terça-feira, 29 de julho de 2014

The HEAD Revolution

Robert Anton Wilson
on "The trick top hat"

'
GALACTIC ARCHIVES:

Although the  HEAD Revolution transformed the Terran primates at the time of this ancient Romance, nobody knows when it actually began. Some trace it to certain Alchemical cults of the early Dark Ages; some say it did not properly start as an organized movement until neuro-pharmacology began to replace old-fashioned "psychology" in the late Dark Ages (i.e., just before the time of this epic novel); some try to find its origins in primitive shamanism and yoga.
What is clear is that some primates on Terra began to transcend genetic four-circuit limitations many centuries, or even millennia, before true neuroscience appeared among them. Whether this was due to mutation, empirical hit-or-miss experimentation with alkaloid herbs, or other factors is unknown. In Egypt and China and other places, a few primates reported fifth-circuit raptures - the dawning of neurosomatic consciousness - two thousand or even three thousand years before the Space Age began.
The picture is the same on all planets. A few biots suddenly rise above the eat-it-or-flee-it imprints of the amphibian biosurvival circuit, above the dominate-or-submit imprints of the mammalian territorial-emotional circuit, above the either/or logic of the hominid semantic circuit, above the "good" and "bad" values of the tribal sociosexual circuit. They have transcended infantile feeding programs, childish emotional programs, adolescent philosophizing, and adult "responsibility" (pack role) all at once.
What has happened, of course, is that these biots have formed a fifth circuit in their brains. This is called the neurosomatic circuit because it allows conscious feedback between the nervous system ("mind", in prescientific primate language) and the soma ("body"). In the larval stages of this Hedonic Revolution, every planet exhibits the same monotonous pattern:
Mysticism and monomania appear. Many of the mutated biots become convinced that they control everything (the "I-am-God" syndrome), not realizing that they merely control their own perceptual field.
"Miracle healings" are reported. The neurosomatic ("mind body") feedback loop allows the mutant biots to become healthier, younger-looking, and sleeker ("handsome") than average. They soon believe, and are encouraged by their admirers to never doubt, that they can"cure" anything.
Neurosomatic intolerance appears. The mutated biots grow annoyed, and become extremely critical about, the robot-mechanisms of first-circuit approach-avoidance, second-circuit domination-submission, third-circuit either/or logic, and static fourth-circuit sex roles. They call on everybody to float free like themselves, or like the wind.
The other biots usually declare these five-circuit mutants to be divine, or else they kill them. Sometimes they do both.
The condition was just becoming understood on Terra at the time of this Quantum Comedy, as neuropharmacologists slowly traced the links between neurochemistry and the creation of perceived reality-tunnels.
'

Nass El Ghiwane



Nass El Ghiwane (arabe : ناس الغيوان) est un groupe musical marocain, né dans les années 1970 à Casablanca au quartier Hay Mohammadi, l'un des quartiers les plus pauvres de la ville et composé au départ de cinq musiciens : Laarbi Batma, Omar Sayed, Boujmîa Hagour, Allal Yaâla et Aziz Tahiri qui sera plus tard remplacé par Abderhmane Paco.
Leur répertoire est puisé dans le creuset de la culture et la poésie marocaine et arabo-andalouse, mais aussi dans des textes religieux issus de grande figures religieuses de l'Islam.
Grâce à leurs paroles engagées et poétiques reflétant les malaises de la jeunesse marocaine de l'époque et à leurs rythmes puissants, joués à l'aide d'instruments traditionnels, ils ont révolutionné la musique marocaine et maghrébine et laissé une marque indélébile dans le paysage culturel du pays. Le célèbre réalisateur américain Martin Scorsese a qualifié le groupe de « Rolling Stones de l'Afrique ».
Ils se sont inspirés des chansons du style Aïta (Echems Ettalaa, Elhassada, Sif El Bettar, Ghadi Fhali ...), du Melhoun (Han wa Chfeq, Mezzine Mdihek, Qalet ...), des Gnaoua (Ghir Khoudouni, Lebtana, Mahmouma, Essadma, Jralek Ouach ...), des Hamadcha (Laayate Aalik) et des Jilala (Allah ya Moulana, Haoulouni) afin de créer une musique alliant le traditionnel du Maroc avec des sujets modernes.
Malgré les années, « Les Rolling Stones de l'Afrique » restent très largement connus au Maroc et ailleurs, mais désormais sans Larbi Batma, décédé d'un cancer des poumons en 1997 et qui a rejoint feu Boujmâa décédé le 26 octobre 1974.

