Foto

para além de mim



                               donde vens
                                      nesse sonho de nasceres
                             na água
                            

                            deslizas no tempo
                            rosto de outro rosto
                            que te respira por dentro

                            um xaile de vento
                            abre a porta
                            por onde sais devagar

                            e entre árvores
                                                partes
                            pequeno pássaro da felicidade
                                           2012, José


música
Gustav Mahler Sonia Wieder-Atherton
como eras parecida com a Sónia Wieder-Atherton!
o tempo magoou-nos...
https://youtu.be/NkC4xazM-u4                         

the cat-alogue of cats

the cat-alogue of cats!

Sonho devagar ser uma ponte
uma fonte de outro lugar!
j

foto Between the macrocosmos and the microcosmos
j

Foto
O diálogo secreto
j

Photos:
series hands

A giant hand takes me from the earth
in the dark shoulders of the night:
from where i will arise and go now
when all my thoughts  collapse?
What a strange vision what a rare wisdom,
the levitation of a building in the soul's fall.
2015, josé


music
Bernardo Sassetti - Da Noite - Ao Silêncio
https://youtu.be/0iewd3kBRIc

quando a noite nos é uma flor escura
que perdura nos passos furtivos
de sermos para sempre filhos adoptivos
josé
                        

Luiza Neto Jorge
Portugal 
 1939 / 1989 

Acordar na Rua do Mundo

madrugada, passos soltos de gente que saiu 
com destino certo e sem destino aos tombos 
no meu quarto cai o som depois 
a luz. ninguém sabe o que vai 
por esse mundo. que dia é hoje? 
soa o sino sólido as horas. os pombos 
alisam as penas, no meu quarto cai o pó. 

um cano rebentou junto ao passeio. 
um pombo morto foi na enxurrada 
junto com as folhas dum jornal já lido. 
impera o declive 
um carro foi-se abaixo 
portas duplas fecham 
no ovo do sono a nossa gema. 

sirenes e buzinas, ainda ninguém via satélite 
sabe ao certo o que aconteceu, estragou-se o alarme 
da joalharia, os lençóis na corda 
abanam os prédios, pombos debicam 

o azul dos azulejos, assoma à janela 
quem acordou. o alarme não pára o sangue 
desavém-se. não veio via satélite a querida imagem o vídeo 
não gravou 

e duma varanda um pingo cai 
de um vaso salpicando o fato do bancário 

Luiza Neto Jorge, in 'A Lume' 



Foto: A luz, pouco antes de adormecer!

Don't dream  only about
                 what comes in summer
                 in your shining  calico dress
                 made by the bright flute of the sun

                 different is the summer wildlife
                 when the hour changes
                 and silences the heart in dark

                  will the winds know also the pain
                   that blows inside them?
                    or are windmills
                    stopped strange hearts 
                    in the fiery embrace of the summer?

                     distant are now the days
                      of lying at your door-
                       through which i never entered!

                                        2012                             

            
                                     
 music
Antony and the Johnsons - I Fell In Love With a Dead Boy
https://youtu.be/H03VpvUtm6k

Photo
The geometry of emptiness or waiting for the wine!

To Omar Khayyám (1048 – 1131) and Imre Lakatos (1922-1974)
josé


Imre Lakatos - Proofs and Refutations
Proofs and Refutations is a book by the philosopher Imre Lakatos expounding his view of the progress of mathematics. The book is written as a series of Socratic dialogues involving a group of students who debate the proof of the Euler characteristic defined for the polyhedron. A central theme is that definitions are not carved in stone, but often have to be patched up in the light of later insights, in particular failed proofs. This gives mathematics a somewhat experimental flavour. At the end of the Introduction, Lakatos explains that his purpose is to challenge formalism in mathematics, and to show that informal mathematics grows by a logic of "proofs and refutations".

Many important logical ideas are explained in the book. For example the difference between a counterexample to a lemma (a so-called 'local counterexample') and a counterexample to the specific conjecture under attack (a 'global counterexample' to the Euler characteristic, in this case) is discussed.


