Os Negadores

Os Selvagens

23/24 Dez 2008: Home Alone!

2008 Swimsuits

Again: mammasaymammasaw!

Comprovo

CAIUS LUCIUS: Let proof speak.
GUIDERIUS : Out of your proof you speak.

The Great Great Sarah (Palin)

rejubilai, irmãos/marxistas por todo o mundo.
o marido da senhora que lê muito (incluindo outdoors), o delicioso presidente da república portuguesa (mas podia ser de qualquer outra, como sabemos agora), conseguiu abrir uma sessão da bolsa de nova iorque;
outra senhora, que também há-de conseguir [o que o anterior conseguiu] se deus quiser, fez avançar a biopolítica terrestre no ramo do conhecimento do espaço aeronáutico aproximadamente meio século em cerca de 60 minutos. pode-se ver/ouvir tudo

COURIC, STATING A FACT, MAKING ONE (1) QUESTION: You've cited Alaska's proximity to Russia as part of your foreign policy experience. What did you mean by that?
PALIN: That Alaska has a very narrow maritime border between a foreign country, Russia, and on our other side, the land -- boundary that we have with -- Canada. [...]
COURIC, BEING A BAD BAD GIRL: Explain to me why that enhances your foreign policy credentials.
PALIN: Well, it certainly does because our -- our next door neighbors are foreign countries. They're in the state that I am the executive of. And there in Russia --
"THAT BITCH" COURIC: Have you ever been involved with any negotiations, for example, with the Russians?
PALIN: We have trade missions back and forth. We -- we do -- it's very important when you consider even national security issues with Russia as Putin rears his head and comes into the air space of the United States of America, where -- where do they go? It's Alaska. It's just right over the border. It is -- from Alaska that we send those out to make sure that an eye is being kept on this very powerful nation, Russia, because they are right there. They are right next to -- to our state.

guimarães. o pessoal do timoneiro fez uma festa parecida com as de boxe [profissional] e o timoneiro explicou: o que (quase) fode tudo é o povo satisfazer-se com a "democracia formal"; o que temos de lhe dar [agora] é a "qualidade". agora, josé sócrates, mais um esforço (na área, nobre, da teoria política), só um

Dance, Freestyle, At Last #1

Joker NOT Going Psycho

1
The Joker [holding a knife inside Gambol's mouth]: Wanna know how I got these scars? My father was....a drinker. And a fiend. And one night he goes off crazier than usual. Mommy gets the kitchen knife to defend herself. He doesn't like that. Not. One. Bit. So, me watching, he takes the knife to her, laughing while he does it. Turns to me and he says "Why so serious?" Comes at me with the knife,"Why so serious?" He sticks the blade in my mouth. "Let’s put a smile on that face!" And... Why so serious?
2

Gentleman at party: We're not intimidated by thugs!
The Joker [as he smacks his lips]: You know, you remind me of my father. [pulls out his switchblade and brings it to the Gentleman's mouth]
The Joker: I hated my father!
Rachel Dawes [off screen]: Okay, stop! [turns to face Rachel, tosses the Gentleman to his thugs and approaches Rachel, adjusting his hair with the knife]
The Joker: Well, hello, beautiful. You must be Harvey's squeeze, hmm? And you *are* beautiful. [hovers around the incredibly nervous Rachel]
The Joker: You look nervous. Is it the scars? You want to know how I got 'em? [grabs Rachel's head and positions the knife by her mouth]
The Joker: Come here. Hey! Look at me. So I had a wife, beautiful, like you, who tells me I worry too much. Who tells me I ought to smile more. Who gambles and gets in deep with the sharks... look at me! One day, they carve her face. And we have no money for surgeries. She can't take it. I just want to see her smile again, hmm? I just want her to know that I don't care about the scars. So... I stick a razor in my mouth and do this... [mimics slicing his mouth open with his tongue]
The Joker: ...to myself. And you know what? She can't stand the sight of me! She leaves. Now I see the funny side. Now I'm always smiling! [Rachel knees the Joker in the groin; he merely laughs it off]
The Joker: A little fight in you. I like that.
Batman: Then you're going to love me.
3
You're going to love
me.

