quinta-feira, 12 de janeiro de 2012

OS PERSONAGENS DE ANDRÓMEDA

SMEAGOL
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Curriculum Vitae
Filiação:
J. R. R. Tolkien



Corpo e Alma: Boneco criado a partir do corpo e da voz do actor Andy Serkis


Nacionalidade: Terra Média




Profissão: Hobbit


Naturalidade: Shire


Habilitações: Guloso. Ávido. Ganancioso. Fraco. Invejoso. Ciumento. Possessivo. Ingénuo. Doce. Infantil. Dissimulado. Irresistível. Smeagol quer aquele anel. QUER. Não olha a meios para atingir os seus fins. Mata, rouba, esconde, mente, engana, é capaz de qualquer coisa para ter o seu precioso anel. Se existe alguém sobre quem esse anel exerça um poder absolutamente dominador, é sobre Smeagol. Que se torna Gollum. Gollum tem todas as características de Smeagol, mas não tem remorsos como Smeagol poderia ter. Smeagol morrerá com o seu anel. Ele cairá juntamente com ele e afundar-se-á no fogo, onde apenas podemos imaginar que o seu corpo, a sua mente e os seus sonhos se diluirão, enfim, para sempre, com o ouro brilhante, irresistível, tentador e possessivo do anel que tanto cobiçou.


Filosofia de Vida: "My precious!"


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quarta-feira, 11 de janeiro de 2012

DDT - Deambulações DeMentes Teóricas 17

The Serial Killer - Part VII
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You see, there was a method to my madness, after all. I didn't kill because I wanted to say something, I killed because I wanted to show something. I wanted to show them they weren't perfect. That they weren't sacred. That they could be used, abused, torn apart, deconstructed to make something else, something that would be worth something more valuable. That they were mere instruments, raw materials, the same as plastic, thread, wood or metal. Flesh. Pieces of meat, portions of blood, samples of chemical elements glued together to draw and portray symbols.
For me they had no souls, no minds, no reason to exist. They were objects. I didn't want to be god, although I have to admit that the feeling was overwhelming sometimes. I didn't want to create a new world, or to recreate any kind of fantasies, or even less to send any message through the paintings I chose. I wanted to play. I was like a kid thrown inside a playground filled with his most precious and appetizing materials. I didn't choose my paintings because they had any special meaning to me, I chose them on a whimp, because they looked good, or interesting to me. It was a pure aesthetic choice. Sometimes the only thing that attracted me was the color combination.
Of course, with time, the themes became important. Not because they were in any way related to me, the way I thought or felt, but because I felt the need at least to understand what I was using. If I chose Goya's "Saturn devouring his son", I thought I had at least to know why Saturn had chosen to do that. But it had nothing to do with the possible political, social, pshychological or other interpretations of the work itself. It certainly had nothing to do with the relationship I had with my mother, for instance.
Of course, to them there had to be a reason. I suppose it's natural and instinctive to every human being to find a reason in everything that happens, even in a serial killer's apparent random madness. That is why religion exists. People have a hard time admiting that they could be just the product of chance. Even when they are looking at the clouds in the sky, their instinct drives them to find familiar faces, objects. Everything has to have a reason. I knew better than that. My reason was pure fun. My mind was not a human mind, at least not the mind most humans have.
Maybe they were right in one thing - maybe the randomness of the violence my parents used on me was intricately related to the detachment I learned from a very early age. Maybe if I had been born in another family, I would have been different. I don't know. And I certainly can't imagine being different from what I am. I can't imagine what it's like to have feelings, because I don't have them and I can't recall the short period of my life when I did have them. I have no remorse. I have no conscience. They don't torment me. I like being what I am. I feel like I am floating above the world, in another dimension, somewhere few other humans have surfaced.
There are others like me. And I was aware of that very early. I studied them. In fact, they haunted me sometimes. I wanted to be as good as they were. Ultimately they were responsible for the changes I introduced in my method. The more I studied their work, the more I felt like a kind of fraud. After all, I was just copying things other people had created. I had to start creating my own art.

terça-feira, 10 de janeiro de 2012

MAGIC MOMENTS 195

Tunes for Travelers 1
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Aqui se inaugura um espaço dedicado às melhores canções para viajar. No carro, no comboio, no autocarro, no avião, no barco. Façamo-nos às estradas deste mundo, mas que seja com estilo e energia.


