dis is how i use nostr

Trecho de «Sunrise: A song of two humans» (1927), F. W. Murnau:

«Não respondas ao insensato segundo a sua estultícia, para que não te faças semelhante a ele. Ao insensato responde segundo a sua estultícia, para que não seja ele sábio aos seus próprios olhos.» Provérbios 26.4-5 ARA

Interessantes diários de arte (técnicas mistas) de, respectivamente, Ramiro Clemente e Marina Bulgarini:

Lô Borges, Paisagem da janela:

W. B. Yeats, A coat: I made my song a coat Covered with embroideries Out of old mythologies From heel to throat; But the fools caught it, Wore it in the world’s eyes As though they’d wrought it. Song, let them take it For there’s more enterprise In walking naked.

Pescado Rabioso, Bajan:

Wallace Stevens, The house was quiet and the world was calm The house was quiet and the world was calm. The reader became the book; and summer night Was like the conscious being of the book. The house was quiet and the world was calm. The words were spoken as if there was no book, Except that the reader leaned above the page, Wanted to lean, wanted much most to be The scholar to whom his book is true, to whom The summer night is like a perfection of thought. The house was quiet because it had to be. The quiet was part of the meaning, part of the mind: The access of perfection to the page. And the world was calm. The truth in a calm world, In which there is no other meaning, itself Is calm, itself is summer and night, itself Is the reader leaning late and reading there.

Pixies, Silver

Julio Ramón Ribeyro, Prosas apátridas, 52: Viajar en un tren en el sentido de la marcha o de espaldas a ella: la cantidad física de paisaje que se ve es la misma, pero la impresión que se tiene de él es tan distinta. Quien viaja en el buen sentido siente que el paisaje se proyecta hacia él o más bien se siente proyectado hacia el paisaje; quien viaja de espaldas siente que el paisaje le huye, se le escapa de los ojos. En el primer caso, el viajero sabe que se está acercando a un sitio, cuya proximidad presiente por cada nueva fracción de espacio que se le presenta; en el segundo, sólo que se aleja de algo. Así, en la vida, algunas personas parecen viajar de espaldas: no saben adónde van, ignoran lo que las aguarda, todo los esquiva, el mundo que los demás asimilan por un acto frontal de percepción es para ellos sólo fuga, residuo, pérdida, defecación.

Thin Lizzy, Johnny:

Diante do Trono, Amigo fiel:

Manabu Mabe, [sem título](1968):

Vão lá, galherinha. Vai ter bolacha, vai ter café View quoted note →

Max Oppenheimer, Das Hess-Quartett. Streichquartett I (1914):