domingo, dezembro 31, 2006

No derradeiro segundo de 2006 pensem nisto:

"
Absolutism vs. relationalism

The debate between whether space and time are real objects themselves, i.e., absolute, or merely orderings upon real objects, i.e., relational, began with a debate between Isaac Newton, through his spokesman Samuel Clarke, and Gottfried Leibniz in the famous Leibniz-Clarke Correspondence.

Arguing against the absolutist position, Leibniz offers a number of thought experiments aiming to show that assuming the existence of facts such as absolute location and velocity will lead to contradiction. These arguments trade heavily on two principles central to Leibniz's philosophy: the principle of sufficient reason and the identity of indiscernibles.

The principle of sufficient reason holds that for every fact there is a reason sufficient to explain why it is the way it is and not otherwise. The Identity of indiscernibles states that if there is no way of telling two entities apart then they are one and the same thing.

For example, Leibniz asks us to imagine two universes situated in absolute space. The only difference between them is that the second is placed five feet to the left of the first, a possibility available if such a thing as absolute space exists. Such a situation, however, is not possible according to Leibniz, for if it were:

a) where a universe was positioned in absolute space would have no sufficient reason, as it might very well have been anywhere else, hence contradicting the principle of sufficient reason, and
b) there could exist two distinct universes that were in all ways indiscernible, hence contradicting the Identity of Indiscernibles.

Standing out in Clarke's, and Newton's, response to Leibniz arguments is the bucket argument. Water in a bucket, hung from a rope and set to spin, will start with a flat surface. As the water begins to spin in the bucket, the surface of the water will become concave. If the bucket is stopped, the water will continue to spin, and while the spin continues the surface will remain concave. The concave surface is apparently not the result of the interaction of the bucket and the water, since the water is flat when the bucket first starts to spin, becomes concave as the water starts to spin, and remains concave as the bucket stops.

In this response, Clarke argues for the necessity of the existence of absolute space to account for phenomena like rotation and acceleration that cannot be accounted for on a purely relationalist account. Clarke argues that since the curvature of the water occurs in the rotating bucket as well as in the stationary bucket containing spinning water, it can only be explained by stating that the water is rotating in relation to some third thing, namely absolute space.

Leibniz describes a space that exists only as a relation between objects, and which therefore has no existence apart from the existence of those objects; motion exists only as a relation between those objects. Newtonian space provided an absolute frame of reference within which objects can have motion. In Newton's system the frame of reference exists independently of the objects which it contains; objects can be described as moving in relation to space itself. For two hundred years, the empirical evidence of the concave water surface held sway.

...

Stepping into this debate in the 19th century is Ernst Mach. Not denying the existence of phenomena like that seen in the bucket argument, he still denied the absolutist conclusion by offering a different answer as to what the bucket was rotating in relation to: the fixed stars.

Mach suggests that thought experiments like the bucket argument are problematic. Imagine a universe containing only a bucket; on Newton's account, this bucket could be set to spin relative to absolute space, and the water it contained would form the characteristic concave surface. But, in the absence of anything else in the universe, how could one confirm that the bucket was indeed spinning? It seems at least equally possible that the surface of the water in the bucket would remain flat.

Mach argued, in effect, that the water in a bucket in an otherwise empty universe would indeed remain flat. But introduce another object into the universe - a distant star, perhaps - and there is now something relative to which the bucket could be seen to be rotating. The water might now adopt a slight curve. As the number of objects in the universe increased, so the curvature of the water, up to the point that we see in the actual universe. In effect Mach argued that the momentum of an object, angular or linear, exists as a result of the sum of the effects of other objects in the universe - Mach's principle.

...

Einstein's relativistics are based on the principle of relativity, which holds that the rules of physics must be the same for all observers, regardless of the frame of reference they use. The greatest difficulty for this idea were Maxwell's equations which included the speed of light in vacuum, implying that the speed of light is only constant relative to the postulated luminiferous ether. However, all attempts to measure any speed relative to the ether failed. Einstein showed how special relativity's Lorentz transformations can be derived from the principle of relativity and the invariance of light speed. Special relativity is a formalisation of the principle of relativity which does not contain a privileged inertial frame of reference such as the luminiferous aether or absolute space, from which Einstein inferred that no such frame exists. That philosophical approach has become popular among physicists. These views of space and time were also strongly influenced by mathematicians such as Minkowski, according to whom only a kind of union of [space and time] will preserve an independent reality.

Einstein generalised relativity to frames of reference that were non-inertial. He achieved this by positing the Equivalence Principle, that the force felt by an observer in a gravitational field and that felt by an observer in an accelerating frame of reference were indistinguishable. This led to the remarkable conclusion that the mass of an object warps the geometry of the spacetime surrounding it, as described in Einstein's field equations.

An inertial frame of reference is one that is following a geodesic of spacetime. An object that moves against a geodesic experiences a force. For example, an object in free fall does not experience a force, because it is following a geodesic. An object standing on the earth will experience a force, as it is being held against the geodesic by the surface of the planet.

A bucket of water rotating in empty space will experience a force because it rotates with respect to the geodesic. The water will become concave, not because it is rotating with respect to the distant stars, but because it is rotating with respect to the geodesic.

