"TO HELEN"

by Edgar Allan Poe, 1848


I saw thee once- once only- years ago:

I must not say how many- but not many.

It was a July midnight; and from out

A full-orbed moon, that, like thine own soul, soaring,

Sought a precipitate pathway up through heaven,

There fell a silvery-silken veil of light,

With quietude, and sultriness, and slumber,

Upon the upturned faces of a thousand

Roses that grew in an enchanted garden,

Where no wind dared to stir, unless on tiptoe-

Fell on the upturn'd faces of these roses

That gave out, in return for the love-light,

Their odorous souls in an ecstatic death-

Fell on the upturn'd faces of these roses

That smiled and died in this parterre, enchanted

By thee, and by the poetry of thy presence.



Clad all in white, upon a violet bank

I saw thee half reclining; while the moon

Fell on the upturn'd faces of the roses,

And on thine own, upturn'd- alas, in sorrow!



Was it not Fate, that, on this July midnight-

Was it not Fate, (whose name is also Sorrow,)

That bade me pause before that garden-gate,

To breathe the incense of those slumbering roses?

No footstep stirred: the hated world an slept,

Save only thee and me. (Oh, Heaven!- oh, God!

How my heart beats in coupling those two words!)

Save only thee and me. I paused- I looked-

And in an instant all things disappeared.

(Ah, bear in mind this garden was enchanted!)



The pearly lustre of the moon went out:

The mossy banks and the meandering paths,

The happy flowers and the repining trees,

Were seen no more: the very roses' odors

Died in the arms of the adoring airs.

All- all expired save thee- save less than thou:

Save only the divine light in thine eyes-

Save but the soul in thine uplifted eyes.

I saw but them- they were the world to me!

I saw but them- saw only them for hours,

Saw only them until the moon went down.

What wild heart-histories seemed to he enwritten

Upon those crystalline, celestial spheres!

How dark a woe, yet how sublime a hope!

How silently serene a sea of pride!

How daring an ambition; yet how deep-

How fathomless a capacity for love!



But now, at length, dear Dian sank from sight,

Into a western couch of thunder-cloud;

And thou, a ghost, amid the entombing trees

Didst glide away. Only thine eyes remained;

They would not go- they never yet have gone;

Lighting my lonely pathway home that night,

They have not left me (as my hopes have) since;

They follow me- they lead me through the years.

They are my ministers- yet I their slave.

Their office is to illumine and enkindle-

My duty, to be saved by their bright light,

And purified in their electric fire,

And sanctified in their elysian fire.

They fill my soul with Beauty (which is Hope),

And are far up in Heaven- the stars I kneel to

In the sad, silent watches of my night;

While even in the meridian glare of day

I see them still- two sweetly scintillant

Venuses, unextinguished by the sun!



-THE END-

outdoor unauthorized movie session

Projection, Solaris by Andrei Tarkovski

June, the 29th

Nicarágua invade Costa Rica e culpa Google Maps

Segundo diversas agencias de notícias internacionais, um erro nos mapas do Google Maps pode ser o responsável pelo recente conflito entre os governos da Costa Rica e Nicarágua.

Nas imagens do Google, o território nicaraguense se estende até as margens de um rio, enquanto os mapas oficiais dizem que a Costa Rica tem soberania nas duas margens do rio.

Em resposta ao ocorrido, o Google declarou em seu blog para a América Latina que "existe uma inexatidão na demarcação da fronteira entre Costa Rica e Nicarágua e está trabalhando para atualizar a informação" o quanto antes.

Daniel Helft, diretor de comunicação, políticas e assuntos públicos do Google para a região, afirmou também em um comunicado que o envolvimento do Google é uma tentativa de encontrar uma explicação pela invasão.

"Apesar de os mapas do Google terem uma altíssima qualidade e a companhia trabalhar constantemente para melhorar e atualizar as informações existentes, eles de nenhuma maneira podem ser tomados como referência no momento de decidir ações militares entre as duas nações" disse executivo.

Comentários

first_second 122p: (sic) "Até o exército tem iPhone, preciso de um".