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I Ride Like The Wind


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segunda-feira, 9 de janeiro de 2012

Macro Secrets 146



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Forgive yourself

domingo, 8 de janeiro de 2012

DDT - Deambulações DeMentes Teóricas 16

The Serial Killer - Part VI
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They had all sorts of theories about my work and myself.
There was a method to my madness, they insisted. Sometimes they would not agree upon it.
I was a frustrated painter, or
I had a domineering mother, or
I had been sexually abused by several people, or
I wanted to send a message to the world, not in a bottle, but in my victims' flesh, or
I was meticulous, obssessive and compulsive, or
I was paranoid, schizophrenic and suffered from hallucinations.
The FBI wrote an extensive possible profile on me, which was frequentely quoted by everybody who had no idea what to make of me. The report said, quote: "White male, most probably in his twenties, with some kind of physical incapacitation or left alone for long periods of time in his childhood. The individual seeks out to dominate others through the enactment of his most profound fantasies, since it is the only area in his life where he was ever able to master some kind of control."
I will not bore you with the rest of the hilarities on the report. Suffice to say that it went on with increasingly more unbelievable nonsense. Bottom line was they had no idea who they were looking for and I was having fun sending them confusing signals with each murder I commited.
This went on for about five years, until at last someone made a breakthrough on the other side. A young enthusiastic investigator noticed a detail that had escaped everybody else's sharp eye - the thread used in the enacted picture of the last victim was the same as the one used in two other victims. The thread was sold by a local company only in that particular state, the one I had lived for a few months prior to the four last crimes. Of course this helped reduce the field of search and restrict a possible opperational area. They got closer and I had to stop. I wasn't paranoid, I was just cautious. They weren't that close, but I wasn't going to risk everything by being greedy. I did nothing for the next three years. But then something happened that made it virtually impossible for me not to kill.

sábado, 7 de janeiro de 2012

OS PERSONAGENS DE ANDRÓMEDA

SARAH CONNOR
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Curriculum Vitae
Filiação:
James Cameron e William Wisher Jr.


Corpo e Alma: Linda Hamilton (the one and only)
Nacionalidade: Americana


Profissão: Empregada de mesa

Naturalidade: Los Angeles

Habilitações: Forte. Resistente. Lutadora. Persistente. Sobrevivente. Inteligente. Protectora. De ideias fixas. Sarah arregaça as mangas e troca literalmente as voltas ao destino que lhe calhou em sorte. Perseguida pelo futuro. Atormentada pelo passado. Amada no presente pelo homem que veio do futuro e que lhe dará o filho que ela tem de proteger para que esse futuro possa acontecer. Mãe. Mãe-coragem. Fugitiva. Mulher de armas, metafóricas e literais. Preparada. Física, se não psicologicamente. Desconfiada. Atenta. Perdida no presente. Achada no futuro.

Filosofia de Vida: "The hardest thing is deciding what I should tell you and what not to. Well, anyway, I've got a while yet before you're old enough to understand the tapes. They're more for me at this point... to help get it all straight. Should I tell you about your father? That's a tough one. Will it change your decision to send him here... knowing? But if you don't send Kyle, you could never be. God, you can go crazy thinking about all this... I suppose I'll tell you... I owe him that. And maybe it'll be enough if you know that in the few hours we had together we loved a lifetime's worth."

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quinta-feira, 5 de janeiro de 2012

Macro Secrets 145


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Accept yourself

quarta-feira, 4 de janeiro de 2012

MAGIC MOMENTS 194

CC36 - Cool Covers


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Há músicas intemporais e camaleónicas ou músicos que dão a volta a qualquer coisa?


