quarta-feira, junho 28, 2006

E um belo fogo de artificio (à moda do Porto)

Muita martelada

Very Animation que é o que é preciso (e sardinhas, o que eu gosto de sardinhas, ah que saudades da Figueira e daquela festa...)

Big St John in Miragaia city!!!

quarta-feira, junho 21, 2006


And you are waiting, expecting the one,
that infinitely enriches your life;
the mighty, tremendous,
the awakening of the stones,
dephts, turned to you.
Dozing in the bookshelves
Are volumes in gold and brown;
and you are thinking of lands you’ve passed through,
of images, of the garments of,
re-lost women.

And suddenly you realize: this was it.
You rise to your feet and before you stands,
a past year’s
fear and guise and prayer.

between 1902-06, or before

Rainer Maria Rilke, Memento, English translation by Philipp Kellmeyer

terça-feira, junho 20, 2006

P&R - Viver

"Você é tão novo, tão anterior a todo o princípio, e eu gostaria de pedir-lhe, caro senhor, enquanto possa, que tenha paciência com tudo o que não está resolvido no seu coração e que tente amar as questões elas próprias como se fossem quartos trancados ou livros escritos numa língua muito estrangeira. Não procure pelas respostas, que não lhe podem ser dadas agora, porque não as poderia viver então. E o ponto é, viver tudo. Viva as perguntas agora. Talvez então, nalgum dia longe no futuro, você irá gradualmente, sem sequer notar, viver o seu caminho para a resposta."

Tradução do Post anterior.

Isto é o que gostaria de dizer a alguém que está a começar a fazer uma tese, embora saiba que esse alguém provavelmente não o entenderia (eu não o entendi).

Quando for tese à bolonhesa, lamento ter de lhe dizer que em 3 anos muita sorte terá se conseguir sequer saber qual é a pergunta que quer responder (a sua pergunta e não a dos outros, porque acredite a pergunta será sempre essencialmente sua).

A maturidade é um requisito essencial, a par da inocência infantil que leva a perguntar e da juventude de duvidar.

Há quem leve uma vida inteira só a tentar formular uma pergunta como deve ser. Por isso tenho tantas dúvidas quando vejo respostas tão prontas a consumir.

Duvidar, perguntar, crescer... ensinar/educar.

Q&A - Life

"You are so young, so much before all beginning, and I would like to beg you, dear Sir, as well as I can, to have patience with everything unresolved in your heart and to try to love the questions themselves as if they were locked rooms or books written in a very foreign language. Don't search for the answers, which could not be given to you now, because you would not be able to live them. And the point is, to live everything. Live the questions now. Perhaps then, someday far in the future, you will gradually, without even noticing it, live your way into the answer."

Rainer Maria Rilke, Letters To a Young Poet -letter 4

(Estamos num período em que as imagens são construidas por quem lê, na sua mente)

quinta-feira, junho 15, 2006

"As ever, inauthentic, fallen Dasein is dispersed in the world of the present: 'Lost in the making present of the "today", it understands the "past" in terms of the "Present"' (BT, 391) - and not, as authentic Dasein does, in terms of the future, of its own fate."

Title: Heidegger: A Very Short Introduction. Contributors: Michael Inwood - author. Publisher: Oxford University Press. Place of Publication: Oxford. Publication Year: 2000. Page Number: 105.

Dwelling moods

I walked to a neighbouring town; and sat down upon a settle in the street, and fell into a very deep pause about the most fearful state my sin had brought me to; and, after long musing, I lifted up my head; but methought I saw as if the sun that shineth in the heavens did grudge to give me light; and as if the very stones in the street, and tiles upon the houses, did band themselves against me. Me thought that they all combined together to banish me out of the world. I was abhorred of them, and unfit to dwell among them, because I had sinned against the Saviour. Oh, how happy now was every creature over I for they stood fast, and kept their station. But I was gone and lost.

John Bunyan, Grace Abounding

To be

“In any case a man does not have an unrestricted power to decide whether or not to be. He may choose to die, but he cannot choose to be born, or to be born in one situation rather than another. He is, as Heidegger puts it, 'thrown' into the world.”

In Heidegger: A Very Short Introduction. Contributors: Michael Inwood - author. Publisher: Oxford University Press. Place of Publication: Oxford. Publication Year: 2000. Page Number: 24.

quarta-feira, junho 14, 2006

Archaeology - a definition

ARCHAEOLOGY studies all changes in the material world that are due to human action--naturally in so far as they survive. The archæological record is constituted of the fossilized results of human behaviour, and it is the archæologist's business to reconstitute that behaviour as far as he can and so to recapture the thoughts that behaviour expressed. In so far as he can do that, he becomes an historian. The aim of this book is therefore to explain how archæologists order their data to form a record and how they may try to interpret them as concrete embodiments of thoughts.