Einstein partially vindicates Mach's principle, in that the distant stars explain inertia in so far as they provide the gravitational field against which acceleration, and inertia, occur. But contrary to Leibniz' account, this warped spacetime is as much a part of an object as are its mass and volume. If one holds, contrary to the idealists, that there are objects that exist independently of the mind, it seems that Relativistics commits one to also hold that space and time have the same sort of independent existence.

...

The position of conventionalism states that there is no fact of the matter as to the geometry of space and time, but that it is decided by convention. The first proponent of such a view, Henri Poincaré, reacting to the creation of the new non-euclidean geometry, argued that which geometry applied to a space was decided by convention, since different geometries will describe a set of objects equally well, based on considerations from his sphere-world.

This view was developed and updated to include considerations from relativistic physics by Hans Reichenbach. Reichenbach's conventionalism, applying to space and time, focusses around the idea of coordinative definition.

Coordinative definition has two major features. The first has to do with coordinating units of length with certain physical objects. This is motivated by the fact that we can never directly apprehend length. Instead we must choose some physical object, say the Standard Metre at the Bureau International des Poids et Mesures (International Bureau of Weights and Measures), or the wavelength of cadmium to stand in as our unit of length. The second feature deals with separated objects. Although we can, presumably, directly test the equality of length of two measuring rods when they are next to one another, we can not find out as much for two rods distant from one another. Even supposing that two rods, whenever brought near to one another are seen to be equal in length, we are not justified in stating that they are always equal in length. This impossibility undermines our ability to decide the equality of length of two distant objects. Sameness of length, to the contrary, must be set by definition.

Such a use of coordinative definition is in effect, on Reichenbach's conventionalism, in the General Theory of Relativity where light is assumed, i.e. not discovered, to mark out equal distances in equal times. After this setting of coordinative definition, however, the geometry of spacetime is set.

As in the absolutism/relationalism debate, contemporary philosophy is still in disagreement as to the correctness of the conventionalist doctrine. While conventionalism still holds many proponents, cutting criticisms concerning the coherence of Reichenbach's doctrine of coordinative definition have led many to see the conventionalist view as untenable."

quinta-feira, dezembro 28, 2006

quarta-feira, dezembro 27, 2006

Quanto ao Trotsky, diz-se que terá tido um affair com a Frida Kahlo , o que terá levado Diego Rivera (segundo o filme tenta fazer querer) a espetar-lhe a famosa "picareta" na "marmita".
Na verdade, terão sido agentes do K.G.B (penso que na altura ainda não teria este nome) a mando de Estaline, que já lhe queria fazer a folha há imenso tempo, a trazerem a "picareta" de Moscovo até ao México só para o "coroarem".

O que é mesmo concreto nesta história toda é que rivera foi um dos maiores muralistas de sempre.






Diego Rivera Mural
Monumental Stairway in Mexico's National Palace
Mexico City, D.F.

The center arch of the wall contains the Mexican eagle holding a serpent that showed the end of the Aztecs' migration. Included on the current Mexican flag, the eagle also represents a resurgent Mexico with resistance and self-assertion. Above the eagle Rivera painted the leaders of Mexico's independence from Spain: Father Hidalgo, Salvador Allende, and Morelos. On top of them are the leaders of the modern Revolution such as Emiliano Zapata and Carillo Puerto. The hands of Zapata and those of workman holding a banner saying "Tierra y Libertad." The banner allows Rivera to insert his Marxist opinions by encouraging freedom of the people. In this case, Rivera interprets and adjusts the history to suit his beliefs.

The Aztec calendar stone continues under the under the eagle as a symbol of the ancient civilizations. On one side of the stone is the Aztecs' conqueror Hernan Cortes' hand holding a spear and on the other side the hand of Cuauhetemoc, the last Aztec emperor, holding a sling. The two people are completely opposed to each other but both play essential roles in formation of present day Mexico. In the lower portion of the mural, Rivera contrasts the Spanish enslavement of the Indians and the protection by the Catholic clergy of the Indians. Rivera always chose to exaggerate in favor of his people. His portrayal of ancient Mexico shows a society filled with "peace and harmony, of light and of plenty".



Alan Bates checked out on the 27th of 2003

Zorba the Greek


Leon Trotsky



faz 80 anos que o partido se ...

terça-feira, dezembro 26, 2006

Godfather of Soul James Brown,
checked out on the 25th of December 2006



JAMES BROWN - This is a man's world


segunda-feira, dezembro 25, 2006



domingo, dezembro 24, 2006

Esta altura do ano apenas me relembra o quão hipócrita é o país, o quão hipócritas são as famílias, o quão hipócritas são os indivíduos. Detesto o natal! Detesto toda esta hipocrisia!

Ainda para mais, quando olho para trás e me relembro dos que me faziam o natal uma coisa especial. As coisas especiais são raras, são trazidas por pessoas especiais e essas infelizmente morrem cedo.

A continuação...

*Carne mansa*
(pdf)

Teria feito 77 anos a 23 de Dezembro deste ano...


How Rockabilly are You?
Your Result: Cool-Cat
You've got the jive but your ride leaves something to be desired. You're not quite ready to drag, but I sure like the way you walk.

Keep workin on your hot rod and matybe next summer you'll be ready to ride.