Ora vejamos:
ºldças


Walking in Memphis by Marc Cohn


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Walking in Memphis by Cher


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FIM

terça-feira, 3 de janeiro de 2012

OS PERSONAGENS DE ANDRÓMEDA

SANTIAGO
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Curriculum Vitae
Filiação:
Ernest Hemingway


Corpo e Alma: A do livro
Nacionalidade: Espanhola


Profissão: Pescador

Naturalidade: Ilhas Canárias, imigrante em Cuba

Habilitações: Santiago está velho. Velho e cansado. Mas não derrotado. Apenas amaldiçoado, como dizem os seus companheiros. Salao. Santiago não se deixa abater. Como o mar, os seus olhos são azuis profundos, vivos e indestrutíveis. Se o mar fosse uma pessoa, seria Santiago. Corajoso. Orgulhoso. É o seu orgulho que o empurra para a frente, sempre mais para diante, para águas que mais nenhum pescador ousou navegar. Lá encontrará o maior adversário de toda a sua vida. Persistente. Santiago não desiste, nem mesmo quando o seu cansaço o conduz quase ao delírio e o fio que segura o poderoso espadarte lhe arranca pele e carne das mãos. Lutador. Poético. Santiago respeita o seu adversário e desabafa preferir matar o seu irmão às estrelas ou à lua. Os tubarões destroem-lhe o espadarte, mas não a glória. Santiago nunca mais será olhado pelos seus companheiros como salao ou imigrante. Imortal. Manolin crê e será o receptáculo de todos os seus ensinamentos. O mar e ele são um só.

Filosofia de Vida: "A man is never lost at sea."

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segunda-feira, 2 de janeiro de 2012

DDT - Deambulações DeMentes Teóricas 15

The Serial Killer - Part V
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Before I go on to explain my glorious days as one of the 10 most wanted men alive, let me go back a few years in my life. I was in the prime of my twenties. I was starting to develop a quite unique method of killing and displaying my victims. If you ask me for a reason to do this, I can only answer you that it was all part of the bigger plan. My work was art. Do you ask Picasso why he painted his blue period? Or Rodin why he had such an obssession for hands? Try asking Michelangelo why on earth he wanted to spend two years tearing his back apart to paint a ceiling few men in his time would have the privilege to see. You do not ask an artist why he does what he does or why he does it in that specific way. He may try to specify certain details of his technique, but he will never be able to explain the full measure of his craft or his purposes. Pollock put it this way: "When I'm painting, I'm not aware of what I'm doing. It's only after a get acquainted period that I see what I've been about. I've no fears about making changes for the painting has a life of its own." He also said that you always paint who you are.
My killings are me. And I am my killings. Everything about them, every single detail has a reason, an origin, a goal, but if you ask me what it is I won't be able to explain it. That's why the so called forensic experts and phsycologists amuse me imensely. Everything they say is pure crap. They build up these theoretical cathedrals of embelished mumbo-jumbo filled with difficult technical terms to say nothing but rubbish. They have no idea what they're talking about. And the worst thing is that they are convinced they reached some kind of understanding of how someone like me functions and feels.
I started by recreating works of art. That is what I did with my victims. I killed them in the exact same way the real subject of that particular work of art died, and then I presented them to the world as they were most famously portrayed. I shall illustrate with an example. Caravaggio's "Salome with the Head of John the Baptist". As you know, Salome asked her stepfather, the king Herod Antipas, to behead John and present it, the head, in a charger. And that is precisely what I did with the bum I found. With time I added complexity to the operation. The victim had to be somehow related with the character depicted. Bums would not do anymore. I also ventured from figurative into the slippery but exciting field of abstract art. This would challenge my invention skills. How do you portray a "Rythm of Autumn" with a human body?
Of course this attracted attention. Lots of it. Newspapers started calling me the Michelangelo of Death. The police and the experts generated hundreds of pages of quite interesting literature on the whys and the hows and the whos of my crimes. There was a method but at the same time there was no possibility of anticipating my moves, since no one knew what work of art I would be depicting next, and hence no one could predict the kind of victims I would choose. And then suddenly I made it all a little bit more complicated. When they were coming closer, I stopped and changed my M.O. I had planned it a long time ago, but now I was finally prepared to fly alone. I started creating my own works of art. The depiction period ended. And things got considerably more complicated for my persecutors.

domingo, 1 de janeiro de 2012

Macro Secrets 144


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To brand new beginnings

sábado, 31 de dezembro de 2011

PALAVRAS ESTÚPIDAS 157

In Another Life
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You were a man in a travelling show
Who sold potions, or maybe no
I made you the potions
Cause I had some substance notions
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You were a poet, tormented
Maybe even a little demented
I was there to write things down
Sometimes to be your literary clown
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You were a magician with top hat
Maybe even a little fat
I was the girl you cut in two
And I did that just for you
çdkjgsçdgYou piloted a baloon
Quite close to both sun and moon
I was your navigator