Though the book is written as a narrative, an actual method of investigation, that of "proofs and refutations", is developed. In Appendix I, Lakatos summarizes this method by the following list of stages:

Primitive conjecture.
Proof (a rough thought-experiment or argument, decomposing the primitive conjecture into subconjectures).
"Global" counterexamples (counterexamples to the primitive conjecture) emerge.
Proof re-examined: the "guilty lemma" to which the global counter-example is a "local" counterexample is spotted. This guilty lemma may have previously remained "hidden" or may have been misidentified. Now it is made explicit, and built into the primitive conjecture as a condition. The theorem - the improved conjecture - supersedes the primitive conjecture with the new proof-generated concept as its paramount new feature.
He goes on and gives further stages that might sometimes take place:

Proofs of other theorems are examined to see if the newly found lemma or the new proof-generated concept occurs in them: this concept may be found lying at cross-roads of different proofs, and thus emerge as of basic importance.
The hitherto accepted consequences of the original and now refuted conjecture are checked.
Counterexamples are turned into new examples - new fields of inquiry open up.
wikipedia


Omar Khayyám; born Ghiyāth ad-Dīn Abu'l-Fatḥ ʿUmar ibn Ibrāhīm al-Khayyām Nīshāpūrī (/ˈoʊmɑr kaɪˈjɑːm, -ˈjæm, ˈoʊmər/; Persian: ‏غیاث ‌الدین ابوالفتح عمر ابراهیم خیام نیشابورﻯ‎, pronounced [xæjˈjɒːm]; 18 May 1048 – 4 December 1131), was a Persian mathematician, astronomer, philosopher, and poet. He also wrote treatises on mechanics, geography, mineralogy, music, and Islamic theology.

Khayyám Sikander was famous during his times as a mathematician. He wrote the influential Treatise on Demonstration of Problems of Algebra (1070), which laid down the principles of algebra, part of the body of Islamic Mathematics that was eventually transmitted to Europe. In particular, he derived general methods for solving cubic equations and even some higher orders.


"Cubic equation and intersection of conic sections" the first page of two-chaptered manuscript kept in Tehran University
In the Treatise, he wrote on the triangular array of binomial coefficients known as Pascal's triangle. In 1077, Khayyám wrote Sharh ma ashkala min musadarat kitab Uqlidis (Explanations of the Difficulties in the Postulates of Euclid) published in English as "On the Difficulties of Euclid's Definitions". An important part of the book is concerned with Euclid's famous parallel postulate, which attracted the interest of Thabit ibn Qurra. Al-Haytham had previously attempted a demonstration of the postulate; Khayyám's attempt was a distinct advance, and his criticisms made their way to Europe, and may have contributed to the eventual development of non-Euclidean geometry.

Omar Khayyám created important works on geometry, specifically on the theory of proportions. His notable contemporary mathematicians included Al-Khazini and Abu Hatim al-Muzaffar ibn Ismail al-Isfizari

Theory of parallels

Khayyám wrote a book entitled Explanations of the difficulties in the postulates in Euclid's Elements. The book consists of several sections on the parallel postulate (Book I), on the Euclidean definition of ratios and the Anthyphairetic ratio (modern continued fractions) (Book II), and on the multiplication of ratios (Book III).

The first section is a treatise containing some propositions and lemmas concerning the parallel postulate. It has reached the Western world from a reproduction in a manuscript written in 1387-88 AD by the Persian mathematician Tusi. Tusi mentions explicitly that he re-writes the treatise "in Khayyám's own words" and quotes Khayyám, saying that "they are worth adding to Euclid's Elements (first book) after Proposition 28." This proposition states a condition enough for having two lines in plane parallel to one another. After this proposition follows another, numbered 29, which is converse to the previous one. The proof of Euclid uses the so-called parallel postulate (numbered 5). Objection to the use of parallel postulate and alternative view of proposition 29 have been a major problem in foundation of what is now called non-Euclidean geometry.