The most familiar surviving results of behaviour are of course the things men have made or unmade which may be called artifacts. These include on the one hand tools, weapons, personal ornaments, charms, statuettes, and on the other farm-houses, temples, castles, canals, mineshafts, graves. It is convenient to divide artifacts into two classes--relics and monuments. The former are portable and can be removed to a museum or laboratory for study. Monuments are either earth-fast or too massive to remove and have to be studied on the spot.
But not all archæological data belong to one or other of these classes, nor can be called artifacts at all. A Mediterranean shell found in a reindeer hunter's cave in Central France is not an artifact, not having itself been altered by man. But its presence in Central France several hundred miles from its nearest natural habitat is a result of human action and as such an archæological datum; for shells do not fly and no known natural agency would carry the cowrie shell from the Gulf of Lions to the valley of the Vezère that flows into the Bay of Biscay. So its transport is a very significant archæological phenomenon.

Again the interment of a body, crouched on its left side facing south, is the result of human action, but cannot be called an artifact. One house in the Late Bronze Age village of Buchau was twice as big as all the rest and more elaborate in construction. Such relations between monuments or relics are very significant archæological phenomena from which historical inferences can be drawn, but are themselves neither monuments nor relics. The relations of monuments and relics to the non-human environment too may be archæological data. The location of settlements in relation to good fishing grounds, to easily cultivable soil or to sheltered harbours may give a decisive clue as to the activities and economy of the settlers. The natural environment is at once an incentive and a limit to human action. At the same time man's intervention may itself profoundly affect the environment, exterminating some animals and introducing others, clearing forests and turning grassy steppes into dustbowls. These changes are strictly the result of human action, but cannot usually be defined by normal archæological techniques, but only with the aid of methods devised by the natural sciences--botany, zoology, climatology and geology. And their aid must be invoked too in determining the unmodified environment which, quite apart from human intervention, has undergone vast changes during the period of man's existence on the earth. The importance for archæology of these phenomena that must be studied by other disciplines has been recognized in the University of London by the creation of a Department of Environmental Archæology--a precedent followed by other universities in Britain and on the Continent

V. Gordon Childe (1956) Piecing Together the Past: The Interpretation of Archaeological Data. New York, Frederick A. Praeger, págs. 1-3
A Matriz impõe e tudo restringe. Ela ordena e hierarquiza, dá as respostas e chegará mesmo ao ponto de constringir as perguntas. Ela assume-se como fado inevitável, destino único, sem hipótese de outra possibilidade. O seu valor supremo é o Bem, o bem-comum, o bem-estar…o bem é o seu valor, a sua medida.
Renova pela re-estruturação, porque muda a ordem vigente pela imposição da ordem nova. A vontade e a liberdade, assumem-se apenas como valores, ideias, cuja prática é enquadrada.
Tudo é Gestell, tudo existe apenas enquanto “serve para”, tudo é produção, tudo é Bestand, tudo é Valor.
A Margem é o seu jardim, a sua nota de rodapé, que alegremente a valida.
A Matriz é a mãe de que nunca saímos do ventre.

A Arche logia da Matriz tudo ordena, sobre tudo impõe a Ordem, o Valor e em tudo vê Valor e Ordem. Mas como afirma o poema de Holderlin:

But where there is danger,
A rescuing element grows as well.

terça-feira, junho 13, 2006

The Metarmorphosis

Paula Rego, 2002, Metamorphisis after Kafka

"One morning, as Gregor Samsa was waking up from anxious dreams, he discovered that in bed he had been changed into a monstrous verminous bug."

Franz Kafka, 1916, The Metamorphosis


Titian, 1544, S. João Envagelista em Patmos

The god
Is near, and hard to grasp.
But where there is danger,
A rescuing element grows as well.

Holderlin, Patmos

domingo, junho 11, 2006


O primeiro edifício, segundo Viollet-le-duc

"Nevertheless, the fact remains that hunter-gatherers do build shelters of various kinds. So who are we to say that they have no architecture? And if they do not, how are we to comprehend their building activity?"


"Building, then, is a process that is continually going on, for as long as people dwell in an environment. It does not begin here, with a pre-formed plan, and end there, with a finished artefact. The 'final form' is but a fleeting moment in the life of any feature, when it is matched to a human purpose, likewise cut out from the flow of intentional activity."


"For it is in the very process of dwelling that we build."

