amistad

"É necessário abrir os olhos e perceber que as coisas boas estão dentro de nós, onde os sentimentos não precisam de motivos nem os desejos de razão.
O importante é aproveitar o momento e aprender sua duração, pois a vida está nos olhos de quem saber ver.“

GABRIEL GARCIA MARQUEZ

“Young Acrobat on a Ball (1905). “The year of 1905 saw the final collapse of the blue pallet in Picasso's work, as greys and then warm reds were gradually allowed to seep back into the range during the year. His repertoire of thin, gaunt female figures is joined by a troupe of other circus personalities. Fun and optimism, instead of melancholia and social alienation, return as subject matter, though depiction of entertainment are still moderated by the inherent social out-casting of the circus community.

In this painting, the pinky tones of the Rose Period are apparent, though the chilling grey of the acrobat's bodysuit strangely arrests the young girl's fluid animation. Her lithe, rounded motions, echoing the shape of the ball, are in obvious opposition with the square muscular form of the man, whose shape is interrelated with the solid, cubed seat. Like the Mother and Child (Maternity) (1901), the strong, upward, angular lines are crossed by a series of horizontal blocks, but in this instance they are allowed to undulate to create a further flowing movement that compliments the rolling force of the girl standing on the ball. The whole picture is a study of stasis versus movement, reflecting an interesting evolution in Picasso's own aesthetic advancement as he moves into this new period.” LAURA PAYNE (Laura Payne, Essential Picasso, Parragon Book, Bath, 2001)

“EU

Quem sou eu?

Sempre fui dramático. Sempre vivi cada momento como se fosse a eternidade. O todo no fragmento.

Acaso serei um fragmento?

Não, sou totalidade.

A totalidade da pessoa.

Sou uma pessoa”

KRZYSZTOF CHARAMSA

(Krzysztof Charamsa, “A Primeira Pedra. Eu, padre gay, e a minha revolta contra a hipocrisia da Igreja”, Planeta, Lisboa, 2016)

“Einstein estava certo... outra vez”

[Por:]”Filomena Naves”

Pela primeira vez um buraco negro, o que existe no centro da nossa galáxia, ajudou a confirmar a teoria da relatividade geral de Einstein

“As observações que confirmam a teoria da relatividade geral de Einstein têm-se sucedido a bom ritmo, e agora aconteceu de novo, graças aos maiores telescópios do mundo, os VLT, do ESO, o European Southern Observatory. Nesta história, o protagonista é o imenso buraco negro que habita o coração da Via Láctea - a nossa galáxia.

Os resultados, anunciados hoje pelo ESO, culminam um trabalho de 26 anos a observar o centro da galáxia, que dista 26 mil anos-luz da Terra, e que alberga um "monstro" com uma massa quatro milhões de vezes superior à do Sol.(...)” (Lido em: DN, 2018-07-27)

"New Alzheimer’s Drug Shows Big Promise in Early Trial”

“By PAM BELLUCK”

"The drug may be the first to successfully attack both the brain changes and the symptoms of Alzheimer’s. Further research will be needed to know if it’s truly effective.(...)” (Lido em: NYT, 2018-07-26)

“Os Pássaros”

“De dia guia-os o sol. À noite as estrelas.
Não pagam bilhete e viajam sem passaportes e sem preencher impressos da alfândega nem dos serviços de emigração.
Os pássaros os únicos que são livres neste mundo habitado por prisioneiros, voam sem combustível de um pólo ao outro, tomando o rumo que lhes apetecer e à hora que quiserem, sem pedir licença aos governos, que se julgam donos dos céus.”

EDUARDO GALEANO   "O Caçador de Histórias "- Os Livres"

““The Three Musicians (1921)”. “This celebrated work, now in the New York Museum of Modern Art, is part of series painted while Picasso was with his young family in Fontainebleau in the summer of 1921. It marks a return to high Synthetic Cubism and his enduring Commedia dell'Arte imagery, commenced in the early days in Paris. His continuing association with the refined world of ballet, through his wife and through his work designing sets and costumes for Diaghilev, is evident throughout.

Again, like The Lovers (1919), there is a wonderful sense of humour in the work, even though the masked cut-out overlays of the three faces, and the intense white blocking give the figures a sinister appearance. Unlike the early synthetic papiers-colles with their realist inclusion of sheet music, the notes here are iconographic to the point of being cartoonesque. The crudely shaped clarinet is a repetition of his early Cubist sculpture Mandolin and Clarinet (1913) and no doubt the centred harlequin with his boldly coloured, exaggerated costume is Picasso, leader of this strange musical band. This harlequin, like Picasso, is the magician of his art, conjuring up mystical sounds, his musical notes, like Picasso's no doubt, resonating at an eccentric modernist pitch.” LAURA PAYNE (Laura Payne, Essential Picasso, Parragon Book, Bath, 2001)