The treatise of Khayyám can be considered the first treatment of the parallels axiom not based on petitio principii, but on a more intuitive postulate. Khayyám refutes the previous attempts by other Greek and Persian mathematicians to prove the proposition. And he, as Aristotle, refuses the use of motion in geometry and therefore dismisses the different attempt by Ibn Haytham too. In a sense he made the first attempt at formulating a non-Euclidean postulate as an alternative to the parallel postulate,


“There was a water-drop, it joined the sea,
A speck of dust, it was fused with earth;
what of your entering and leaving this world?
A fly appeared, and disappeared.” 
― Omar Khayyam

Music:
Omar Khayyam Musical Special
Festival of Fez, Morocco
https://youtu.be/tWnUbjbWykU

Photo: rêves aquatiques
j

"L'être voué à l'eau est un être en vertige. Il meurt à chaque minute."

Gaston Bachelard, L'eau et les rêves — Essai sur l'imagination de la matière (1942)


Musique:
Claude Debussy, "Reflets dans l'eau" in A flat major and F, E flat, from Images Book 1
Pianist: Arturo Michelangeli

https://youtu.be/LLbpQl1cCl8

Photo: Dark spades pointing to the sky!
josé

To Leopoldo Maria Panero, poet of all abysses!

  EL LOCO

He vivido entre los arrabales, pareciendo
un mono, he vivido en la alcantarilla
transportando las heces,
he vivido dos años en el Pueblo de las Moscas
y aprendido a nutrirme de lo que suelto.
Fui una culebra deslizándose
por la ruina del hombre, gritando
aforismos en pie sobre los muertos,
atravesando mares de carne desconocida
con mis logaritmos.
Y sólo pude pensar que de niño me secuestraron para una alucinante batalla
y que  mis padres me sedujeron para
ejecutar el sacrilegio, entre ancianos y muertos.
He enseñado a moverse a las larvas
sobre los cuerpos, y a las mujeres a oír
cómo cantan los árboles al crepúsculo, y lloran.
Y los hombres manchaban mi cara con cieno, al hablar,
y decían con los ojos «fuera de la vida», o bien «no hay nada que pueda
ser menos todavía que tu alma», o bien «cómo te llamas»
y «qué oscuro es tu nombre».
He vivido los blancos de la vida,
sus equivocaciones, sus olvidos, su
torpeza incesante y recuerdo su
misterio brutal, y el tentáculo
suyo acariciarme el vientre y las nalgas y los pies
frenéticos de huida.
He vivido su tentación, y he vivido el pecado
del que nadie cabe nunca nos absuelva.
Leopoldo Maria Panero (1948-2014)



   LA CUÁDRUPLE FORMA DE LA NADA

Yo he sabido ver el misterio del verso
que es el misterio de lo que a sí mismo nombra
el anzuelo hecho de la nada
prometido al pez del tiempo
cuya boca sin dientes muestra  el origen del poema
en la nada que flota antes de la palabra
y que es distinta a la nada que el poema canta
y también a esa nada en que expira el poema:
tres son pues las formas de la nada
parecidas a cerdos bailando en torno del poema
junto a la casa que el viento ha derrumbado
y ay del que dijo una es la nada
frente a la casa que el viento ha derrumbado:
porque los lobos persiguen el amanecer de las formas
ese amanecer que recuerda a la nada;
triple es la nada y triple es el poema
imaginación escrita y lectura
y páginas que caen alabando a la nada
la nada que no es vacío sino amplitud de palabras
peces shakespearianos que boquean en la playa
esperando allí entre las ruinas del mundo
al señor con yelmo y con espada
al señor sin fruto de la nada.
Testigo es su cadáver aquí donde boquea el poema
de que nada se ha escrito ni se escribió nunca
y ésta es la cuádruple forma de la nada.
Leopoldo Maria Panero (1948-2014)


HIMNO A SATÁN

Sólo la nieve sabe
la grandeza del lobo
la grandeza de Satán
vencedor de la piedra desnuda
de la piedra desnuda que amenaza al hombre
y que invoca en vano a Satán
señor del verso, de ese agujero
en la página
por donde la realidad
cae como agua muerta.
Leopoldo Maria Panero (1948-2014)


