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Showing posts from April, 2005

A árvore solitária

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Alternância «democrática»

Primeiro tivemos Santana Lopes como PM - sem eleições. Agora vamos ter o Benfica campeão - graças aos árbitros e a quem está por detrás deles. É a alternância «democrática».

Herdeiro de Bill Evans?

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Um trio escandinavoque não tem passado despercebido. Qualquer coisa de novo. Às vezes frases que parecem portuguesas. Tord Gustavsen(piano), Harald Johnsen (double-bass), Jarle Vespestad (drums). Na linha de certo modo de Lenny Tristano e, dizem, do grande Bill Evans. Também se cita a seu respeito Keith Jarrett. Não é difícil estar de acordo. Impossível não recordar também outro grande pianista de jazz escandinavo: Jan Johansson(Jazz på svenska). Este disco surge depois do magnífico Changing Places.

«The most enthralling pianist/composer and trio to emerge for an age ... follow up the sensational Changing Places with a second set of pellucid ballads, ghostly tangos and gently twinkling ice-funk. Slightly freer than before, but no less stately, The Ground is reverie music of the highest order. … In short, this album will make your life better.» (The Independent On Sunday)

«Ce pianiste norvégien a un toucher, une sensibilité, qui le place du côté des grands romantiques». (Vibrations)


"…

Natureza

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Civilização

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Natureza e civilização

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Céu de Londres

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Casa americana

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A sombra na areia

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As fotos mais recentes foram tiradas com uma Nikon D70 e uma objectiva 17-70. Algumas, mais antigas, foram tiradas com dois modelos diferentes da Nikon Coolpix (4500 e 995).

Steiner: Idiolects and misunderstandings

Every act and motion of meaning (the semiotic realm) comports translation. The form can be oral or graphic or symbolic; it can be a semaphore signal or a metaphysical disquisition. The receiver "translates," has to trans­late what he hears, reads, or perceives. Preeminently, he does so within his own tongue. Translation is, first and foremost, intralingual. It serves to decipher messages between speakers and writers within the same speech-community. Usually, such reciprocal deci­pherment occurs without conscious notice, though the actual pro­cess is exceedingly complicated - and always astonishing. Often, however, it should invite deliberate attention. Children and adults translate each other's idiom, as do successive generations. Lan­guage is in perpetual motion and mutation. Regions, even neigh­boring villages have their own dialects and pronunciations (the Venetian lagoon is Babel). So do social classes. These differences generate diverse identities and codes of inten…

Banco vazio

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Adolescência

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La mise-en-scène du «féminin»

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Estacionamento

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Pote

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Quatro

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Faroeste

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Beijo

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Banco na passagem

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Américo Rodrigues: Música vegetal

Recebi esta informação e divulgo-a com prazer.

O PRIMEIRO DISCO DE MÚSICA VEGETAL CRIADO EM PORTUGAL

“Aorta tocante” é o novo disco do poeta, actor e músico Américo Rodrigues. Editado pela “Bosq-íman:os records”, este CD vai ser apresentado ao público no próximo dia 4 de Maio no Auditório Municipal da Guarda e no dia 8 do mesmo mês no Convento da Saudação em Montemor-o-novo, no âmbito da iniciativa “Dança com livros”.
Neste trabalho de Américo Rodrigues participam como convidados especiais o índio wichi- mataco Nohién, o grupo Coco de Zambê de Tibau do Sul (Brasil), o músico e inventor de instrumentos brasileiro Antúlio Madureira, o grupo guardense Deity of Carnification e César Prata (que foi responsável pela mistura e masterização). A orientação gráfica é de Jorge dos Reis e a fotografia da capa é da autoria é de Susann Becker
Para além da voz, A.R. utiliza, em todos os temas, um instrumento popular vegetal (pecíolo de aboboreira), cujo som inusual é uma “espantosa” descoberta musical. …

