sexta-feira, 29 de novembro de 2013

Problema eterno: pensar sim, mas... até que limite?




Tema despoletado pelo discurso de David Foster Wallace, intemporal. Pensar? Sim. Sem limites? Não. Há que saber travar, dominar a mente. David F Wallace não conseguiu travar a tempo. O problema é saber identificar o limite antes de não conseguir parar a atracção pelo abismo. Quem pensa para além desse limite, enlouquece ou acaba com a vida. Gloomy? Não, realista.

Extractos do discurso, para registo e ponderação.

On solipsism and compassion, and the choice to see the other:
Here is just one example of the total wrongness of something I tend to be automatically sure of: everything in my own immediate experience supports my deep belief that I am the absolute centre of the universe; the realest, most vivid and important person in existence. We rarely think about this sort of natural, basic self-centredness because it’s so socially repulsive. But it’s pretty much the same for all of us. It is our default setting, hard-wired into our boards at birth. Think about it: there is no experience you have had that you are not the absolute centre of. The world as you experience it is there in front of YOU or behind YOU, to the left or right of YOU, on YOUR TV or YOUR monitor. And so on. Other people’s thoughts and feelings have to be communicated to you somehow, but your own are so immediate, urgent, real.
Please don’t worry that I’m getting ready to lecture you about compassion or other-directedness or all the so-called virtues. This is not a matter of virtue. It’s a matter of my choosing to do the work of somehow altering or getting free of my natural, hard-wired default setting which is to be deeply and literally self-centered and to see and interpret everything through this lens of self. People who can adjust their natural default setting this way are often described as being ‘well-adjusted’, which I suggest to you is not an accidental term.
On the double-edged sword of the intellect, which Einstein, Steve Jobs, and Anne Lamott have spoken to:
It is extremely difficult to stay alert and attentive, instead of getting hypnotized by the constant monologue inside your own head (may be happening right now). Twenty years after my own graduation, I have come gradually to understand that the liberal arts cliché about teaching you how to think is actually shorthand for a much deeper, more serious idea: learning how to think really means learning how to exercise some control over how and what you think. It means being conscious and aware enough to choose what you pay attention to and to choose how you construct meaning from experience. Because if you cannot exercise this kind of choice in adult life, you will be totally hosed. Think of the old cliché about ‘the mind being an excellent servant but a terrible master.’
This, like many clichés, so lame and unexciting on the surface, actually expresses a great and terrible truth. It is not the least bit coincidental that adults who commit suicide with firearms almost always shoot themselves in: the head. They shoot the terrible master. And the truth is that most of these suicides are actually dead long before they pull the trigger.
And I submit that this is what the real, no-bullshit value of your liberal arts education is supposed to be about: how to keep from going through your comfortable, prosperous, respectable adult life dead, unconscious, a slave to your head and to your natural default setting of being uniquely, completely, imperially alone day in and day out.
On empathy and kindness, echoing Einstein:
[P]lease don’t think that I’m giving you moral advice, or that I’m saying you are supposed to think this way, or that anyone expects you to just automatically do it. Because it’s hard. It takes will and effort, and if you are like me, some days you won’t be able to do it, or you just flat out won’t want to.
But most days, if you’re aware enough to give yourself a choice, you can choose to look differently at this fat, dead-eyed, over-made-up lady who just screamed at her kid in the checkout line. Maybe she’s not usually like this. Maybe she’s been up three straight nights holding the hand of a husband who is dying of bone cancer. Or maybe this very lady is the low-wage clerk at the motor vehicle department, who just yesterday helped your spouse resolve a horrific, infuriating, red-tape problem through some small act of bureaucratic kindness. Of course, none of this is likely, but it’s also not impossible. It just depends what you want to consider. If you’re automatically sure that you know what reality is, and you are operating on your default setting, then you, like me, probably won’t consider possibilities that aren’t annoying and miserable. But if you really learn how to pay attention, then you will know there are other options. It will actually be within your power to experience a crowded, hot, slow, consumer-hell type situation as not only meaningful, but sacred, on fire with the same force that made the stars: love, fellowship, the mystical oneness of all things deep down.
On false ideals and real freedom, or what Paul Graham has called the trap of prestige:
Worship power, you will end up feeling weak and afraid, and you will need ever more power over others to numb you to your own fear. Worship your intellect, being seen as smart, you will end up feeling stupid, a fraud, always on the verge of being found out. But the insidious thing about these forms of worship is not that they’re evil or sinful, it’s that they’re unconscious. They are default settings.
They’re the kind of worship you just gradually slip into, day after day, getting more and more selective about what you see and how you measure value without ever being fully aware that that’s what you’re doing.
And the so-called real world will not discourage you from operating on your default settings, because the so-called real world of men and money and power hums merrily along in a pool of fear and anger and frustration and craving and worship of self. Our own present culture has harnessed these forces in ways that have yielded extraordinary wealth and comfort and personal freedom. The freedom all to be lords of our tiny skull-sized kingdoms, alone at the centre of all creation. This kind of freedom has much to recommend it. But of course there are all different kinds of freedom, and the kind that is most precious you will not hear much talk about much in the great outside world of wanting and achieving…. The really important kind of freedom involves attention and awareness and discipline, and being able truly to care about other people and to sacrifice for them over and over in myriad petty, unsexy ways every day.
That is real freedom. That is being educated, and understanding how to think. The alternative is unconsciousness, the default setting, the rat race, the constant gnawing sense of having had, and lost, some infinite thing.
On what “education” really means and the art of being fully awake to the world:
[T]he real value of a real education [has] almost nothing to do with knowledge, and everything to do with simple awareness; awareness of what is so real and essential, so hidden in plain sight all around us, all the time, that we have to keep reminding ourselves over and over:
‘This is water.’
‘This is water.’
It is unimaginably hard to do this, to stay conscious and alive in the adult world day in and day out. Which means yet another grand cliché turns out to be true: your education really IS the job of a lifetime.

