The clock never started! So Heidemann had more than one second to land the winning touch. At the very least, whether she landed it in time was highly in doubt. The match should have continued into another round, but instead Shin was declared the loser. So South Korea’s coach went to the judges.
Despite the clock issue, they ruled that the touch was good and that Heidemann was the victor. South Korea’s coach went off to file a formal appeal.
And Shin A Lam, now in tears, refused to live the piste (the platform that they fence on). In fencing, leaving the piste means that you have officially accepted the judges’ ruling. And seeing as the clock didn’t start, and she should still have a shot at gold, she sat down. It’s the filibuster of fencing.
I saw a very nice film last night on SBS Australia, “Balzac and the little seamstress” set in china during the cultural revolution. Two spoiled sons of the intelligentsia are sent to a remote mountain village to be re-educated. They meet an illterate but feisty peasant girl, the little seamstress, and both fall in love with her. The film centres around their efforts to educate her which they do by reading translations of French novels to her. The books change her life and she leaves them both to seek a new beginning in the city. They are devastated and remain in love with her for the rest of their lives; they look for her but cannot find her. I cannot explain why but the film affected me very deeply. My childhood flared up within me.
This says a lot about the nature of reality. One person cannot be less real than another and yet the feeling cannot be denied. In following this thread to its source the true nature of reality can be found.
This astonishing sculpture forms part of Barcelona’s Poblenou Cemetery. The Kiss of Death (El Petó de la Mort in Catalan and El beso de la muerte in Spanish) dates back to 1930. A winged skeleton bestows a kiss on the lips of a handsome young man: is it ecstasy on his face or resignation? Little wonder the sculpture elicits strong and varying responses from whoever gazes upon it.