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An Experiment on a Bird in the Air Pump by Joseph Wright of Derby, 1768

Dinosauria, We - Bukowski

https://www.youtube.com/watch?v=hRc6mHS9PjE

Born like this
Into this
As the chalk faces smile
As Mrs. Death laughs
As the elevators break
As political landscapes dissolve
As the supermarket bag boy holds a college degree
As the oily fish spit out their oily prey
As the sun is masked
We are
Born like this
Into this
Into these carefully mad wars
Into the sight of broken factory windows of emptiness
Into bars where people no longer speak to each other
Into fist fights that end as shootings and knifings
Born into this
Into hospitals which are so expensive that it's cheaper to die
Into lawyers who charge so much it's cheaper to plead guilty
Into a country where the jails are full and the madhouses closed
Into a place where the masses elevate fools into rich heroes
Born into this
Walking and living through this
Dying because of this
Muted because of this
Castrated
Debauched
Disinherited
Because of this
Fooled by this
Used by this
Pissed on by this
Made crazy and sick by this
Made violent
Made inhuman
By this
The heart is blackened
The fingers reach for the throat
The gun
The knife
The bomb
The fingers reach toward an unresponsive god
The fingers reach for the bottle
The pill
The powder
We are born into this sorrowful deadliness
We are born into a government 60 years in debt
That soon will be unable to even pay the interest on that debt
And the banks will burn
Money will be useless
There will be open and unpunished murder in the streets
It will be guns and roving mobs
Land will be useless
Food will become a diminishing return
Nuclear power will be taken over by the many
Explosions will continually shake the earth
Radiated robot men will stalk each other
The rich and the chosen will watch from space platforms
Dante's Inferno will be made to look like a children's playground
The sun will not be seen and it will always be night
Trees will die
All vegetation will die
Radiated men will eat the flesh of radiated men
The sea will be poisoned
The lakes and rivers will vanish
Rain will be the new gold
The rotting bodies of men and animals will stink in the dark wind
The last few survivors will be overtaken by new and hideous diseases
And the space platforms will be destroyed by attrition
The petering out of supplies
The natural effect of general decay
And there will be the most beautiful silence never heard
Born out of that.
The sun still hidden there
Awaiting the next chapter.

URL: http://able2know.org/topic/91839-1

Johannes Vermeer

Bukowski, trecho de "Factotum".

As pessoas saíam em grandes enxames das estações do metrô. Como insetos, sem rostos, dementes, elas se lançavam sobre mim, me cercavam, em grande intensidade. Batiam-se e se empurravam, faziam sons terríveis.

dias e noites - Charles Bukowski

[...] o tráfego para
o engarrafamento parece maior do que
nunca, então o sinal muda para o
verde e começamos a nos mover tão
lentamente e
percebo que todos os sinais
para pegar a faixa da esquerda piscam
à minha frente.
estou na pista de
fora e os carros à frente
movem-se em direção à pista
interna.
sigo forçando meu
motor
na frente de
outro motorista que abre caminho
centímetro  a centímetro
com um ódio
firme.
então percebo a causa de nosso
descontentamento, bloqueando a
pista mais externa: um pano branco cobrindo
um corpo e
fato curiosíssimo - o sangue ensopando depressa
aquela
brancura.

o tráfego se acelera, escuto as sirenes
já longe.


[substituir "pano branco" por "material sintético parecido com o papel alumínio usado para embalar frangos e outras coisas antes de ir ao forno"]

Sobre a burguesia alemã do século XVIII - Norbert Elias

No Werther, Goethe mostra tambem com particular clareza as duas frentes entre as quais vive a burguesia. "O que mais me irrita", lemos na anotação de 24 de dezembro de 1771, "é nossa odiosa situação burguesa. Para ser franco, sei tão bem como qualquer outra pessoa como são necessárias as diferenças de classe, quantas vantagens eu mesmo lhes devo. Apenas não deviam se levantar diretamente como obstáculos no meu caminho." Coisa alguma caracteriza melhor a consciência de classe média do que essa declaração. As portas debaixo devem permanecer fechadas. As que ficam acima tem que estar abertas. E como todas as classes medias, esta estava aprisionada de uma maneira que lhe era peculiar: não podia pensar em derrubar as paredes que bloqueavam a ascensão por medo de que as que a separavam dos estratos mais baixos pudessem ceder ao ataque.

Dismaland

Nordaumania

Agoraphobia (fear of open space), claustrophobia (fear of enclosed space), rupophobia (fear of dirt), iophobia (fear of poison), nosophobia (fear of sickness), aichmophobia (fear of pointed objects), belenophobia (fear of needles), cremnophobia (fear of abysses), trichophobia (fear of hair), onomatomania (folly of words or names), pyromania (incendiary madness), kleptomania (madness for theft), dipsomania (madness for drink), erotomania (love madness), arithmomania (madness of numbers), oniomania (madness for buying), etc.

