Things I like when I awake from the numbing hubbub of existence:
found poetry (for example, this I found in an e-mail sent to me by a great friend of mine:
Today is the first day of spring idea in holland.
Shakespear would write about it
and so did i
and I didn't even mess with the form)
constrained webcomics (currently addicted to http://www.qwantz.com)
Jandl (it's in German, but here you go: http://www.zeit.de/1983/43/Zeitlese?page=5)
the best comes last:
absurdist prose (http://absurdist.obook.org/kharms/display.php?p=12)
Saturday, 5 December 2009
Thursday, 1 October 2009
uncanny! unfuckingcanny.
R.E.M. - Crush with Eyeliner (Monster, 1994)
I know you
I know you've seen her
She's a sad tomato
She's three miles of bad road
Walking down the street
Will I never meet her?
She's a real woman-child
Oh, my kiss breath turpentine
I am smitten
I'm the real thing (I'm the real thing)
Have you seen her come around?
My crush with eyeliner
I'm in like
I'm infatuated
It's all too much - the pressure
She's all that I can take
What position should I wear?
Cop an attitude? (you fake her)
How can I convince her? (fake her)
That I'm invented too, yeah
I am smitten
I'm the real thing (I'm the real thing)
We all invent ourselves
And, uh, you know me
Yeah, she's a sad tomato
She's three miles of bad road
She's her own invention (she's her own invention)
That gets me in the throat
What can I make myself be?
Life is strange, yeah (life is strange)
What can I make myself be? (fake her)
To make her mine?
I am smitten
I'll do anything (I'll do anything)
A kiss breath turpentine,
My crush with eyeliner
I am smitten
You know me (yeah, you know me)
I could be your Frankenstein
My crush with eyeliner
I am smitten
I'm the real thing (I'm the real thing)
Won't you be my valentine?
My crush with eyeliner
Além do mais, digam-me o que disserem, "She's three miles of bad road" é de génio.
I know you
I know you've seen her
She's a sad tomato
She's three miles of bad road
Walking down the street
Will I never meet her?
She's a real woman-child
Oh, my kiss breath turpentine
I am smitten
I'm the real thing (I'm the real thing)
Have you seen her come around?
My crush with eyeliner
I'm in like
I'm infatuated
It's all too much - the pressure
She's all that I can take
What position should I wear?
Cop an attitude? (you fake her)
How can I convince her? (fake her)
That I'm invented too, yeah
I am smitten
I'm the real thing (I'm the real thing)
We all invent ourselves
And, uh, you know me
Yeah, she's a sad tomato
She's three miles of bad road
She's her own invention (she's her own invention)
That gets me in the throat
What can I make myself be?
Life is strange, yeah (life is strange)
What can I make myself be? (fake her)
To make her mine?
I am smitten
I'll do anything (I'll do anything)
A kiss breath turpentine,
My crush with eyeliner
I am smitten
You know me (yeah, you know me)
I could be your Frankenstein
My crush with eyeliner
I am smitten
I'm the real thing (I'm the real thing)
Won't you be my valentine?
My crush with eyeliner
Além do mais, digam-me o que disserem, "She's three miles of bad road" é de génio.
Saturday, 1 August 2009
cop semantics
reparem que os polícias americanos (nos filmes, pelo menos) dizem
What seems to be the problem
e não algo como
What's the problem
a abordagem que usam sugere logo que apenas aparentemente haverá um problema. não é condescendente, o uso da palavra; terá, talvez, um efeito apaziguador, como quem diz que tudo vai ser resolvido em breve e sem percalços porque, no fundo, não há um problema, embora pareça haver.
eu cá acho que é inteligente da parte deles.
isto para dar um exemplo benigno (e mesmo de saudar); já os militares usam os seus conhecimentos linguísticos de uma forma magnífica para eufemenizar palavras como guerra, mortes, etc, e para legitimar acções cujas intenções e implicações, se fossem ditas de uma forma mais transparente, provavelmente nunca obteriam a mesma aprovação por parte do público.
o excelente apêndice sobre a manipulação da linguagem pela Ingsoc no livro 1984 devia ser de leitura obrigatória.
What seems to be the problem
e não algo como
What's the problem
a abordagem que usam sugere logo que apenas aparentemente haverá um problema. não é condescendente, o uso da palavra; terá, talvez, um efeito apaziguador, como quem diz que tudo vai ser resolvido em breve e sem percalços porque, no fundo, não há um problema, embora pareça haver.
eu cá acho que é inteligente da parte deles.
isto para dar um exemplo benigno (e mesmo de saudar); já os militares usam os seus conhecimentos linguísticos de uma forma magnífica para eufemenizar palavras como guerra, mortes, etc, e para legitimar acções cujas intenções e implicações, se fossem ditas de uma forma mais transparente, provavelmente nunca obteriam a mesma aprovação por parte do público.
o excelente apêndice sobre a manipulação da linguagem pela Ingsoc no livro 1984 devia ser de leitura obrigatória.
