domingo, 31 de janeiro de 2010
Jerôme - Looks don't matter to me. That is, beyond a certain level of acceptability. All women are equal. It's the character alone that counts.
Laura - But the character shows in how a person looks.
Jerôme - What do you see?
Laura - That you're different in character.
Jerôme - There you go again. But you're right.
At your age I had an ideal woman, and she wasn't like Lucinde. In body and character she's not for me. But then, a woman made for me would bore me. I'd find her tiring. If I'm marrying Lucinde, it's for one simple reason: In six years of knowing her, I've never tired of her, nor she of me, and I see no reason we shouldn't go on like that.
You must find this terribly devoid of passion.
Laura - I like to feel I love someone the very first day, not after six years. I don't call that love. That's more friendship.
Jerôme - You think they're really so different? Basically, love and friendship are the same.
Laura - No, I'm never friends with someone I love. Love makes me mean.
Jerôme – Really? Not me. I don't believe in love without friendship.
Laura - Maybe. But for me friendship comes later.
Jerôme - Whether it's sooner or later doesn't matter. But friendship has something I hope love has too: respect for others' freedom. It's not possessive.
Laura - I'm possessive. Terribly possessive.
Jerôme - Really? You shouldn't be. You'll ruin your life.
Laura - I know. I was born to be unhappy. But no, I won't be unhappy. I'm very happy.
I only think of positive things. People are unhappy because they want to be.
When I feel down, I think about how there are happy times, and that crying does no good anyway. I think about how marvelous it is to be here, and how much fun I'm going to have.
Jerôme - What do you call having fun?
Laura - Having fun is being alive. For instance, today I'm very happy. Tomorrow I may be sad. So then I make myself think of something else. I concentrate on one specific thing and how fantastic it is, and I'm happy for the rest of the day. But if I'm in love, I might -
Jerôme - You might what?
Laura - When I'm in love, it occupies me totally, and I forget that I'm happy to be alive.
Jerôme - You mustn't forget. You mustn't sacrifice life or happiness for love. But I think you're sensible enough to know that.
Laura - Really?
Jerôme - Really.
Laura - I'm going to tell you a secret. In fact, I'm not happy when I'm in love. I hate it. I stamp my feet. Nothing interests me. I stop living. It's no fun at all.
Jerôme - See? I was right. Wasn't I?
Laura - No.
Le Genou de Claire, Eric Rohmer
sexta-feira, 29 de janeiro de 2010
For some it was the worst show ever seen (it's certainly the funniest review I've ever read) but for others it's worth a nomination. Nice. I have to agree with the latest...
There will be a cerimony transmited live on RTP on the 8th of February.
You know how it goes: if you want to kill us, we'll be there.
The votes are in. We'll fucking win (not)
Too bad for all the others!
quinta-feira, 28 de janeiro de 2010
J.D. Salinger (January 1, 1919 – January 27, 2010)
quarta-feira, 27 de janeiro de 2010
Anita ama a montanha, o mar, a natureza e também gosta de brincar às bonecas. Anita é sociável, fiel companheira, dinâmica, jovial, amorosa. Anita é mesmo perfeita.
Anita nasceu em 1954 mas será sempre jovem e bonita e nunca precisa de botox nem de prozac, nem de apoio moral. Anita tem sempre lingerie de bom gosto comprada na petit bateau. E brinquedos muito caros.
Anita é sempre a melhor em tudo, sabe sempre tudo e tem sempre a atitude certa.
Anita pode tudo e faz tudo, porque Anita tem tudo. E se ela pode tudo, também nós podemos, porque a Anita é o herói escondido dentro de qualquer um de nós.
terça-feira, 26 de janeiro de 2010
keep it up
keep the rythm
keep in touch
keep on doing it
keep my baby (I'm gonna)
keep the change
keep it simple
keep the kipah
keep on the good work
keep it together
keep asking for more
keep the promise
keep your head down
keep an eye on it
keep your shit
keep holding on
keep smiling keep shining
keep playing for keeps
keep the doctor away
keep your temper
keep your cool
keep a diary
keep the comandments
keep a secret (can you)
keep friendship green
keep of kalessin
keep the faith
keep going west
keep on dreaming...
segunda-feira, 25 de janeiro de 2010
And Nature Imprison'd seeks in vain to be free;
I dart forth my Beams, to give all things a Birth,
Making Spring for the Plants, every Flower, and each Tree.
'Tis I who give Life, Warmth, and Vigour to all,
Even Love who rules all things in Earth, Air, and Sea;
Would languish, and fade, and to nothing would fall,
The World to its Chaos would return, but for me.
Purcell, The Fairy Queen
Unlike dressing rooms, another popular lounging area, the green room is not equipped for preparations to go on stage, and is designed as a purely recreational area. It also not usually established with the intent of being a peaceful and quiet space; the green room is an area for socializing. Actors who need quiet before going on stage usually find other areas of the theater in which to focus.
domingo, 24 de janeiro de 2010
sábado, 23 de janeiro de 2010
A quei giorni d'inverno e si scioglierà il ghiaccio
E si scioglierà il ghiaccio
Now winter comes slowly, pale, meagre and old,
First trembling with age and then quivering with cold;
Benumbed with hard frosts and with snow covered over,
Prays the sun to restore him, and sings as before
Purcell, The Fairy Queen
The Green Room (French: La chambre verte) is a 1978 French film directed by François Truffaut and based on the Henry James short story "The Altar of the Dead", in which a man becomes obsessed with the many dead people in his life and builds a memorial to honor them. This film is also based on other short story by Henry James, "The Beast of the Jungle". It would be the last film Truffaut would act in.