Psycho-billy

Psycho-Bitch out of Hell

Square

Twilight Zone

How Rockabilly are You?

sexta-feira, dezembro 22, 2006

Chefe Gomes... Quim




É grande a minha tristeza, o meu sentimento de perda é imenso. Estou letárgico, atordoado, não consigo traduzir para palavras o que este homem significa para mim.
Joaquim Gomes partiu... deixa um grande vazio naqueles que foram tocados por ele (por vezes com um pau :) ) e neles viverá, ora como recordação, ora como agulha de bússola.
Adeus amigo.

quinta-feira, dezembro 21, 2006

The Beatles
Love
2006



it’s a complete oxymoron, but “new Beatles album” is one of the most overused of phrases in music. Every few years, the line is rushed out and devoured by an expectant media. So far there have been three anthologies, the Yellow Submarine “songtrack,” the 1 compilation, and Let It Be: Naked. Now there is Love, a soundtrack to the Cirque du Soleil show of the same name. It’s a collection of well-loved Beatles classics, remixed and remastered by George Martin and his son Giles. It’s not really a new Beatles album—no one’s risen from the dead—but, unlike a simple best of, this “soundscape” does make you listen again, sliding previously unrelated bits into each other in such a way that music recorded before a lot of us were born seems freshly conceived.

The piece begins with an a capella version of “Because”; the only adornment is a twitter of birdsong—a reminder that, despite their monolithic cultural status, The Beatles were just four otherworldly blokes from England. Its mixture of magic and realism sets the tone for what follows. The harmonies fade to silence; the opening chord of “A Hard Days Night” bursts through, spins itself out into a drum sample from “The End,” then into the choppy grooves of “Get Back.” It’s powerful, evocative and, most of all, fun.

In the wake of The Grey Album and less publicized exercises in recontextualization, such as ccc’s Revolved, Apple Corps are somewhat inevitably a little late to the party, but, in having full access to the original masters, they have a rather large advantage over any bedroom beat matcher. The remastering is exemplary; many of the annoyances from the first run of CD reissues are ironed out, giving these songs a sprightly, crisp feel. Indeed, much of the material, even in strange new guises, has never sounded better. The understated take on “While My Guitar Gently Weeps” may be preferable to the histrionics of the po-faced original; “Strawberry Fields Forever”’s growth from demo to soundclash, picking up the harpsichord parts of “In My Life” and the coda of “Hello Goodbye” along the way, is astonishing. Nearly every track emphasizes the mix of warmth and genuine strangeness that characterized their later endeavors. There is little from the Fab days, but then the simplicity of earlier efforts would hardly suit the kind of sonic alchemy at play here.

Over the 26 tracks, the ghosts of 130 different individual recordings are referenced; sometimes the whole song, often just a snippet of organ or guitar. Slithers of sound float into the mix, touch the periphery of consciousness, then back away. Figuring out where each part is originally from will be fun for the fanatics, but isn’t necessary to enjoy the mix. In an odd way, The Beatles already sort of sound like this—these sounds are so ingrained into the cultural fabric that, though you may be unable to place it exactly, most can arouse a cursory note of recognition.

This isn’t the “new Beatles album” that the world has been waiting for since 1970. As much as many desire it, recapturing the spirit of that time is a task that is at best quixotic, at worst soul-destroying. There is talk of the band’s back catalog being remastered and, with this kind of quality, that can only be a good thing, because, like it or not—and it certainly is easy to resent their omnipresence—people are going to be listening to these recordings for a few more years. So then: press still looking for the next echo of Beatlemania; popular music still fun and occasionally beautiful; Love still a nebulous but inspirational concept; The Beatles still pretty good.

As lágrimas correm-me copiosamente pela alma... Arrepios de êxtase e tristeza...
Penso que já terei "postado" sobre esta música anteriormente (Júlio César, segundo os gauleses, por vezes repetia-se (andava a ficar sem "frases feitas" para dizer (alusão ás aventuras de Ásterix))). Mas se a história do homem (a da humanidade) se repete (tenho uma teoria acerca disto), porque não o posso fazer eu?
Como diria o outro; "Eu quero que a opinão pública se foda!!!"

Hurt - Johnny Cash


quarta-feira, dezembro 20, 2006

What Kind of Pirate are Ye?

Your Results:


Cut Throat Pirate

Aye Aye Captain! You have the attitude to rule the Seven Seas! You like to take charge in life and consider all of your Crew Members as brothers. Your dreams are as endless as the stars in the sky. You share your booty with the ones you trust...which may only be a few. But when it comes to living, you know how to do it right!

segunda-feira, dezembro 18, 2006

Engraçado, pensei nisto há uns meses enquanto defecava.



"
Welcome to The Venice Project™

We're working on a project that combines the best things about television with the social power of the internet - a project that gives viewers, advertisers and content owners more choice, control and creativity than ever before.

There'll be a lot more information about The Venice Project™ coming this way soon. If you'd like us to keep you informed of our progress by email, please fill in your details below. And if you'd like to take part in our beta-testing program, please click the link to the left. We'll get back to you as soon as we can.