segunda-feira, 28 de julho de 2014

Ad astra

Robert Anton Wilson
on "The trick top hat"

'
The majority of Terrans were six-legged, but we are not concerned with them. We are concerned with a tiny minority of domesticated primates who built pyramids and wrote books and eventually achieved Space Migration and entered into the galactic drama.
They were very clever primates - excellent at mimicry and even capable of creative thinking at times.
They never would have escaped from their planet and the boom-and-bust cycles of all life-forms adapted to planetside living if it hadn't been for the H.E.A.D Revolution.
HEAD means Hedonic Engineering and Development. It consists of learning to use the primate brain for fun and profit.
At the time of our story the HEAD Revolution, after an underground existence of many centuries, included only about 2 percent of the domesticated primates on Terra. The rest of the domesticated primates were still using their brains for misery and failure.
They did not know they were misusing their brains. They thought there was something wrong with the universe.
They called it the Problem of Evil.
Experts on the Problem of Evil were known as theologians. These were very erudite primates, skilled in primate logic, who wrote long books trying to answer the question "Why did God create an imperfect universe?"
"God" was their name for the hypothetical biggest-alpha-male-of-all. Being primates, they could not comprehend how anything could run if there weren't an alpha male in charge of it.
They assumed the universe was imperfect because it was obviously not set up for the convenience of domesticated primates.
The universe was not even designed for the convenience and comfort of the six-legged majority on Terra. The convenience and comfort of planetside species has very little to do with the cosmic drama.
A few of the primates had realized this. They were known as cynics.
Cynics were primates who realized the monotonous life-death cycle of terrestrial life, but were not imaginative enough to conceive of future evolution after longevity and escape velocity had been attained.
(...)
The six-legged majority on Terra, for instance, followed a life script of four or more stages. In general, the pattern was: (1) the embryonic or egg form; (2) the larval period; (3) the pupal or chrysalis stage; (4) the adult insect. During each stage the biot or biological unit - the so-called individual - passed through a metamorphosis during which it was totally or partially transformed.
The same was true of the domesticated primates. Most of them passed through, and kept neurological circuits characteristic of, the following four stages: (1) imprinting and using the self-nourishing networks of the primate brain - the neonate or infant stage (oral biosurvival consciousness); (2) imprinting and using the emotional-territorial networks of the primate brain - the "toddler" stage (anal status consciousness); (3) imprinting and using the semantic circuits - the verbal or conceptual stage (symbolic rational consciousness); (4) imprinting and using the socio-sexual circuits - the mating or parenting stage (tribal taboo consciousness).
It was all very mechanical - but that's the way planetside life is.
'

Gaza equals Warsaw Ghetto


'Gaza equals Warsaw Ghetto'
óleo sobre cartão canelado
48cm por 63cm
2009
ZMB

Fiz este trabalho a partir de jornais activistas.
Em 2009 escrevi o seguinte:

'
Estou em casa.
Ouço Muslimgauze e
uma pequena sequência sonora
faz-me olhar para a porta
pensando que alguém estará a bater.
Então olho e não vejo movimento.
A cortina está silenciosa.
Então não estão a bater.
À minha porta não estão a bater.
Mas nas portas e janelas de Gaza [Janeiro 2009],
nos telhados de uma cidade de refugiados
estão a bater bombas cirúrgicas de fósforo branco.
Numa semana morreram 500 pessoas.
Os judeus deveriam lembrar
a realidade nazi que viveram
e fazer mea culpa com os palestinianos.
Talvez seja uma das razões pela qual
o Irão nega o holocausto de seis milhões de judeus.
'
Claudio Mur


Hoje poderia repetir-me e escrever o mesmo.
O mundo não mudou e tornou-se ainda mais estúpido.

sexta-feira, 25 de julho de 2014

Coil - Paint me as a dead soul



'Paint me as a dead soul'
from the album 'The new backwards'
Coil

Lyrics by John Balance:

Paint me as a dead soul 
with a halo of black joy 
Medusa in a mirror 
etched out in acid 
the flesh, the image, the reflection 
One who dwells in scarlet darkness 
like animals in palaces 
drawing blood 