The photos on the chapel wall consist of François Truffaut's friends and idols, such as Jeanne Moreau, Oskar Werner, Jean Cocteau, Guillaume Apollinaire, Oscar Wilde and Henry James, the author of the story on which the film is based, as well as Maurice Jaubert, whose music is used in the film.
let's not pretend we don't see the elephant in the (green) room
Wagner's explicit ideological project in Tristan is radical in its very superficial simplicity. It brings together what his mentor, Schopenhauer, opposed. For Schopenhauer, the only salvation consists in total self-obliteration of the will to life, whose ultimate expression is sexual craving, whereas Wagner simply combines these two opposites: our very exhaustive surrender to sexual love brings about redemptive self-obliteration. One should thus never forget that (in contrast to, say, Romeo and Juliet) Wagner's Tristan is not a tragedy but a sacred, aesthetico-religious musical play with a "happy" outcome of attaining the looked-for bliss.
Opera's second death, Slavoj Žižek
sexta-feira, 22 de janeiro de 2010
A film review:
The script itself (written in two whole weeks!!) is clichéd, an insipid "homage" to Shakespeare but really a poor second fiddle to stuff like Porky's. Now that's a sex comedy.
quinta-feira, 21 de janeiro de 2010
Come, come, come let us leave the town,
And in some lonely place
Where crowds and noise were never known
Resolve to spend our days
in pleasant shades upon the grass
At night ourselves we'll lay;
Our days in harmless sport shall pass,
Thus time shall slide away.
The Fairy Queen, Purcell
The green world charges the comedies with the symbolism of the victory of summer over winter.
The green world has analogies, not only to the fertile world of ritual, but to the dream world that we create out of our own desires. This dream world collides with the stumbling and blinded follies of the world of experience, of Theseus’ Athens with its idiotic marriage law, of Duke Frederick and his melancholy tyranny, of Leontes and his mad jealousy, of the Court Party with their plots and intrigues, and yet proves strong enough to impose the form of desire on it. Thus Shakespearean comedy illustrates, as clearly as any mythos we have, the archetypal function of literature in visualizing the world of desire, not as escape from “reality”, but as the genuine form of the world that human life tries to imitate."
Northrop Frye, Anatomy of Criticism
Maxwell - Then...
Andrew - Well, then we would have some problems.
quarta-feira, 20 de janeiro de 2010
This Tristan is turning into something terrible! This final act!... I fear the opera will be banned - unless the whole thing is parodied in a bad performance: only mediocre performances can save me! Perfectly good ones will be bound to drive people mad, - I cannot imagine it otherwise. This is how far I have gone!!" (Wagner in a letter to Mathilde Wesendonck)
terça-feira, 19 de janeiro de 2010
The Melatonin Room is a physiological architecture project, by swiss architects Jean-Gilles Decosterd and Philippe Rahm, that acts on space itself by transforming its electromagnetic composition. This room is defined as a hormonal stimulation space. The melatonin regulates levels of alertness in the human body. A high level induces sleepiness, a low level greater alertness Two climates are produced in alternation.
The first is defined by the emission of a bright green electromagnetic radiation at 509 nm, at an intensity of 2000 lux, which eliminates the production of melatonin, the space becomes thus a physically motivating place. The second climate is a dissemination of ultraviolet rays, bathing the visitor in soft blue light which stimulate the production of melatonin. This "physiological architecture" explores the ways environments can change consciousness.
The Melatonin Room is a nonrepresentational space that reduces the medium between the transmitter and the receiver to the greatest possible extent and acts on the chemical mechanisms of things inter se. It works on the new forms of communication, engendered by the biotechnologies and genetics that have come to join analog, poetic, esthetic and rhetorical communication.
Melatonin is a hormone produced by the pineal gland, located in the brain. This gland reacts to the light information received by the retina. Melatonin secretion normally occurs at night, since it is activated by the absence of light. Little melatonin is secreted in the daytime. The secretion of melatonin gives the body and the mind information related to sleep and fatigue. It is linked to circadian rhythms and biological clocks. It is a factor in puberty and sperm production in human beings. The Melatonin Room constitutes research toward the electromagnetic characterization of space and its physiological impact on human metabolism.
courtesy of António Gouveia
segunda-feira, 18 de janeiro de 2010
Prometo acordarme siempre de aquel raro diciembre
Prometo encender en tu día especial una vela
y soplarla por ti...
Prometo no olvidarlo nunca
Tenia tanto que darte
Tantas cosas que contarte
Tenia tanto amor,
guardado para ti...
Camino despacio pensando volver hacia atrás,
No puedo en la vida las cosas suceden no más...