A retórica da intimidação

Já uma vez pensei escrever umas linhas sobre os processos do capitalismo moderno (americano, mas não só), que abusivamente e repetidamente usa métodos primários de intimidação para nos assustar e tentar tirar-nos o dinheiro dos bolsos. Uma pessoa está tranquilamente em casa ao fim do dia a ver um programa de televisão e as interrupções publicitárias são constantes. Muitas delas têm a ver com a saúde: as ameaças da doença, a morte que deixa os familiares desprotegidos, os custos do funeral – e se o senhor é um cidadão, um pai, um esposo ou esposa responsável, não vai deixar os seus descendentes às voltas com problemas e chatices, pois não? O método é banal, é o da publicidade em geral: descobre-se uma falha no sistema social ou inventa-se uma; a seguir propõe-se o remédio, a cura: por gente competente, especializada, nossa amiga - e sobretudo muito interesseira. É um negócio, pronto. Se até os intelectuais, esses especialistas da alma humana movidos pelo idealismo, se servem do estrata…

Deusa do mar

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Mon petit café

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Goleta golf

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Árvores e céu

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Playing

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25 de Abril

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25 de Abril

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25 de Abril

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Ave II

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Ave

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Treino

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Paul Celan: It is time

CORONA

Autumn is eating a leaf from my hand: we are friends.
We are picking time out of a nut, we teach it to run:
and time rushes back to its shell.

In the mirror it's Sunday,
in dreams people sleep,
the mouth tells the truth.

My eye descends to the sex of my loved one,
we gaze at each other,
we whisper out darkness,
we love one another like poppies and memory,
we sleep like wine in a seashell,
like the sea in the moon's bloody rays.

Embracing we stand by the window, and people look up from
the street:
it is time that they knew!
It is time that the stone grew accustomed to blooming,
that unrest formed a heart.
It is time it was time.

It is time.

(Paul Celan, Selections, edited and with an introducion
by Pierre Joris, University of California Press, 2005)

Vale

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Linha do comboio

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Arco

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Estrada

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Sombras

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A árvore, a relva e o mar

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Rilke: One can always watch

THE FOURTH ELEGY

O trees of life, when is your winter?
Our nature's not the same. We don't have the instinct
of migrant birds. Late and out of season,
we suddenly throw ourselves to the wind
and fall into indifferent ponds. We
understand flowering and fading at once.
And somewhere lions still roam: so magnificent
they can't understand weakness.

Even when fully intent on one thing,
we feel another's costly tug. Hostility
is second nature to us. Having promised
one another distance, hunting, and home,
don't lovers always cross each other's boundaries?
Then for the sketchwork of an eye-wink,
a contrasting background's painfully prepared
to make us see it. Because it's very clear
we don't know the contours of our feeling,
but only what shapes it from without.
Who hasn't sat anxious in front of his heart's
curtain? It would go up: another parting scene.
Easy to understand. The familiar garden
swaying slightly; then came the dancer.
Not him. …

Campo de golfe

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Junto ao mar

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A árvore ao pé do mar

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Beira-mar

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Fim de tarde II

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Fim de tarde

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Varanda florida

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Casa

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Janelas

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Califórnia

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Rosa desmaiado

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Amarelo

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Janela verde

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Varanda

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Paul Celan: A stone in the water

Heard it said

I heard it said there was
a stone in the water and a circle,
and above the water a word
that lays the circle around the stone.

I saw my poplar go down to the water,
I saw her arm reach down into the depth,
I saw her roots beg skyward for night.

I did not run after her,
I only picked up from the ground the crumb
that has your eye's shape and nobility,
I took the chain of proverbs off your neck
and with it hemmed the table where the crumb now lay.

And no longer saw my poplar.

(Paul Celan, Selections, edited and with an introducion
by Pierre Joris, University of California Press, 2005)

Paul Celan: The snow of the unsaid

«… the critics' problems are specific to their undertaking (i.e., their need to prove that the methodologies they are invested in are the right ones and will result in the "true" interpretation of the poem) and should not discourage the reader. It is important to state at the outset that if Celan's poems are often difficult (and get more opaque in the late work) they are not incomprehensible. Celan himself, when asked about the difficulties of the poems, insisted that they were in no way hermetic and that all one had to do was to read them again and again. At the same time he claimed a necessary opacity for poetry today, first because the poem is "dunkel" (dark, obscure) because of its thingness, its phenomenality. In a note toward his essay "The Meridian" he writes: "Regarding the darkness of the poem today, imagination and experience, experience and imagination let me think of a darkness of the poem qua poem, of a constitutive, even congeni…

Composição IV

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Composição III

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