@CMATEUSTECH: (sic) "Isso sim é um exercito trapalhão ... kkkkkkkkk"

beagle: (sic) "Nossa, ta ate parecendo aquele povo que busca trabalho na internet, trabalho pronto, e dai so imprime e nao ta correto e culpa o cara que fez o trabalho ainda!! haha credo, os caras se baseiam num mapa. Deviam fazer um estudo profundo, nota-se a competencia desse exercito. Capaz de levar uma invasao e nem perceber".

Marcio Rodrigues: (sic) "Já pensou se o GPS de mísseis nucleares utilizasse os mapas do Google. Mais foi uma atitude muito irresponsável dos comandantes desta missão".

Orson Wells terrified all of America in 1938 with his Halloween radio play of War Of The Worlds. Even though he was well known for his radio theatre, people thought it was real and it caused national panic. They were already nervous with war about to break out. What convinced them was the way it was broadcast like a news report.
Orson Wells was all innocent at the time, but 20 years later he admitted it actually was done to scare people, because he didn't like the fact that people believed everything that came out of this 'new magic box' called the radio.

SPAM STATISTICS

Andrei Tarkovski, Solaris

"A beleza é uma forma de gênio... mais elevada que o gênio, pois dispensa explicação".

‎A ideia é como um vírus. Contamina e vai tomando conta da sua mente, até chegar um dia em que você passa a acreditar nela e aquilo se torna a sua verdade.

Alguns pensamentos recorrentes sobre a verdade, o real, o simulacro, as cópias, as cópias ícones e os simulacros fantasmas tomaram conta do meu dia. Os textos de Dawkins e Kunzel são relevantes nos dias de hoje.

Eva & Adele

Eva & Adele during Art Basel Miami Beach, "wherever we are is museum".

 

http://youtu.be/NnnkuOz08GQ

June, the 29th

As Aventuras de Alice no País das Maravilhas e Através do Espelho e o que Alice encontrou lá, de Lewis Carroll, são obras fundamentais como base para o conceito de acontecimento e a noção de produção de sentido que Gilles Deleuze explica no seu livro Lógica do Sentido. Alice se encontra sempre em situações paradoxais, acontecimentos aparentemente sem sentido. O universo fantástico de Alice nos dá a ver o poder de significação de um acontecimento, coloca-nos frente a situações tão absurdas que fogem do esperado. A lógica necessária para se mover através do espelho é oposta àquela que estamos acostumados. Essa poderia ser também a lógica do acontecimento. Quanto mais nos afastamos de seu “núcleo” – fato inicial que provoca seu desencadeamento –, mais próximos ficamos de seu sentido.


Deleuze aponta o sentido como a quarta dimensão da proposição. “Os Estóicos a descobriram com o acontecimento: o sentido é o expresso da proposição, este incorporal na superfície das coisas, entidade complexa irredutível, acontecimento puro que insiste ou subsiste na proposição”.

Segundo Deleuze, o sentido é o próprio acontecimento. Dessa maneira, o acontecimento pode ser visualizado pela linguagem, pois é lá que ele se dá, onde o sentido expresso nos mostra suas dimensões de efetuação sobre o texto.

think about it. it is really strange but so beautiful.

dreaming poetry

SET ME FREE

dreamlike

`How would you like to live in Looking-glass House, Kitty? I wonder if they'd give you milk in there? Perhaps Looking-glass milk isn't good to drink -- But oh, Kitty! now we come to the passage. You can just see a little peep of the passage in Looking-glass House, if you leave the door of our drawing-room wide open: and it's very like our passage as far as you can see, only you know it may be quite different on beyond. Oh, Kitty! how nice it would be if we could only get through into Looking-glass House! I'm sure it's got, oh! such beautiful things in it! Let's pretend there's a way of getting through into it, somehow, Kitty. Let's pretend the glass has got all soft like gauze, so that we can get through. Why, it's turning into a sort of mist now, I declare! It'll be easy enough to get through -- ' She was up on the chimney-piece while she said this, though she hardly knew how she had got there. And certainly the glass was beginning to melt away, just like a bright silvery mist.

In another moment Alice was through the glass, and had jumped lightly down into the Looking-glass room. The very first thing she did was to look whether there was a fire in the fireplace, and she was quite pleased to find that there was a real one, blazing away as brightly as the one she had left behind. `So I shall be as warm here as I was in the old room,' thought Alice: `warmer, in fact, because there'll be no one here to scold me away from the fire. Oh, what fun it'll be, when they see me through the glass in here, and can't get at me!'

