Saltar para: Posts [1], Pesquisa [2]

luís soares

Blog do escritor Luís Soares

Carl Philipps - Ghost Choir

What injures the hive injures the bee, says Marcus Aurelius. I say
not wanting to hurt another, this late, should maybe more than
count, still, as a form of love. Be wild. Bewilder. Not that they
hadn’t, of course, known unkindnesses, and been themselves
unkind. When the willow’s leaves, back again, unfold all along
their branches, the branches routinely in turn brushing then lifting

 

away from the pond’s face, it’s too late. Last night I doubted as I’ve
not doubted myself in years: knowing a thing seemed worthless
next to knowing the difference between many things, the fox from
the hounds, persuasion from the trust required to fall asleep beside
a stranger; who I am, and how I treated you, and how you feel. So
that it almost seemed they’d either forgotten or agreed without

 

saying so to pretend they had. Did you know there’s an actual plant
called honesty, for its seedpods, how you can see straight through?
Though they’d been told the entire grove would die eventually, they
refused to believe it. The face in sleep, like a wish wasted. To the wings
at first a slight unsteadiness; then barely any. What if forgetting’s not
like that—instead, stampeding, panicked, just a ghost choir: of legends,

 

and rumors, of the myths forged from memory—what’s true, and isn’t—
that we make of ourselves and, even worse, of others. Not the all-but-
muscular ache, the inner sweep of woundedness; no. Not tonight. Say
the part again about the bluer flower, black at the edges. I’ve always
loved that part. Skull of an ox, from which a smattering of stars
keeps rising. How they decided never to use surrender as a word again.

Lewis Bush - The Memory of History

IMG_6100.jpg

IMG_0932.jpg

IMG_1095.jpg

IMG_0138.jpg

IMG_2278.jpg

IMG_8056.jpg

IMG_1853.jpg

IMG_9538.jpg

IMG_4791.jpg

The Memory of History (2012)

 

A nation is a community of individuals united by a collective memory of the past, but the European Union is a community built on collective amnesia. Countries joining the Union over the past two decades have traded their difficult memories of past rivalries, wars and genocides for peace and prosperity, but when good times end the past returns.

 

Made during travels through ten countries during the height of the European debt crisis, The Memory of History explores the use and abuse of the past in the context of recession. At the same time, it reflects on historicist conceptions of time as linear and of history as narrative, ideas which underpin the western belief in continuous progress which contributed to the crisis.

Rejecting a fixed narrative structure, The Memory of History consists of a box of fifty-six prints and an experimental essay, The History of Memory, composed of twelve short texts chapters on history, memory and time. Images and text are mixed freely, resulting in a unique viewing experience every time the box is opened as new connections form, emulating the way the past reconstitutes itself differently each time we attempt to return to it.

David Wagoner - Photographing Snakes

They’ll seem to pose for you,
though they’re always posed
in their own ulterior ways
in a steadily calm abstraction
of available light. They belong
to what they’re lying on,
looking like nothing
on earth among other things,
and they arrange themselves
with what has been rearranged
repeatedly by the wind
and the time-stopped intervals
among seasons. How they appear
when they reappear on paper
means nothing to them. They look
always their best or their least
and don’t want to be thought of
at all ahead of time
or remembered after
or recognized at once
as being more powerful,
dangerous, or desirable
than they already are
in the shade or the half shade
out from under the sun
where they’ve learned to pay
the closest kind of attention
to lying still, regardless
of sudden flashes of light.

Ultra

Ultra out now on Discotexas.

https://Discotexas.lnk.to/Ultra

 

Filmed by Jono and Super Drama

Shot at Dalston Superstore

Edited by Super Drama

Titles by Abigail Aked

Starring Josh Caffé & Yoko Fomo

Our dancers… Bluebell, James, Roberto, Rupert, Valentina, Ania, Rachel, Sean, Alex

Insta/// nothingbutsuperdrama & Jonos_

Mais logo na Gulbenkian

Após o grande êxito das interpretações ao vivo das bandas sonoras da trilogia O Senhor dos Anéis, a Orquestra Gulbenkian irá desta vez tocar ao vivo a música do filme Star Wars: Uma Nova Esperança, o primeiro da saga a ser realizado por George Lucas. “Na minha cabeça, e talvez também na do George Lucas, quando estava a compor pensava num filme para crianças”, disse o compositor John Williams numa entrevista à Gramophone.

bad woman

Lykke Li - bad woman (Live from YouTube Music Studio Stockholm)

 

I’ve been a bad woman, but I’m still your woman,

I’m just a bad woman I know

I understand if you leave,

I understand if you leave, I’ll understand if you leave me just go

Just don’t go before I show you what’s behind all of my sorrow

What’s inside all of the bullets I throw

Don’t go before I get to say I’m sorry I caused you sorrow

Tonight I really want you to know

 

I’m a bad woman,

But I’m still your woman,

I’m a bad woman,

But I’m still your woman,

I’m just a bad woman I know

 

It’s a sad story but it’s still our story

Such a sad story, I know

You can say you don’t love me but don’t walk away from me,

We need each other more then we know

So don’t go before I show you what’s behind all of my sorrow

What’s inside all of the bullets I throw

Don’t go before I get to say I’m sorry I caused you sorrow

Tonight I really want you to know

 

I’m a bad woman, but I’m still your woman

I’m a bad woman, but I’m still your woman

I’m just a bad woman I know

Oh, ohh

You used to love, you used to love

Even the bad, my crazy

Don’t walk away, don’t give me up

Don’t you know

 

I’m a bad woman (I know I hurt you)

But I’m still your woman (I tried to change)

But I’m a bad woman (I know I hurt you)

But I’m still your woman (I tried to change)

But I’m a bad woman but I’m still your woman

I’m just a bad woman I know

 

I'm a bad woman

Perat II

Perat (1).jpg

Perat (2).jpg

Perat (3).jpg

Perat (4).jpg

Perat (5).jpg

Perat (6).jpg

Gustav Willeit - The mountains, depicted in their architecture of incredible variants and infinite chromatic shades, unveil another essential yet invisible element: silence – the kind of silence inviting the viewer to listen to it. This silence is not disturbed by the presence of the human figure, which is placed in these landscapes like an attempt to present a familiar and graspable element. Yet the effect is quite the contrary: the human figure is not reassuring but escapes reason by raising a feeling of senselessness and impotence.