Monday, 27 July 2009
BL
Nao leiam isto.
Estou na British Library e esta foi a maneira que encontrei de enviar algumas citacoes que preciso para a minha dissertacao (e interdito o acesso a qualquer email)
Rubin Rabinovitz, The Development of Samuel Beckett's Fiction (Urbana and Chicago: University of Illinois, 1984) [terrific chapter on use of symmetry, repetition, cross-referencing: 'Murphy and repetition', 71-103]
85- The dual sets are used to emphasize two parallel themes: body versus mind, and sanity versus insanity. Murphy, a dualist in the Cartesian tradition, believes that reality has a physical component ("the big world") and a mental component ("the little world"). After arriving at the M.M.M., Murphy persuades himself that insanity is nothing more than full-time residence in the little world. If the inmates at the M.M.M. seem bizarre, it is because they are being judged by the rules of a world they have abandoned. The psychiatrists are the only ones whose behaviour is irrational: they condem the pleasures of the little world without having sampled them. They patients rightly refuse to be rehabilitated; they are happy enough as "microcosmopolitans", citizens of the little world.
It never occurs to him [Murphy] that that a veteran solipsist might have reservations about giving instructions to a figment of his imagination.
89- As these summaries indicate, when the allusions are easily identified, Beckett seems to be taking the ideas he cites seriously; when they are not, he introduces a sardonic note. Beckett enjoys a bit of fun at the expense of the philosophers, but his satire is mainly directed against his own characters, Murphy in particular. If the concepts of thinkers like Berkeley or Descartes sometimes seem far-fetched, what can be said for Murphy, whose ideas are a pastiche of theirs?
93- The concept of Murphy forgets has to do with desire and indifference. Desire involves an exercise of the will and the need to possess an object; it leads to momentary gratification which soon is replaced by the need for a new object. Neary's circle of endless yearning illustrates the frustrating result of unchecked desire. An alternative to desire is a detached receptiveness, which leads to aesthetic enjoyment. Symmetry encourages this kind of receptiveness by presenting objects in configurations instead of emphasizing their intrinsic values.
94- Murphy, withdrawing into his mind, does not understand that he has still not liberated himself from willing. He enjoys visiting the little world because - as the narrator twice points out - it gives him pleasure. He has not escaped desire; he has only changed the object of his desire.
95- It is true, of course, that Mr. Endon is mad, but his is a special type of madness. Unlike Murphy, the narrator understands very well that lunacy is an unhappy condition; even so, he considers Mr. Endon's state an enviable one. [...] Mr. Endon's madness, the eccentric progeny of Schopenhauer's concept of genius, is offset by Murphy's solipsism, the monster offspring of Descartes' introspective method [!!]
96- The novel's symmetry is emphasized by formal devices; its asymmetry, by the content. The symmetry reflects the mind's tendency to impose orderly patterns on whatever it perceives; the asymmetry is a reflection of the world's blooming, buzzing confusion. The human imagination continually conjures up visions of the world where (according to the laws of thermodynamics) disorder rules.
...e algumas noticias que quero adicionar ao meu pequeno scrapbook digital:
http://dn.sapo.pt/inicio/globo/interior.aspx?content_id=1314871&seccao=%C1sia
http://dn.sapo.pt/inicio/portugal/interior.aspx?content_id=1322323
http://dn.sapo.pt/inicio/ciencia/interior.aspx?content_id=1321908
um bem haja
Estou na British Library e esta foi a maneira que encontrei de enviar algumas citacoes que preciso para a minha dissertacao (e interdito o acesso a qualquer email)
Rubin Rabinovitz, The Development of Samuel Beckett's Fiction (Urbana and Chicago: University of Illinois, 1984) [terrific chapter on use of symmetry, repetition, cross-referencing: 'Murphy and repetition', 71-103]
85- The dual sets are used to emphasize two parallel themes: body versus mind, and sanity versus insanity. Murphy, a dualist in the Cartesian tradition, believes that reality has a physical component ("the big world") and a mental component ("the little world"). After arriving at the M.M.M., Murphy persuades himself that insanity is nothing more than full-time residence in the little world. If the inmates at the M.M.M. seem bizarre, it is because they are being judged by the rules of a world they have abandoned. The psychiatrists are the only ones whose behaviour is irrational: they condem the pleasures of the little world without having sampled them. They patients rightly refuse to be rehabilitated; they are happy enough as "microcosmopolitans", citizens of the little world.
It never occurs to him [Murphy] that that a veteran solipsist might have reservations about giving instructions to a figment of his imagination.
89- As these summaries indicate, when the allusions are easily identified, Beckett seems to be taking the ideas he cites seriously; when they are not, he introduces a sardonic note. Beckett enjoys a bit of fun at the expense of the philosophers, but his satire is mainly directed against his own characters, Murphy in particular. If the concepts of thinkers like Berkeley or Descartes sometimes seem far-fetched, what can be said for Murphy, whose ideas are a pastiche of theirs?