Then she began looking about, and noticed that what could be seen from the old room was quite common and uninteresting, but that all the rest was a different as possible. For instance, the pictures on the wall next the fire seemed to be all alive, and the very clock on the chimney-piece (you know you can only see the back of it in the Looking-glass) had got the face of a little old man, and grinned at her.

`They don't keep this room so tidy as the other,' Alice thought to herself, as she noticed several of the chessmen down in the hearth among the cinders: but in another moment, with a little `Oh!' of surprise, she was down on her hands and knees watching them. The chessmen were walking about, two and two!

The Hunting of the Snark

Jabberwocky

YKCOWREBBAJ


sevot yhtils eht dna ,gillirb sawT`

ebaw eht ni elbmig dna eryg diD

,sevogorob eht erew ysmim llA

.ebargtuo shtar emom eht dnA


She puzzled over this for some time, but at last a bright thought


struck her. `Why, it's a Looking-glass book, of course!


And if I hold it up to a glass, the words will all go the right way again."


This was the poem that Alice read.


JABBERWOCKY


`Twas brillig, and the slithy toves

Did gyre and gimble in the wabe;

All mimsy were the borogoves,

And the mome raths outgrabe.


`Beware the Jabberwock, my son!

The jaws that bite, the claws that catch!

Beware the Jujub bird, and shun

The frumious Bandersnatch!'


He took his vorpal sword in hand:

Long time the manxome foe he sought --

So rested he by the Tumtum gree,

And stood awhile in thought.


And as in uffish thought he stood,

The Jabberwock, with eyes of flame,

Came whiffling through the tulgey wook,

And burbled as it came!


One, two! One, two! And through and through

The vorpal blade went snicker-snack!

He left it dead, and with its head

He went galumphing back.


`And has thou slain the Jabberwock?

Come to my arms, my beamish boy!

O frabjous day! Calloh! Callay!

He chortled in his joy.


`Twas brillig, and the slithy toves

Did gyre and gimble in the wabe;

All mimsy were the borogoves,

And the mome raths outgrabe.

(Alice) Sad Fortune - Scary Bunnies

otnemassevartA O Atravessamento

.olhepse o massevarta e ele arap matlov ,etropus o malopartxe euq sonhesed otneserpa odnauq sedabilibissop savon roporp oreuQ

`It seems very pretty,' she said when she had finished it, `but it's rather hard to understand!' (You see she didn't like to confess, ever to herself, that she couldn't make it out at all.) `Somehow t seems to fill my head with ideas -- only I don't exactly know what they are! However, somebody killed something: that's clear, at any rate -- '

`But oh!' thought Alice, suddenly jumping up, `if I don't make haste I shall have to go back through the Looking-glass, before I've seen what the rest of the house is like! Let's have a look at the garden first!' She was out of the room in a moment, and ran down stairs -- or, at least, it wasn't exactly running, but a new invention of hers for getting down stairs quickly and easily, as Alice said to herself. She just kept the tips of her fingers on the hand-rail, and floated gently down without even touching the stairs with her feet; then she floated on through the hall, and would have gone straight out at the door in the same way, if she hadn't caught hold of the door-post. She was getting a little giddy with so much floating in the air, and was rather glad to find herself walking again in the natural way.

SOLARIS

 

studio working week in Sao Paulo, first step is done for the assemblage objects.

The Law of Reflection

The "mirror" is, both an attractive and repulsive object of desire which is linked to the cult/alienation of image. A very sensitive subject at a time when image is a pervasive force in contemporary society.

The moment when children recognize themselves in a mirror for the first time is both the beginning of covert selfawareness and the introduction into the social world in a comparative sense. Therefore, the mirror, both physically and symbolically, is for me the fulcrum of psychological understanding and development.

I have been using the physical material to construct or imitate the mirror to undermine its symbolic connotations, challenging, at the same time, our own self-image. I choose areshiny and reflective materials, as they already seem to have a life. This work is fruit of an assemblage. I utilize new technologies, employing industrialized materials such as acrylic, metal and resin, giving a metal look to the ball's surface, and that brings up a mirroring effect carefully controlled by silver or gold (in this case) to get the mirrored effect.