EL CIRCO

Dos atletas saltan de un lado a otro de mi alma
lanzando gritos y bromeando acerca de la vida:
y no sé sus nombres. Y en mi alma vacía escucho siempre
cómo se balancean los trapecios. Dos
atletas saltan de un lado a otro de mi alma
contentos de que esté tan vacía.
                                                  Y oigo
oigo en el espacio sonidos
una y otra vez el chirriar de los trapecios
una y otra vez.
Una mujer sin rostro canta de pie sobre mi alma,
una mujer sin rostro sobre mi alma en el suelo,
mi alma, mi alma: y repito esa palabra
no sé si como un niño llamando a su madre a la luz,
en confusos sonidos y con llantos, o bien simplemente
para hacer ver que no tiene sentido.
Mi alma. Mi alma
es como tierra dura que pisotean sin verla
caballos y carrozas y pies, y seres
que no existen y de cuyos ojos
mana mi sangre hoy, ayer, mañana. Seres
sin cabeza cantarán sobre mi tumba
una canción incomprensible.
Y se repartirán los huesos de mi alma.
Mi alma. Mi
                  hermano muerto fuma un cigarrillo junto a mí.
Leopoldo Maria Panero (1948-2014)


DEDICATORIA

Más allá de donde
aún se esconde la vida, queda
un reino, queda cultivar
como un rey su agonía,
hacer florecer como un reino
la sucia flor de la agonía:
yo que todo lo prostituí, aún puedo
prostituir mi muerte y hacer
de mi cadáver el último poema.
Leopoldo Maria Panero (1948-2014)





Music:
Fátima Miranda-ArteSonado
https://youtu.be/FTPjzNb2_8Y

Nach - El idioma de los dioses
https://youtu.be/UolsyRsT95g

Albania

Ismail Kadaré (1936-    )

And when my memory

And when my fading memory,
Like the after-midnight trams,
Stops only at the main stations,
I will not forget you.

I will remember
That quiet evening, endless in your eyes,
The stifled sob upon my shoulder,
Like snow that cannot be brushed off.

The separation came
And I departed, far from you.
Nothing unusual,
But some night
Someone's fingers will weave themselves into your hair,
My distant fingers, stretching across the miles.

Ismail Kadaré, Edhe kur kujtesa, from the volume Shekulli im, Tirana: Naim Frashëri 1961, translated from the Albanian by Robert Elsie


Train timetables

I love those train timetables at little railway stations,
Standing on the wet platform and contemplating the infinity of the tracks.
The distant howl of a locomotive. What, what?
(No one understands the nebulous language of steam engines)

Passenger trains. Tank cars. Freight cars full of ore
Endlessly pass by.
Thus pass the days of your life through the station of your being,
Filled with voices, noise, signals
And the heavy ore of memory.

Ismail Kadare, Këto orare trenash, from the volume Përse mendohen këto male, Tirana: Naim Frashëri 1964, translated from the Albanian by Robert Elsie



"Some people,” the Vizier went on, “think it’s the world of anxieties and dreams – your world, in short – that governs this one. I myself think it’s from this world that everything is governed. I think it’s this world that chooses the dreams and anxieties and imaginings that ought to be brought to the surface, as a bucket draws water from a well. Do you see what I mean? It’s this world that selects what it wants from the abyss.” 
― Ismail Kadare, The Palace Of Dreams




“Who can say it’s not what we see with our eyes open that is distorted, and that what’s described here isn’t the true essence of things?” He slowed down outside a door. “Haven’t you ever heard old men sigh that life’s a dream?” 
― Ismail Kadare, The Palace Of Dreams

“He had the feeling that bits of his brain had frozen, like those patches of snow along the sides of the road.”