The Venice Project™ Tea
"

Em homenagem aos 100 anos de Lopes-Graça: Captain Beefheart



Este natal Captain Beefheart!


wikipedia.org
"Don Van Vliet (born Don Glen Vliet on January 15, 1941 in Glendale, California) is a painter and retired musician, best known by the pseudonym Captain Beefheart. His musical work was mainly conducted with a rotating assembly of musicians called the Magic Band, which was active from the mid-1960s through to the early 1980s. Van Vliet was chiefly a singer and harmonica player occasionally playing noisy, untrained free jazz-influenced saxophone and keyboards. His compositions are characterized by their odd mixtures of shifting time signatures and by their surreal lyrics, while Van Vliet himself is noted for his dictatorial approach to his musicians and for his enigmatic relationship with the public.

Van Vliet joined the newly forming Magic Band in 1965, quickly taking over as bandleader. Their early output was rooted in blues and rock music, but Captain Beefheart & the Magic Band gradually adopted a more experimental approach. 1969 saw the release of their best known album, Trout Mask Replica, which was produced by Van Vliet's childhood friend Frank Zappa and is today regarded as a groundbreaking and influential masterpiece.[1] Van Vliet released several further albums throughout the 1970s, his group beset by shifting line-ups and a lack of commercial success. Towards the end of that decade he settled with a group of younger musicians, and his three final albums, released between 1978 and 1982, all received critical acclaim. Van Vliet's legacy is one of poor record sales, despite a devoted following, but his influence on later punk and New Wave music and other genres and musicians has been described as "incalculable".[2]

Since the end of his musical career around 1982, Van Vliet has made few public appearances, preferring a quiet life in his Mojave Desert home where he has concentrated on a career in painting. His interest in art dates back to a childhood talent for sculpting, and his work—employing what has been surmised as a "neo-primitive abstract-expressionist aesthetic"[3]—has received international recognition. He is reportedly suffering from the chronic illness multiple sclerosis. Several of Van Vliet's former band members recently reformed as a group, and toured as The Magic Band from 2003 to 2006."

sábado, dezembro 16, 2006

Politiquices à parte, há qualquer coisa nesta mulher que mexe comigo...

sexta-feira, dezembro 15, 2006

THE POGUES

yaaaaaaaaaaaaaaaaaaaaahhhhhhhhhhhhhhhhhhhhhh




O sangue comecou a fluir de novo: Segunda aproxima-se, e mais um concerto dos pogues, mais duas horas a saltar e a cantar...e claro beber pints de murphys



"
Last night as I slept
I dreamt I met with behan
I shook him by the hand and we passed the time of day
When questioned on his views
On the crux of lifes philosophies
He had but these few clear and simple words to say

I am going, I am going
Any which way the wind may be blowing
I am going, I am going
Where streams of whiskey are flowing

I have cursed, bled and sworn
Jumped bail and landed up in jail
Life has often tried to stretch me
But the rope always was slack
And now that Ive a pile
Ill go down to the chelsea
Ill walk in on my feet
But Ill leave there on my back

Because I am going, I am going
Any which way the wind may be blowing
I am going, I am going
Where streams of whiskey are flowing

Oh the words that he spoke
Seemed the wisest of philosophies
Theres nothing ever gained
By a wet thing called a tear
When the world is too dark
And I need the light inside of me
Ill walk into a bar
And drink fifteen pints of beer

Iam going, I am going
Any which way the wind may be blowing
I am going, I am going
Where streams of whiskey are flowing

I am going, I am going
Any which way the wind may be blowing
I am going, I am going
Where streams of whiskey are flowing
Where streams of whiskey are flowing
Where streams of whiskey are flowing
"

Na quarta eu estive no barbican e vi: Madeleine Peyroux a cantar

domingo, dezembro 10, 2006


10 films the US Government


would rather you not see.


(Click to follow the hyperlink)

November 28th, 2006 ·


These are 10 films that I believe if watched by the majority of US citizens there would be demands of impeachment, a push to pull out of Iraq and a complete shift in thought or at the very least some questioning of the government.

It’s also amazing to me how few people have seen most of these these films even the “popular” ones.

Storage

Pode parecer estranho.... Eu uso o blog (para além da partilha de memórias e estados de espírito) como arquivo de ideias e projectos a executar.
Atiro para aqui coisas sem sentido para vocês mas que me poderão servir.
Este post é isso mesmo.


"...as a result of the guys’ mutual love of the ‘Antiques Roadshow’, and hearing that the next edition is going to be held in Seattle, the Crane’s decide to take some of Martin’s old gear down, to see how much its worth. The centrepiece in Martin’s collection turns out to be an old pewter Bear clock, which Frasier and Niles are convinced will be completely worthless. However, the pair, who are previously recoiled in the shadows with embarrassment, are drawn closer and closer to Martin as the rarity of the object is revealed. It transpires that the Bear clock is Russian, made in the mid-18th century and existed exclusively in the Romanoff family, and would easily fetch a sum of $25,000. What ensues is extremely funny, as Frasier and Niles become convinced that they are descended from Russian royalty. I loved Martin’s sarcastic response to their claims: ‘We’re royalty! But I didn’t want you two too grow up spoilt, so I advocated and took a job in Seattle. It was kinda hard giving up that royal way of life, but I think its maybe the swans I miss most!’. Frasier and Niles become further obsessed with discovering the true about their heritage, driven by ideas of titles, an occasional state dinner seating and a story to tell at parties. A story of their great-great grandmother unfolds, who they believed was just ‘hibernating’ from royalty, as she emigrated from Russia in 1879 sensing revolution, and taking the antique clock with her. Of course, their ideas are dispelled by Dr. Myshkin (bring out the caviar) who sets them straight; their grandmother was a scullery maid who assisted Sonia Romanov (daughter of Tsar Alexander II) to flee from Russia with the bear clock. The Doctor then takes the clock (back to its rightful place), and Frasier and Niles dreams’ of Russian royalty are shattered, as they confess that ‘we’re descended from thieves and whores!’"

