Saturday, April 30, 2005

A árvore solitária


(jc)

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?


Um trio escandinavo que 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)


"Le jeune pianiste norvégien raconte des histoires tranquilles et palpitantes sans jamais en dire trop ni trop peu. Son jeu est ramassé vers l'essentiel. Les phrases sont claires, le discours mélodique respire et nous plonge dans une atmosphère pénétrante au charme poétique et sensuel particulier. À découvrir sans attendre." (Le Généraliste)

«The interplay of bass and piano is right up there with Bill Evans and Scott LaFaro at their best. Harold Johnsen's bass solo's are inventive and his touch throughout the album inspired. While tracks such is IGN shows that Tord is very happy really working the keyboard, generally he caresses a note or two into being, lets you savour them and then presents you with more. The other aspect that strikes me in this album is no matter how good the solos are you aren't hanging out for the next one. The gentle interplay of instruments is just as rewarding as the individual features. I'll happily admit that I'm a soppy old romantic but honestly, I can't remember ever being so moved by an album. The tenderness of the playing on a song such as "Where Breathing Starts" is impossible to put into words. I know it's only the start of September but I'm 99.99% sure that I've found my release of the year." (Audioenz, New Zealand - read the entire review)

Natureza


(jc)

Civilização


(jc)

Natureza e civilização


(jc)

Friday, April 29, 2005

Céu de Londres


(Stéphane)

Casa americana


(jc)

A sombra na areia


(jc)

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 intent. The meeting of accent with accent, of inflection with inflection, necessitates inter­pretations (translations) of political-ideological values, of contrast­ing historical remembrance and allusion, of hopes (future tenses) which differ subtly or radically. Linguistic exchanges between men and women are, all too often, a contract for misunderstanding.
This constant stream of translation, moreover, is perhaps never meant to be a final decoding. Each and every human being speaks an "idiolect": this is to say a language, a "parlance" which remains in some of its lexical, grammatical, and semantic aspects his or her own. With time, with individual experience, these aspects incor­porate associations, connotations, accretions of intimate memory, privacies of reference singular to the speaker or writer. For each one of us, there are tone-clusters, particular words, phrases either embedded in our consciousness or branching, as it were, into the subconscious, whose patterns of sense, whose specific charge is deeply ours. These elements translate only partially in even the most scrupulous proceedings of shared communication. All ex­changes remain incomplete. Scarcely investigated is the intricate play of soliloquy. We harbor different voices inside us. These can enact different language-games. In the strident babble or silence of schizophrenia, the minimal conditions of inward commerce break down. But into what?


(George Steiner, Errata, Yale University Press, New Haven and London, 1998)

Wednesday, April 27, 2005

Tuesday, April 26, 2005

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.R., pioneiro da poesia sonora em Portugal, vai agora lançar o primeiro disco de “música vegetal”.
A propósito deste lançamento, o autor escreveu o seguinte texto:

“Nos temas incluídos neste meu último trabalho discográfico, uso a minha voz, electrónica e um instrumento vegetal chamado popularmente “trombone de aboboreira”, que é, simplesmente, um pecíolo de aboboreira. Esse “trombone” é um brinquedo efémero, cuja curta vida provoca um desafio estimulante aos seus utilizadores. Começa-se por cortar esses tubos de uma aboboreira, de forma que preservem uma membrana que, com o sopro, vibra de forma inigualável. Cada tubo tem, pois, a sua voz. Às vozes dos tubos juntei a minha própria voz, as minhas próprias vozes.
Os tubos/pecíolos internamente viscosos são parecidos com as artérias que atravessam o nosso corpo, levando sangue, outros fluidos e vozes. Dessa associação entre os tubos vegetais e os tubos do nosso corpo (alguns deles, levam o som da fala) é que nasceu a proposta “Aorta tocante”. Ao que faço agora chamo-lhe poesia sonora e música vegetal. Para construir estes temas, estudei também as tradições xamanísticas de diversas partes do mundo. O meu trabalho vocal inspira-se nessas práticas.
No projecto referido, uso palavras na minha língua natal (português) e vozes do mundo, numa espécie de comunicação cósmica. O pecíolo da aboboreira é fonte de som, usado como instrumento de sopro mas também como utensílio de percussão, num ritmo que induz a procura do êxtase. Usei mais de cem tubos em “Aorta tocante”, criando assim um grande órgão de tubos. Utilizei também o som da fricção de uns nos outros e o som da sua própria destruição”.

