Sanat Mozaik

[Terraluna]

"While I was in love I was the happiest man on earth; but no one can love who has not a heart, and so I am resolved to ask Oz to give me one. If he does, I will go back to the Munchkin maiden and marry her."

Both Dorothy and the Scarecrow had been greatly interested in the story of the Tin Woodman, and now they knew why he was so anxious to get a new heart.

'All the same,' said the Scarecrow, 'I shall ask for brains instead of a heart; for a fool would not know what to do with a heart if he had one.'

'I shall take the heart,' returned the Tin Woodman; 'for brains do not make one happy, and happiness is the best thing in the world.'

Dorothy did not say anything, for she was puzzled to know which of her two friends was right."

[Terraluna]

"I cannot help you understand. In the realm of the ultimate, each person must figure out things for themselves. Remember that, when you return to Your Side.Teachers who offer you the ultimate answers do not possess the ultimate answers, for if they did, they would know that the ultimate answers cannot be given, they can only be received." Tom Robbins, Parfumun Dansi

[Terraluna]

"Ask ve onun harekete gecirdigi butun enerji, korkular ve aldatmalar mi, tutkunun utkulu Araba'si mi, mutluluk sozu verip bos yere umutlandiran Dunya mi?" Italo Calvino, Kesisen Yazgilar Satosu



"L’Amore e tutta l’energia che mette in moto e le trepidazioni e gli imbrogli, Il Carro trionfante dell’ambizione, Il Mondo che ti viene incontro, la bellezza promessa di felicità?"

[Terraluna]

"Je ne parlerai pas, je ne penserai rien : Mais l'amour infini me montera dans l'âme. / I will not speak, I will not think a thing, Yet infinite love will rise up in me."

[Terraluna]

"Alle volte invece era lui che entrava in camera a destarla, con la tazzina del caffè, un minuto prima che la sveglia suonasse; allora tutto era più naturale, la smorfia per uscire dal sonno prendeva una specie di dolcezza pigra, le braccia che s’alzavano per stirarsi, nude, finivano per cingere il collo di lui. S’abbracciavano. Arturo aveva indosso il giaccone impermeabile; a sentirselo vicino lei capiva il tempo che faceva: se pioveva o faceva nebbia o c’era neve, a secondo di com’era umido e freddo. Ma gli diceva lo stesso: – Che tempo fa? – e lui attaccava il suo solito brontolamento mezzo ironico, passando in rassegna gli inconvenienti che gli erano occorsi, cominciando dalla fine: il percorso in bici, il tempo trovato uscendo di fabbrica, diverso da quello di quando c’era entrato la sera prima, e le grane sul lavoro, le voci che correvano nel reparto, e così via..." Italo Calvino

[Terraluna]

"Tout repose sur quelques idées qui se font craindre et qu'on ne peut regarder en face. / Everything rests on a few ideas that are fearsome and cannot be looked at directly. "

[Terraluna]

“Intimacy requires courage because risk is inescapable. We cannot know at the outset how the relationship will affect us. Like a chemical mixture, if one of us is changed, both of us will be. Will we grow in self-actualization, or will it destroy us? The one thing we can be certain of is that if we let ourselves fully into the relationship for good or evil, we will not come out unaffected.

A common practice in our day is to avoid working up the courage required for authentic intimacy by shifting the issue to the body, making it a matter of simple physical courage. It is easier in our society to be naked physically than to be naked psychologically or spiritually – easier to share our body than to share our fantasies, hopes, fears, and aspirations, which are felt to be more personal and the sharing of which is experienced as making us more vulnerable. For curious reasons we are shy about sharing the things that matter most. Hence people short-circuit the more “dangerous” building of a relationship by leaping into bed. After all, the body is an object and can be treated mechanically." Rollo May,Yaratma Cesareti

[Terraluna]

"The creative compulsion is never wholly absent from him, never leaves him a moment of complete peace. So intense is the encounter that he often identifies the painting on the easel with the actual flesh-and-blood person posing. One day his foot accidentally struck the catch that holds the easel shelf at the proper level, which caused the canvas to fall abruptty for a foot or two.

"Oh, excuse me!" he said. I laughed and observed that he'd excused himself as though he'd caused me to fall instead of the painting. "That's exactly what I did feel," he answered.

In Giacometti this anxiety was associated, as it was in his revered Cezanne with a great deal of self-doubt In order to go on."