Always sick, but never the quiter



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You searched for lost manuscripts



And strange, ancient artifacts



I helped you read the maps



And set all sorts of traps



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In another life, maybe



We were all these things and plenty more



In another life, could very well be



We were together, for sure

sexta-feira, 30 de dezembro de 2011

MAGIC MOMENTS 193

CC35 - Cool Covers


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Há músicas intemporais e camaleónicas ou músicos que dão a volta a qualquer coisa?


Ora vejamos:
ºldças


Love is Like Oxygen by Sweet
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Love is a Many Splendored Thing by The Four Aces
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Love Lift us up Where we Belong by Joe Cocker & Jennifer Warnes


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All You Need is Love by The Beatles


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Love is Just a Game by The Magic Numbers


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I Was Made For Loving You by Kiss
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One More Night by Phill Collins


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Pride (In The Name of Love) by U2


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Don't Leave Me This Way by Thelma Houston


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Silly Love Songs by Paul McCartney


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Heroes by David Bowie


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I Will Always Love You by Whitney Houston


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Your Song by Elton John


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Elephant Medley by Nicole Kidman & Ewan McGregor (Moulin Rouge)


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quinta-feira, 29 de dezembro de 2011

Macro Secrets 143


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December is fattening month, anyway

terça-feira, 27 de dezembro de 2011

OS PERSONAGENS DE ANDRÓMEDA

RODION ROMÂNOVITCH RASKÓLNIKOV
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Curriculum Vitae
Filiação:
Fyodor Dostoevsky


Corpo e Alma: A do livro
Nacionalidade: Russa




Profissão: Estudante


Naturalidade: Algures na Rússia, vive em S. Petersburgo


Habilitações: Inteligente. Profundo. Radical. Político. Triste. Niilista. Só. Demente? Doente? Crê-se intelectualmente superior. Raskólnikov acredita que existem homens comuns e homens extraordinários e que estes últimos, por serem extraordinários, podem cometer determinados actos que os outros não podem, como matar. Até estaria tudo bem, caso Raskólnikov tivesse apenas pensado ou teorizado sobre esta questão, escrevendo um tomo de filosofia. O problema, para ele, é que Raskólnikov decide colocar estes seus pensamentos em prática. Mata uma velha agiota e aguarda. Ninguém desconfia de nada. Raskólnikov chega até a divertir-se às custas da polícia, que anda a patinar literalmente à sua volta. Mas Raskólnikov não contou com um pequeno pormenor - a sua consciência. Que começa a atormentá-lo com tal intensidade e requintes de sadismo, que Raskólnikov não aguenta mais e decide confessar o seu crime. Descobre que, afinal, ao contrário do que teorizava, não é um homem extraordinário. Ou será, precisamente por ter consciência?


Filosofia de Vida: "Se ele tiver uma consciência, sofrerá pelo seu erro. Isso será o seu castigo, tanto como a prisão."


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segunda-feira, 26 de dezembro de 2011