"but Frasier and Niles try to stop him leaving with it - until he reveals another of their ancestors was a New York prostiutute."

Niles ainda acrescenta
"I've heard that Henry James had an affair with a new york prostitute"


Obrigado Martins...



Birth 'blessed'

The cult surrounding Kim Jong-il extends even to his birth. He was born in Siberia in 1941 when his father, Kim Il-sung, was in exile in the former Soviet Union.

But according to official North Korean accounts, he was born in a log cabin at his father's guerrilla base on North Korea's highest mountain, Mt Paektu, in February 1942.

The event was reportedly marked by a double rainbow, and a bright star in the sky.


sexta-feira, dezembro 08, 2006

Os alunos dos U.S.A devem ser os mais felizes do mundo; tem armas automáticas , matam colegas que gozam com eles, fodem as professoras (neste caso a professora era mulher do presidente do conselho directivo)...



FORT COLLINS - Former Brighton Charter High School teacher Carrie McCandless carried on a romance with a 17-year-old student, which included the exchange of 76 text messages in a single day, according to her arrest affidavit.

She also supplied the students she was chaperoning on a late-October field trip with alcohol and "did everything except have sex" with the male student during the Estes Park outing, the affidavit said.

McCandless' behavior during that weekend ultimately led to felony charges against her of sexual assault on a child by one in a position of trust and contributing to the delinquency of a minor by providing at least one student with alcohol.

The 29-year-old was fired from the school where her husband, Chris McCandless, is principal.

McCandless was formally advised of the charges against her in Larimer County District Court on Tuesday.

The affidavit, which was unsealed after the hearing, details what allegedly happened on the overnight hiking trip with about a half-dozen students and how the school reacted to the situation.


Nasceu uma editora

Meus queridos amigos/as, nao foi parto fácil. Depois de horas de perna aberta e sem a dilatação necessária, foi necessário recorrer à cesariana.
Os seus pais estão radiantes; deram-lhe o nome: Edit. Teresa torga


Missao:
Ser a primeira editora criativa electronica a publicar documentos sem copyright.

Objectivos:
Fundamentada nos principios informaticos de open source, disponibilizamos a todos a criatividade alheia sem cobrarmos por isso. Publicitar todos autores que plagiem, copiem descaradamente ou sejam ridiculos, desde que criativos. Damos preferencia a textos sem erros e alguma construcao gramatical.

Tributo à Malandragem



Porque não tornar também este blog num porto de abrigo para "Malandros", "Prostitutas" e todas as "artes" da mesma lavra.
"Profissionais" ou Românticos; Realidade ou ficção; Sintam-se à vontade para partilhar connosco.
Os contactos estão na coluna da direita...


Estereótipo do malandro brasileiro

O estereótipo do típico malandro brasileiro surgiu na primeira metade do século XX. Carregado de um certo romantismo, foi principalmente imortalizado pelas letras de samba. De acordo com este estereótipo, o malandro é carioca e habita os guetos; veste chapéu panamá e calça sapatos de cores branco e preta. Usa camisa regata listrada, leva sempre uma navalha no bolso do paletó. É boêmio, vive de pequenos golpes, aprecia rodas de samba e não acredita no trabalho como um modo de vida confiável; no entanto, é sensível e sentimental, além de galante, cavalheiro e um amante invejável.

Obviamente, não existe uma "teoria da malandragem" que sustente e justifique ideologicamente esse comportamento típico. A postura, atitude e cotidiano do malandro é retratado principalmente pelas artes. O samba "Lenço no Pescoço", escrito por Wilson Batista e gravado por Sílvio Caldas em 1933, tornou-se um "hino" da "malandragem brasileira". Suas estrofes descrevem com precisão o modo de vida de um típico malandro:"Meu chapéu do lado / Tamanco arrastando / Lenço no pescoço / Navalha no bolso / Eu passo gingando / Provoco e desafio / Eu tenho orgulho / Em ser tão vadio. / Sei que eles falam / Deste meu proceder / Eu vejo quem trabalha / Andar no miserê / Eu sou vadio / Porque tive inclinação / Eu me lembro, era criança / Tirava samba-canção".


Vi este filme a primeira vez era eu "míudo".
Já na altura este tipo de "ambiente" seduzia-me.


Falso cínico?





Rick: I stick my neck out for nobody.

Rick: I'm not fighting for anything any more except myself.
I'm the only cause I'm interested in.

Yvonne: Where were you last night?
Rick: That's so long ago I don't remember.
Yvonne: Will I see you tonight?
Rick: I never make plans that far ahead.

Louis: And what in heaven's name brought you to Casablanca?
Rick: My health. I came to Casablanca for the waters.
Louis: The waters? What waters? We're in the desert.
Rick: I was misinformed.

