7.9.10
there is no document of civilization which is not at the same time a document of barbarism.
walter benjamin, The Concept of History, VII
31.8.10
28.8.10
26.8.10
Moments
“There are moments that I’ve had some real brilliance, you know.
But I think they are moments.
And sometimes, in a career, moments are enough.
I never felt I played the great part. I never felt that I directed the great movie.
And I can’t say that it’s anybody’s fault but my own.” Dennis Hopper
23.8.10
Each man kills the thing he loves
Some do it with a bitter look,
Some with a flattering word,
The coward does it with a kiss,
The brave man with a sword!
Each man kills the thing he loves
Some kill their love when they are young,
And some when they are old;
Some strangle with the hands of Lust,
Some with the hands of Gold:
The kindest use a knife, because
The dead so soon grow cold.
Each man kills the thing he loves
Some love too little, some too long,
Some sell, and others buy;
Some do the deed with many tears,
And some without a sigh:
For each man kills the thing he loves,
Yet each man does not die.
The Ballad Of Reading Gaol, OSCAR WILDE
Some with a flattering word,
The coward does it with a kiss,
The brave man with a sword!
Each man kills the thing he loves
Some kill their love when they are young,
And some when they are old;
Some strangle with the hands of Lust,
Some with the hands of Gold:
The kindest use a knife, because
The dead so soon grow cold.
Each man kills the thing he loves
Some love too little, some too long,
Some sell, and others buy;
Some do the deed with many tears,
And some without a sigh:
For each man kills the thing he loves,
Yet each man does not die.
The Ballad Of Reading Gaol, OSCAR WILDE
23.7.10
18.7.10
26.6.10
Wichita Vortex Sutra
This music is about something other than itself. One of the many important figures with whom Glass has collaborated is the late Allen Ginsberg. Glass played a recording of the poet reading his 1966 piece Wichita Vortex Sutra , and as Ginsberg’s high-intensity voice surged and ebbed, he performed a piece written specifically to partner it. Music was a backdrop full of aural associations. In that case the associations were with something specific; but in other cases they can be to whatever one’s imagination desires.
19.6.10
18.6.10
Minutos, dias
Todos os dias têm a sua história, um só minuto levaria anos a contar, o mínimo gesto, o descasque miudinho duma palavra, duma sílaba, dum som, para já não falar dos pensamentos, que é coisa de muito estofo, pensar no que se pensa, ou pensou, ou está pensando, e que pensamento é esse que pensa o outro pensamento, não acabaríamos nunca mais.
In Levantado do Chão, Ed. Caminho, 14.ª ed., p. 59
6.6.10
31.5.10
Brisées
Une monstrueuse aberration fait croire aux hommes que le langage est né pour faciliter leur relations mutuelles. Michel Leiris
28.5.10
26.5.10
La Carte postale
Je ne suis qu'une mémoire, je n'aime que la mémoire et me rappeler de toi, Jacques Derrida
23.5.10
14.5.10
Se viver é encher a vida de encontros, de amores, de distracções, de amigos e conversas, de viagens, e ou de projectos profissionais ou privados, às vezes, tenho a impressão que , perante a tela e a um quotidiano reduzido ao mínimo necessário , i. e. ao quase nada, não vivo.
Pior ainda, quando olho para o trabalho já feito, penso, estive a tempo de mudar de ideias, porque não o fiz ? Porque me empenhei numa travessia tão longa e tão dolorosa?
Pior ainda, quando olho para o trabalho já feito, penso, estive a tempo de mudar de ideias, porque não o fiz ? Porque me empenhei numa travessia tão longa e tão dolorosa?
13.5.10
12.5.10
10.5.10
8.5.10
Truth Power Self
Nietzche was a revelation to me. I felt that there was someone quite different from what I had been taught. I read him with a great passion and broke with my life, left my job in the asylum, left France.
I had the feeling I had been trapped.
Through Nietzche, I had become a stranger to all that...Michel Foucault,
In interview "Truth, Power, Self" 25th October 1982
7.5.10
There will be Time
There will be time, there will be time
To prepare a face to meet the faces that you meet;
There will be time to murder and create,
And time for all the works and days of hands
That lift and drop a question on your plate;
Time for you and time for me,
And time yet for a hundred indecisions,
And for a hundred visions and revisions,
Before the taking of a toast and tea.