The flesh, the image, the reflection 
let's complete the illusion 

Paint me as you see me 
from memory or history 
In a fever or a frenzy 
Paint your lucid dreams and visions 
in a chamber of nightmares 
in a temple of locusts 
so violent, vile, and vivid 
May the colors make you fearful 
blind and hypnotizing 
in our subterranean heaven 
Paint my cunt with dragonflies 
my eyes as bright as diamonds 
my heart open like an ulcer 
or a sacred crimson rose 
Bathed in blood 
or drowning in my bed 
with the fragrance from the flowers 
in the gardens of the dead 

Paint ghostly foxes, cats and camels 
a red dog and a black dog 
paint a putrid sunset 
in verdigris and violet 
ochre, amber, mauve 

Four monks 
carrying a goat 
over the snows 
to nowhere 
And paint the shades 
that come with evening 
Peacock angels 
dream of leaving 
Paint me as you see me 
paint me as I see me 
Paint me as a Dead Soul




notes about the song
From brainwashed.com:

"Paint Me As a Dead Soul" is the LP's most experimental track, a Nurse With Wound-like concoction of wandering piano and harpsichord melodies, creaks, sputters, hiccups, and Balance reading a dream monlogue suggested by Aleister Crowley's anecdote in his Confessions. It's a haunting and effective track, and a nice respite from the rest of the album, all of which heavily utilizes loops, rhythms and low-end sounds. It doesn't seem to take anything recognizable from the Backwards sessions, but "Princess Margaret's Man in the D'Jamalfina" is a near exact recreation of "Egyptian Basses," with perhaps a little hint of the strings in "Crumb Time" thrown in for good measure. As such, it is simulateously one of the most familiar and uncanny tracks on the album. Familiar because it follows the structure of those earlier sketches closely, and uncanny because it sounds so much more vibrant and new than the old demos, whose muddy, muted sounds I had gotten quite accustomed to. Either way, it's a brilliant track, occupying that weird liminal region that Coil mapped out so well: cryptic jazz, haunted melodies, idiosyncratic sampling and weird, druggy textures. At one point two-thirds of the way through the song, we hear a distorted voice saying "Okay, yeah." Who or what this is, we may never know, but it's little details like this that push The New Backwards over the top for me.

I paint you as a dead soul (after a Coil song)


'I paint you as a dead soul (after a Coil song)'
óleo sobre madeira
80cm por 90cm
2009
ZMB

Burka


'Burka'
lápis sobre papel
40cm por 30cm
2008
ZMB

Este trabalho segundo as últimas indicações
terá sobrevoado o oceano.

quarta-feira, 23 de julho de 2014

terça-feira, 22 de julho de 2014

Miles Davis - Dark Magus


O olho do sujeito e o olhar da casa-objecto


'O olho do sujeito e o olhar da casa-objecto'
plástico autocolante sobre assemblagem de cor sobre placa de madeira
28cm por 35cm
2008
ZMB

Há no título deste trabalho uma alusão, que se perdeu,
a um livro de Zizek - "Lacrima rerum"

Disse recentemente à médica psiquiatra que visito regularmente
que o meu melhor livro é aquele que eu não escrevo e só o penso.
Quero com isto dizer que pouco do que penso retenho e se o tentar escrever
o pensamento foge e não é na direcção do papel, foge diletante como fumo de cigarro.

Na realidade, este quadro deveria representar a frontaria da associação
onde ia tomar café a 50 cêntimos.
É a prova de uma rápida deterioração do meu sentido de realidade 
na altura cada pormenor de cor era o título de um conto
que a minha diletância deixava para escrever mais tarde
não fora no momento seguinte logo outra grande ilusão se viesse sobrepor.
No fim ficava a consciência, a borra de cor.

Numa espécie de teatro do absurdo sendo eu o único actor
este trabalho ficava exposto na mesa junto do café, do cigarro e do jornal
à espera de comprador e cada dia em sentido contrário do mercado
o preço aumentava cinco euros.
Ao fim de uma semana valia uma fortuna.
Acabei por comprar o quadro a mim próprio.
Também já não faço ideia de quem sejam as quatro amiguinhas:


'As 4 amiguinhas'
pastel de óleo sobre placa de madeira contraplacada
25cm por 25cm
2008
ZMB

segunda-feira, 21 de julho de 2014

sexta-feira, 18 de julho de 2014

quarta-feira, 16 de julho de 2014

«Love, work and knowledge are the well-springs of our life. They should also govern it.»