Fonte: brainpickings.org

terça-feira, 16 de julho de 2013

A letter



It really matters why Portugal has an outdated economy. Education has been neglected for generations, thus producing, not only a generally low-skilled labour force, but also a generally incompetent array of politicians. These have been wasting decades of economic rebuild.


The bailout programme was a solid opportunity for the creditors to enforce the economic recovery. EC, IMF and ECB (the troika) had in hands a golden chance to reform the public sector and to enforce progressively higher levels of Education, thus driving the country towards manageable debt levels and placing the seed to a new generation of skilled labour and competitive entrepreneurship.

Alas, the troika has simply applied the short-sighted austerity recipe. If your neighbour is starving don´t give him the fish, instead teach him how to fish. Two badly managed years have produced nothing but austerity, provoking the fading of the population´s goodwill. Just now, the troika is admitting that they should have started with a strong, and also painful, reform of the public sector. It´s never too late, but it hasn´t started yet.

The conclusion has to be a bit pessimistic: how can a pupil be educated by an unskilled master? This crisis just shows that the pupil is lost in translation.

(Letter to the Financial Times)  


Raimondi, the sorcerer

sexta-feira, 5 de julho de 2013

Portugal, o barco dos loucos





J.Bosch, o barco dos loucos

segunda-feira, 1 de julho de 2013

O futuro


Faz parte da roda da vida cada nova geração tomar o lugar da que a precede. Quando tal não acontece, cria-se um hiato vazio, em que a velha geração nada consegue acrescentar ao que fez (construiu ou destruiu) e a nova nada consegue fazer, por não ter tomado o lugar. E "tomado" deve ser lido como "conquistado" na situação que Portugal atravessa, em que os velhos se repetem e os novos não se fazem ouvir.

Temos uma geração nova e desempregada, sem crédito cívico para se afirmar e sem crédito financeiro para se realizar, com maior ou menor grau de empreendedorismo. E temos uma geração velha que claudica no pouco que conseguiu fazer, e se agarra a esse mesmo pouco, prolongando o estertor da sua sobrevivência.
Ambas as gerações, incompetentes para mudar o estado das coisas e fazer andar a roda da vida. Uma porque é incapaz e a outra porque tem medo. É por este medo que, pela História, será condenada. Pelo medo em dar espaço e ajudar a formar a geração que lhe tem forçosamente de seguir. A lei da vida limitada assim o obriga.

Estão lançadas as bases para o hiato vazio! É este o futuro que se aproxima. A sobrevivência, essa depende do tamanho do hiato: quanto mais reduzido maiora esperança de vida.


