the strangest TV discussion ever filmed

The same day we were released, the strangest TV discussion ever filmed took place between Mick—flown in by helicopter to some English lawn—and representatives of the ruling establishment. They were like figures from Alice, chessmen: a bishop, a Jesuit, an attorney general and Rees-Mogg. They’d been sent out as a scouting party, waving a white flag, to discover whether the new youth culture was a threat to the established order. Trying to bridge the unbridgeable gap between the generations. They were earnest and awkward, and it was ludicrous. Their questions amounted to: what do you want? We’re laughing up our sleeves. They were trying to make peace with us, like Chamberlain. Little bit of paper, “peace in our time, peace in our time.” All they’re trying to do is retain their positions. But such beautiful English earnestness, this concern. It was astounding. Yet you know they’re carrying weight, they can bring down some heavy-duty shit, so there was this underlying aggressiveness in the guise of all this amused curiosity. In a way they were begging Mick for answers. I thought Mick came off pretty well. He didn’t attempt to answer them; he just said, you’re living in the past.

Life (Keith Richards and James Fox (Contributor))
- Highlight Loc. 3381-89

what a trip!

There’s not much you can really say about acid except God, what a trip! Stepping off into this area was very uncertain, uncharted. In the years ’67 and ’68 there was a real turnover in the feeling of what was going on, a lot of confusion and a lot of experimentation. The most amazing thing that I can remember on acid is watching birds fly—birds that kept flying in front of my face that weren’t actually there, flocks of birds of paradise. And actually it was a tree blowing in the wind.

Life (Keith Richards and James Fox (Contributor))
- Highlight Loc. 3002-5

 

The Moroccan specialty was kef, the leaf cut up with tobacco, which they smoked in long pipes—sebsi, they called them— with a tiny little bowl on the end. One hit in the morning with a cup of mint tea. But what Achmed had in large quantities and which he imbued with a new glamour was a kind of hash. It was called hash because it came in chunks, but it wasn’t hash strictly speaking. Hash is made from the resin. And this was loose powder, like pollen, from the dried bud of the plant, compressed into shape. Which was why it was that green color. I heard that a way of collecting it was to cover children in honey and run them naked through a field of herb, and they came out the other end and they scraped ’em off. Achmed had three or four different qualities, decided by which kind of stocking he put it through. There would be the coarser ones, and there would be the twenty-four denier, very close to the dirham, the money. The high-quality one went through the finest, finest silk. It was just powder by then.

Life (Keith Richards and James Fox (Contributor))
- Highlight Loc. 3198-3205

Coisas boas sobre o mal: duas visões

"Chegamos agora a uma descoberta que parece ser central para compreender a ideia e mal. O mal não tem, ou parece não ter, finalidade prática. O mal é supremamente inútil. Qualquer coisa monótona como uma finalidade mancharia a sua pureza letal.  Nisto assemelha-se a Deus que, a existir, não tem absolutamente nenhuma razão para fazê-lo. Ele é a sua própria razão de ser. E criou o universo, não por haver alguma finalidade, mas apenas por prazer (just for fun). O mal rejeita a lógica da causalidade. Se tivesse uma finalidade à vista, auto-dividir-se-ia, não seria auto-idêntico, estaria à frente de si mesmo. Mas o nada não pode ser dividido dessa forma. É por isso que não pode existir realmente no tempo. Pois o tempo é uma questão de diferença, e o mal é aborrecidamente e perpetuamente o mesmo. É neste sentido que se diz que o inferno é para toda a eternidade."

(Eagleton, Terry, On evil, Yale U.P., 2010, pp. 84-85. Tr LFB)

A visão literária: Um interessante livro que, a partir das ideias psicanalistas e marxistas (combinação exuberante!) realiza um estudo feito a partir de obras literárias para compreender o problema do mal.  

"The standard explanation is that the Holocaust (sadly, as we shall see, echoed in many cultures historically across the globe) is an example of the “evil” that humans are capable of inflicting on one another. Evil is treated as incomprehensible, a topic that cannot be dealt with because the scale of the horror is so great that nothing can convey its enormity. The standard view turns out to be widely held, and indeed the concept of evil is routinely used as an explanation for such awful behaviors: Why did the murderer kill an innocent child? Because he was evil. Why did this terrorist become a suicide bomber? Because she was evil. But when we hold up the concept of evil to examine it, it is no explanation at all. For a scientist this is, of course, wholly inadequate. What the Nazis (and others like them) did was unimaginably terrible. But that doesn’t mean we should simply shut down the inquiry into how people are capable of behaving in such ways or use a nonexplanation, such as saying people are simply evil. As a scientist I want to understand what causes people to treat others as if they were mere objects. In this book I explore how people can treat each other cruelly not with reference to the concept of evil, but with reference to the concept of empathy. Unlike the concept of evil, empathy has explanatory power. In the coming chapters I put empathy under the microscope."

Simon, Baron - Cohen, The Science of Evil, Basic Books, 2011, Highlight Loc. 114-24.

A visão científica: Uma tentativa de produzir uma explicação científica para a crueldade e para o problema do mal. O autor é um reconhecido psicopatologista da Universidade de Cambridge que aqui apresenta um estudo sobre a forma como aquilo que ele designa 'a corrosão da empatia' pode estar na origem do mal.
 

O sistema eleitoral da RAA

Em pequena entrevista, na última página do Diário Insular (20 Mar 012), o professor Carlos Amaral diz coisas certeiras sobre os problemas graves do sistema eleitoral açoriano:

"Nada obriga a Assembleia regional a crescer - a não ser a nossa vontade. (...) Um travão é absolutamente essencial para garantir um mínimo de racionalidade."

Comentário 1: Que a irracionalidade rege o sistema eleitoral já aqui foi registado. Com um sistema eleitoral onde parece impossível saber que deputado é que representa que eleitor - uma vez que não se vota em pessoas, mas sim em partidos - fica a questão de saber como é que "a nossa vontade" pode ser expressa de forma a impor a racionalidade. Um sistema irracional perpetua eternamente a irracionalidade, ou não?

"O modelo misto [vota-se e, como que por magia, são eleitos os deputados e os governantes, digo eu] que enforma o sistema eleitoral açoriano justificou-se numa determinada conjuntura histórica de arranque do processo autonómico. Há muito porém que deixou de servir."

Comentário 2: a história é quase sempre uma boa forma de justificar o injustificável.