Ismail Kadare, Broken Abril


Movie: 
Behind the Sun (Portuguese: Abril Despedaçado) is a 2001 Brazilian film directed by Walter Salles, produced by Arthur Cohn, and starring Rodrigo Santoro. Its original Portuguese title means Shattered April, and it is based on the novel of the same name written by the Albanian writer Ismail Kadare, about the honor culture in the North of Albania.
https://youtu.be/fD0mH2zTJUc

Music:
Beto Villares - Rio Da Bossa Nova
https://youtu.be/7aHFw595peM


Photo: Hiking in Albania

Photo: Le dehors plongé dans le dedans.
josé


Celui qui regarde du dehors à travers une fenêtre ouverte, ne voit jamais autant de choses que celui qui regarde une fenêtre fermée. Il n’est pas d’objet plus profond, plus mystérieux, plus fécond, plus ténébreux, plus éblouissant qu’une fenêtre éclairée d’une chandelle. Ce qu’on peut voir au soleil est toujours moins intéressant que ce qui se passe derrière une vitre. Dans ce trou noir ou lumineux vit la vie, rêve la vie, souffre la vie.
Par-delà des vagues de toits, j’aperçois une femme mûre, ridée déjà, pauvre, toujours penchée sur quelque chose, et qui ne sort jamais. Avec son visage, avec son vêtement, avec son geste, avec presque rien, j’ai refait l’histoire de cette femme, ou plutôt sa légende, et quelquefois je me la raconte à moi-même en pleurant.
Si c’eût été un pauvre vieux homme, j’aurais refait la sienne tout aussi aisément.
Et je me couche, fier d’avoir vécu et souffert dans d’autres que moi-même.
Peut-être me direz-vous : « Es-tu sûr que cette légende soit la vraie ? » Qu’importe ce que peut être la réalité placée hors de moi, si elle m’a aidé à vivre, à sentir que je suis et ce que je suis ?

Charles Baudelaire, Petits poèmes en prose, 1869.

Musiques:

Dans le bleu de l'absinthe -  Damien Saez
Album Debbie, 2004
https://youtu.be/gPRSOHkFE5U

Charles Baudelaire par Damien Saez, Fleurs du Mal, Femmes Damnées
https://youtu.be/TE1rcGk4NvU

Partida, largada, fugida!
Children playing under the surveillance and philosophical bonhomie of the elders!
Photo taken in Naples museum


Roger Caillois (1913-1978)

"Le jeu n'a pas d'autre sens que lui-même."
Roger Caillois


Caillois' key ideas on play

Caillois begins Man, Play and Games (2001),  with Johan Huizinga's definition of the play: "Summing up the formal characteristics of play we might call it a free activity standing quite consciously outside "ordinary" life as being "not serious," but at the same time absorbing the player intensely and utterly. It is an activity connected with no material interest, and no profit can be gained by it. It proceeds within its own proper boundaries of time and space according to fixed rules and in an orderly manner. It promotes the formation of social groupings which tend to surround themselves with secrecy and to stress their difference from the common world by disguise or other means."

He provides strict and distinct categories of games which he describes 4 distinct game categories.

Agon, or competition. E.g. Chess
Alea, or chance. E.g. Playing a slot machine
Mimicry, or mimesis, or role playing. E.g. Playing a MMORPG
Ilinx (Greek for "whirlpool"), or vertigo, in the sense of altering perception. E.g. taking hallucinogens, riding roller coasters, children spinning until they fall down.

Caillois also provides a continuum between two opposite poles which the four categories can be divided into:

Paidia or uncontrolled fantasy. E.g. Concert, festivals
Ludus which requires an ever greater amount of effort, patience, skill, or ingenuity. E.g. GO
Caillois builds critically on the precedent theories on play Homo Ludens, the book which has been published in 1938 by Dutch historian, cultural theorist and professor Johan Huizinga. Huizinga discusses the importance of the play element of culture and society. Caillois disputes Huizinga's emphasis on competition in play. He also notes the considerable difficulty in defining play, concluding that play is best described by six core characteristics:
it is free, or not obligatory; it is separate (from the routine of life) occupying its own time and space; it is uncertain, so that the results of play cannot be pre-determined and so that the player's initiative is involved; it is unproductive in that it creates no wealth and ends as it begins; it is governed by rules that suspend ordinary laws and behaviours and that must be followed by players; and it involves make-believe that confirms for players the existence of imagined realities that may be set against 'real life'.