My current work includes anamorf drawings of delicate subtlety. The several layers of reflections introduced in the ‘ball sculpture' – reveal an intimate work in the battle of the drawing gesture and the mirroring of analogous images. There the reflections that modify the work the whole time – according to the light and landscape – are processed. I am very inspired by the memories I have and images I have taken in the countryside of São Paulo. I like the Idea of reflections and transparencies.

Light rays travel from all directions to our eyes in straight lines. The pupil area is too small if compared to the area from which light may travel. This makes an effect called the "cone of vision".

The cone of vision transforms some patterns when combined with the way light is reflected in curved mirrors. Rays (shown as traveling from the pupil) strike the mirror surface at different angles. The anamorphic transformation produces a set of polar coordinates that return to their rectangular origins when viewed with a curved mirror.

Second Dr. Donald Kunze*, anamorphosis is the idea that multiple meanings can be materially and mutually supported within the same material circumstances. Such conditions are so pervasive that anamorphosis is almost inseparable from the phenomenology of the clue. It is the implicit structure behind any multiple "reading" of events, any characters that share names or appearances, any two competing story lines, or any condensation of these themes into a "portable" object such as a ring or lighter.

I use to call my work installation. Installation art itself is a hybrid born from the connection of art and technology, accumulating diverse modes of expression and demanding a unique crossover of expertise and knowledge. This work creates concepts from daily life images of any visual artist, so that the drawing on the mirrors appear as a graphic inscription of gesture, based on the sum of convex/ concave planes of the reflections. It examines the implosive tendencies that digital technologies impose on the world, bringing cultures on top of each other and flouting boundaries: material, technological and psychological.

A curved mirror distorts information in several different directions. The side of the mirror is straight, like the surface of a flat mirror, but its edges are rounded, like a curved mirror surface. In both situations, the angle of incidence is equal to the angle of reflection. In the case of a curved surface, these angles are measured from a line tangent to the curve at a specific point.

Combining mirrored and transparent acrylic support, I’ve got two perspectives: that of the spectator him/herself and that of the view through the glass––into a drawing interference if sorts on the mirrored surface. This work evokes both the private self as well as the public in the gallery space. The work creates multiple reflections of the viewer, making material our assumptions regarding self and social perception.

One can observe that, in a reduced scale, the painted and so distributed balls demand a serial presentation of several variations of the real world's fragments. And, in this way, they remit the spectator to inside the mirrors as a close-up of simultaneous focuses. This “puzzle” instigates the spectator's participation, interaction and penetration since the work builds a visual field that demands from one's regard the exercise of knowledge and imagination. I make form out of material, but I also make material out of form. The work can be considered drawing or sculpture or assemblage or perhaps a combination of all of the above. It us up to the viewer to bring their frames of reference for this.

Gustavo von Ha
New York, 2008
* Donald Kunze is Professor of Architecture and Integrative Arts, Penn State University, USA

O Duplo

Remexendo arquivos encontrei esta foto que fiz ano passado desta duplinha americana durante a PULSE ART em Miami.

ラテンアメリカ現代アートTODAY展2010

10TH LATIN AMERICAN CONTEMPORARY ART TODAY

Last week to visit @ Promo-Arte Gallery, Tokyo

The Gallery shows three works in mirror, vitraux, I produced in 2005.

directions: プロモ・アルテ ギャラリー

GALERIA 2F, 5-51-3,Jjingumae,Shibuya-ku,Tokyo,150-0001 

phone:03-3400-1995 fax:03-3400-9526

"The Uncanny"

The term heimlich embodies the dialectic of "privacy" and "intimacy" that is inherent in bourgeois ideology. Therefore Freud can associate it with the "private parts," the parts of the body that are the most "intimate" and that are simultaneously those parts subject to the most concealment. However, in Freud's understanding the "heimlich" will also be something that is concealed from the self.


unheimlich: as the negation of heimlich, this word usually only applies to the first set of meanings listed above:

unheimlich I = unhomey, unfamiliar, untame, uncomfortable = eerie, weird, etc.

unheimlich II (the less common variant) = unconcealed, unsecret; what is made known; what is supposed to be kept secret but is inadvertently revealed.