The Joker: And here we...go! [Batman slams The Joker’s head on a table]

A Isabella É

Isabella, Agora e Antes

Marx, Miami Vice

Miami Vice. O vilão [Montoya] informa os servidores da lei [Sonny e Rico] sobre a regra básica que usa
para escolher/seleccionar

colaboradores.

Nesse momento, mais ou menos inesperadamente, a essência do mundo em que vivemos aparece. Num instante, a sua natureza laboral torna-se uma evidência. Vale a pena lembrar, primeiro, a regra em causa: "I don’t buy a service; I buy a result." A seguir, a evidência também se vai tornar

insuportável. Há que entender como, em que sentido, direcção. Na que a própria cena toma imediatamente: veja-se (pela segunda ou terceira vez) as pernas e a boca de Isabella, num espaço - uma espécie de cubo relativamente pequeno - mais simples/íntimo que os espaços dos momentos em que elas já antes tinham sido vistas e, no final da cena, o romance. A partir daqui, deste encontro que foi mediado pela própria Isabella, é o olhar de Isabella que deixa de conseguir disfarçar a desgraça que um romance traz ao mundo do qual - na aparência, em toda a verdade - o filme não mais falará. Ou se casablanca pelo que acontece nos instantes finais de Miami Vice ou se volta ao marxismo.

1) «Each time that it seeks to procure labour power, capital runs into a living body. This last, in itself, does not count for anything from an economic perspective, but is the ineliminable tabernacle of what certainly does matter: "labour as subjectivity". The living body, without any dowry other than pure vitality, becomes the substrate for productive capacity, the tangible sign for productive capacity, the objective simulacrum of non-objectified labour. If money is the universal representative of exchange value, life is the extrinsic equivalent of the only use value "not materialized in a product".»

2) «Saying that, there remains the crucial question: why is life as such taken charge of and governed? The answer is unequivocal: because it forms the substratum time of a faculty, labour power, which possess the autonomous consistency of a use value. The productivity of labour in act is not in play here, but rather

the exchangeability

of

the potential for labour.

By being bought and sold, this potentiality carries the receptacle from which it is inseparable, that is, the living body; more, it shows itself as an accomplished object of knowledge and government (of innumerable and differentiated strategies of power). It remains clear that life, taken as the generic substratum of potentiality, is an amorphous life, reduced to a few essential metahistoric traits.»

3) «Biopolitics is a particular and derivative aspect of the inscription of metahistory in the field of empirical phenomena; an inscription, we know, that historically distinguishes capitalism.»

Hoje sabemos mais: não há o mundo a não ser sob uma forma abstracta e fantasmática (num potencial, diz aqui Marx; espectral, diz noutros lados). A forma de existir que para nós tem aquilo que...

Darkcore Now

Escrita (Marxismo #4)

como descob modo de atar cordões sapato
de modo q n des
a mim dava jeito

This Girl Is Dead (Dead Dead)

[Que se fôda (a voz).]

now you can try

try try to be a loved one

1

1

AnHeaven

com

Richie Hawtin - Decks, EFX & 909

Ratio - Early Blow [2:02]
G Flame & Mr. G - Dumped [1:03]
Richard Harvey - User (02) - B2 [1:11]
Richard Harvey - User (04) - A2 [1:04]
Richard Harvey - User (02) - A2 [1:24]
Richard Harvey - User (01) - B2 [1:16]
Richard Harvey - 001a - A2 [1:23]
Grain - B2 [1:09]
Santos Rodriguez - Road To Rio EP - B2 [0:36]
Grain - B1 [1:37]
Santos Rodriguez - Road To Rio EP - A2 [1:28]
Grain - A1 [0:47]
Richard Harvey - 002a - B1 [4:20]
Jeff Mills - Call Of The Wild [1:49]
Jeff Mills - L8 [0:39]
Jeff Mills - Scout [0:27]
Jeff Mills - L8 [0:13]
Richie Hawtin - Orange/Minus 1 [2:11]
Richie Hawtin - Orange/Minus 2 [1:16]
Richie Hawtin - Minus/Orange 2 [0:55]
Nitzer Ebb - Let Your Body Learn [2:11]
Richie Hawtin - Minus/Orange 1 [0:59]
Intermission - What The Hell Was That? [0:09]
Rob Jarvis - Killabite (002) - A1 [2:11]
Ben Sims - The Loops - A1 [2:56]
Jeff Mills - Alarms (First Mix) [1:16]
Surgeon - Force & Form (Surgeon Remake 2) [1:58]
Pacou - Zen [2:07]
Heiko Laux - Five [1:37]
Baby Ford & Eon - Dead Eye [2:23]
Savvas Ysatis - Club Soda [1:20]
Stewart Walker - It's Process Not Substance [0:31]
Maurizio - M5 [1:20]
Vladislav Delay - Neo [2:37]
Thor - Aliens Don't Boogie [2:51]
Marco Carola - Question (003) - B2 [2:59]
Quadrant - Kykeon [2:14]
Rhythm & Sound - Never Tell You (Version) [2:41]