Huizinga uses the term "Play Theory" within the book to define the conceptual space in which play occurs. Huizinga suggests that play is primary to and a necessary (though not sufficient) condition of the generation of culture.

Caillois critiqued Johan Huizinga in his book 'Man, Play and Games to argue that gambling is a game when Huizinga outlined the corruption of play due to gambling. Caillois theorises gambling into his category of Agon as, ‘…like a combat in which equality of chances is artificially created, in order that adversaries should confront each other under ideal conditions, susceptible of giving precise and incontestable value to the winner’s triumph’. As long as a play provides social activity and winner’s triumph, whether it involves money or fatal thrill is not a problem in Caillois’ Agon (competition) and Alea (games of chance). Huizinga initially outlined the danger of corruption in “play,” fatality should not be involved, such as the risk of losing money. Huizinga defines ‘card-games’ as ‘deadly earnest business,’ Huizinga’s interpretation on the damage that the ‘futile activity of gambling makes on society’ can be seen in his book Homo Ludens where he tries to analyse the meaning of 'pure' play. Caillois opposes this argument as the distinction between games of skill or competition (Agôn) and games of chance (Alea) categorises gambling as a mode of play.

Caillois' interest in mimicry
When Caillois worked with Bataille at the College of Sociology, they worked on two essays on insects in the 1930s: ‘La mante religieuse. De la biologie à la psychanalyse’(1934) and ‘Mimétisme et la psychasthénie légendaire’ (1935) Caillois identifies the praying mantis and mimicking animals as nature’s automatons and masquerades. He formulates in his peculiarly naturalist fashion what it would mean to act and create without the intervention of the sovereign ego, that magnificent artifact of the modern West that surrealism and the avant-garde have taken such drastic measures to counteract. These articles might read like two obscurantist entomological studies that, in a way some would describe as bizarre, try to contradict all evolutionary explications for animal cannibalism and mimicry. Their interest lay in the publication in the context of Minotaure. Such interest makes it possible to see them as the search for figures that evidence the possibility of intelligence without thought, creativity without art, and agency in the absence of the (human) agent.
Wikipedia

music
Music Of Changes -- John Cage
This is Book I of John Cage's MUSIC OF CHANGES for piano, recorded live at a Collide-O-Scope Music Concert (April 2010) - Augustus Arnone, piano. The video is assembled using iconography and text from the I Ching, as well as utilizing a series of paintings by Michelle Chen. The montage was assembled. 
https://youtu.be/Yn3QZzw0vlY

Rimsky-Korsakov, Flight of the Bumblebee
Conductor Zubin Mehta
Berliner Philharmoniker in der Waldbühne Berlin
https://youtu.be/6QV1RGMLUKE

“But paradise is locked and bolted....
We must make a journey around the world to see if a back door has perhaps been left open.” 
― Heinrich von Kleist (1777-1811), On a Theatre of Marionettes 

Black Prairie - "How Do You Ruin Me" from the album, "A Tear in the Eye Is a Wound in the Heart", 2012
https://youtu.be/sOq4LoDW6Vk

Photo: series going to nowhere

Series: Protect me from what i desire!
Photo: touching the sky


Hier bin ich

Aquele que me acena
Diz-me na ponta dos dedos
O leme imprevisto de um navio à deriva –

E coberto de bruma
Já não sei aonde vou

2007


music:
Beautiful and Pensive Gusli Solo
Olga Alekseeva - Solo Gusli
https://youtu.be/6v_ktzgIitY
 

Series: Going to nowhere!
Kiev, Ukraine


There was a cloud in my arms
And it was not you
It was a strange weapon
Cutting me in two-

There was a fire at night
Coming to me
It had muscles
And a eye burning aloud
And crying and shouting
“How strong is your mind”?

2010, Odessa



music:
Mariana Sadovska - Widow Song
Filmed by Oleksandr Fraze-Frazenko.
Teatr Stary, Lublin, Poland. 15/11/2014.

https://youtu.be/dic3h6U8c0s