"De duas uma: Ou as nossas ilhas são importantes, ou não são. Se são importantes há que assegurar a sua representação política (...) Se não são, então a única representação política que é necessária é estritamente demográfica (...). Por mim entendo que as ilhas são muito importantes para a nossa identidade como povo. Por isso defendo a reorganização da Assembleia regional em duas Câmaras: um Senado, de representação das ilhas e um Parlamento de representação estritamente demográfica. Por outro lado, entendo ainda que a actividade parlamentar regional não constitui actividade a tempo inteiro (...). Ela é perfeitamente compatível o exercício de actividades profissionais próprias. Ser deputado não pode ser uma profissão. Muito menos permanente! Antes, é actividade de cidadãos. Não de uma classe política, mas de todos os cidadãos, alternadamente."

Comentário 3: Está muito bem. Mas é toda uma visão da política que está errada. O lugar de deputado é a tempo inteiro (ainda que se tenha inventado a rotatividade, uma espécie de vou ali e já venho) e é emprego bom, bom, bom.
Para além do mais não se percebe como é que isso resolveria o problema do aumento constante de deputados eleitos. Não é apenas preciso reorganizar as formas de representação é também necessário reformular o sistema artificial de eleição dos representantes. 

E estamos cheios de reformados da política que nunca fizeram outra coisa que não política. E estamos cheios de jovens políticos que nunca farão outra coisa que não política. E há muitos à espera de um lugar. A política não só é profissão, como há, nos políticos, uma consciência de classe que os leva a auto e hetero protegerem-se. Longe vai o tempo em que para se praticar a política era preciso ter dado provas de honestidade, coragem e decência. Sobretudo, já ter resolvido as questões da casa (eco-nomos). Hoje basta ter gravata e um partido do arco como alavanca.

"Os partidos, convém ter presente, são instrumentos ao serviço da sociedade. Não lhes cabe, portanto, "abrir mão" do que não é deles. Não é aos partidos que cabe determinar o que é que os açorianos querem, mas aos próprios açorianos. A não ser, claro, que estes se demitam."

Comentário 4: Ok. Mas essa dos "próprios açorianos" é que parece não ter saída, ou então ser circular. Quem pergunta aos "próprios" o que eles querem? Os partidos. E como é que se faz essa pergunta? E como é que se faz com que os "próprios" compreendam a pergunta? Através dos partidos. É pois mais verossímil ser a sociedade um instrumento dos partidos.

E não me parece que "os próprios" se possam demitir, pois acredito que a política é parte essencial da natureza humana, quer se queira, quer não. Essa parte pode estar adormecida, mas voltará. Aceitam as coisas como são, sabem que os políticos, os partidos, os sistemas, são necessários. Mas não sabem bem porquê. O povo - ou as "nossas gentes" como agora dizem, pois 'povo' tem sabor a democracia popular e a referendos e a deliberações demoradas, tudo coisas boas mas não já - é soberano, mas vá-se lá sabe o que é que isso significa.
Bom era mesmo uma democracia deliberativa, uma democracia onde cada político se sentisse na obrigação de apresentar e discutir com todos as razões para as suas políticas. E isso continuamente e com calma. Acreditar que só porque se foi eleito governante se ganha legitimidade para se fazer o que bem se entender não parece justo nem desejável. E depois há que perguntar: se foi eleito para governar por quatro anos, quem lhe deu legitimidade para contrair dívidas, em nome de todos, por trinta anos?

Straight Time (1978)

 

A resposta é a chave do filme. Se o vir, pode, como exercício, tentar adivinhá-la.

MATA HARI

pesticidas e morte das abelhas - causa e efeito

Já há muito que se desconfiava. Começam agora a chegar as evidências científicas.  

Scientists have been alarmed and puzzled by declines in bee populations in the United States and other parts of the world. They have suspected that pesticides are playing a part, but to date their experiments have yielded conflicting, ambiguous results.
In Thursday’s issue of the journal Science, two teams of researchers published studies suggesting that low levels of a common pesticide can have significant effects on bee colonies. One experiment, conducted by French researchers, indicates that the chemicals fog honeybee brains, making it harder for them to find their way home. The other study, by scientists in Britain, suggests that they keep bumblebees from supplying their hives with enough food to produce new queens.
The authors of both studies contend that their results raise serious questions about the use of the pesticides, known as neonicotinoids.
“I personally would like to see them not being used until more research has been done,” said David Goulson, an author of the bumblebee paper who teaches at the University of Stirling, in Scotland. “If it confirms what we’ve found, then they certainly shouldn’t be used when they’re going to be fed on by bees.”
But pesticides are only one of several likely factors that scientists have linked to declining bee populations. There are simply fewer flowers, for example, thanks to land development. Bees are increasingly succumbing to mites, viruses, fungi and other pathogens.
Outside experts were divided about the importance of the two new studies. Some favored the honeybee study over the bumblebee study, while others felt the opposite was true. Environmentalists say that both studies support their view that the insecticides should be banned. And a scientist for Bayer CropScience, the leading maker of neonicotinoids, cast doubt on both studies, for what other scientists said were legitimate reasons.
David Fischer, an ecotoxicologist at Bayer CropScience, said the new experiments had design flaws and conflicting results. In the French study, he said, the honeybees got far too much neonicotinoid. “I think they selected an improper dose level,” Dr. Fischer said.
Dr. Goulson’s study on bumblebees might warrant a “closer look,” Dr. Fischer said, but he argued that the weight of evidence still points to mites and viruses as the most likely candidates for bee declines.
The research does not solve the mystery of the vanishing bees. Although bumblebees have been on the decline in the United States and elsewhere, they have not succumbed to a specific phenomenon known as colony collapse disorder, which affects only honeybees.
Yet the research is coming out at a time when opposition to neonicotinoids is gaining momentum. The insecticides, introduced in the early 1990s, have exploded in popularity; virtually all corn grown in the United States is treated with them. Neonicotinoids are taken up by plants and moved to all their tissues — including the nectar on which bees feed. The concentration of neonicotinoids in nectar is not lethal, but some scientists have wondered if it might still affect bees.
In the honeybee experiment, researchers at the National Institute for Agricultural Research in France fed the bees a dose of neonicotinoid-laced sugar water and then moved them more than half a mile from their hive. The bees carried miniature radio tags that allowed the scientists to keep track of how many returned to the hive.
In familiar territory, the scientists found, the bees exposed to the pesticide were 10 percent less likely than healthy bees to make it home. In unfamiliar places, that figure rose to 31 percent.
The French scientists used a computer model to estimate how the hive would be affected by the loss of these bees. Under different conditions, they concluded that the hive’s population might drop by two-thirds or more, depending on how many worker bees were exposed.
“I thought it was very well designed,” said May Berenbaum, an entomologist at the University of Illinois at Urbana-Champaign.
But James Cresswell, an ecotoxicologist at the University of Exeter in England, was less impressed, because the scientists had to rely on a computer model to determine changes in the hive. “I don’t think the paper is a trump card,” he said.
In the British study, Dr. Goulson and his colleagues fed sugar water laced with a neonicotinoid pesticide to 50 bumblebee colonies. The researchers then moved the bee colonies to a farm, alongside 25 colonies that had been fed ordinary sugar water.
At the end of each year, all the bumblebees in a hive die except for a few new queens, which will go on to found new hives. Dr. Goulson and his colleagues found that colonies exposed to neonicotinoids produced 85 percent fewer queens. This reduction would translate into 85 percent fewer hives.
Jeffery Pettis, a bee expert at the United States Department of Agriculture, called Dr. Goulson’s study “alarming.” He said he suspected that other types of wild bees would be shown to suffer similar effects.
Dr. Pettis is also convinced that neonicotinoids in low doses make bees more vulnerable to disease. He and other researchers have recently published experiments showing that neonicotinoids make honeybees more vulnerable to infections from parasitic fungi.
“Three or four years ago, I was much more cautious about how much pesticides were contributing to the problem,” Dr. Pettis said. “Now more and more evidence points to pesticides being a consistent part of the problem.”

