miércoles, 23 de septiembre de 2009

Music: 廣陵散 - 張子謙

Tibet People, Gente del Tibet

Poem: Karen Alkalay-Gut. The Divorce


Body, you and I must part.

Our short affair is over.

I knew, I knew from the start

you would prove a faithless lover.

I took as a matter of course,

though I did not dwell on it,

our love would end in divorce.

So I was not surprised a bit

by the first signs of neglect:

suspicious colds in the head,

apologetic aches,

a sudden chill in bed.

But it took your breathing hard

at a voice on the telephone,

to make me doubt your heart

skipped beats for me alone.

At last I caught you out,

and you, so hard to please,

brought at a single stroke

trembling to your knees.

And now at fever pitch,

and begging for your whore! --

as if I were keeping you!

Well, what are you waiting for?

Go! and don't come back!

It's time already. Go!

And you'll soon be in the sack --

As I only too well know.

(Jerusalem Review II, 20)

Karen Alkalay-Gut page (Clic here)

ricardo marcenaro bitácora. 4 fotos

ricardo marcenaro bitácora. Hay momentos en que no estoy para nadie.

Hay momentos en que no estoy para nadie. Clausuro.
Me cuesta hablar, no es que esté turbio, necesito estar en paz, así de simple.
Amo estar solo, me divierto mucho. Hago muchas cosas, soy activo.
Mi positividad se da en el hacer, en ello me expreso con alegría, aunque rezongue porque me gusta gruñir a falta de mimos o pedidos seguros sin pedir, de esos pedidos mudos, tontos, estúpidos, inservibles, del ahogo, la ansiedad del hacer, hasta que por fin hacemos, a pesar de eso siempre voy a la acción, la elijo, claro, hago planes, tengo estrategias o muchas veces simplemente me dejo llevar por los flujos de energía que emanan de las cosas y las situaciones.
Al ser una persona muy sensible también he aprendido a guardar distancia, prefiero cierta distancia, el anhelo del otro, el olvido.
También el olvido de uno.
Hoy es un día muy particular, cruces de caminos como crucigramas se estrellan en mi mente entre relampagazos negros de noche sin luna, de hueco en la mano antes de encender el cigarrillo.

Music: Leonard Cohen. The letters

Constructive patterns. NASA views of the human footprint over the earth, Patrones constructivos. Vistas de la NASA de la huella humana sobre la tierra

Poem: Karen Alkalay-Gut. Sex Maniac


When he reads in the papers,

Man Killed in Car Crash,

he thinks in sorrow:

one beautiful cock,

two beautiful balls,

forever ruined.

And when he hears on the radio,

Five Slaughtered in Ambush,

he thinks in anguish:

five beautiful cocks,

ten beautiful balls,

food for worms.

But when he hears the announcement,

5,000 Slain in Battle,

he can only say

5,000 cocks, 10,000 balls

5,000 cocks, 10,000 balls

over and over.

Music: Pavarotti Luciano. Vesti La giubba. I Pagliacci

Luciano Pavarotti (Clici here Wiki) Cavaliere di Gran Croce OMRI (12 October 1935 – 6 September 2007) was an Italian operatic tenor, who also crossed over into popular music, eventually becoming one of the most commercially successful tenors of all time. He was one of "The Three Tenors" and became well-known for his televised concerts and media appearances. Pavarotti was also noted for his charity work on behalf of refugees and the Red Cross, amongst others.

Pavarotti began his professional career as a tenor in 1961 in Italy. He sang in opera houses in the Netherlands, Vienna, London, Ankara, Budapest and Barcelona. The young tenor earned valuable experience and recognition while touring Australia at the invitation of soprano Joan Sutherland in 1965. He made his US debut in Miami soon afterwards, also on Sutherland's recommendation. His position as a leading lyric tenor was consolidated in the years between 1966 and 1972, during which time he first appeared at Milan's La Scala and other major European houses. In 1968, he debuted at New York City's Metropolitan Opera as Rudolfo in Puccini's La Bohème. At the Met in 1972, in the role of Tonio in Donizetti "La Fille du Régiment" he earned the title "King of the high Cs" when he sang the aria "Ah mes amis ... pour mon âme". He gained worldwide fame for the brilliance and beauty of his tone, especially into the upper register.[1] He was at his best in bel canto operas, pre-Aida Verdi roles and Puccini works such as La Bohème, Tosca and Madama Butterfly. The late 1970s and 1980s saw Pavarotti continue to make significant appearances in the world's foremost opera houses.

