Tradução: José Agostinho Baptista.Encenação: Jorge Silva MeloCenografia e Figurinos: Rita Lopes
Alves Luz: Pedro DomingosSom: André Pires Assistência de encenação: Leonor
Carpinteiro e Nuno Gonçalo Rodrigues
Com: Maria João Luís (Princesa) Rúben Gomes (Chance Wayne) Américo Silva (Boss Finley) Catarina Wallenstein (Heavenly) Eugeniu Ilco (Bud) Isabel Muñoz Cardoso (Tia Nonnie) Nuno Pardal (Tom Junior) Pedro Carraca (George Scudder) Pedro Gabriel Marques (Stuff) Rui Rebelo (Jackie) Simon Frankel (Provocador) Tiago Matias (Scotty) Vânia Rodrigues (Lucy) Alexandra
Pato (Edna) Francisco Lobo Faria (Rapaz) João Delgado (Rapaz) João Estima (Paquete) Mauro
Hermínio (Fly) Mia Tomé (Violet) Nuno Gonçalo Rodrigues (Rapaz) e com a participação de João Vaz (Hatcher e trompete) Coprodução Artistas Unidos, São Luiz Teatro Municipal, TNSJ
“egocasting” — a world where we exercise an unparalleled degree of control over what we watch and what we hear.
"By giving us the illusion of perfect control, these technologies risk
making us incapable of ever being surprised. They encourage not the
cultivation of taste, but the numbing repetition of fetish. And they
contribute to what might be called “egocasting,” the thoroughly
personalized and extremely narrow pursuit of one’s personal taste. In
thrall to our own little technologically constructed worlds, we are,
ironically, finding it increasingly difficult to appreciate genuine
individuality."
"The more control we can exercise over what we see and hear, the less prepared we are to be surprised."
"We are turning into a nation of instant but uninformed critics and we
are developing a keen impatience for what art demands of us."
"What we don’t seem to realize is that ritual thoroughly personalized is
no longer religion or art. It is fetish. And unlike religion and art,
which encourage us to transcend our own experience, fetish urges us to
return obsessively to the sounds and images of an arrested stage of
development."
"But, she adds, “For me, having the experience of my life explained by
someone else, having words put to it, is affirming. To re-consider some
of the qualities that I thought were
particular to me as part of a shared experience is helpful. I think
differently and have emotional responses that are are often out of step
with people around me. I appreciate having some context for my unusual
perspective and I am less likely to see it as ’something wrong with me’
personally but to recognize it within the framework of my being a gifted
adult.”
Life coach Lisa Lauffer affirms, “There is a point to exploring
giftedness as a grownup, and this is it: if you are a gifted person, you
can only live the life you were meant to live if you acknowledge and
integrate your giftedness into your adult life.”" Mais aqui
"Don’t date a man who reads. He will be interesting. Your romantic dates will be like Alice's Adventures in Wonderland.
Your late night conversation will take hours to end. He will throw
ideas and expect you to bounce something back. Brain exercises are not
for the lazies." O resto aqui
"And now, for something completely different":
"Reading is too intimate," Spoforth said. "It will put you too close to the feelings and the ideas of others. It will disturb you and confuse you." I was beginning to feel a bit frightened. It was not easy to be in Spoforth's presence, and to listen to his deep, authoritative voice and not want to be obedient, and unquestioning. But I remembered something I had read in a book: "Others can be wrong too, you know, " and I held on to that. "Why should it be a crime to be disturbed and confused? And to know what others have thought and felt?"
"Online-dating platforms can tell us a lot about potential partners, but
people are not made of steady data points, and love is not just about
matching interests. There is no higher praise these days than being data-driven. A person
who is data-driven is free of bias, and cuts through arguments with a
sword of truth. No longer do we need to fumble through life. The answers
will come. We will know how to respond, just what to do. We will let
the data tell us!" [...] "Axioms work well in the realm of pure numbers and physics,
but they are often superficially applied to biology, and especially so
when applied to the social sciences.
Exactly the point
we assume the data of a system to be both consistent and complete. This
is when axiomatic logic at its most naïve and dangerous."
Do ódio de estimação!
“To be universally liked is to be relatively ignored.”
"Having haters somehow induces everyone else to want you more. People
not liking you somehow brings you more attention entirely on its own. [...] be yourself and be brave about it."
e mais aqui
What data can't do — aqui "To
enter a relationship is not to compliment your “likes,” but to undergo a
confrontation to identity, to enter a process" [Alain Badiou]
"In a world rife with consumerism, where online dating promises risk-free
romance and love is all too often seen only as a variant of desire and
hedonism, Alain Badiou believes that love is under threat. Taking to
heart Rimbaud’s famous line “love needs reinventing,” In Praise of Love is the celebrated French philosopher’s passionate treatise in defense of love.
For
Badiou, love is an existential project, a constantly unfolding quest
for truth. This quest begins with the chance encounter, an event that
forever changes two individuals, challenging them “to see the world from
the point of view of two rather than one.” This, Badiou believes, is
love’s most essential transforming power." daqui
Alain Badiou diz que, segundo Jacques Lacan: "Love, as a suplement, to the lack of sexual connection can only come to be, by chance. So we have an opposition between sexual searcher and the chance of love. So, the sexual belongs to the order of being — of Nature—, and love belongs to the order of the event."