Inferno - Livro das horas do Duc de Berry

Este ano na colina verde



Thursday 25. July, 06:00 PM Der fliegende Holländer


Friday 26. July, 06:00 PM Das Rheingold

Saturday 27. July, 04:00 PM Die Walküre

Monday 29. July, 04:00 PM Siegfried

Wednesday 31. July, 04:00 PM Götterdämmerung

Thursday 01. August, 04:00 PM Tannhäuser

Friday 02. August, 04:00 PM Lohengrin

Saturday 03. August, 06:00 PM Der fliegende Holländer

Sunday 04. August, 04:00 PM Tannhäuser

Monday 05. August, 04:00 PM Lohengrin

Tuesday 06. August, 06:00 PM Der fliegende Holländer

Wednesday 07. August, 04:00 PM Tannhäuser

Thursday 08. August, 04:00 PM Lohengrin

Saturday 10. August, 06:00 PM Das Rheingold

Sunday 11. August, 04:00 PM Lohengrin

Monday 12. August, 04:00 PM Tannhäuser

Tuesday 13. August, 06:00 PM Der fliegende Holländer

Wednesday 14. August, 06:00 PM Das Rheingold

Thursday 15. August, 04:00 PM Die Walküre

Saturday 17. August, 04:00 PM Siegfried

Sunday 18. August, 04:00 PM Tannhäuser

Monday 19. August, 04:00 PM Götterdämmerung

Tuesday 20. August, 06:00 PM Der fliegende Holländer

Thursday 22. August, 06:00 PM Das Rheingold

Friday 23. August, 04:00 PM Die Walküre

Saturday 24. August, 06:00 PM Der fliegende Holländer

Sunday 25. August, 04:00 PM Siegfried

Monday 26. August, 04:00 PM Lohengrin

Tuesday 27. August, 04:00 PM Götterdämmerung

Wednesday 28. August, 04:00 PM Tannhäuser



Tristan und Isolde für Kinder X 27. Juli 2013, 11 Uhr, Premiere


Tristan und Isolde für Kinder I   28. Juli 2013, 11 Uhr


Tristan und Isolde für Kinder II   29. Juli 2013, 11 Uhr


Tristan und Isolde für Kinder III   31. Juli 2013, 11 Uhr


Tristan und Isolde für Kinder IV   1. August 2013, 11 Uhr


Tristan und Isolde für Kinder V   2. August 2013, 11 Uhr


Tristan und Isolde für Kinder VI   3. August 2013, 11 Uhr


Tristan und Isolde für Kinder VII   5. August 2013, 11 Uhr


Tristan und Isolde für Kinder VIII   6. August 2013, 11 Uhr


Tristan und Isolde für Kinder IX   6. August 2013, 14


quarta-feira, 22 de maio de 2013

sexta-feira, 3 de maio de 2013

heading to hell

No doubt about it, Portugal is heading to this. Government is driving the country with purposeful neglect. Unpunished incompetence, finding scape goats, running away at dead ends Italian style, ie elections every now and then.
Constitution should be amended to include applying justice resolutions and fierce penalties to politicians who prove to be incompetent governors and/or not compliant to their electoral promises (ie liers).
Shame prevents me of writing in Portuguese.
Inferno, in Divina Comedia - WA Bouguereau

terça-feira, 2 de abril de 2013

1813-2013


Mariamo Fortuny´s Siegmund
und Sieglinde

Richard Wagner is born in the Jewish quarter of Leipzig, the Brühl, at the Red and White Lion house. Whether his father was the police actuary Carl Friedrich Wagner or the actor and painter Ludwig Geyer has never been conclusively established. Wagner himself was not sure, though neither man, contrary to insinuations by Nietzsche and others, was Jewish. Wagner’s mother, for her part, was not the illegitimate daughter of Prince Constantin of Saxe-Weimar, as she led people to believe, but a humble baker’s daughter who was seduced by the prince.
Red & Lion House

Having left the Nicolaischule in Leipzig the previous year and enrolled at the Thomasschule, he matriculates on 23 February at Leipzig University. From this period also date the Seven Pieces for Goethe’s Faust, for voice and piano, including a piece in the unusual genre of melodrama, and a Piano Sonata in B flat for four hands. After starting with a new teacher, Christian Theodor Weinlig, in the autumn, he composes the solo Piano Sonata in B flat (published as op.1) and a Fantasia, also for piano.
Nicolaischule

Premiere of Das Liebesverbot, written the previous year, by the Bethmann company, of which Wagner is musical director. The company subsequently goes bankrupt. Wagner has meanwhile fallen in love with one of the company’s leading ladies, an attractive actress called Minna Planer. Before long, she has given him ‘a couple of moments of sensual transfiguration’, as Wagner euphemistically puts it in a letter to a friend. In July of this year he follows her to Königsberg, where she has another engagement. They marry on 24 November in the little church at Königsberg-Tragheim, deterred neither by their furious squabble, interrupted by the officiating priest, the day before, nor by the fact that Minna has a daughter, Natalie, following her seduction as a fifteen-year-old by a guards captain.
Minna Planer