By CARL ZIMMER

Published: March 29, 2012

Far East Family Band

Khan academy

O melhor que poderia acontecer a um estudante e for free: Khan academy.

(é só uma foto!)

This must be the place

"The amazing Roy Orbison

He was one of those Texan guys who could sail through anything, including his whole tragic life. His kids die in a fire, his wife dies in a car crash, nothing in his private life went right for the big O, but I can’t think of a gentler gentleman, or a more stoic personality. That incredible talent for blowing himself up from five foot six to six foot nine, which he seemed to be able to do on stage. It was amazing to witness. He’s been in the sun, looking like a lobster, pair of shorts on. And we’re just sitting around playing guitars, having a chat, smoke and a drink. “Well, I’m on in five minutes.” We watch the opening number. And out walks this totally transformed thing that seems to have grown at least a foot with presence and command over the crowd. He was in his shorts just now; how did he do that? It’s one of those astounding things about working in the theater. Backstage you can be a bunch of bums. And “Ladies and gentlemen” or “I present to you,” and you’re somebody else.

Life (Keith Richards and James Fox (Contributor))
- Highlight Loc. 2511-18  | Added on Friday, February 10, 2012, 02:28 PM

E nem é preciso dizer de quem é a sugestão!

os Stones na América

"Dean Martin introduced as something like “these long-haired wonders from England, the Rolling Stones.… They’re backstage picking the fleas off each other.” A lot of sarcasm and eyeball rolling. Then he said, “Don’t leave me alone with this,” gesturing with horror in our direction. This was Dino, the rebel Rat Packer who cocked his finger at the entertainment world by pretending to be drunk all the time. We were, in fact, quite stunned. English comperes and showbiz types may have been hostile, but they didn’t treat you like some dumb circus act. Before we’d gone on, he’d had the bouffanted King Sisters and performing elephants, standing on their hind legs. I love old Dino. He was a pretty funny bloke, even though he wasn’t ready for the changing of the guard."

 Highlight Loc. 2212-17 

We walked into Chess studios, and there’s this guy in black overalls painting the ceiling. And it’s Muddy Waters, and he’s got whitewash streaming down his face and he’s on top of a ladder. Marshall Chess says, “Oh, we never had him painting.” But Marshall was a boy then; he was working in the basement. And also Bill Wyman told me he actually remembers Muddy Waters taking our amplifiers from the car into the studio. Whether he was being a nice guy or he wasn’t selling records then, I know what the Chess brothers were bloody well like—if you want to stay on the payroll, get to work. Actually meeting your heroes, your idols, the weirdest thing is that most of them are so humble, and very encouraging.

Highlight Loc. 2306-10

The most bizarre part of the whole story is that having done what we intended to do in our narrow, purist teenage brains at the time, which was to turn people on to the blues, what actually happened was we turned American people back on to their own music. And that’s probably our greatest contribution to music. We turned white America’s brain and ears around. And I wouldn’t say we were the only ones—without the Beatles probably nobody would have broken the door down. And they certainly weren’t bluesmen.

Highlight Loc. 2323-26 

When we put out “Little Red Rooster,” a raw Willie Dixon blues with slide guitar and all, it was a daring move at the time, November 1964. We were getting no-no’s from the record company, management, everyone else. But we felt we were on the crest of a wave and we could push it. It was almost in defiance of pop. In our arrogance at the time, we wanted to make a statement. “I am the little red rooster / Too lazy to crow for day.” See if you can get that to the top of the charts, motherfucker. Song about a chicken. Mick and I stood up and said, come on, let’s push it. This is what we’re fucking about. And the floodgates burst after that, suddenly Muddy and Howlin’ Wolf and Buddy Guy are getting gigs and working. It was a breakthrough. And the record got to number one. And I’m absolutely sure what we were doing made Berry Gordy at Motown capable of pushing his stuff elsewhere, and it certainly rejuvenated Chicago blues as well.

Highlight Loc. 2351-57 

Most towns, like white Nashville, for example, by ten o’clock were ghost towns. We were working with black guys, the Vibrations, Don Bradley, I think his name was. The most amazing act, they could do everything. They were doing somersaults while they were playing. “What are you going to do after the show?” This is already an invitation. So, get in the cab and we go across the tracks and it’s just starting to happen. There’s food going, everybody’s rocking and rolling, everybody’s having a good time, and it was such a contrast from the white side of town, it always sticks in my memory. You could hang there with ribs, drink, smoke. And big mamas, for some reason they always looked upon us as thin and frail people. So they started to mama us, which was all right with me. Shoved into the middle of two enormous breasts… “You need a rubdown, boy?” “OK, anything you say, mama.” Just the free-and-easiness of it. You wake up in a house full of black people who are being so incredibly kind to you, you can’t believe it. I mean, shit, I wish this happened at home. And this happened in every town. You wake up, where am I? And there’s a big mama there, and you’re in bed with her daughter, but you get breakfast in bed.