"It is love that comes aboard being in the encounter." [J. Lacan]
"American folk roots coming from immigrants escaping the
collapse of the Ottoman Empire and largely settling in New York, where
most of these recordings were made. A tragic turmoil surrounds these musicians and the very human
determination to live, despite the odds, flows out of the speakers and
into your ears."
"Comecemos pelos habitantes humanos, destas regiões longínquas, Blake chamava-lhes Querubins. E, com efeito, eis o que, sem dúvida, eles são — os originais psicológicos daqueles seres que, na teologia de todas as religiões, servem de intermediários entre o homem e a Luz Pura. As personagens mais que humanas da experiência visionária nunca "fazem nada". (Da mesma forma, no Céu, os bem-aventurados nunca "fazem nada".) Contentam-se simplesmente em existir.
Sob muitos nomes diferentes, e ataviadas com uma variedade infindável de trajes, estas figuras heróicas da experiência visionária do homem surgiram na arte religiosa de todas as culturas. Por vezes são representadas em repouso, por vezes a agir em contextos históricos ou mitológicos. A acção, porém, tal como já vimos, não é coisa natural por parte dos habitantes dos antípodas da mente. Atarefarmo-nos é a lei da nossa existência. A lei da existência deles é nada fazerem. Quando obrigamos estes estranhos impertubáveis a desempenharem um papel num dos nossos dramas excessivamente humanos, estamos a falsear a verdade visionária. É por isso que as representações mais arrebatadoras (embora não necessariamente as mais belas) dos "Querubins" são as que os retratam tal como se comportam no seu habitat natural — a não fazerem nada de especial.
E isso explica a impressão avassaladora e mais que meramente estética causada no observador pelas grandes obras-primas estáticas da arte religiosa. As figuras esculpidas dos deuses e reis-deuses egípcios, as Madonnas e as representações do Pantocrátor dos mosaicos bizantinos, os bodhisattvas e arhats da China, os Budas sentados do Camboja, as estelas e estátuas de Cópan, os ídolos de madeira da África tropical — todos partilham uma característica: a mais profunda imobilidade. E é precisamente isto que lhes dá o seu carácter exaltante, o seu poder de arrebatar quem os contempla do velho Mundo da experiência quotidiana e de os levar para muito longe, ao encontro dos antípodas visionários da psique humana." Aldous Huxley, Portas da Percepção
"And then there is what may be called the Distorted Documentary a new
form of visionary art, admirably exemplified by Mr. Francis Thompson’s
film, NY, NY. In this very strange and beautiful picture we see the city
of New York as it appears when photographed through multiplying prisms,
or reflected in the backs of spoons, polished hub caps, spherical and
parabolic mirrors. We still recognize houses, people, shop fronts,
taxicabs, but recognize them as elements in one of those living
geometries which are so characteristic of the visionary experience. The
invention of this new cinematographic art seems to presage (thank
heaven!) the supersession and early demise of non-representational
painting. It used to be said by the non-representationalists that
colored photography had reduced the old-fashioned portrait and the
old-fashioned landscape to the rank of otiose absurdities. This, of
course, is completely untrue. Colored photography merely records and
preserves, in an easily reproducible form, the raw materials with which
portraitists and landscape painters work. Used as Mr. Thompson has used
it, colored cinematography does much more than merely record and
preserve the raw materials of non-representational art; it actually
turns out the finished product. Looking at NY, NY, I was amazed to see
that virtually every pictorial device invented by the old masters of
non-representational art and reproduced ad nauseam by the academicians
and mannerists of the school, for the last forty years or more, makes
its appearance, alive, glowing, intensely significant, in the sequences
of Mr. Thompson’s film." Aldous Huxley, Heaven and Hell
"Para os homens da Idade Média, é evidente, a experiência visionária era a mais valiosa de todas. Tão valiosa, aliás, que estavam dispostos a pagar por ela com o dinheiro que tanto lhes custava a ganhar. No século XII, havia nas igrejas caixas de esmolas para conservação e instalação de vitrais. Suger, abade de St. Denis, conta-nos que estavam sempre cheias." Aldous Huxley, As Portas da Percepção
"There is no future in any job. The future lies in the person who holds the job." - George W. Crane
One of my primary complaints with higher education is that they tend
to prepare students for jobs of the past. The way a Midwesterner would
phrase it, “they are constantly shooting behind the duck.”
Similarly, whenever a column is written about the best paying jobs of
the future, jobs like civil engineers, registered nurses, and computer
system analysts, they are all jobs that currently exist today.
Yes, many of these jobs will still exist in the future, but every one
of them will morph and change as technology and communication systems
make their impact.
As an example, technology research firm IDC predicts the amount of
data businesses will have access to will grow 50-fold over the next
decade. As data becomes cheaper, faster, and more pervasive, the nature
of our work begins to change as well.
The first wave of baby boomers has now turned 65. As this generation
greys, their needs will change. Their growing numbers and increasing
medical needs will require a different kind of health care professionals
to take care of them.
As a rule of thumb, 60% of the jobs 10 years from now haven’t been
invented yet. With that in mind, I’ve decided to pull together a list of
55 jobs that will be in high demand in the future."
Mais, aqui.