DDT - Deambulações DeMentes Teóricas 14

The Serial Killer - Part IV
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I was also meticulous in covering my tracks. I was careful not to kill consecutively in the same place and in a short period of time. This country is perfect for serial killers and that is probably why we are so many here compared to other countries. It's vast, geographically varied and, most of all, desorganized. Looking from the outside one might be tempted to think of us as a united nation. Naturally, we are not. But we have to be, in order to maintain so many states together. It's something that is forced upon us. The founders of our country were extremely smart in that particular detail. How can you keep such a vast amount of land and such a heterogenous amount of people together as a nation? You brain wash them into a sense of patriotism pushed to the limit. That is one of the fundamental pilars of our power over other nations. If the people of this country were left to tend for themselves, without any rulling fathers, we would long have ceassed to be anything remotely resembling United.
However, this impression of patriotism is a very superficial one, easy to tear apart if you look at us carefully. One of the spots where you don't need to scratch the gloss much in order to see the dirt underneath, is precisely authority. There are over 40.000 different police forces opperating in this country. As you can imagine, they can't be all very well organized. In fact, they hardly communicate with eachother. Each state has its own laws and law enforcement policies. And more important, each state functions independently. For a serial killer that is heaven. It means I can kill someone on the Pacific side, travel all the way to the Atlantic coast and kill there and be sure that it will take a long time for either sides to link those two killings together. In the meantime, I will have killed some more in other states and improved my method, maybe even changed it a little bit, thus rendering the task even more intricate for the investigators.
Another thing that helps is our way of thinking. We are loners. We don't mingle too much and when we do, we choose carefully who we mingle with. We don't get much out of our comfort zone. We are not nosy. We keep to ourselves. We don't want to know. The less we know about our neighbour, the less probability of getting into trouble. This, of course, is also a bliss for any serial killer. It means we have a very wide margin to operate until anyone starts sniffing around for any reason. If and when they finally do reach the point where they smell something fishy, we're long gone.
In the decade that followed my teenage years, I must have moved about fourty times. I gained a sense of freedom that prevented me from naturally needing to stay anywhere. My victims were the only thing that would keep me in a certain place during a certain amount of time. After the killing nothing more would tigh me and I would disappear. I enjoyed this loose existence. I didn't need any attachments for I had been born without any cravings for human contact. The only contact I seeked was the one I could create during my killings. It was a sketched contact, studied, acessed, controled as in a laboratory experiment. It was an integral part of my method and nothing more. A stylistic feature, if you will.
By the time I reached 28, I had become an expert. I had killed more than 30 people, an average of 2 a year, sometimes 3. It was tough, to have to wait so long sometimes, to kill again. As I said, it was the same as asking an alcoholic to abstain for months before he could taste another glass of wine. But I was far from being stupid. And I wasn't going to risk everything I had built so far. The same way I exercised my body, so did I train my mind. I became interested in zen philosophy. The here and now. Acceptance. Be in the moment always. It also helped my killings. During the sometimes most anxious moments of the hunting, when the hunted knew it had been hunted, I was able to drown myself in that world of quietness and function at my own rythm, even if everything around me was complete chaos.
I became notorious, finally. With fame came the long last recognition I had seeked for my work. But that was also the beginning of the end of my glorious freedom. It didn't end it, but it slowed my work even more.

domingo, 25 de dezembro de 2011

sábado, 24 de dezembro de 2011

Macro Secrets 142


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Have yourself a Merry little Xmas

sexta-feira, 23 de dezembro de 2011

MAGIC MOMENTS 192

CC34 - Cool Covers


fkld


Há músicas intemporais e camaleónicas ou músicos que dão a volta a qualquer coisa?


Ora vejamos:
ºldças


War by Edwin Starr


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War by Bruce Springsteen


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quinta-feira, 22 de dezembro de 2011

OS PERSONAGENS DE ANDRÓMEDA

ROCKY BALBOA
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DLÇASK






Curriculum Vitae
Filiação:
Sylvester Stallone


Corpo e Alma: Sylvester Stallone
Nacionalidade: Americana




Profissão: Jogador de boxe


Naturalidade: Philadelphia


Habilitações: Humilde. Jamais looser. Simples. Jamais simplório. Pobre. Jamais de espírito. Persistente. Corajoso. Rocky tem um coração de manteiga para músculos tão rijos e derrete-se em todo o lado, inclusivé no ringue. Mas ... ele é teimoso. Acha que consegue, apesar de ter sempre todas as possibilidades contra si. Rocky não quer ganhar, ele quer apenas mostrar que merece lutar para ganhar. Ah ... e quando ele sobe aqueles degraus ... quando ele sobe aqueles degraus ... o mundo inteiro sobe com ele. Como o próprio Sylvester disse, as pessoas não podem ter o sabre de luz dos jedis ou a capa do super-homem, mas podem subir aqueles degraus e ter um pedaço da "Rocky pie".


Filosofia de Vida: "Cause I was thinkin', it really don't matter if I lose this fight. It really don't matter if this guy opens my head, either. 'Cause all I wanna do is go the distance. Nobody's ever gone the distance with Creed, and if I can go that distance, you see, and that bell rings and I'm still standin', I'm gonna know for the first time in my life, see, that I weren't just another bum from the neighborhood."


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