Highlight Loc. 2363-71

Os Stones na América

Lenny was the man. The Sick Humor of Lenny Bruce; I’d taken him in long before I got to America. So I was well prepared when on The Ed Sullivan Show Mick wasn’t allowed to sing “Let’s Spend the Night Together,” we had to sing “Let’s Spend Some Time Together.” Talk about shades and nuances. What does that mean, especially to CBS? A night is not allowed. Unbelievable. It used to make us laugh. It was pure Lenny Bruce—“Tittie” is a dirty word? What’s dirty? The word or the tittie?

(Keith Richards and James Fox (Contributor))
- Highlight Loc. 2193-96  | Added on Wednesday, February 08, 2012, 07:46 AM

Os Stones na américa: "Black music was exploding

 It was a powerhouse. At Motown they had a factory but without turning out automatons. We lived off Motown on the road, just waiting for the next Four Tops or the next Temptations. Motown was our food, on the road and off. Listening to car radios through a thousand miles to get to the next gig. That was the beauty of America. We used to dream of it before we got there.

Life (Keith Richards and James Fox (Contributor))

- Highlight Loc. 2188-91  | Added on Wednesday, February 08, 2012, 07:45 AM

O Rock sempre me pareceu uma coisa de pretos a quererem ser brancos e de brancos a quererem ser pretos

You’ve already made the fucking deal.

"In the arrogance of youth, the idea of being a rock star or a pop star was taking a step down from being a bluesman and playing the clubs. For us to have to dip our feet into commercialism, in 1962 or ’63, was for a small while distasteful. The Rolling Stones, when they started, the limits of their ambition was just to be the best fucking band in London. We disdained the provinces; it was a real London mind-set. But once the world beckoned, it didn’t take long for the scales to fall from the eyes. Suddenly the whole world was opening up, the Beatles were proving that. It’s not that easy being famous; you don’t want to be. But at the same time you’ve got to be in order to do what you’re doing. And you realize you’ve already made the deal at the crossroads. Nobody said this was the deal. But within a few weeks, months, you realize that you’ve made the deal. And that you are now set on a path that is not your aesthetically ideal path. Stupid teenage idealisms, purisms, bullshit. You’re now set on the path, along with all those people that you wanted to follow anyway, like Muddy Waters, Robert Johnson. You’ve already made the fucking deal. And now you have to follow it, just like all your brothers and sisters and ancestors. You are now on the road."

Life (Keith Richards and James Fox (Contributor))

- Highlight Loc. 2163-72  | Added on Wednesday, February 08, 2012, 07:41 AM

Marianne Faithfull

“As Tears Go By” was first recorded and made into a hit by Marianne Faithfull."

Life (Keith Richards and James Fox (Contributor))
- Highlight Loc. 2126  | Added on Wednesday, February 08, 2012, 07:29 AM

the Ronettes

"The Ronettes were the hottest girl group in the world, and early in 1963 they’d just released one of the greatest songs ever recorded, “Be My Baby,” produced by Phil Spector. We toured with the Ronettes on our second UK tour, and I fell in love with Ronnie Bennett, who was the lead singer.

Loc. 2134-37 

Ronnie remembered how we were on that tour together:

Ronnie Spector: Keith and I made ways to be together—I remember on that tour, in England, there was so much fog that the bus had to actually stop. And Keith and I got out and we went over to this little cottage and this old lady came to the door, sort of heavy and so sweet—and I said, “Hi, I’m Ronnie of the Ronettes” and Keith said, “I’m Keith Richards of the Rolling Stones and we can’t move our bus because we can’t see any farther than our hands.…” So she says, “Oh! Come on in, kids, I’ll give you something!” and she gave us scones, tea and then she gave us extra ones to bring back to the bus and to be honest, those were the happiest days of my entire career. We were twenty years old and we just fell in love. What do you do when you hear a record like “Be My Baby” and suddenly you are?"

Life (Keith Richards and James Fox (Contributor))
- Highlight Loc. 2148-55  | Added on Wednesday, February 08, 2012, 07:35 AM

V for Vendetta

E nos andam a enrolar

Do tempo em que a música não estava reduzida ao canto do eu e dos seus sentimentos, emoções e desejos. Do tempo em que a música se envolvia na denúncia das injustiças sofridas pelos pobres e desprotegidos. Do tempo em que as pessoas se envolviam umas com as outras. Do tempo em que o indivíduo se diluía no colectivo. Do tempo em que havia "trabalhadores culturais". Do tempo em que se queria "parar tudo". Do tempo em que a greve era uma arma. E não foi assim há tanto tempo. Se aí, em 1976, a música é marcadamente ideológica, hoje é lamentavelmente vazia e apolítica. Hoje, a ideologia - politicamente complexa e reflexo dos anos quentes de 74, 75 e 76 - do Grupo de Acção Cultural está morta e ainda bem! Hoje já ninguém deseja a "ditatura do proletariado". Contudo, a qualidade do disco "POIS CANTÉ!!" é indiscutível.

10 Ir e vir 4:22
      (GAC)

O vento hoje sopra do Norte
Como sabem se chama Nortada 
Mas não sabem que no mar alto 
Vento e geada cortam à facada 
Risca a cara e de que maneira 
Risca tudo que encontra na frente 
Vai o barco cheiinho de gente 
Vai o barco chamado traineira 

 ir e vir ao mar... 

Chegado ao mar alto, lá fora da costa 
Deita ao mar chalandra e chalandreiro 
Pega numa ponta da rede e a traineira 
Dá volta inteira 
Peixe vivo fica lá no meio, fica tudo cheio 
De peixe miúdo, de peixe graúdo 
E de esforço, de suor
De trabalho d'um raio, 
R'ais parta a vida do pescador 

Puxa a rede alador... 

Fica a traineira bem carregadinha 
De faneca, carapau e sardinha 
Vira o leme já o sol vai alto 
Já as mulheres estão em sobressalto 
Chega à costa e vende-se o peixe 
E não há nada que a fábrica deixe 
E as conservas vão p'ró estrangeiro 
É negócio, é negócio rijo 
Mas a vida do pescador é sem descanso 
E sem dinheiro 

Sem descanso e sem dinheiro...
 