REALLY MIXED by Richie Hawtin in use of the following equipment: Vestax PMC-50A Mixer, Vestax DCR1200PRO Isolator, Ensoniq DP/2 Effects Processor, Roland TR-909 Drum Machine, Technics SL-1200 Turntables, Stanton Trackmaster Cartridges, Roland CV Pedal.

Going Blind! Blind BLIND!

when I enter most intimately into what I call myself I always stumble
[on some particular perception or other, of heat or cold, light or shade, love or hatred, pain or pleasure. i can never catch myself at any time without a perception, and never can observe anything but the perception]









ah yes! the night. but be a little more attentive, for pity's sake, otherwise we'll never get anywhere. look! will you look at the sky, pig! good, that's enough. what is there so extraordinary about it? qua sky. it is pale and luminous like any sky at this hour of the day. in these latitudes. when the weather is fine. an hour ago roughly after having poured forth even since say ten o'clock in the morning tirelessly torrents of red and white light it begins to lose its effulgence, to grow pale, pale, ever a little paler, a little paler until pppfff! finished! it comes to rest. but – but behind this veil of gentleness and peace, night is charging and will burst upon us, pop! like that! just when we least expect it. that's how it is on this bitch of an earth.

Yours Stockhausen

I heard the piece Aphex Twin of Richard James carefully
I think it would be very helpful if he listens to my work "Song Of The Youth" which is electronic

music and a young boy's voice singing with himself because he would then immediately stop with

all these post-African repetitions and he would look for changing tempi and changing rhythms

and he would not allow to repeat any rhythm if it were [not] varied to some extent and if it did

not have a direction in its sequence of variations

Mental! I've heard that song before; I like it. I didn't agree with him. I
thought he should listen to a couple of tracks of mine: "Didgeridoo"
then he'd stop making abstract, random patterns you can't dance to. Do you reckon he can dance? You could dance to Song of the Youth, but it hasn't got a groove in it, there's no bassline. I know it was probably made in the 50s,but I've got plenty of wicked percussion records made in the 50s that are awesome to dance to. And they've got basslines. I could remix it: I don't know about making it better; I wouldn't want to make it into a dance version, but I could probably make it a bit more anally technical. But I'm sure he could these days, because tape is really slow. I used to do things like that with tape, but it does take forever, and I'd never do anything like that again with tape. Once you've got your computer sorted out, it pisses all over stuff like that, you can do stuff so fast. It has a different sound, but a bit more anal.
I haven't heard anything new by him; the last thing was a vocal record, Stimmung, and I didn't really like that. Would I take his comments to heart? The ideal thing would be to meet him in a room and have a wicked discussion. For all I know, he could be taking the piss. It's a bit hard to have a discussion with someone via other people.
I don't think I care about what he thinks. It is interesting, but it's disappointing, because you'd imagine he'd say that anyway. It wasn't anything surprising. I don't know anything about the guy, but I expected him to have that sort of attitude. Loops are good to dance to...
He should hang out with me and my mates: that would be a laugh. I'd be quite into having him around.

The Inverted (Spectra)

The Tempest - By William Sh.