O disco será distribuído localmente pela Associação Luzlinar e o lançamento do disco na Guarda tem a colaboração do Aquilo-Teatro. Em Montemor a organização é do “Espaço do Tempo” e da livraria “Fonte das Letras”.
luzlinar@clix.pt

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 estratagema, diagnosticando-nos - ou à sociedade - doenças e defeitos que os livros deles ajudarão a identificar, a entender e a corrigir, não devemos surpreender-nos por vê-lo usado pelas empresas de electrodomésticos em busca de mais rendimentos. Porque também há as cartas. Hoje recebi uma de uma empresa que fabrica máquinas de lavar e secar roupa (devolvi logo as máquinas, pois uma vinha avariada e a outra esmurrada; mas eles ficaram com o meu endereço, razão pela qual recebo regularmente cartas destas). Não é preciso entrar em grandes explicações. Basta ler com atenção e entender que se trata apenas de um exemplo entre mil outros da mesma estratégia. Quanto ao facto de o dinheiro que pagamos para a segurança social não servir para grande coisa, até deve ser verdade, mas isso só significa que a fraude e a nossa falta de protecção se alargam a outras zonas, essas institucionais.



Dear XXX,

As a responsible citizen, you have paid taxes most of your life, and that's why I think you have a right to be deeply concerned by what I am about to tell you.
An estimated 60% of Americans will need long-term care.(1) The cost is high.. .the national average for nursing home care is almost $58,000 a year, and in some regions it can easily cost twice that amount.(2) Home care is less expensive but it still adds up. In-home assistance averages $18 per hour, or $37,000 per year for 40 hours a week of help.(3)
Until recently, there was considerable confusion over who pays the high cost of nursing home care... Medicare, Medicaid, or you???
With the passage of the Health Insurance Portability and Accountability Act of 1996, our federal government made it clear who is primarily responsible for the cost of long-term care, and it is you! The law set new standards for long-term care insurance and provided tax incentives for the purchase of plans that qualify.
But most importantly, this law clearly sent the message that the federal government has neither
the intent nor the resources to fund a national long-term care program, and that individuals looking to help protect themselves against the rising costs of long-term care must look to the private market.
Don't take chances with your future. The Medicare you've paid for won't help much. Most long-term care is considered custodial care - Medicare doesn't pay for custodial care. And Medicaid won't pay until many of your hard-earned assets have been depleted.
Fortunately, this doesn't have to happen to you...
We've made a commitment to help solve this crisis, with a valuable insurance plan that will help protect your finances, your freedom, and your dignity when the time comes to seek long-term care... for you or your spouse/partner. This can help you with both covered nursing home and in-home care -providing flexibility that will help you stay in your home as long as possible.
Finally, you'll have the security of knowing that this protection is provided by XXXX Capital Assurance Company. Our Long-Term Care Insurance Division pioneered the development of long-term care insurance and is widely recognized as an industry leader.(4)
You were pre-selected to receive this special long-term care insurance offer from XXXX Capital Assurance Company. Complete details about the benefits, cost, limitations and exclusions of this valuable long-term care insurance policy will be provided by a XXXXX Capital Assurance Company Long-Term Care Insurance Agent. There is absolutely no cost or obligation for this service.
Sincerely,

XXXXXXX
President, Long-Term Care Insurance Division
XXXXX Capital Assurance Company

P.S. Don't let the high costs of long-term care diminish your retirement assets, your freedom, and your dignity. Once again, this valuable information will be provided to you at no cost or obligation.