Isto assim é que não está certo 
A gente assim não pode viver 
A gente nem ganha p´ra comer 
Nem tem descanso 
O mar enrola a areia 
E nos andam a enrolar 
Calma aí seu gatuno ladrão, seu armador 
Porque vai é parar tudo 
Nós vamos é já p'ra greve 
E não há ninguém que nos leve 

A greve é nossa arma...

 
 "O GAC assinava sempre como um colectivo onde as individualidades se diluíam, no entanto, as autorias das músicas e letras nem sempre, ou quase nunca, eram colectivas. Nesta reedição em cd, revelamo-las."

faixa 10: letra e música de João Loio.
Arranjos de Luís Pedro Faro.

os representantes dos mortos

O serviço público de comunicação dos Açores já está a divulgar o inevitável crescimento do número de deputados na próxima legislatura - mais cinco deputados serão eleitos em Outubro. O absurdo é que, segundo os últimos censos, a população açoriana diminuiu. Mas o número de eleitores nos cadernos eleitorais aumenta. Os mortos não deixam de ser eleitores e os emigrantes têm todos direito a cartão de eleitor. Em vez de se propor uma solução para o problema - o que se calhar até diminuiria o número actual de deputados, número que é já elevado e tem vindo a aumentar (veja aqui) - transforma-se o erro numa necessidade. É discutível se os mortos continuam, ou não, a ter interesses e direitos, mas na assembleia legislativa regional haverá quem os defenda. Esses cinco novos deputados serão os representantes dos mortos e dos ausentes. Os partidos e os seus líderes fazem contas e esfregam as mãos.

Os anos sessenta e Ginsberg

"I liked the energy that was going into it rather than necessarily everything that was being done—that feeling in the air that anything was possible. Otherwise, the stunning overblown pretentiousness of the art world made my skin crawl cold turkey, and I wasn’t even using the stuff. Allen Ginsberg was staying at Mick’s place in London once, and I spent an evening listening to the old gasbag pontificating on everything. It was the period when Ginsberg sat around playing a concertina badly and making ommm sounds, pretending he was oblivious to his socialite surroundings."

Life (Keith Richards and James Fox (Contributor))- Highlight Loc. 2933-34

"Ersatz hip, as it’s called."

Subitamente a palavra voltou ao meu pensamento.
Keit Richards usa-a na sua autobiografia e já a encontrei no blog de Pedro Mexia.
Eu próprio penso ser agora um ersatz da cultura hippie e da cultura em geral.

ALEXANDRE O'NEILL (1924-1986)

AOS VINDOUROS, SE OS HOUVER...

Vós, que trabalhais só duas horas
a ver trabalhar a cibernética,
que não deixais o átomo a desoras
na gandaia, pois tendes uma ética;

que do amor sabeis o ponto e a vírgula
e vos engalfinhais livres de medo,
sem peçários, calendários, Pílula,
jaculatórios fora, tarde ou cedo;

 computai, computai a vossa falha
sem perfurar demais vossa memória,
que nós fomos pràqui uma gentalha
a fazer passamanes com a história;

que nós fomos (fatal necessidade!)
quadrúmanos da vossa humanidade.  

Alexandre O'Neill, De Ombro Na Ombreira (1969)

The Story Of Food from USC Canada on Vimeo.

os sete samurais (1957) - Kurosawa

Lovis Corinth (1858-1925)

Magdalen with Pearls in her Hair  1919
Magdalena mit Perlenkette im Haar

por sugestão de um marcador de livros de 1997 da TateGallery.

"All Praise Be To God To Whom All Praise Is Due" John Coltrane

Jazz on a Summer's Day (1959) - o filme

"There is a parable on film of the changeover of power between jazz and rock and roll, in Jazz on a Summer’s Day — a hugely important film for aspiring rock musicians at the time, mostly because it featured Chuck Berry at the Newport Jazz Festival in 1958, playing “Sweet Little Sixteen.” The film had Jimmy Giuffre, Louis Armstrong, Thelonious Monk, but Mick and I went to see the man. That black coat. He was brought on stage — a very bold move by someone — with Jo Jones on drums, a jazz great.  Jo Jones was, among others, Count Basie’s drummer. I think it was Chuck’s proudest moment, when he got up there. It’s not a particularly good version of “Sweet Little Sixteen,” but it was the attitude of the cats behind him, solid against the way he looked and the way he was moving. They were laughing at him. They were trying to fuck him up. Jo Jones was raising his drumstick after every few beats and grinning as if he were in play school. Chuck knew he was working against the odds. And he wasn’t really doing very well, when you listen to it, but he carried it. He had a band behind him that wanted to toss him, but he still carried the day. Jo Jones blew it, right there. Instead of a knife in the back, he could have given him the shit. But Chuck forced his way through."

Life (Keith Richards and James Fox (Contributor)) - Highlight Loc. 1643-46 

Love Streams - John Cassavetes

So Long Marianne - Bill Callahan

"Quem é contra o suicídio assistido e a eutanásia tem de admitir que há pessoas que, diante do sofrimento físico e da perspectiva de não sobreviverem desligadas de uma máquina, querem pôr fim à vida.

Gostaria de contribuir para que, no meu país, a indefinição que rodeia este assunto terminasse. A actual situação leva a que os que desejam suicidar-se, por motivos compreensíveis, se defrontem com dificuldades inúteis. Note-se que o suicídio, outrora tido como crime, é hoje aceite pelo Código Penal. É aliás o único acto em que alguém que participa num gesto legal é considerado cúmplice de um crime. No fundo, aqueles que precisam de ajuda para se suicidar não estão a pedir mais do que um direito concedido a toda a gente. Uma democracia laica, como é o caso de Portugal, deve respeitar os sentimentos que a fé religiosa faz brotar na alma dos crentes, mas não pode autorizar que seja ela, a fé, a ditar a formulação das leis. Os católicos têm o direito de se abster de actos que consideram pecaminosos, mas não podem impor aos outros os seus valores. (76)

De acordo com J. S. Mill, nenhuma questão, moral ou empírica, pode ser resolvida em absoluto, o que nos obriga a admitir que as nossas respostas deverão ser temporárias, pelo que temos de aceitar a sua revisão. A verdade, ou mais correctamente, a «maior» verdade - uma vez que, segundo ele, a Verdade nunca poderá ser atingida - surge do conflito entre as opiniões falsas e as verdadeiras (ou, seguindo-o, as mais falsas e as mais verdadeiras). Isto leva-o a defender que nunca se deve suprimir uma opinião, por mais chocante que seja, porque, se o fizermos, nunca chegaremos à mais justa. Mais do que noutros campos, é na moral que se torna necessário adoptar uma atitude humilde. (...)