Prufrock and Other Observations. 1917
To prepare a face to meet the faces that you meet;
There will be time to murder and create,
And time for all the works and days of hands
That lift and drop a question on your plate;
Time for you and time for me,
And time yet for a hundred indecisions,
And for a hundred visions and revisions,
Before the taking of a toast and tea.
Prufrock and Other Observations. 1917
3.5.10
what is you idea of perfect happiness ?
E como uma pergunta nunca vem só,
à questão que mais aprecias nos teus amigos ? eu diria, Savoir nourrir l’amitié…saber nutrir, saber fomentar a amizade, e se porventura com imaginação ... que bom que seria a Vida
Será isso uma outra ideia de perfect happiness ?
à questão que mais aprecias nos teus amigos ? eu diria, Savoir nourrir l’amitié…saber nutrir, saber fomentar a amizade, e se porventura com imaginação ... que bom que seria a Vida
Será isso uma outra ideia de perfect happiness ?
2.5.10
30.4.10
About Composing
If the experienc of music is about listening, what is the experience of Composing about?
It's about Fear , Philip Glass
It's about Fear , Philip Glass
28.4.10
©MariaDeMorais
À questão, what is you idea of perfect happiness ?
Não tenho resposta imediata e se calhar nunca terei. Tenho medo do que é perfeito. Viver é movimento, e parece-me que a única perfeição que conheço é a morte.
Mas hoje ao abrir os olhos, gostei do que vi. E soube me bem. Soube me bem acordar em St Tropez. Olhar para o mar, transparente. E não pensar em nada, nada. Não pensar naquilo que nos tormenta, no que é doloroso. Não pensar naqueles que desejamos e estão ausentes. Não pensar. E beber com meus olhos tudo , tudo até ao horizonte e deixar-me estar, vencida pela cor azul turquesa e acariciada pelo sol. E nada mais.
Perfect happiness é isto, momentos lindos mas fugazes a pontuarem de cor diferente a minha vida.
27.4.10
22.4.10
21.4.10
Palais Royal, LoVE this Garden
©MariaDeMorais
Jardins du Palais Royal
Agora que estou a olhar para estas duas fotografias que aqui coloquei, details, apenas detalhes no Palais Royal , que é o jardim que prefiro em Paris e que muito gosto de fotografar, pensei invariavelmente em Jasper Johns. Com três passaportes de diferentes nacionalidades que deixei consciosamente caducarem, deve ser a resposta à minha problematica de mas afinal de onde sou?
20.4.10
19.4.10
Music and Conversation with Philip Glass
Glass says he didn't have the heart to tell her that famous composer was driving her home.
18.4.10
17.4.10
Tilda Swinton , unique
Known throughout Britain for her idiosyncratic performances and long-time association with the late filmmaker Derek Jarman, Tilda Swinton is nothing if not one of the more unique actresses to come along during the second half of the 20th century. Born in London on November 5, 1961, Swinton attended Cambridge University, where she received a degree in social and political sciences. While at Cambridge, she became involved in acting, performing in a number of stage productions. Following graduation, Swinton began her professional theater career, working for Edinburgh’s renowned Traverse Theatre and the Royal Shakespeare Company.
In 1985, Swinton began her long collaboration with Derek Jarman, both as a friend and fellow artist. She made her screen debut in his Caravaggio (1986) and appeared in every one of the director’s films until his death from AIDS in 1994. It was for her role as the spurned queen in Jarman’s anachronistic, controversial Edward II (1992) that Swinton earned her first dose of recognition, becoming a familiar face to arthouse audiences on both sides of the Atlantic and earning a Best Actress prize at the Venice Film Festival for her work in the film. The acclaim and recognition Swinton garnered was amplified the same year with her title role in Sally Potter’s adaptation of Orlando, Virginia Woolf’s classic tale of an Elizabethan courtier who experiences drastic changes in both gender and lifestyle over the course of 400 years.
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