1. "'A Federal Case for LTC," Employee Benefit News (2/02/03)
2. XXXX Financial Nursing Home Cost of Care Survey, conducted by Evans Research (7/31/03) (Survey results are available from the company or one of our insurance agents)
3. '"Be Prepared for Long-Term Care," Cox News Service (3/15/04) (Survey results are available from the company or one of our insurance agents)
4. Life Plans Survey, 12/03

E quando vamos mandar a carta para o cesto dos papéis entendemos que também isso foi previsto pela tão nossa amiga Sociedade de Capitais. Por isso tivemos direito a uma página suplementar, em estilo ternamente irritado de pai amigo do filho:


From the desk of XXXXX


Frankly, I'm puzzled...
Sometimes I have trouble understanding why more people don't request the facts about long-term care insurance. It's only after you have the facts that you can make an informed decision.
If you've been putting off getting information, or if it's been some time since you've gotten updated information about the benefits and costs of long-term care insurance, it's time to take another look.
In 1996, with the enactment of The 'Health Insurance Portability and Accountability Act, our government provided tax incentives for long-term care insurance plans that meet certain standards. You should know about these tax incentives.
Frankly, I can't think of any other topic that's more important to you than long-term care insurance.
Please return the enclosed FREE Information Request Form today in the enclosed postage-paid envelope.
The way I look at it, you have so much to gain and absolutely nothing to lose. Thank you.

XXXXXXX
President, Long-Term Care Insurance Division
XXXXXXX Capital Assurance Company

Deusa do mar


(jc)

Mon petit café


(jc)

Goleta golf


(jc)

Árvores e céu


(jc)

Playing


(jc)

Monday, April 25, 2005

Sunday, April 24, 2005

Ave II


(jc)

Ave


(jc)

Treino


(jc)

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


(jc)

Linha do comboio


(jc)

Arco


(jc)

Estrada


(jc)

Saturday, April 23, 2005

Sombras


(jc)

A árvore, a relva e o mar


(jc)

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. Enough! However graceful he may be,
he's disguised, turns into a suburbanite,
and walks into his house through the kitchen.
I don't want these half-filled masks.
I'd rather have a doll. That's whole.
I'll put up with the empty body, the wire, and
the face that's only surface. Here. I'm waiting.
Even if the lights go out; even if
I'm told, "That's all"; even if emptiness
drifts toward me in gray drafts from the stage;
even if none of my silent ancestors
will sit next to me anymore, not a woman,
not even the boy with the squinting brown eyes —
I'll stay here. One can always watch.………………………………………………..
………………………………………………..
…………………………………………………


(Rainer Marie Rilke, Duino Elegies and the Sonnets to Orpheus, translated by
A. Poulin, A Mariner Book, Houghton Mifflin Company, Boston, N. Y., 2005)

Campo de golfe


(jc)

Junto ao mar


(jc)

A árvore ao pé do mar


(jc)

Friday, April 22, 2005

Thursday, April 21, 2005

Wednesday, April 20, 2005

Rosa desmaiado


(jc)

Amarelo


(jc)

Janela verde


(jc)

Varanda


(jc)

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)

Tuesday, April 19, 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 congenital darkness. In other words: the poem is born dark; the result of a radical individuation, it is born as a piece of language, as far as language manages to be world, is loaded with world."»1

1. Paul Celan, Der Meridian, Endfassung, Vorstufen, Materialien, edited by Bernhard Boschenstein and Heino Schmull, Tiibinger Ausgabe (Frankfurt am Main: Suhrkamp Verlag, 1999), 84.




With a variable key

With a variable key
you unlock the house, in it
drifts the snow of the unsaid.
Depending on the blood that gushes
from your eye or mouth or ear,
your key varies.

Varies your key so varies your word
that's allowed to drift with the flakes.
Depending on the wind that pushes you away,
the snow cakes around the word.


(Paul Celan, Selections, edited and with an introducion by

Pierre Joris, University of California Press, 2005)

Composição IV


(jc)

Composição III


(jc)