[PRÓSPERO]

Reparai, senhores, no que vestem estes homens

e dizei-me se eles são de confiança. A mãe deste velhaco
disforme era uma bruxa tão nojenta
que influenciava até a própria lua

e as mais estranhas marés assim eram engendradas.
Roubaram-me os três; este meio-demónio
- que é, pois claro, um filho bastardo - tramou

junto dos outros tirar-me a vida. Dois são vossos

conhecidos; este pedaço de escuridão
sei bem que é propriedade minha.

[CALIBÃ]
I shall be pinch'd to death.

Entes Queridos #5 (This Thing Of Darkness)

zambezi!

Gestalt Therapy

3)
estaba pensando sobreviviendo con mi sister en New Jersey,
ella me dijo que es una vida buena alla
bien rica bien chevere ['nice'], Y voy! Puñeta!

4)
Trout Mask Replica was released in late 1969, but it still sounds like a signal retrieved from another time and dimension. Put more prosaically, it was a quantum leap from its predecessor in terms of structure and musical complexity. The difference is simply explained: Beefheart had recently had a piano installed in The Magic Band's communal rented house in Cunoga Park, San Fernando Valley, and began using it to generate new material. As he had no piano technique to speak of, the resulting 'compositions' were characterised by relatively short lines, inevitably in different metres. It fell to John French to capture the moment and transcribe these keyboard studies for the rest of the group to play. Building these heterogeneous layers into a structure and then coming up with drum parts to bind them together nearly drove him "nuts", French admits. The process wasn't made any smoother thanks to Beefheart deciding on a whim that parts should be played backwards.
The Magic Band now consisted of French and [Jeff] Cotton (rechristened Drumbo and Antennae Jimmy Semens respectively), plus two new recruits, teenagers Bill Harkleroad (aka Zoot Horn Rollo) on guitar and Mark Boston (Rockette Morton) on bass, who thought they were joining a psychedelic blues outfit. In the months leading up to the Trout Mask sessions, the group lived and rehearsed in the house in Cunoga Park in conditions of grinding poverty, with French, at least, practising for up to 14 hours a day. The group members were definitely malnourished at times, although rumours (or allegations) circulated by the group that Boston lived on dog food and was too weak to leave his bed sound mischievous. Fist fights broke out and the atmosphere soured as Beefheart became increasingly tyrannical. "A comic book Mansonish gestalt therapy kinda thing," is how Harkleroad remembers the time. The first track that was written on the piano with clear illustration of how it could be translated into parts for other instruments (in this case two guitars) was the astringent chamber piece "Dali's Car". Often, Beefheart's initial ideas would run out of steam, and the group had to make aleatoric leaps to complete the journey from A to B. "You guys know what to do," was his prosaic response to queries about how to tie up a particular song's loose ends. Gary Lucas (Beefheart's manager and guitarist later in his career) likened his compositional process to throwing a pack of cards into the air, taking a snapshot as they fell, then getting the musicians to reproduce the frozen moment.
"I got musicians who had never played before," explained Beefheart. "To get them past the 'I' consciousness, you know? That endless 'me, me, me'. Or do-re-mi, whatever that stuff is". This claim is fanciful to say the least; French and Harkleroad could both read music, and all four Magic Band members had been playing for years. But it is true to say that these musicians had never before played music like that on Trout Mask Replica. Although it travels a long way from its sources, Trout Mask Replica is still infused with the essence of the blues. In isolation, some of the guitar lines aren't so different from the stranger articulations of Robert Johnson or Hubert Sumlin, Howling Wolf's guitarist. In addition, Beefheart threaded the music's tangled structure with strands of rock 'n' roll, avant garde jazz and poetry that looked back at the American cultural mythos through a kaleidoscope. When questioned about the record in 1991 he said that he had been "trying to break up the mind in many different directions, causing them not to be able to fixate".
The majority of the 28 tracks were put down in about six hours at Whitney Studios in Glendale, Los Angeles, with Frank Zappa producing. With time added on for the vocal tracks and mixing, the record was completed in just four days.

13)
assim na terra como no céu
the ghost of 'lectricity

14)
http://youtube.com/watch?v=JZEKoQdZoKs

Greatest Albums Of ALL Time (PlayOffs #1)

[Que se fôdam os iPods todos, mais o mp3.

Longa vida para o cónego Melo.]