Strasser: What is your nationality?
Rick: I'm a drunkard.
Louis: That makes Rick a citizen of the world.

Revelar assim palavras intimas e pecado, mas o encontro com lucifer ja esta marcado o comboio ainda demora mas gosto de sentir o bilhete so de ida ja comprado.


Dialogos
- editora Teresa Torga (2006)

Tu estavas em casa e eu não sei como, mas suspeito que foi através de um desses programas de computador modernos que agora se vendem avulso, estava lá contigo. Lembro-me com nitidez suspeita do décor, que julgo, fui buscar a momentos imaginativos e outras casas, pedaços dispersos de cada casa, onde antes tenha estado e de uma cortina azul com riscas brancas, muito feia, que vi uma vez numa fotografia de um rapaz que eu amei muito muito. À volta de uma mesa, uma conversa qualquer, só nós, aparentemente, com os teus móveis mais ao menos silenciosos. Uma dessas conversas antigas, sonhadas, repetidas, o nosso melhor lugar-comum, a sala-de-estar da nossa existência a dois. Eu que não te perdoo e tu que esperas a toda a hora e momento que eu te peça desculpa por isto e aquilo e eu a esperar que tu peças desculpa mais ao menos pela mesma coisa, eu que nunca te perdoarei, mas que finjo com todo o amor do mundo perdoar-te a toda a hora e tu que nunca me amaste mas que te encostas subtilmente a cada aberta do meu céu nublado e chuvoso. Eu que te quero explorar até descobrir o teu fundo e tirar de ti o prazer todo que me deves e tu que queres mais ao menos a mesma coisa, excepto que eu não te devo grande coisa. E muitas mais coisas dentro do mesmo feitio quando eu só sonho com um momento em que amável e apaixonadamente te pergunto: então como foi o teu dia e tu respondes no mesmo tom com uma apaixonada descrição. E é só. Estávamos nisto, e se as palavras não eram estas eram sinónimos de certeza. Não vale rir com o olhar que me irritas ferozmente e dás ganas de te chamar filho da puta, e eu que nem digo palavras feias por causa da pimenta na língua.

Quando entro noto uma fragrancia conhecida, cheiros de outroura que habitaram no meu corpo e se fundiram com as minhas glandulas odoriferas, a tal ponto de nao identificar o meu proprio cheiro. Fraccao de segundos e zas. Vejo-me sentado tete-a-tete com o meu passado, e com o encontro para deixares a tua copia da chave. «Vamos foder?»...mas saiume um tremido «como estas?», tusso apressadamente para camuflar qualquer interpretacao dubia. Olhar para ti conduz-me a memorias passadas, leva-me a passear pela quantidade de vezes que os nossos corpos se esfregaram, como ja demos de beber um ao outro tantas lagrimas de suor, tantos esgares de prazer que ja conhecemos. Respondes-me que tudo voltou ao normal, que estas de volta aos teus bons velhos tempos, tens visto amigos que ha seculos que nao trocavam palavra, que tens um namorisco em vista, enfim, que te sentes positiva quanto ao futuro, «e tu?», tenho de dar uma guinada das reminiscencias dos nossos desencontros, das nossas aventuras, dos nossos sorrisos e das nossas lagrimas; aqueles olhos gregos na agua da bacia, as ancas despidas de uma saia subida, e a mistura da memoria dos seus gemidos com a tua inquisicao... faz um cocktail promiscuo, «bem, obrigado. Fico feliz pelo teu bem estar». Cruzo as pernas para tentar acalmar uma vertigem que me tocou, o teu cheiro pos-me a imaginacao em fogo, penso no ridiculo que seria pedires-me um copo de agua. Noto a tua irritacao pela formalidade da minha resposta, nao te perguntei pelo namorisco; consegui passar a imagem de incolume a visao de te ver envolvida em puro deboche. Teres prometido o teu corpo a outros que nao eu, e as vezes que o fizeste enquanto eu sonhava ao som do nosso romance. Puseste Gainsbourg a tocar antes de eu
chegar. Apercebo-me, a cada segundo que passa, do quanto te quero acariciar o pelo, do quanto te quero tocar. Toco ocasionalmente com o pe na tua coxa, «ja podias ter seguido o meu conselho e ter investido numa mesa onde pessoas adultas se podem sentar ao mesmo tempo» murmuras.

Não me provoques assim. Nem te mexas muito. Mantém-te nessa posição. De sorriso de esguelha de quem sabe exactamente o que vem a seguir. O calor das tuas pernas é tal que passa pelas calças e deixa em brasa as minhas meias finas, deliciosas, cheias de frousfrous só para tu desapertares, à espera das tuas mãos «que procuras gata?». Não há boca que chegue para gemer nos espaços vazios da tua boca. Quase grito. Nem corpo para me aguentar a contorcer-me de desejo, a ouvir-te murmurar: «gostas não gostas, gatinha?», ouvir-te murmurar... Sem poder falar a abanar-me a dançar em cima de ti com a boca cheia de ti a pedir-te mais, a gemer-te mais para te dizer que sim. Que sim e que sim. Que sim a todas essas investidas improvisadas no meio das minhas pernas. E tu a chegares com a conversa do ladrão e eu encantada por aquela conversa ser para mim. E eu encantada a ouvir-te dizer: «És tu nininha, só tu que me fazes isto. És demais, única. Nunca vi nada assim»...