Following the successful premiere of Der fliegende Holländer on 2 January, he is offered, and accepts, the post of Kapellmeister to the royal Saxon court in Dresden. He completes the poem of Tannhäuser in April and in the summer begins work on the music. In July he conducts his Das Liebesmahl der Apostel (The Love-Feast of the Apostles), featuring a vast chorus of 1,200 amateur singers and an orchestra of 100 gathered in Dresden’s Frauenkirche, in whose galleries the singers are arranged.
Frauenkirche

He completes the score of Lohengrin in April. Following uprisings in Paris and Vienna, a German National Assembly convenes in Frankfurt. Wagner delivers an address to the republican Vaterlandsverein, published the following day as ‘How do Republican Endeavours Stand in Relation to the Monarchy?’ In October he sketches an initial outline for a drama under the title ‘The Nibelung Myth: as Sketch for a Drama’, followed by a libretto for an opera called Siegfrieds Tod (Siegfried’s Death). The project is later to expand into the nearly 15-hour tetralogy Der Ring des Nibelungen spread over four evenings.
German National Assembly at Paulskirche

Having become embroiled in the revolutionary activity in Dresden, Wagner has been living in exile in Switzerland since 1849. He now publishes fifty copies of his completed Ring poem and reads it to an invited audience at the Hôtel Baur au Lac in Zurich. He moves with Minna into a larger apartment but is already in love with Mathilde Wesendonck, the wife of a wealthy patron who shares Wagner’s passion for silk, having made his fortune out of it. In October he meets the 15-year-old Cosima Liszt, later to be his wife. The following month he begins composition of the Ring, a project which is to occupy him for a quarter of a century.
Mathilde Wesendonck

The poem of Die Meistersinger von Nürnberg is completed (the full score of the work was finally finished in 1868). Following a partial amnesty in 1860, he is now allowed to re-enter Saxony, but has no wish permanently to return to Dresden. He is attracted by Mathilde Maier and the actress Friederike Meyer. Hans and Cosima von Bülow (having married in 1857) visit Wagner in Biebrich. He coaches Ludwig Schnorr von Carolsfeld and his wife Malvina in the roles of Tristan and Isolde, the music of which had been written between 1857 and 1859.
Meistersinger´s Eva crowns Hans Sachs

Mounting debts force Wagner to leave his apartment in Penzing, near Vienna, in which every room had been decked out in a riot of silk, velvet or damask. The 18-year-old who becomes King Ludwig II of Bavaria on 10 March is happily a Wagner enthusiast. He summons the composer, pays off his debts and houses him near the royal castle Schloss Berg, overlooking Lake Starnberg, near Munich. Cosima arrives at Starnberg with two daughters by Bülow and her burgeoning relationship with Wagner is finally consummated. Their first child, Isolde, is born the following April.
Ludwig II

Die Meistersinger von Nürnberg receives its triumphant premiere in Munich under Bülow. In November Wagner meets the philosopher Friedrich Nietzsche, a fervent admirer who in due course is to become his sharpest critic. Cosima, together with Isolde and a second daughter of Wagner’s, Eva, move into the house Tribschen, on Lake Lucerne, chosen as their home two years previously.
Tribschen

The Upper Franconian town of Bayreuth is considered as a venue for the festival to mount the Ring. In August Wagner and Cosima marry in the Protestant church in Lucerne. The Siegfried Idyll is performed on the staircase at Tribschen in honour of Cosima’s birthday.
Conducting Siegfried Idyll

The first production of the Ring in Wagner's purpose-built theatre in Bayreuth. The performance is attended by luminaries and musicians from all over Europe. An intimate and clandestine correspondence (and possibly love affair) with the French writer and Wagner-admirer Judith Gautier begins and continues until February 1878, when Cosima, having recently discovered the truth, resolutely brings it to an end.
Festspielhaus

Wagner and family take up residence in the Villa d’Angri, overlooking the Bay of Naples, where they are joined by Paul von Joukowsky, the future stage designer for Parsifal. The Moorish-style castle and exotic garden of the Palazzo Rufolo at Ravello provide the model for the stage setting of Act II of that work: ‘Klingsor’s magic garden is found!’, Wagner writes in the visitors’ book. The cathedral in Siena similarly provides the inspiration for the Hall of the Grail. Wagner conducts a private performance for King Ludwig of the Parsifal Prelude in the Court Theatre in Munich. Last meeting with the king, after which he returns to Bayreuth.
Parsifal´s magic garden

Wagner dies in Venice; his body is brought back by gondola and train to Bayreuth, where he is buried in a grave behind his house, Wahnfried. His widow, Cosima, takes over as director of the Bayreuth Festival, committed to a faithful execution of her husband’s wishes, as she understands them, but ossifying the festival in the process.    