É provável que morra nos próximos dez, quinze anos. Tenho filhos e netos, amei e fui amada, escrevi livros, ouvi música e viajei. Em princípio, poderia dar-me por satisfeita, o que infelizmente não me faz encarar a morte com placidez. Como Montaigne afirmou, com o tempo, o dilema Vida versus Morte vai-se transformando, num outro, Velhice versus Morte. Sei que as minhas células foram morrendo, as minhas articulações se tornaram rígidas e até o meu crânio diminuiu, mas nada disto conta quando se trata de pensar no fim. Se amanhã um médico me disser que sofro de uma doença incurável, terei um ataque de coração, o que, convenhamos, resolveria o problema. Mas, se isso não acontecer, quero ter a lei do meu lado." (80)

Maria Filomena Mónica, A Morte, FFMS, 2011.

Maria Filomena Mónica (MFM) é uma mulher que admiro. Aprecio a sua frontalidade, a sua sinceridade e o seu sentido de justiça. Identifico-me com ela quando diz que é liberal, anglo-saxónica e de esquerda por não ser de direita. 

Acontece que o livrinho que ela escreveu sobre o tema da morte assistida e da eutanásia está muito bem escrito. Coisa que, embora possa parecer fácil, não o é. Em poucas páginas, num tom descontraído e, muitas vezes, pessoal, é-nos dada uma visão cuidada das principais posições a ter em conta no debate sobre o complexo problema da eutanásia. Em Portugal são raros os ensaios sobre temas éticos que resultam bem. Recordo um outro texto bem intencionado, no caso sobre o aborto, escrito por Miguel Oliveira da Silva e intitulado Sete Teses Sobre o Aborto (Caminho, 2005). Apesar de esclarecedor nas questões médicas relacionadas com o aborto, acaba por resultar num texto confuso, de leitura arrastada e, ainda que não seja esse o seu propósito, pouco recomendável para ser trabalhado em aulas de ética. O contrário daquilo que se passa com o livro de MFM. Lê-se num ápice, é de uma clareza exemplar e é muito recomendável para ser lido por alunos de ética aplicada.

(LFB)

Master Song - Emily Barker & The Red Clay Halo, from the album The Songs of Leonard Cohen Covered.

Ophelia, John E. Millais (1829-1896)

 

Por sugestão de Hélia Correia, hoje no Câmara Clara.

Saímos de casa para dar conta de que o mundo é sofrimento, tristeza, dor e morte!

Escola caverna

As escolas são cada vez mais como a caverna de Platão. Janelas fechadas, cortinas corridas e Powerpoints projectados. Se aceitarmos a analogia do sol/ conhecimento então estamos cada vez mais na escuridão/ignorância e adoramos as sombras projectadas. Acender a luz, abrir a janela e receber a luz do sol, ou até mesmo querer sair da sala, provoca dor e qualquer movimento nessa direcção merece reprovação imediata dos espectadores. Agrilhoados mas felizes.
É assustador pensar que todos os dias, à mesma hora e nos mesmos locais, milhares de crianças são lançadas na caverna da ignorância.

A imagem foi retirada daqui.

NY, NY

Nada como um bom prisma para libertar os olhos. (DO)

The Chomsky Reader

"There are things that I resonate to when I read, but I have a feeling that my feelings and attitudes were largely formed prior to reading literature. In fact, I’ve been always resistant consciously to allowing literature to influence my beliefs and attitudes with regard to society and history.

Loc. 324-26 

If I think back about my experience, there’s a dark spot there. That’s what schooling generally is, I suppose. It’s a period of regimentation and control, part of which involves direct indoctrination, providing a system of false beliefs. But more importantly, I think, is the manner and style of preventing and blocking independent and creative thinking and imposing hierarchies and competitiveness and the need to excel, not in the sense of doing as well as you can, but doing better than the next person. Schools vary, of course, but I think that those features are commonplace. I know that they’re not necessary, because, for example, the school that I went to as a child wasn’t like that at all.

Loc. 361-66

I think schools could be run quite differently. That would be very important, but I really don’t think that any society based on authoritarian hierarchic institutions would tolerate such a school system for very long. As Sam Bowles and Herb Gintis have pointed out, it might be tolerated for the elite, because they would have to learn how to think and create and so on, but not for the mass of the population.

Loc. 366-69

I was planning to drop out to pursue my own interests, which were then largely political. This was 1947, and I had just turned eighteen. I was deeply interested, as I had been for some years, in radical politics with an anarchist or left-wing (anti-Leninist) Marxist flavor, and even more deeply involved in Zionist affairs and activities—or what was then called “Zionist,” though the same ideas and concerns are now called “anti-Zionist.” I was interested in socialist, binationalist options for Palestine, and in the kibbutzim and the whole cooperative labor system that had developed in the Jewish settlement there (the Yishuv), but had never been able to become close to the Zionist youth groups that shared these interests because they were either Stalinist or Trotskyite and I had always been strongly anti-Bolshevik. We should bear in mind that in the latter stages of the Depression, when I was growing up, and even in subsequent years to an extent, these were very lively issues.

Loc. 379-86

I was very strongly opposed to the idea of a Jewish state back in 1947–48. I felt sure that the socialist institutions of the Yishuv—the pre-state Jewish settlement in Palestine—would not survive the state system, as they would become integrated into a sort of state management and that would destroy the aspects of the Yishuv that I found most attractive.

Loc. 423-26

I didn’t have any affiliation to any group, the Zionist left or elsewhere. Partly it was that I’m not much of a “joiner,” I guess. Furthermore, every organization that I knew of, on the left at least, was Leninist, either Stalinist or Trotskyite. I was always very anti-Leninist, and I simply didn’t know of any group at all that shared my views. This was true of the Zionist left, and of much of the American left at the time, as far as I knew. This was the early forties that we’re talking about. Quite frankly I didn’t see any significant difference between the Trotskyites and the Stalinists, except that the Trotskyites had lost.

Loc. 442-47

The Jewish working-class culture in New York was very unusual. It was highly intellectual, very poor; a lot of people had no jobs at all and others lived in slums and so on. But it was a rich and lively intellectual culture: Freud, Marx, the Budapest String Quartet, literature, and so forth, That was, I think, the most influential intellectual culture during my early teens."