93- The concept of Murphy forgets has to do with desire and indifference. Desire involves an exercise of the will and the need to possess an object; it leads to momentary gratification which soon is replaced by the need for a new object. Neary's circle of endless yearning illustrates the frustrating result of unchecked desire. An alternative to desire is a detached receptiveness, which leads to aesthetic enjoyment. Symmetry encourages this kind of receptiveness by presenting objects in configurations instead of emphasizing their intrinsic values.
94- Murphy, withdrawing into his mind, does not understand that he has still not liberated himself from willing. He enjoys visiting the little world because - as the narrator twice points out - it gives him pleasure. He has not escaped desire; he has only changed the object of his desire.
95- It is true, of course, that Mr. Endon is mad, but his is a special type of madness. Unlike Murphy, the narrator understands very well that lunacy is an unhappy condition; even so, he considers Mr. Endon's state an enviable one. [...] Mr. Endon's madness, the eccentric progeny of Schopenhauer's concept of genius, is offset by Murphy's solipsism, the monster offspring of Descartes' introspective method [!!]
96- The novel's symmetry is emphasized by formal devices; its asymmetry, by the content. The symmetry reflects the mind's tendency to impose orderly patterns on whatever it perceives; the asymmetry is a reflection of the world's blooming, buzzing confusion. The human imagination continually conjures up visions of the world where (according to the laws of thermodynamics) disorder rules.
...e algumas noticias que quero adicionar ao meu pequeno scrapbook digital:
http://dn.sapo.pt/inicio/globo/interior.aspx?content_id=1314871&seccao=%C1sia
http://dn.sapo.pt/inicio/portugal/interior.aspx?content_id=1322323
http://dn.sapo.pt/inicio/ciencia/interior.aspx?content_id=1321908
um bem haja
Monday, 20 July 2009
lista #1
. ler Beckett e Kafka no original sem problemas
. aprender a tocar piano
. aprender a cantar (bass)
. percorrer o sul de frança de bicicleta
. trabalhar com idosos
. passar umas semanas num mosteiro budista
. voltar a berlim
. aprender a tocar piano
. aprender a cantar (bass)
. percorrer o sul de frança de bicicleta
. trabalhar com idosos
. passar umas semanas num mosteiro budista
. voltar a berlim
Saturday, 27 June 2009
Europa
Estou a ler sobre a União Europeia (por razões já explicadas neste blog) e decidi que quero dizer-vos quais são os países da Europa (mas não necessariamente da EU, claro) que mais me fascinam.
- A Suíça. Parece que a última guerra internacional em que participaram foi há quase 200 anos, que a última guerra civil durou um mês e resultou "apenas" em 100 mortos, e que se mantiveram neutros durante as duas guerras mundiais (mas mesmo neutros, não foram ocupados pelos Alemães). Muito estranho. Acrescente-se a isto o facto de terem quatro línguas nacionais e paisagens de cortar a respiração e ficam com um país assaz intrigante.
- Os países nórdicos. Eu chamo-lhes o Quarteto Fantástico porque aparentemente têm o melhor sistema político possível. Pena terem umas línguas tão complicadas.
- A República Irlandesa. Em relação directamente proporcional à Suíça, passaram praticamente os últimos 200 anos em guerras: internacionais, de independência e civis. Tenho ideia que são bem mais europeus do que estes esquisitos do Reino Unido e foi em solo irlandês que nasceram muitos dos meus escritores preferidos.
- Portugal. Claro. Cada vez que lá volto surpreendo-me, para o bem e para o mal. Que país o meu!, e se digo isto vagamente desalentado ou com indisfarçável orgulho é difícil saber ao certo.
- A Suíça. Parece que a última guerra internacional em que participaram foi há quase 200 anos, que a última guerra civil durou um mês e resultou "apenas" em 100 mortos, e que se mantiveram neutros durante as duas guerras mundiais (mas mesmo neutros, não foram ocupados pelos Alemães). Muito estranho. Acrescente-se a isto o facto de terem quatro línguas nacionais e paisagens de cortar a respiração e ficam com um país assaz intrigante.
- Os países nórdicos. Eu chamo-lhes o Quarteto Fantástico porque aparentemente têm o melhor sistema político possível. Pena terem umas línguas tão complicadas.
- A República Irlandesa. Em relação directamente proporcional à Suíça, passaram praticamente os últimos 200 anos em guerras: internacionais, de independência e civis. Tenho ideia que são bem mais europeus do que estes esquisitos do Reino Unido e foi em solo irlandês que nasceram muitos dos meus escritores preferidos.
- Portugal. Claro. Cada vez que lá volto surpreendo-me, para o bem e para o mal. Que país o meu!, e se digo isto vagamente desalentado ou com indisfarçável orgulho é difícil saber ao certo.
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