'
(...)
The theory of sex-economy and its investigations of living phenomena can be stated in a few sentences.
Psychic health depends upon orgastic potency, i.e., upon the degree to which one can surrender to and experience the climax of excitation in the natural sexual act. It is founded upon the healthy character attitude of the individual's capacity for love. Psychic illness are the result of a disturbance of the natural ability to love. In the case of orgastic impotence, from which the overwhelming majority of people suffer, damming-up of biological energy occurs and becomes the source of irrational actions. The essential requirement to cure psychic disturbances is the re-establishment of the natural capacity for love. It is dependent upon social as well as psychic conditions.
Psychic illness are the consequences of the sexual chaos of society. For thousands of years, this chaos has had the function of psychically subjecting man to the prevailing conditions of existence, of internalizing the external mechanization of life. It has served to bring about the psychic anchoring of a mechanized and authoritarian civilization by making man incapable of functioning independently.
The vital energies regulate themselves naturally, without compulsive duty or compulsive morality - both of which are sure signs of existing antisocial impulses. Antisocial actions are the expression of secondary drives. These drives are produced by the suppression of natural life, and they are at variance with natural sexuality.
People who are brought up with a negative attitude toward life and sex acquire a pleasure anxiety, which is physiologically anchored in chronic muscular spasms. This neurotic pleasure anxiety is the basis on which life-negating, dictator-producing views of life are reproduced by the people themselves. It is the core of the fear of an independent, freedom-oriented way of life. This fear becomes the most significant source of strength for every form of political reaction, and for the domination of the majority of working men and women by individual persons or groups. It is a bio physiological fear, and it constitutes the central problem of the psychosomatic field of investigation. It has been until now the greatest obstruction to the investigation of the involuntary functions of life, which the neurotic person can experience in a mysterious and fear-ridden way.
(...)
'

Page 6
'The function of the orgasm'
Wilhelm Reich


--

... portanto, 
um gajo não ejacula saudavelmente, 
fica ressentido e com medo, 
torna-se reaccionário...

Nada melhor que ler os mestres..

Japanese TV promo - 1969 (Communication Breakdown)



'Communication Breakdown'
1969
Led Zeppelin

Communication breakdown: such a small hand


'Communication breakdown: such a small hand'
óleo sobre cartão canelado
40cm por 100cm
2008
ZMB

Is it unreal?


'Is it unreal?'
óleo sobre pano crú
47cm por 58cm
2008
ZMB

Is it more real?


'Is it more real?'
óleo sobre pano crú
47cm por 58cm
2008
ZMB

terça-feira, 15 de julho de 2014

Meredith Monk - Dolmen music



Performance by Ansis Rutentals movement theatre (1982)

Telling stories


'Telling stories'
óleo sobre tela
40cm por 30cm
2008
ZMB

Vendido a preço de amigo
ao imperador Augusto e sua imperatriz Augusta,
mestres da guitarra boémia e da boa cozinha.

Romeu e Julieta



'Romeu e Julieta'
óleo e pastel de óleo sobre papel
74cm por 60cm
2008
ZMB

segunda-feira, 14 de julho de 2014

The Borama people in paradise


'The Borama people in paradise'
pastel de óleo sobre desenho impresso em papel sobre cartão canelado
60cm por 60cm
2007
ZMB

A base deste trabalho é um desenho a partir de uma fotografia
num livro, editado nos anos 80, sobre povos ainda hoje aborígenes.
Neste caso, o povo Borama da Africa Central.
O paraíso é, para eles, a chuva.

Figuras sem bigode


'Figuras sem bigode'
óleo sobre pano crú
32cm por 38cm
2007
ZMB

quinta-feira, 10 de julho de 2014

Manuel da Fonseca - Domingo


Três santinhos


'Nossa senhora'


'Santo António'


'São José'

óleo sobre tela
2007
ZMB

A minha mãe reformada ocupa o seu tempo
numa lojinha de apoio aos pobres
e vai daí eu lembrei-me de fazer quadros de santos
'talvez quem dá esmola queira comprar e eu assim também ajudo a causa', pensei eu

na realidade e após leilão paroquial a reverter para a lojinha
as obram foram novamente por quem as comprou
 doadas à lojinha e estão agora a ganhar pó nas paredes

por muito que o meu ego de pintor se ressinta:
uma pintura não mata a fome a um pobre
e um abastado só gosta de ter nas paredes
aquilo que tem valor de mercado
e que dará futuro lucro.