Trocamos breves palavras, o calor erradiado pelos nossos corpos bafejava-nos nas bochechas, pinta-las de roseo seria poupar tinta; embriagamo-nos rapidamente de ansia. Roubando a batuta a Ludwig, num so andamento sentei-te na mesa e espalhei as minhas maos por todas as curvas que decorei com o passar dos anos, senti-te quente, senti-te como se sente quando se decalcou vezes sem conta os esconderijos de uma pessoa como tu; tu que es a minha gata. Procurei todas as marcas com que lucifer te marcou, sempre na ansia de encontrar mais um sinal, mais uma novidade que me tenha escapado as inumeras contabilidades intensivas. Apercebo-me do pormenor das meias, noto como em momentos passados em que a impossibilidade do crime me parecia evidente e clara, ja tu tinhas planeado onde deixar a arma. O primeiro movimento seria descarregar todo o meu peso sobre ti, mas quando sinto a malicia das presilhas nas meias, cedo-te a vitoria e debruco-me sobre teu ventre. Deixo os meus labios, humedecidos pelo sumo da nossa vida, percorrerem descontroladamente o teu corpo.«Estou a escorrer» dizes-me. A mensagem encriptada que usas porque sabes que me infiltrei nas tuas linhas e sei decifrar o teu codigo. Altura para desembrulhar a saia e entrar no teu mundo, no mundo onde realidade e sonho se fundem num so. "... Cette chanson, Les Feuilles Mortes, S’efface de mon souvenir, Et ce jour là Mes amours mortes, En auront fini de mourir..."

The duplex

duplex
(click on the image to enlarge)

quinta-feira, dezembro 07, 2006

Séries da minha adolescência...

Press Gang



Degrassi Junior High





REMEMBERING THE FRUITCAKE LADY
1911 - 2006



Marie Rudisill died in Hudson, Florida on November 3, 2006, at the age of 95, just before the publication date of her latest book, Ask the Fruitcake Lady: Everything You Would Already Know If You Had Any Sense.

terça-feira, dezembro 05, 2006

Mensagens da manha

"
Hoje, logo pela manhã havia duas músicas no rádio do meu carro (imagine-se!) que falavam claramente de ti.

(People are strange when you are a stranger

Could you walk me home tonight, and maybe stay for a while?)

Achei por bem informar no caso de um proceso judicial ou no caso de um sorriso.

Dia luminoso e beijo simpático,
"

segunda-feira, dezembro 04, 2006

É a Puta da Loucura

Por falar em nada se parecer com aquilo que é (Escher), deixo aqui à vossa consideração este livro...

Não é fantástico???

Uma ideia iconoclasta (condição "sine quo non" no dias que correm) põe se na web; publicidade gratuita; o leigo pensa que o autor inventou a pólvora; começa o burburinho; transforma-se num "roaring" e o resto as they say is history... ou não... eh eh


Has history been tampered with?


Has history been really tampered with? Conclusions





History: Fiction or Science?

Escher, novamente

Surpreendo-me com a quantidade de vezes que vejo reflectido em Escher o meu pensamento: estranha volta sobre estranha volta, ate que nem o proprio autor do pensamento consegue descortinar a origem de tal volta.

Enfim, dito isto, nao sei se acrescentei primeiro o novo link "Ancient library (It is to the Oxford Classical Dictionary what Wikipedia is to the Encyclopedia Britannica)" e depois escrevi este post, ou se escrevi este post e depois acrescentei o link. Claro acrescentar no sentido de intencao, ja que a sequencia temporal me recordo.... ou talvez nao.

Bem, ontem obrigaram-me a relembrar a estoria de Pandora:

"PANDORA, i. e. the giver of all, or endowed with every thing, is the name of the first woman on earth. When Prometheus had stolen {he fire from heaven, Zeus in revenge caused Hephaestus to make a woman out of earth, who by her charms and beauty should bring misery upon the human race (Hes. Theog. 571, &c.; Stob. Serm. 1). Aphrodite adorned her with beauty, Hermes gave her boldness and cunning, and the gods called her Pandora, as each of the Olympians had given her some power by which she was to work the ruin of man. Hermes took her to Epimetheus, who forgot the advice of his brother Prometheus, not to accept any gift from Zeus, and from that moment all miseries came down upon men (Hes. Op. et Dies^ 50, &c.). According to some mythographers, Epi­ metheus became by her the father of Pyrrha and Deucalion (Hygin. Fab. 142 ; Apollod. i. 7. § 2 ; Procl. ad Hes. Op. p. 30, ed. Heinsius; Ov. Met. i. 350) ; others make Pandora a daughter of Pyrrha and Deucalion (Eustath. ad Horn. p. 23). Later writers speak of a vessel of Pandora, containing alt. the blessings of the gods, which would have been preserved for the human race, had not Pandora opened the vessel, so that the winged blessings escaped irrecoverably. The birth of Pandora was represented on the pedestal of the statue of Athena, in the Parthenon at Athens (Paus. i. 24. § 7). In the Orphic poems Pandora occurs as an infernal awful divinity, and is associated with Hecate and the Erinnyes (Orph. Argon. 974). Pandora also occurs as a surname of Gaea (Earth), as the giver of all. (Schol. ad Aristoph. Av. 970; Philostr. Fit. Apoll. vi. 39 ; Hesych. s. v.) [L. S.]" (link)

domingo, dezembro 03, 2006


HI5 PORCAS BLOG

(click to follow the Hyperlink)


