Thursday, 30 March 2017

Telepaticamente post punk

1 - capacidade de existência coletiva

2 -  coletividade  poética, comportamental, semântica via musica. Musica via arte. Moda via musica.

3 -  em todos os cantos do brasil / uma geração que não necessariamente se conhecia, se conhecendo

4.  Telepatia, electronica, comunicação telepatica,  auto-didatismo, video poker

5 - produzindo originalidade com muito pouco

6 -  no ultimo momento musical antes do cancelamento geral do futuro, the end of history? historia

7  - A minha, a minha vida é essa subir Bahia, descer Floresta.

8  - Automatic Lover, Meteor Man

9 - Thomas Morus Dub

10 - Collective consciousness.

11 -  Trincheira, complexo B, pó moderno, incapazes do nirvana, DCE

12 -. On the radio, on the ra-dio

13 - synths lancinantes, drum machines /  MMT8

14 - Nada

15 - Utopia - distopia num coletivo comum, incomum.

Pic _  Trincheira Bar, Belo Horizonte 1986, courtesy from the archives of Eri Gomes.

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Monday, 20 March 2017


Watching myself live and thinking through Virno's  Deja-vu and The End of The History teachings.

" The 'now' is camouflaged as the already-been, and is thus duplicated in an imaginary 'back then', in a fictitious 'other-then'

And the affirmation of an eternal present, a centripetal and despotic actuality is provoked by deja-vu, namely by the form of experience in which there prevails - as Bergson put it - ' the feeling that the future is closed, that the situation is detached from everything  although I am attached to it.

Karl Mannheim prophesied in "Ideology and Utopia" -  p 235-36

" It is possible... that in the future, in a world in which there is never anything new, in which all is finished and each moment a repetition of the past, there can exist a condition in which thought is utterly devoid of all ideological and utopia elements"  Or: "A post historical situation, then; but also at the same time, a condition marked by majestic pathology of which we have already spoken: "there is never anything new...each moment [is] a repetition of the past'.


" The formation of memory, Bergson maintains, "is never posterior to the formation of perception; it is contemporaneous with it". Far from being the blurred copy or the belated spectre of immediate experience, the majestic trace is its inevitable correlate. If 'between the perception and the memory there seems to be a difference of intensity or degree, but not of nature' (if, that is, memory we're the residue of perception), then that would rule out their being coexistence and simultaneous."

"There would be no memory at all if it were not, first of all, memory of the present. But then why is deja-vu the exception and not the rule? Why is it 'not being produced every moment? Bergson respondes: between the two heterogenous forms in which we understand the hic et nunc, the impulse to action always and on each occasion privileges the perception-from to the detriment of the memory-form.

"LET US REPEAT. The memory of the present is juxtaposed to the perception of the present. It is precisely in their simultaneous, co-extensive reference to the same object that memory and perception demonstrate their heterogeneity. We can no longer say that memory looks to 'back then' and perception to 'now', but rather must admit that there is a perceived present that exists in memory.

There are two kinds of memory:

1. procedural memory (the past congealed in savour faire, or habit, conserved as technique or ethos) and 

2. semantic memory (the explicit re-evocation of signs and meanings that are inherent to long ago experiences.

     Painting your faded memories by David Szauder

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Painted Baby (Self-Service)

Painted Baby (Self-Service) is an experimental video/spoken-word piece concerned with the relationship between memory, voice, physicality and the ontology of the “outside” and the “underground” as spaces of exceedance of languages, chance, eeriness and resistance. A young girl and a woman are interconnected in different temporalities. The film examines a constellation of rites of passages and confronts forms of physicality, dance, fear, innocence, sexuality and child exploitation. Painted Baby (Self-Service) was shot in guerrilla style and looks into discourses of improvisation (past, present and futurities) as it celebrates Brazilian Cinema Marginal and No Wave filmmaking as influences and ghostly presences in the works of Tetine.

Conceived, produced and directed by Tetine (Bruno Verner & Eliete Mejorado). Music by Tetine: Bruno Verner, on piano and effects / Eliete Mejorado, vox, effects / Dancer: Yoko Afi

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Monday, 6 March 2017

Nico, J. Cale, B. Eno & Manzanera, for an unanswered call.

Nico, J. Cale, B. Eno & Phil Manzanera in 1974, for an unanswered call. 
The high tide is taking everything. No beats.

On her harmonium live.

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