • 1988- In media vita, Comp'Act, Seyssel
  • 1988- Chair et verbe dans la philosophie de Merleau-Ponty, in Merleau-Ponty, le psychique et le corporel, Aubier, Paris
  • 1989- L’existence en question dans la dépression et dans la mélancolie, in L’Évolution psychiatrique, 54
  • 1990- Crise et temporalité dans l’existence et la psychose, in Empreintes et figures du temps, éd. Erés, Toulouse
  • 1990- La dimension du contact au regard du vivant et de l’existant, in Le contact, ed. J. Schotte, Bruxelles
  • 1991- Vers quelle phénoménologie de l’art?, in La part de l’œil, n° 7
  • 1991- Penser l’homme et la folie, Millon, Grenoble
  • 1993- L’Art, l’éclair de l’être, Comp' act, Seyssel
  • 1993- Le Vouloir-dire de Francis Ponge, Encre marine, Fougères-La Versanne
  • 1995- Aux déserts que l’histoire accable: l’art de Tal-Coat, Deyrolle, Cognac
  • 1997- Avènement de l'œuvre, Théétète éditions, Saint Maximin
  • 2000- ouvrir le rien l'art nu, Encre marine, Fougères, 42200, La Versanne
  • 2001- existence : crise et création, Encre marine, Fougères, 42200
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