Aún pregunto que parte de tu destino se quedó conmigo,
Pregunto que parte se quedo por el camino
Tenia tanto que darte
Tantas cosas que contarte
Tenia tanto amor,
guardado para ti...
Tenia tanto que a veces maldigo mi suerte..
A veces la maldigo...
Por no seguir contigo...
domingo, 17 de janeiro de 2010
The first one, the first thesis would have been a kind of total vanity: there is nothing, basically - I mean it quite literally like, ultimately… ultimately there are jut some fragments, some vanishing things. If you look at the universe it’s one big void.
But then how do things emerge? Here I feel a kind of spontaneous affinity with Quantum Physics where, you know, the idea there is that universe is a void but a kind of a positively charged void and then particular things appear when the balance of the void is disturbed. And I like this idea spontaneously very much, that the fact that it’s not just nothing. Things are out there. It means something went terribly wrong, that what we call creation is a kind of a cosmic imbalance, a cosmic catastrophe. That things exist by mistake and I’m even ready to go to the end and to claim that the only way to counteract is… is to… assume the mistake and go to the end.
And we have a name for this: love. Isn’t love precisely this kind of a cosmic imbalance I was always disgusted with this kind of “I love the world”, “Universal love”, I don’t like the world, I don’t know how I… Basically I’m somewhere in between “I hate the world” or “I’m indifferent towards it”. But the whole of reality it’s just… it… it’s stupid, it’s out there, I don’t care about it.
Love for me is an extremely violent act. Love is not “I love you all”. Love means “I pick out something”… and it’s again this structure of imbalance, even if this something is just a small detail, a fragile individual person, I say “I love you more than anything else”. In this quite formal sense Love is evil.
Slavoj Žižek, as seen and heard in Turbo-Folk
Trata-se de uma concepção romântica radical, e julgo que ela deve ser recusada. É de uma beleza artística extraordinária mas, do meu ponto de vista, tem um inconveniente existencial grave. Convém mantê-la como um mito artístico poderoso mas não como um verdadeira filosofia do amor. Porque o amor, apesar de tudo, tem lugar neste mundo. É verdade que se trata de um acontecimento que não foi previsto ou calculado segundo as leis do mundo. Ninguém pode inventar o encontro porque ao fim e ao cabo quando nos vemos, vemo-nos e isso é irredutível! Mas o amor não se pode reduzir ao encontro, porque também é uma construção. O enigma do pensamento do amor é completado pela questão dessa durabilidade. No fundo, o ponto mais interessante não é a questão do êxtase dos começos. É claro que há um êxtase dos começos, mas um amor é acima de tudo uma construção duradoura. Digamos que o amor é uma aventura obstinada. O lado aventureiro é necessário mas a obstinação também. (…) Um amor verdadeiro é aquele que triunfa na duração, muitas vezes duramente, perante os obstáculos que o espaço, o mundo e o tempo lhe propõem."
Alain Badiou, Éloge de l'amour
sábado, 16 de janeiro de 2010
why does it torment?
If a Bitter, oh tell me
whence comes my content?
Since I suffer with pleasure,
why should I complain,
Or grieve at my Fate,
when I know 'tis in vain?
Yet so pleasing the Pain is,
so soft is the Dart,
That at once it both wounds me
and tickles my Heart.
The Fairy Queen, Purcell
But I don't get out much these days
Waking young and feeling old
The days are no longer my own,
To piss away the waking hours
But don't, don't don't, don't let them go
oh don't, don't don't, don't let them go to waste
The fire in my eye is fleeting now
Your robot heart is bleeding
And that little voice
In the back of your mind
Just wants you to know
Just hopes that you know
sexta-feira, 15 de janeiro de 2010
(blue smurf and green smurf commenting in the green room)
quinta-feira, 14 de janeiro de 2010
L'amour est bleu:
Azzurro, il pomeriggio è troppo azzurro e lungo, per me
mi accorgo di non avere più risorse senza di te
e allora io quasi quasi prendo il treno e vengo, vengo da te.
Ma il treno dei desideri nei miei pensieri all'incontrario và.
quarta-feira, 13 de janeiro de 2010
Liebestod (German, "Love death") is the title of the final, dramatic aria from the opera Tristan und Isolde by Richard Wagner. When used as a literary term, liebestod refers to the theme of erotic death or "love death" meaning the two lovers' consummation of their love in death or after death. Two-sided examples include Pyramus and Thisbe, Tristan und Isolde, Romeo and Juliet, and to some degree Wuthering Heights.
Softly and gently
how he smiles,
how his eyes
--do you see, friends?
do you not see?
how he shines
terça-feira, 12 de janeiro de 2010
15. Mieux vaut ne rien faire que de travailler formellement à la visibilité de ce qui, pour l'Empire, existe.
15. It is better to do nothing than to contribute to the invention of formal ways of rendering visible that which Empire aready recognizes existent.
Alain Badiou, 15 Thesen zur zeitgenoessischen Kunst
Alain Badiou, 15 Thèses sur l'art contemporain
Alain Badiou, 15 Theses on Contemporary Art
in: Inaesthetik, Nr.0