Funeral at Bayreuth

The Bayreuth Festival reopens after the First World War. Wagner’s son, Siegfried, attempts (not completely successfully) to keep a distance from the proto-fascist nationalists encircling Bayreuth.    
Siegfried and Cosima

Cosima dies at the grand old age of 92. Devastated by her death, and exhausted by personal and political tensions on the Green Hill, Siegfried suffers a heart attack, from which he never recovers. His production of Tannhäuser is already on the boards, but he never sees it.  
Tannhauser 1930

Hitler’s rise to power initiates a period of generous state funding for the Bayreuth Festival. Winifred Wagner, Siegfried’s English-born widow, is on intimate terms with Hitler. The dictator attends the Bayreuth Festival each year from 1933 to 1939, but the Nazis do not interfere consistently with artistic policy as they do elsewhere. A petition is mounted against the replacement of the venerable production of Parsifal ‘upon which the Master’s eyes had once rested’. Hitler, however, is in favour of a new production, but the result, by the respected Alfred Roller, is not a success.
At Wahnfried, Winifred, sons, Hitler

Wagner’s grandsons, Wieland and Wolfgang, reopen the festival after the Second World War. Wieland’s radical stagings set new standards in European opera production. The first festival opens ambitiously with new productions of Parsifal, Die Meistersinger and the Ring; even so, Wolfgang very nearly succeeds in making the books balance.  
New Bayreuth, Siegfried, Brunnhilde on the mountain top

The centenary of the first Ring is marked with a trailblazing production by the Frenchman Patrice Chéreau that once again changes the face of Wagner production in Europe. With Pierre Boulez on the rostrum, the production essays an audacious interplay of the work’s mythical and contemporary planes, setting the action against the socio-political backdrop of the Ring’s first century, roughly 1876 to 1976. Equally radical is the immediate and thrilling theatricality Chéreau brings to the acting style.
Ring 100 years

Wolfgang Wagner dies, having been at the helm for over half a century. His mantle falls, after much internecine strife, on his daughter Katharina and her half-sister Eva. Following controversial productions of Der fliegende Holländer in Würzburg and Lohengrin in Budapest, Katharina proves herself triumphantly with her first assignment at Bayreuth: a Meistersinger that grapples with the troubling ideology that underpins the work, as well as its consequent appropriation by the Nazis.          
Eva and Katharina
 
 
 
Wagner200.co.uk

sexta-feira, 4 de janeiro de 2013

O problema português

O problema português é uma questão de dimensão.
Somos pequenos e a pequenez agravou a mesquinhez, as vistas curtas, a incapacidade de ver para além da bruma.
Somos pequenos e ficámos invejosos das várias dimensões dos outros, principalmente dos outros que vivem na nossa proximidade.
Somos pequenos e isso tornou-nos chicos-espertos, farejadores de atalhos para obter mais depressa e mais facilmente o que a outros é produto da criatividade e do labor.
Somos pequenos e quando fomos grandes nos Descobrimentos, depressa abraçámos a pequenez caseira. Fomos comerciantes, intermediários, comissionistas. Nunca fomos industriais, empreendedores e criadores de valor. Sempre fomos individualistas e repudiamos o grupo.
Somos pequenos e veneramos quem despreza a organização, o rigor, a transparência, quem consegue ludibriar impunemente. Tantas vezes publicamente, porque a vergonha é uma palavra sem significado.
Somos pequenos e poder dizer "Eu é que não sou parvo!" é a nossa aspiração máxima.
Somos pequenos e gostamos de nos disfarçar de grandes, mas se essa grandeza corre mal, depressa nos encolhemos e usamos a pequenez para pedir que não nos castiguem.
Somos pequenos e teimamos em sê-lo.

É esta a raiz do problema português.

Rob Gonsalves, in search of sea