Celebrity beyond the world of opera came to Pavarotti at the 1990 World Cup in Italy with performances of Puccini's Nessun Dorma, sample from Turandot, and as one of "The Three Tenors" in their famed first concert held on the eve of the tournament's final match. He sang on that occasion with fellow star tenors Plácido Domingo and José Carreras, bringing opera highlights to a wider audience. Appearances in advertisements and with pop icons in concerts furthered his international celebrity.

His final performance in an opera was at the Metropolitan in March 2004. The 2006 Winter Olympics in Turin, Italy, saw him on stage for the last time, where Pavarotti performed Nessun dorma, with the crowd serving as the aria's chorus, and he received a thunderous standing ovation.[2] On Thursday 6 September 2007, he died at home in Modena from pancreatic cancer, aged 13.

He made numerous recordings of complete operas and individual arias, and established himself as one of the finest tenors of the 20th century.[3]

Luciano Pavarotti (Clic Aqui para Wiki) (Módena, 12 de octubre de 1935 - 6 de septiembre de 2007) fue un tenor italiano, uno de los cantantes contemporáneos más famosos, tanto en el mundo de la ópera como en otros múltiples géneros musicales. Muy conocido por sus conciertos televisados y como uno de Los Tres Tenores, junto con Plácido Domingo y José Carreras. Reconocido por su filantropía, reunió dinero para refugiados y para la Cruz Roja y fue premiado en varias ocasiones por ello.

Music: Leonard Cohen. One of us cannot be wrong

Painter: Hodler Ferdinand

Ferdinand Hodler (March 14, 1853 – May 19, 1918) was one of the best-known Swiss painters of the 19th century.

Hodler was born in Berne, the eldest of six children. His father, Jean Hodler, made a meager living as a carpenter; his mother, Marguerite (née Neukomm), was from a peasant family.[1] By the time Hodler was eight years old, he had lost his father and two younger brothers to tuberculosis. His mother remarried to a decorative painter, but in 1867 she too died of tuberculosis.[2] Eventually the disease killed all of Hodler's remaining siblings, instilling in the artist a powerful consciousness of mortality.[3]

Before he was ten, Hodler received training in decorative painting from his stepfather, and was subsequently sent to Thun to apprentice with a local painter, Ferdinand Sommer. Hodler's earliest works were conventional landscapes, which he sold in shops and to tourists. In 1871, at the age of 18, he traveled on foot to Geneva to start a career as a painter.

The works of Hodler's early maturity consisted of landscapes, figure compositions and portraits, treated with a vigorous realism. He made a trip to Basel in 1875, where he studied the paintings of Hans Holbein—especially Dead Christ in the Tomb, which influenced Hodler's many treatments of the theme of death.[4] In the last decade of the 19th century his work evolved to combine influences from several genres including symbolism and art nouveau. He developed a style which he called Parallelism, characterized by groupings of figures symmetrically arranged in poses suggesting ritual or dance.

In 1884 Hodler met Augustine Dupin (1852–1909), who became his companion and model for the next several years. Their son, Hector Hodler, was born in 1887, and founded the World Esperanto Association in 1908.[5] From 1889 until their divorce in 1891, Hodler was married to Bertha Stucki, who he depicted in the painting Poetry (1897, Museum für Gestaltung, Zurich).

Hodler's work in his final phase took on an expressionist aspect with strongly coloured and geometrical figures. Landscapes were pared down to essentials, sometimes consisting of a jagged wedge of land between water and sky. However, the most famous of Hodler's paintings portray scenes in which characters are engaged in everyday activities, such as the famous woodcutter (Der Holzfäller, Musée d'Orsay, Paris). This picture went on to appear on the back of the 50 Swiss Franc bank note issued by the Swiss National Bank.

In 1898, Hodler married Berthe Jacques. In 1914 he condemned the German atrocities conducted using artillery at Rheims.[6] In retaliation for this, German art museums excluded Hodler's work.

In 1908 he met Valentine Godé-Darel, who became his mistress. She was diagnosed with cancer in 1913, and the many hours Hodler spent by her bedside resulted in a remarkable series of paintings documenting her disintegration.[6] Her death in January 1915 affected Hodler greatly. He occupied himself with work; a series of about 20 introspective self-portraits date from 1916. By late 1917 his declining health led him to thoughts of suicide. He died on May 19, 1918 in Geneva leaving behind a number of unfinished works portraying the city.

Ferdinand Hodler (Gurzelen, cerca de Berna, 14 de marzo de 1853Ginebra, 19 de mayo de 1918) fue uno de los más destacados pintores suizos del siglo XIX.

Hodler nació en Berna pero se trasladó a Ginebra a los 18 años de edad para comenzar su carrera como pintor. Sus primeras obras fueron paisajes, composiciones figurativas y retratos, tratados con un vigoroso realismo.