Quinta-feira, Novembro 30, 2006


Hoje a blogosfera está de luto…
O HI5PORCAS chegou ao fim da sua caminhada…
Foram 5 longos meses que começaram com uma simples brincadeira entre dois amigos, PIG e PORCUS, e que se revelou ser um espelho de uma nação. Colocámos a nú o pior da modernidade e a falta de princípios morais que só um país com uma jovem liberdade conhece. Infelizmente assistimos a um deplorável espectáculo de mulheres fúteis que vendem a imagem do corpo para assim satisfazerem os olhos daqueles que são tão ocos quanto elas.
Este blog foi uma lição para Portugal e para o mundo, e isso ficou bem patente quando atingimos o lugar número um da blogosfera, em número de visitas e de páginas visitadas, batendo todos os blogs nacionais com um total de 289 Porcas publicadas em cinco meses. Basta pensar que todos os blogs em língua portuguesa que conhecem… nós éramos mais vistos e mais visitados atingindo valores de milhões records para todo o mundo.
Durante este tempo fomos também falados nos media: em várias rádios, na pior imprensa nacional, nos pasquins e nas revistas que tanto nos apelidavam de maravilhosos e de novos gato fedorento, enquanto outras tentavam fazer reportagens apoiadas no sensacionalismo publicitário, fruto de meros estagiários de trazer por casa.
O HI5PORCAS foi sempre superior a tudo isto, não cedemos a qualquer chantagem, ameaça, provocação, proposta financeira e convites aliciantes.
Fomos como muito poucos são em Portugal: Exemplarmente dedicados, metódicos e isentos a pressões.
Encerramos porque queremos, porque tudo tem um fim e este era programado desde o dia em que começou com o propósito de encontrar a maior Porca de Portugal. Ela não existe... é uma forma de estar na vida. Nós os dois falámos vezes a fio e em cada Porca perguntávamos: "Poderá existir mais do que isto? Claro que sim!" O Hi5 é hoje a maior montra de tráfico sexual autorizado e com melhor imagem da Internet. Serve invariavelmente para engate e desenvolver em cada um o pior de si próprio.
Da nossa parte, vamos em paz. Cumprimos a nossa parte. Fomos líderes quando achámos que devíamos ser e fomos seguidores quando considerámos o melhor caminho. Tentámos mostrar a Portugal e ao mundo os problemas que afectam hoje as jovens, que merecem ser controladas nos excessos de liberdade, e fizemos sempre com rigor, muito humor, bastante escárnio e por vezes com pena da ignorância de algumas Porcas; mas sobretudo muito profissionalismo e em bom português!
Não existem palavras para descrever este sentimento tão devastador que nos inunda, de deixar esta comunidade fantástica, culta, informada, que sempre nos apoiou, apontando o caminho certo e principalmente ajudando a desenhar o perfil de uma Porca e da nossa sociedade.
Sem lágrimas, tristezas ou sentimentos de culpa, dizemos:
Hoje a blogosfera está de luto.
O HI5PORCAS chegou ao fim da sua caminhada…


E agora a última produção de PIG e PORCUS! :)




The Hole - video powered by Metacafe



Segunda-feira, Novembro 20, 2006

hi5 porcas - a fama (por muitas) desejada... [VÍDEO]


Para quem não sabia, muitas são as gatas que desejam aparecer no hi5 porcas... Segundo contou o rapaz que enviou este vídeo, esta gata, enquanto teclava com ele no msn, disse que gostaria que as suas fotos aparecessem no hi5 porcas! Vontade e atrevimento não lhe falta!!! Vejam como ela exibe o seus seios gostosos na webcam do msn e mete 3 dedos na vagina... Uma gata bem safada que anseia ser reconhecida pelo hi5 porcas!

posted by mywebcamgirls at

Rio Bravo





Dean Martin & Ricky Nelson-My Rifle,Pony,& Me

sábado, dezembro 02, 2006

Ao ver a Golden Gate bridge recordo-me sempre de "San Forisco" nome que duas crinças naufragadas numa ilha davam a San Francisco...



"A lagoa azul" e a respectiva sequela; "O Regresso à Lagoa Azul" foram uma das muitas "peças" na descoberta da minha sexualidade... O que esta mãozinha trabalhou a ver estas duas moças semi-nuas...


Brooke Shields



Milla Jovovich





sexta-feira, dezembro 01, 2006

Garfield

duplex
(click on the image to enlarge)

Gingão

Sleeping satyr


Hellenistic eroticism was not just limited to female figures

This work is much more blatantly sensual, notice the wantonly spread legs bringing the focus to the genitals.


(Satyrs attended Dionysus.)

Numa apresentação que fiz recentemente não resisti a fazer a analogia com
as imagens que se seguem;

- Reparem no recostar, no provocativo afastar de pernas, no óbvio convinte à partilha da sexualidade...







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