Joséphin Péladan

Kneippetherapie - Illustration in einem 1894 erschienenen Buch

.

Querela dos universais - R. Chartier

"A história é a descrição do individual através dos universais": a afirmação de Paul Veyne designa claramente uma das tensões mais importantes com a qual se defronta o conhecimento histórico, habituado a manejar, como se elas fossem evidentes, categorias aparentemente estáveis e invariáveis. Os objetos históricos, quaisquer que sejam, não são "objetos naturais" em que apenas variariam as modalidades históricas de existência. Não existem objetos históricos fora das práticas, móveis, que os constituem, e por isso não há zonas de discurso ou de realidade definidas de uma vez por todas, delimitadas de maneira fixa e detectáveis em cada situação histórica: "as coisas não são mais do que as objetivações de práticas determinadas, cujas determinações é necessário trazer à luz do dia"  É apenas ao identificar as partilhas, as exclusões, as relações que constituem os objetos em estudo, que a história poderá pensá-los, não como figuras circunstanciadas de uma categoria supostamente universal, mas, pelo contrario, como "constelações individuais ou mesmo particulares".

Nordau, greatgrandfather of the coxas

This distinction between charity and sharing cannot be maintained in earnest. Every gift that a man receives from some other man without work, without reciprocal service, is an alms, and as such is deeply immoral. The sick, the old, the weak, those who cannot work, must be supported and tended by their fellow-creatures ; it is their duty, and it is also their natural impulse. But to give to men capable of working is under all circumstances a sin and a self-deception. If men capable of work find no work, this is obviously attributable to some defect in the economical structure of society; and it is the duty of each individual to assist earnestly in removing this defect, but not to facilitate its continuance by pacifying for awhile the victim of the defective circumstances by a gift. Charity has in
this case merely the aim of deadening the conscience of the donor, and furnishing him with an excuse why he should shirk his duty of curing recognised evils in the constitution of society. Should, however, the capable man be averse to labour, then charity spoils him completely, and kills in him entirely any inclination to put his powers into action, which alone keeps the organism healthy and moral. Thus alms, extended to an able-bodied man, degrades both the donor and the recipient, and operates like poison on the feeling of duty and the morality of both. (Seite 156)

Bats and ready-mades [Nordau]

Like bats in old towers, they are niched in the proud monument of civilLzation, which they have found ready-made, but they themselves can construct nothing more, nor prevent any deterioration. They live, like parasites, on labour which past generations have, accumulated for them; and when the heritage is once consumed, they are condemned to die of hunger. (p. 540)

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n 1 gorjeio, trinado, chilro. 2 riso silencioso. 3 excitação, tremor (de nervosismo). vt+vi 1 cantar, gorjear, chilrear, pipilar, estridular. 2 rir em surdina. 3 falar rápido e alto sobre coisas sem importância devido ao fato de estar nervoso.

"[...] it is the language of nurses to babies, who do not care to make sense, but only to twitter to the child in tones which give him pleasure" [Nordau about Verlaine's poetry].

Nordau and the symbolists - Dada siegt!

The Symbolists, so far as they are honestly degenerate and imbecile, can think only in a mystical, i.e., in a confused way. The unknown is to them more powerful than the known ; the activity of the organic nerves preponderates over that of the cerebral cortex ; their emotions overrule their ideas. When persons of this kind have poetic and artistic instincts, they naturally want to give expression to their own mental state. They cannot make use of definite words of clear import, for their own consciousness holds no clearly-defined univocal ideas which could be embodied in such words. They choose, therefore, vague equivocal words, because these best conform to their ambiguous and equivocal ideas. The more indefinite, the more obscure a word is, so much the better does it suit the purpose of the imbecile and it is notorious that among the insane this habit goes so far that, to express their ideas, which have become quite formless, they invent new words, which are no longer merely obscure, but devoid of all meaning. We have already seen that, for the typical degenerate, reality has no significance. On this point I will only remind the reader of the previously cited utterances of D. G. Rossetti, Morice, etc. Clear speech serves the purpose of communication of the actual. It has, therefore, no value in the eyes of a degenerate subject. He prizes that language alone which does not force him to follow the speaker attentively, but allows him to indulge without restraint in the meanderings of his own reveries, just as his own language does not aim at the communication of definite thought, but is only intended to give a pale reflection of the twilight of his own ideas. That is what M. Mallarme means when he says: ' To name an object means to suppress three quarters of the pleasure. . . . Our dream should be to suggest the object.'. (p. 118)

Jedermann sein eigner Fußball