En la última década del siglo XIX su obra evolucionó para combinar influencias de diversos géneros, entre ellos el simbolismo y el art nouveau. Desarrolló un estilo que él llamaba «Paralelismo», caracterizado por agrupaciones de figuras simétricamente colocadas en poses que sugerían un ritual o una danza.

La obra de Hodler en su fase final adoptó un aspecto expresionista con figuras fuertemente coloreadas y geométricas. Los paisajes quedaron reducidos a lo esencial, a veces consistiendo en una franja de tierra entre el cielo y el agua. No obstante, las pinturas más famosas de Hodler representan escenas en las que los caracteres están implicados en actividades cotidianas, como el famoso leñador (Der Holzfäller, Museo de Orsay, París). Este cuadro acabó apareciendo en el dorso del billete de 50 francos suizos emitido por el Banco Nacional de Suiza.

En 1889, Hodler se casó con Berthe Jacques. En 1914 condenó las atrocidades alemanas que usaron artillería en Reims. Como represalia, los museos de arte alemanes excluyeron la obra de Hodler.

Su amante, Valentine Godé-Darel, fue diagnosticada de cáncer en 1914, y Hodler pasó muchas horas junto a ella, resultado de las cuales fueron una notable serie de pinturas que documentaban su desintegración. Ella murió en 1915, lo que afectó muchísimo a Hodler y murió el 19 de mayo de 1918 en Ginebra, dejando tras de sí una serie de obras inacabadas que retrataban la ciudad.

Astronomy: Nasa photos 4

Painter: Ingres Jean Auguste part 2

Music: Bill Evans. Peace piece, ricardo marcenaro bitácora. Al vaciar...

ricardo marcenaro bitácora. Al Vaciar…

Al vaciar la casilla de mail se fueron por el fregadero de los bits todas esas maravillas escritas en ceros y unos a las que llamaste lo que sentías, lo que pensabas que sentías, lo que fingías que sentías por que te engañabas o te convenía o también todo aquello que sentías realmente, no importa, es el presente lo que tiene peso.

Se fueron en hilera renglones con amigos, secretos inconfesables, tonteras, avisos, banderas del barco que tomaré, esas cosas de la vida de los que somos, piedra, arena, agua clueca.

Pero tú te bañabas en mis mails como un hada gansa que destinada a cobertor me abrazaría todos los inviernos.

No podría tirar de tu cogote un solo plumón ni de tu pico cerrar la queja del beso que quisieras dar a lo lejos ni la pata que trancada en su cama no nada en mi como quisieras.

Cuando estás triste se me oprimen las venas del pecho y es muy probable que en esta estupidez que me preside acortes mis días para felicidad del esperado alivio que quiero ya tener, no por irme, quedarme, firme, ¿Entiendes?

Sigo seguiré caminando y así pasaré día a día sol tras lluvia frío tras calor hora por segundo semana y año décadas si quieres todo junto sin punto ni coma como gustamos devorarnos excepto cuando no nos devoramos y nos devoramos de otra manera.

Master piece!!!

all my day in alpha, and with this... too much better.

Good morning or good night, this is wonderful for any ocation.

Obra maestra!!!

todos mi día en alfa, y con esto ... mucho mejor.

Buenos días o Buenas noches, esto es maravilloso para cualquier ocación.

Sculpture: Punu sculpture. Africa

ricardo marcenaro bitácora. Silent eyes

ricardo marcenaro bitácora. Prototarados

Mediocres que hablan de sentimientos populares y les preocupan los desposeídos.

¿Tus pinceles y pinturas a alguien se los diste?

¿Le prestaste tu cámara he instruiste a alguno?

¿En la mano de cuantos pobres estuvo tu motosierra o tu gubia?

¿Cuántos aprendieron de tu ciencia o de lo que crees que sabes?

Tú que te crees popular porque a ellos vas, aparte de disfrutarlos, que es disfrazarte rey entre sus límites, bello tuerto entre los ciegos, porque en realidad lo que haces es vivir con miedo: ¿Los ayudas para que frutezcan?

¿Cuánto de tus herramientas y tu tiempo personal está en ellos?

Pero sigue, habla y vive en sus barrios con esa belleza de lo nuevo que tienes y que te hace fácil brillar entre los disminuidos.

Ellos se entretienen, pero no se engañan. Saben de tú límite, de la extranjería a la que perteneces y que por tu culpa se incrementan los resentidos, pues saben bien claro: Estás De Paso.

Photos: Brian Hull nudes part 1, Fotos: Brian Hull desnudos - part 1