olhar distante –
a lua está cheia
de lágrimas
Copyright © 2010 Marco Alexandre de Oliveira
.bmp)
Friday, May 28, 2010
you don't say ...
"the best writers have said very
little
and the worst,
far too much."
(Charles Bukowski, "As The Poems Go.")
little
and the worst,
far too much."
(Charles Bukowski, "As The Poems Go.")
on academic poets ...
"now our moderns
lecture at universities
in tie and suit,
the little boys soberly studious,
the little girls with glazed eyes
looking
up,
the lawns so green, the books so dull,
the life so dying of
thirst."
(Charles Bukowski, "The Replacements.")
lecture at universities
in tie and suit,
the little boys soberly studious,
the little girls with glazed eyes
looking
up,
the lawns so green, the books so dull,
the life so dying of
thirst."
(Charles Bukowski, "The Replacements.")
Tuesday, May 25, 2010
anti-poiesis
o poeta diz algo
o poema diz tudo
...........................
a poesia não diz nada
Copyright © 2010 Marco Alexandre de Oliveira
Monday, May 24, 2010
o eterno subversivo ...
"O pior é que ninguém sabe mesmo o que deseja o homem depois de casa, comida, educação e saúde. O cérebro esqueceu disto: necessita de poesia e para que haja poesia é necessário inconsciência."
"Nunca se falou tanto em liberdade, nunca se perseguiu tanto artistas e intelectuais.
O único eterno subversivo do mundo é o artista."
(Glauber Rocha, "Alphaville." O século de cinema.)
"Nunca se falou tanto em liberdade, nunca se perseguiu tanto artistas e intelectuais.
O único eterno subversivo do mundo é o artista."
(Glauber Rocha, "Alphaville." O século de cinema.)
anjo malandro
expulso do paraíso,
o anjo malandro
manda tudo ao inferno ...
Copyright © 2010 Marco Alexandre de Oliveira
o anjo malandro
manda tudo ao inferno ...
Copyright © 2010 Marco Alexandre de Oliveira
Tuesday, May 18, 2010
simply dialogical ...
GringoCarioca says:
Wikipedia is fundamentally unreliable
de-joaquinality says:
anything is
GringoCarioca says:
I prefer a “system” of checks and balances, even if also unreliable ... it is more reliable than the alternative
de-joaquinality says:
wikipedia is checks and balances
GringoCarioca says:
Wikipedia IS capitalist-bourgeois ideology at its best
GringoCarioca says:
“everybody” is an academic
GringoCarioca says:
“everybody” has power
GringoCarioca says:
ha ha ha ... I’m not fooled
de-joaquinality says:
knock-knock
GringoCarioca says:
go away
de-joaquinality says:
knock-knock …
GringoCarioca says:
get out!
de-joaquinality says:
knock-knock
GringoCarioca says:
I have a gun
de-joaquinality says:
will you let a man tell a joke?
de-joaquinality says:
knock-knock
GringoCarioca says:
who is it?
de-joaquinality says:
banana
GringoCarioca says:
banana who?
de-joaquinality says:
knock-knock
GringoCarioca says:
what do you want you mudda ...
de-joaquinality says:
knock-knock
de-joaquinality says:
let the man tell his joke!
de-joaquinality says:
knock-knock
GringoCarioca says:
WHO IS MUDDAFUCKIN there?
de-joaquinality says:
banana
GringoCarioca says:
banana who goddammit!
de-joaquinality says:
knock-knock
de-joaquinality says:
trust me, it’s almost there
de-joaquinality says:
knock-knock
GringoCarioca says:
who cares?
de-joaquinality says:
knock-knock
GringoCarioca says:
who’s there?
de-joaquinality says:
orange
GringoCarioca says:
orange who?
de-joaquinality says:
orange you glad I didn’t say banana?
GringoCarioca says:
bye-bye you anarchist you ...
de-joaquinality says:
tears of laughter
de-joaquinality says:
I assume …
GringoCarioca says:
sweet dreams ... oh wait, you already are dreaming!
de-joaquinality says:
I ass you me
de-joaquinality says:
lemme ass you this:
GringoCarioca says:
go wikipedia the word “dream” and change everything to signify “waking”
de-joaquinality says:
ok
GringoCarioca says:
with that in mind ...
GringoCarioca says:
good night
de-joaquinality says:
lave lun lin lalaland
(2005)
Sunday, May 09, 2010
on (dis)agreements ...
"And the reason this has not been emphasized is because the current fashion is to insist that everything is a language, to such an extent that what is said is overpowered and reduced to nothing by how one says it. This is a very common illusion. The angry lover shouts to his faithless mistress, 'You don't understand me!' But she understands him only too well; the case is simply that she no longer loves him. Whether filmic or verbal, language cannot suppress reality; on the contrary, it is rooted in reality. If men do not 'understand' each other, it is not only because of words, but also because of what the words contain. How many 'misunderstandings' are actually the result of too great an understanding! People always see a lack of understanding where there is real disagreement."
(Christian Metz, "The Cinema: Language or Language System." Film Language: A Semiotics of the Cinema." Trans. Michael Taylor. p. 73-74)
"A thing or being yields its singularity through expression in a message that implies no answer. Even the most harmonious love is not a dialogue so much as it is a kind of duet. Jacques tells Nicole of his love for her; Nicole tells Jacques of her love for him. They are therefore not speaking about the same thing, and one says rightly that their love is 'shared' (divided). They do not answer each other – indeed how can one really answer a person expressing himself?