Tudo para dizer que me é extremamente difícil vender os meus trabalhos.

sexta-feira, 4 de julho de 2014

quinta-feira, 3 de julho de 2014

The legendary pink dots


Legendary Pink Dots - "Green Gang" 


The Legendary Pink Dots feel it is our duty to inform an unwary public that the new number of the Beast is 834. In fact we, the Legendary Pink Dots were instrumental in this turn of events. Let us explain...

The change occurred on a rainy morning in August when the Legendary Pink Dots, Lisa and friends of the Prozhtet Militat were holding a party to celebrate the completion of AsYlum - a cage into which they could retreat from worldly matters.

Naturally, the party finished with the traditional burning of Oogchuu, the fire baby. (We must point out that the burning of Oogchuu is not an act of cruelty. Oogchuu's purpose in the order of things is to be burned, and he never protests when Poison Barbarella strikes the first match.).....
http://legendarypinkdots.org/

O álbum 'Asylum' de 1985 pela banda The Legendary Pink Dots


Gorgon Zola's Baby Lyrics :


Gold chain. Bronze skin. Cheese brain. Holes. Yes, Gorgon Zola rules the
beach. She strolls, she kicks some sand - the mild man winces, clears his
eyes. Despises her. She's tall and cruel and cool as sour cream. His dreams
are dry. She'll paralyze - an icepick in his spine. She'll fine him when
his wheelchair's parked on double yellow lines. He takes it because he has
to... because he's built like stale spaghetti. Zola's pointing the machete
- so he jumps!

Ego split


'Ego split'
óleo sobre pano crú
70cm por 64cm
2007
ZMB

Óvulo


'Óvulo'
óleo sobre tela
80cm por 70cm
2007
ZMB

Apresentado em 2008 na Biblioteca Municipal de Gondomar
numa exposição colectiva de pintura organizada pela
'Argo - Artistas de Gondomar'

quarta-feira, 2 de julho de 2014

Chakrasamvara and consort 2


'Chakrasamvara and consort 2'
óleo sobre pano crú
75cm por 51cm
2007
ZMB

Este quadro foi finalizado sómente em 2013
com a introdução da grade de madeira.
Além do aperfeiçoamento da cor
também as suas dimensões estão lligeiramente reduzidas.

Este quadro foi oferecido num impulso e, 
infelizmente também devido a tal,
não disponho de uma fotografia final.

Chakrasamvara and consort 1


'Chakrasamvara and consort 1'
óleo sobre papel
57cm por 42cm
2007
ZMB

Este estudo tem por base uma 'tangka'
que vi num livro sobre arte tibetana.

Almost a kiss


'Almost a kiss'
óleo sobre tela
80cm por 80cm
2007
ZMB

Almost like this


'Almost like this'
óleo sobre papel
57cm por 42cm
2007
ZMB

terça-feira, 1 de julho de 2014

O aprendiz


'O aprendiz'
óleo sobre pano crú
154cm por 91cm
2007
ZMB

Edgard Varèse - Ionisation



Edgard Varèse
Ionisation (1931), pour 13 percussions dont 1 piano
Editions Ricordi 

Solistes de l'Ensemble intercontemporain 
Elèves du Conservatoire National Supérieur de Musique et de Danse de Paris 
Susanna Mälkki, direction 

Percussions : Gilles DUROT, Samuel FAVRE, Victor HANNA (Ensemble intercontemporain) / Matthieu DRAUX, Adelaide FERRIERE, Jean-Baptiste BONNARD, Noam BIERSTONE, Christophe DRELICH, Julien LACROUZADE, Thibault LEPRI, Sylvain BORREDON, Othman LOUATI
Piano : Sébastien VICHARD

Enregistré à la Cité de la musique le 20 novembre 2012, dans le cadre du Festival d'Automne à Paris 

Réalisation et montage : Jérémie Schellaert

Enregistrement sonore : Radio France 

Production exécutive Ensemble intercontemporain 

Remerciements à Laurent Bayle, Directeur général de la Cité de la musique et à ses équipes, à Christian de Portzamparc

Copyright Ensemble intercontemporain 2012

ZMB - Storm is ready here to go



'Storm is ready here to go'
2008
ZMB

A segunda faixa de 'IRABCDJOL 7' ,
um álbum 'musical' de ZMB
editado pelas Edições Cassiber no formato cd-r.

Esta faixa é dedicada a W. S. Burroughs.