Loc. 462-65

Nunca me revi nas teorias políticas de Noam Chomsky. Depois de ler a entrevista aqui citada fiquei a perceber melhor porquê. LFB

Teenagers

"The record wormed its way into the top twenty, and suddenly, in a matter of a week or so, we’d been transformed into pop stars. This is very difficult with a bunch of guys that are really like “get outta here,” you know, “fuck off.” And suddenly they’re dressing us up in dogtooth-check fucking suits and we’re rushed along on the tide. It was like a tsunami. One minute, hey, you wanted to make a record, you’ve made a record and it’s in the goddamn top twenty, and now you’ve got to do Thank Your Lucky Stars. TV you’d never thought about. We were propelled into show business. Because we were so anti-showbiz, it was the cold shoulder to us, enough already. But then we realized that we did have to make certain concessions.

Loc. 1923-28

We don’t want to be some fucking ersatz Beatles. Shit, we’ve worked this hard to be a very, very good blues band. But the money’s better, and suddenly with the size of the audience, like it or not, you’re no longer just a blues band, you’re now what they’re going to call a pop band, which we despised.

Loc. 2006-8 

I’d say, we never finished a show. The only question was how it would end, with a riot, with the cops breaking it up, with too many medical cases, and how the hell to get out of there. The biggest part of the day was planning the in and the out. The actual gig you didn’t even get to know much about. It was just mayhem. We came there to listen to the audience! Nothing like a good ten, fifteen minutes of pubescent female shrieking to cover up all your mistakes. Or three thousand teenage chicks throwing themselves at you. Or being carried out on stretchers. All the bouffants awry, skirts up to their waists, sweating, red, eyes rolling. That’s the spirit, girl. That’s the way we like ’em. On the set list, for what it was worth, we had “Not Fade Away,” “Walking the Dog,” “Around and Around,” “I’m a King Bee.”

Loc. 2017-23

We used to play “Popeye the Sailor Man” some nights, and the audience didn’t know any different because they couldn’t hear us. So they weren’t reacting to the music. The beat maybe, because you’d always hear the drums, just the rhythm, but the rest of it, no, you couldn’t hear the voices, you couldn’t hear the guitars, totally out of the question. What they were reacting to was being in this enclosed space with us—this illusion, me, Mick and Brian. The music might be the trigger, but the bullet, nobody knows what that is. Usually it was harmless, for them, though not always for us. Amongst the many thousands a few did get hurt, and a few died. Some chick third balcony up flung herself off and severely hurt the person she landed on underneath, and she herself broke her neck and died. Now and again shit happened. But the limp and fainted bodies going by us after the first ten minutes of playing, that happened every night. Or sometimes they’d stack them up on the side of the stage because there were so many of them. It was like the western front. And it got nasty in the provinces—new territory for us.

 Loc. 2030-37

Hamilton in Scotland, just outside of Glasgow. They put a chicken wire fence in front of us because of the sharpened pennies and beer bottles they flung at us—the guys that didn’t like the chicks screaming at us. They had dogs parading inside the wire. The wire mesh was quite common in certain areas, especially around Glasgow at that time.

Loc. 2037-40 

“Very good show. Not a dry seat in the house.”

 Loc. 2046

The ’50s chicks being brought up all very jolly hockey sticks, and then somewhere there seemed to be a moment when they just decided they wanted to let themselves go. The opportunity arose for them to do that, and who’s going to stop them? It was all dripping with sexual lust, though they didn’t know what to do about it. But suddenly you’re on the end of it. It’s a frenzy. Once it’s let out, it’s an incredible force. You stood as much chance in a fucking river full of piranhas. They were beyond what they wanted to be. They’d lost themselves. These chicks were coming out there, bleeding, clothes torn off, pissed panties, and you took that for granted every night. That was the gig. It could have been anybody, quite honestly. They didn’t give a shit that I was trying to be a blues player.

Loc. 2048-53

One minute no chick in the world. No fucking way, and they’re going la la la la la. And the next they’re sniffing around. And you’re going wow, when I changed from Old Spice to Habit Rouge, things definitely got better. So what is it they want? Fame? The money? Or is it for real? And of course when you’ve not had much chance with beautiful women, you start to get suspicious. I’ve been saved by chicks more times than by guys. Sometimes just that little hug and kiss and nothing else happens. Just keep me warm for the night, just hold on to each other when times are hard, times are rough. And I’d say, “Fuck, why are you bothering with me when you know I’m an asshole and I’ll be gone tomorrow?” “I don’t know. I guess you’re worth it.” “Well, I’m not going to argue.”

Loc. 2058-64

The first time I encountered that was with these little English chicks up in the north, on that first tour. You end up, after the show, at a pub or the bar of the hotel, and suddenly you’re in the room with some very sweet chick who’s going to Sheffield University and studying sociology who decides to be really nice to you. “I thought you were a smart chick. I’m a guitar player. I’m just going through town.” “Yeah, but I like you.” Liking is sometimes better than loving.

Loc. 2064-67 

By the late ’50s, teenagers were a targeted new market, an advertising windup. “Teenager” comes from advertising; it’s quite cold-blooded. Calling them teenagers created a whole thing amongst teenagers themselves, a self-consciousness. It created a market not just for clothes and cosmetics, but also for music and literature and everything else; it put that age group in a separate bag. And there was an explosion, a big hatch of pubescents around that time. Beatlemania and Stone mania. These were chicks that were just dying for something else. Four or five skinny blokes provided the outlet, but they would have found it somewhere else.

Loc. 2067-72

The power of the teenage females of thirteen, fourteen, fifteen, when they’re in a gang, has never left me. They nearly killed me. I was never more in fear for my life than I was from teenage girls. The ones that choked me, tore me to shreds, if you got caught in a frenzied crowd of them—it’s hard to express how frightening they could be. You’d rather be in a trench fighting the enemy than to be faced with this unstoppable, killer wave of lust and desire, or whatever it is—it’s unknown even to them. The cops are running away, and you’re faced with this savagery of unleashed emotions.

