Consagraçao da natureza, Stravinsky

La Botticelli

Psychadelic whiteboard Art

DOH-bay gna-OR-ay

Talvez a cereja no topo do bolo, neste festival de música que é Tom de Festa!

http://www.myspace.com/dobetgnahore

Fragmento

"Poder ao menos penetrar-me fisicamente de tudo isto,

Rasgar-me todo, abrir-me completamente, tomar-me passento

A todos os perfumes de óleos e calores e carvões

Desta flora estupenda, negra, artificial e insaciável!"

In Ode trimfal por Álvaro de Campos

American McGees's Alice

Uma outra versão de Alice do Outro lado do Espelho.

Espacejando em lisboa

Francesca Woodman

In these pictures ambiguity reigns sovereign, fruit of the artist's respect for her inner world and her curiosity concerning a fragmentary but strong-felt reality.Now that some years have passed, it's strange to consider that at a time when photography and art shared the same interest in what we called "de-constructionism" Woodman preferred to construct her scenes by superimposing various levels of the real rather than breaking down reality to study the image's constructive mechanisms.The influence of surrealism must also be considered for its interpretations of the female body, which represented a break with traditional models of representation. But even in this case, it would be risky to look for influences which, in the long run, might not hold much water. If surrealism sublimated the chance events, Woodman's photographs seem to be a complex of combinations, a space for the transitory, for change, but her work has little or nothing to do with the idea of improvisation.Woodman was photographer and model, subject and object, at the same time. She utilized the female body to develop her own self-knowledge and not some representative but generic model of the world. The images of the body that this young American was experimenting with suggest a diffuse intimacy while tending to dissuade a voyeuristic approach. Unlike most of the images we are faced with on a daily basis, where the body is treated like a commodity to be used and consumed, or an icon to adore at safe distance, Francesca Woodman employs her body to initiate a dialog with h

erself. She places her body in familiar settings, though at the limits of our experience, presenting it as a symbol of receptivity, a meeting place between herself and the rest of the world, a communicative model in which information about her experience is presented and reflected upon. She uses her own body as a model to investigate her own vision and not another's vision of her body. Woodman projects images and symbols, hopes and fears onto the female body. She uses it like a gesticulative vector not fully known to her, communicating to the viewer the novelty of her encounter.

in "http://www.photoarts.com/journal/romano/woodman/"