Shared, their love is divided into two loves, which yield two expressions. For Jacques and Nicole, expressing as they did two different sentiments, to evolve, rather than the give-and-take of a dialogue, the agreement of a true encounter tending toward a fusion that abolishes all dialogue, there had to be a kind of coincidence – hence the rareness of the occurrence – rather than the interplay of influences and after-the-fact adjustments by which a dialogue is characterized. Like Jacques (without Nicole) or like Nicole (without Jacques), films and books express themselves and are not really answered."
(Christian Metz, "The Cinema: Language or Language System." Film Language: A Semiotics of the Cinema." Trans. Michael Taylor. p. 84)
(Christian Metz, "The Cinema: Language or Language System." Film Language: A Semiotics of the Cinema." Trans. Michael Taylor. p. 73-74)
"A thing or being yields its singularity through expression in a message that implies no answer. Even the most harmonious love is not a dialogue so much as it is a kind of duet. Jacques tells Nicole of his love for her; Nicole tells Jacques of her love for him. They are therefore not speaking about the same thing, and one says rightly that their love is 'shared' (divided). They do not answer each other – indeed how can one really answer a person expressing himself?
Shared, their love is divided into two loves, which yield two expressions. For Jacques and Nicole, expressing as they did two different sentiments, to evolve, rather than the give-and-take of a dialogue, the agreement of a true encounter tending toward a fusion that abolishes all dialogue, there had to be a kind of coincidence – hence the rareness of the occurrence – rather than the interplay of influences and after-the-fact adjustments by which a dialogue is characterized. Like Jacques (without Nicole) or like Nicole (without Jacques), films and books express themselves and are not really answered."
(Christian Metz, "The Cinema: Language or Language System." Film Language: A Semiotics of the Cinema." Trans. Michael Taylor. p. 84)
an insane craft ...
"Literature – especially poetry – is a so much more improbable art! How can that insane craft ever succeed?– To bestow an aesthetic expressiveness (that is, in a natural way) upon those 'words of the tribe' Mallarmé railed against – where linguists agree in recognizing only a small portion of expressiveness and a very large portion of arbitrary signification ..."
"But when the poet has succeeded in his initial alchemy and has made words expressive, the greater part of his task is done: In this respect, literature, which is a difficult art, enjoys at least that advantage. It's endeavor is so arduous that the weight it bears is hardly a danger. There are a great number of books entirely lacking in art; there are a few books possessing enormous art."
(Christian Metz, "The Cinema: Language or Language System." Film Language: A Semiotics of the Cinema." Trans. Michael Taylor. p. 77-78)
"But when the poet has succeeded in his initial alchemy and has made words expressive, the greater part of his task is done: In this respect, literature, which is a difficult art, enjoys at least that advantage. It's endeavor is so arduous that the weight it bears is hardly a danger. There are a great number of books entirely lacking in art; there are a few books possessing enormous art."
(Christian Metz, "The Cinema: Language or Language System." Film Language: A Semiotics of the Cinema." Trans. Michael Taylor. p. 77-78)
Saturday, May 01, 2010
a arte da desrazão ...
"Uma obra de arte revolucionária deveria não só atuar de modo imediatamente político como também promover a especulação filosófica, criando uma estética do eterno movimento humano rumo à sua integração cósmica."
"As vanguardas do pensamento não podem mais se dá ao sucesso inútil de responder à razão opresiva com a razão revolucionária. A revolução é a anti-razão que comunica as tensões e rebeliões do mais irracional de todos os fenômenos que é a pobreza."
"Há que tocar, pela comunhão, o ponto vital da pobreza que é seu misticismo. Este misticismo é a única linguagem que transcende ao esquema racional de opressão. A revolução é uma mágica porque é o imprevisto dentro da razão dominadora. No máximo é vista como uma possibilidade compreensível. Mas a revolução deve ser uma impossibilidade de compreensão para a razão dominadora de tal forma que ela mesma se negue e se devore diante de sua impossibilidade de compreender."
"O irracionalismo liberador é a mais forte arma do revolucionário. E a liberação, mesmo nos encontros da violência provocada pelo sistema, significa sempre negar a violência em nome de uma comunidade fundada pelo sentido do amor ilimitado entre os homens. Este amor nada tem a ver com o humanismo tradicional, símbolo da boa consciência dominadora."
"Hoje recuso falar em qualquer estética. A plena vivência não pode se sujeitar a conceitos filosóficos. Arte revolucionária deve ser uma mágica capaz de enfeitiçar o homem a tal ponto que ele não mais suporte viver nesta realidade absurda."
(Glauber Rocha, "Eztetyka do sonho.")
"As vanguardas do pensamento não podem mais se dá ao sucesso inútil de responder à razão opresiva com a razão revolucionária. A revolução é a anti-razão que comunica as tensões e rebeliões do mais irracional de todos os fenômenos que é a pobreza."
"Há que tocar, pela comunhão, o ponto vital da pobreza que é seu misticismo. Este misticismo é a única linguagem que transcende ao esquema racional de opressão. A revolução é uma mágica porque é o imprevisto dentro da razão dominadora. No máximo é vista como uma possibilidade compreensível. Mas a revolução deve ser uma impossibilidade de compreensão para a razão dominadora de tal forma que ela mesma se negue e se devore diante de sua impossibilidade de compreender."
"O irracionalismo liberador é a mais forte arma do revolucionário. E a liberação, mesmo nos encontros da violência provocada pelo sistema, significa sempre negar a violência em nome de uma comunidade fundada pelo sentido do amor ilimitado entre os homens. Este amor nada tem a ver com o humanismo tradicional, símbolo da boa consciência dominadora."
"Hoje recuso falar em qualquer estética. A plena vivência não pode se sujeitar a conceitos filosóficos. Arte revolucionária deve ser uma mágica capaz de enfeitiçar o homem a tal ponto que ele não mais suporte viver nesta realidade absurda."
(Glauber Rocha, "Eztetyka do sonho.")
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