Loc. 2072-76

I think it was Middlesbrough. And I couldn’t get in the car. It was an Austin Princess, and I’m trying to get in the car and these bitches are ripping me apart. The problem is if they get their hands on you, they don’t know what to do with you. They nearly strangled me with a necklace, one grabbed one side of it, the other grabbed the other, and they’re going, “Keith, Keith,” and meanwhile they’re choking me. I get hold of the handle and it comes off in my hand, and the car goes zooming off, and I’m left with this goddamn handle in my hand. I got left in the lurch that day. The driver panicked. The rest of the guys had gotten in the car, and he just wasn’t going to stick around any longer. So I was left in this pack of female hyenas. Next thing, I woke up in this back alley stage door entrance, because the cops had obviously moved everyone on. I’d passed out, I’d suffocated, they were all over me. What are you going to do with me now you’ve got me?

Loc. 2077-83

Keith Richards and James Fox (Contributor), Life, kindle.

black motherfuckers

"And we didn’t want to make money. We despised money, we despised cleanliness, we just wanted to be black motherfuckers. Fortunately we got plucked out of that. But that was the school; that’s where the band was born.

Jimmy Reed was a very big model for us. That was always two-guitar stuff. Almost a study in monotony in many ways, unless you got in there. But then Jimmy Reed had something like twenty hits in the charts with basically the same song. He had two tempos. But he understood the magic of repetition, of monotony, transforming itself to become this sort of hypnotic, trancelike thing.

Minimalism has a certain charm. You say, that’s a bit monotonous, but by the time it’s finished, you’re wishing it hadn’t. There’s nothing bad about monotony; everyone’s got to live with it."

Keith Richards and James Fox (Contributor), Life, kindle.

Cyclops, Odilon Redon

 Por sugestão de Bolaño, 2666, "A parte dos críticos".

Ortografia

A palavra «ata» para referir uma acta é uma palavra muito feita.

E sabiam que Angola e Moçambique não assinaram o acordo?

E como ler as palavras  folheto, amuleto, esqueleto?

quem sou eu?

"(...) Agora os cientistas querem conduzir um teste final.

Querem duplicar um ser humano e escolheram-nos para essa honra. Se concordarmos, será feita uma cópia nossa que terá as nossas memórias, crenças, desejos e personalidade. Ela acreditará que somos nós e ninguém - nem mesmo os nossos amigos e familiares mais próximos - será capaz de notar a diferença. Para todos os efeitos práticos, ela será nós. Há apenas um senão: não podemos ter dois nós por aí, pelo que, depois de o procedimento estar concluído, o «eu» original será destruído e o novo «eu» continuará a viver como antes. Pagar-nos-ão um milhão de euros pelo incómodo.

Aceitaríamos a proposta? (...)

(Rachels, J., Problemas da Filosofia, Gradiva, p. 94)

Ícaro

Para quem gosta de comer comida americana, também pode ver aqui.

Se não mudamos por razões éticas pode ser que mudemos pela nossa saúde, enquanto a tivermos.

NOSFERATU

2081

a música e a existência de Deus

"Se eu alguma vez morrer, queira Deus que não, que seja este o meu epitáfio:

A ÚNICA PROVA DA EXISTÊNCIA DE DEUS 

DE QUE ELE PRECISAVA 

ERA A MÚSICA

(...)

A música faz quase toda a gente gostar mais da vida do que seria possível sem ela. Até as bandas militares, embora eu seja um pacifista, conseguem sempre animar-me. Eu gosto realmente de Strauss e de Mozart  e disso tudo, mas a dádiva inestimável que os afro-americanos deram ao mundo quando ainda eram escravos foi uma dádiva  tão grande que é hoje praticamente a única razão pela qual muitos estrangeiros ainda gostam de nós, pelo menos um bocadinho. Esse remédio específico para a epidemia mundial da depressão é uma dádiva chamada blues."

(Kurt Vonnegut, Um Homem sem Pátria, 76-77)

A propósito de muitas outras coisas e do filme  2081. Uma adaptação do conto "Harrison Bergeron" de Vonnegut. 

todos os sons do universo

"Se tentássemos escutar todos os sons do universo de uma só vez isso seria ensurdecedor. Todos os múltiplos significados se anulariam mutuamente. Ouviríamos o caos do ruído branco em vez da única verdade escondida de um universo racional. Isto é em tudo semelhante àquilo que aconteceria se tentássemos ver todas as cores do mundo de uma só vez. Pareceria uma coisa com sentido, seríamos levados a averiguar qual era esse sentido, mas enlouqueceríamos durante a busca. Porque, quando é universal, é ensurdecedor, é um caos; e embora este caos seja a natureza derradeira do universo, nós só podemos sondá-lo olhando de uma perspectiva de cada vez."

Um mundo iluminado, de H. Dreyfus e S. D. Kelly (194)

A queda

"Dear Doktor Professor Heidegger, I should like to know what you mean by the expression "the fall into the quotidian". When did this fall occur? Where were we standing when it happened?"

Saul Bellow, Herzog.

La vida es sueño, Calderon de la Barca

Damon Horowitz: Filosofia na prisão

cartazes dos artistas de Terezin

 Copiado daqui.

" 'Man liveth not by Self alone but in his brother's face. ... Each shall behold the Eternal Father and love and joy abound.' When the preachers of dread tell tou that others only distract you from metaphysical freedom then you must turn away from them. The real and essencial question is one of our employment by other human beings and their employment by us. Without this true employment you never dread death, you cultivate it. And consciousness when it doesn't clearly understand what to live for, what to die for, can only abuse and ridicule itself." (272-3)

Saul Bellow, Herzog. 

Quotations

"The whole of a life may be summed up in a momentary appearance."

Sunsan Sontag, On Photography, p.159.

 

 Copiado daqui. 

Os artistas de Terezin

"(...)
Quando o jovem e brilhante condutor Rafael Schächter conduziu o Requiem, o próprio Eichmann foi à estreia, acompanhado pelo seu ajudante, o capitão Moes das SS, o homem que era conhecido entre os judeus como "o pássaro da morte". Uma descrição do incidente descreve um Eichmann confuso, perdido, entrando como que numa espécie de devaneio quando os seus Judeus cantaram Dies Irae, Lebera me, libera nos! Em muitos alemães há, em relação às artes, uma boa dose de diletantismo, de amadorismo. Penso que reagiram com curiosidade diletante ao florescimento das artes em Terezin. Permitiram os concertos, as palestras, a biblioteca, os espectáculos e, por vezes, parecia que os incentivavam.
Mas quando a arte se tornou um adversário, tinha que ser esmagada. (...)"

Gerald Green, The Artists of Terezin, Schocken Books, 1978, p.32-35, tr LFB)

Os artistas de Terezin