naked lunch

quinta-feira, maio 20, 2010

... haverá vida depois de...

... depois acordava... abria os olhos... e ficava a olhar para os pássaros...

quarta-feira, maio 19, 2010

sexta-feira, maio 14, 2010

quarta-feira, maio 12, 2010

tristessa

love is a haunting melody that i have never mastered, and i fear i never will
william burroughs

segunda-feira, maio 10, 2010

à procura de editora - percsistência

... na mão, a primeira gravação na bateria, fora do formato banda... um solo produzido por vitor rua e antónio duarte, gravado a 10 de outubro de 2009... um regresso, à procura de editora...

quarta-feira, maio 05, 2010

é pró enxoval

materiais para enxoval, por ana saramago

Evento: RunABout – Criative Store

O quê: Exposição/Venda
Início: quinta-feira, 7 de Maio às 18:30
Fim: Domingo, 30 de Maio às 21:00
Onde: Rua Garret, 72 - Chiado

quinta-feira, abril 22, 2010

olhó ALKANTARA

... foi ontem o lançamento/apresentação do ALKANTARA FESTIVAL 2010... mais aqui

quarta-feira, abril 21, 2010

segunda-feira, abril 12, 2010

quarta-feira, março 17, 2010

sisterworld é o novo disco dos liars... a par dos loosers, o som de ouço em loop, de vez em quando... gosto pelas experiências sempre conseguidas... melodias puras... ritmos hipnóticos... ainda com a primeira e única audição do sisterworld a rolar... a coisa começa calma e percebem-se as primeiras novidades, nas vocalizações... segue-se um sintetizador maravilhoso e alguns violinos... e sobe de tom... até ao feedback... 12341234... uns regressos... depois descobri que não estava a ouvir na ordem certa... :P ... o disco é um mergulho em qualquer coisa pura... gostei mesmo das vozes...

sexta-feira, março 12, 2010

textura - demo

imagem: ana saramago

... uma demo, ainda muito demo, em audição, aqui ... texturas

quinta-feira, março 11, 2010

as the poems go

as the poems go into the thousands you
realize that you've created very
little

(charles bukowski)

terça-feira, março 09, 2010

rain

a symphony orchestra.

(charles bukowski)

segunda-feira, março 01, 2010

a gravar....

... os mouraria beat ensemble voltaram (finalmente) aos "ensaios"... em formato banda (bateria, baixo, guitarra e percussões...)... as demos estão em audição, aqui...

quinta-feira, fevereiro 25, 2010

baterias

... uma certa nostalgia, ultimamente... voltar a tocar bateria em banda... qualquer coisa forte e em loop...

quinta-feira, fevereiro 18, 2010

à espera do sol...

terça-feira, fevereiro 16, 2010

... ainda à espera

segunda-feira, fevereiro 15, 2010

à espera da primavera

domingo, janeiro 17, 2010

concertos desta semana...

... na quinta feira, 21 de janeiro, no groove art (na rua da esperança, 144, madragoa, bem perto de santos), pelas 22h00, a primeira vez a solo, uma instalação sonora para imagens de ana saramago...

... na sexta, 22 de janeiro, os mouraria beat ensemble na Barraca, pelas 22h00, no festival rescaldo...

spontaneous prose - kerouac

SET-UP The object is set before the mind, either in reality. as in sketching (before a landscape or teacup or old face) or is set in the memory wherein it becomes the sketching from memory of a definite image-object.

PROCEDURE Time being of the essence in the purity of speech, sketching language is undisturbed flow from the mind of personal secret idea-words, blowing (as per jazz musician) on subject of image.

METHOD No periods separating sentence-structures already arbitrarily riddled by false colons and timid usually needless commas-but the vigorous space dash separating rhetorical breathing (as jazz musician drawing breath between outblown phrases)--"measured pauses which are the essentials of our speech"--"divisions of the sounds we hear"-"time and how to note it down." (William Carlos Williams)

SCOPING Not "selectivity' Iof expression but following free deviation (association) of mind into limitless blow-on-subject seas of thought, swimming in sea of English with no discipline other than rhythms of rhetorical exhalation and expostulated statement, like a fist coming down on a table with each complete utterance, bang! (the space dash)-Blow as deep as you want-write as deeply, fish as far down as you want, satisfy yourself first, then reader cannot fail to receive telepathic shock and meaning-excitement by same laws operating in his own human mind.

LAG IN PROCEDURE No pause to think of proper word but the infantile pileup of scatological buildup words till satisfaction is gained, which will turn out to be a great appending rhythm to a thought and be in accordance with Great Law of timing.

TIMING Nothing is muddy that runs in time and to laws of time-Shakespearian stress of dramatic need to speak now in own unalterable way or forever hold tongue-no revisions (except obvious rational mistakes, such as names or calculated insertions in act of not writing but inserting).

CENTER OF INTEREST Begin not from preconceived idea of what to say about image but from jewel center of interest in subject of image at moment of writing, and write outwards swimming in sea of language to peripheral release and exhaustion-Do not afterthink except for poetic or P. S. reasons. Never afterthink to "improve" or defray impressions, as, the best writing is always the most painful personal wrung-out tossed from cradle warm protective mind-tap from yourself the song of yourself, blow!-now!-your way is your only way-"good"-or "bad"-always honest ("ludi- crous"), spontaneous, "confessionals' interesting, because not "crafted." Craft is craft.

STRUCTURE OF WORK Modern bizarre structures (science fiction, etc.) arise from language being dead, "different" themes give illusion of "new" life. Follow roughly outlines in outfanning movement over subject, as river rock, so mindflow over jewel-center need (run your mind over it, once) arriving at pivot, where what was dim-formed "beginning" becomes sharp-necessitating "ending" and language shortens in race to wire of time-race of work, following laws of Deep Form, to conclusion, last words, last trickle-Night is The End.

MENTAL STATE If possible write "without consciousness" in semi-trance (as Yeats' later "trance writing") allowing subconscious to admit in own uninhibited interesting necessary and so "modern" language what conscious art would censor, and write excitedly, swiftly, with writing-or-typing-cramps, in accordance (as from center to periphery) with laws of orgasm, Reich's "beclouding of consciousness." Come from within, out-to relaxed and said.

composição - kerouac

Scribbled secret notebooks, and wild typewritten pages, for yr own joy Submissive to everything, open, listening Try never get drunk outside your own house Be in love with your life Something that you feel will find its own form Be crazy dumbsaint of the mind Blow as deep as you want to blow Write what you want bottomless from bottom of the mind The unspeakable visions of the individual No time for poetry but exactly what is Visionary tics shivering in the chest In tranced fixation dreaming upon object before you Remove literary, grammatical and syntactical inhibition Like Proust be an old teahead of time Telling the true story of the world in interior monolog The jewel center of interest is the eye within the eye Write in recollection and amazement for yrself Work from pithy middle eye out, swimming in language sea Accept loss forever Believe in the holy contour of life Struggle to sketch the flow that already exists intact in mind Don't think of words when you stop but to see picture better Keep track of every day the date emblazoned in yr morning No fear or shame in the dignity of yr experience, language & knowledge Write for the world to read and see yr exact pictures of it Bookmovie is the movie in words, the visual American form In praise of Character in the Bleak inhuman Loneliness Composing wild, undisciplined, pure, coming in from under, crazier the better You're a Genius all the time Writer-Director of Earthly movies Sponsored & Angeled in Heaven