In Ingold, Tim (2000) The Perception of the Environment: Essays on Livelihood, Dwelling & Skill


Serge Sudeikin's poster for the Bat Theatre (1922)

"No discurso agora proferido, Luís Miguel Cintra frisou o poderoso papel do mercado no condicionamento «até da escrita teatral»: «Procura-se inventar à força novos autores e novos textos para satisfazer o mercado, mas pede-se que, de preferência, sejam breves, exijam poucos cenários e poucos actores, já que o espaço previsto para a novidade não pode ser caro». À programação considerada «importante, vistosa, de prestígio, ou a mais popular, compensadora em número de público e de receitas», estão reservadas «as salas grandes e os «grandes meios»."

In Expresso edição 1754, 10/6/2006

A ordem da Matrix (Gestell) da sociedade moderna visa apenas Bestand (a reserva permanente), o Valor. Tudo é enquadrado, limitando-se a existência ao "serviço de". É esta assim a nossa causa.
Tudo é assim condicionado e porque habitamos neste mundo, porque dele fazemos parte, mesmo nós somos afectados.
A libertade reside na vontade.

sábado, junho 10, 2006


Well deserving, yet poetically, man dewlls on this earth

John Constable, 1821, The Hay Wain, oléo sobre tela

In lovely blue the steeple blossoms
With its metal roof. Around which
Drift swallow cries, around which
Lies most loving blue. The sun,
High overhead, tints the roof tin,
But up in the wind, silent,
The weathercock crows. When someone
Takes the stairs down from the belfry,
It is a still life, with the figure
Thus detached, the sculpted shape
Of man comes forth. The windows
The bells ring through
Are as gates to beauty. Because gates
Still take after nature,
They resemble the forest trees.
But purity is also beauty.
A grave spirit arises from within,
Out of divers things. Yet so simple
These images, so very holy,
One fears to describe them. But the gods,
Ever kind in all things,
Are rich in virtue and joy.
Which man may imitate.
May a man look up
From the utter hardship of his life
And say: Let me also be
Like these? Yes. As long as kindness lasts,
Pure, within his heart, he may gladly measure himself
Against the divine. Is God unknown?
Is he manifest as the sky? This I tend
To believe. Such is man’s measure.
Well deserving, yet poetically
Man dwells on this earth.
But the shadow
Of the starry night is no more pure, if I may say so,
Than man, said to be the image of God.
Is there measure on earth? There is
None. No created world ever hindered
The course of thunder. A flower
Is likewise lovely, blooming as it does
Under the sun. The eye often discovers
Creatures in life it would be yet lovelier
To name than flowers. O, this I know!
For to bleed both in body and heart, and cease
To be whole, is this pleasing to God?
But the soul, I believe, must
Remain pure, lest the eagle wing
Its way up to the Almighty with songs
Of praise and the voice of so many birds.
It is substance, and is form.
Lovely little brook, how moving you seem
As you roll so clear, like the eye of God,
Through the Milky Way. I know you well,
But tears pour from the eye.
I see gaiety of life blossom
About me in all creation’s forms,
I do not compare it cheaply
To the graveyard’s solitary doves. People’s
Laughter seems to grieve me,
After all, I have a heart.
Would I like to be a comet? I think so.
They are swift as birds, they flower
With fire, childlike in purity. To desire
More than this is beyond human measure.
The gaiety of virtue also deserves praise
From the grave spirit adrift
Between the garden’s three columns.
A beautiful virgin should wreathe her hair
With myrtle, being simple by nature and heart.
But myrtles are found in Greece.
If a man look into a mirror
And see his image therein, as if painted,
It is his likeness. Man’s image has eyes,
But the moon has light.
King Oedipus may have an eye too many.
The sufferings of this man seem indescribable,
Inexpressible, unspeakable. Which comes
When drama represents such things.
But what do I feel, now thinking of you?
Like brooks, I am carried away by the end of something
That expands like Asia. Of course,
Oedipus suffers the same? For a reason,
Of course. Did Hercules suffer as well?
Indeed. In their friendship
Did not the Dioscuri also suffer?
Yes, to battle God as Hercules did
Is to suffer. And to half share immortality
With the envy of this life,
This too is pain. But this also
Is suffering, when a man is covered with summer freckles,
All bespattered with spots. This is the work
Of the gun, it draws everything out.
It leads young men along their course,
Charmed by rays like roses.
The sufferings of Oedipus seem like a poor man
Lamenting what he lacks.
Son of Laios, poor stranger in Greece.
Life is death, and death a life.

Holderlin, In lovely blue…

quinta-feira, junho 08, 2006

The Naiad

John William Waterhouse: The Naiad


But the rock needs incisions
And the earth needs furrows,
Would be desolate else, unabiding.

Holderlin, "The Ister"

quarta-feira, junho 07, 2006

Novo Forum

Existe um novo Forum de Arqueologia.
Fica o endereço: http://arqueo-forum.awardspace.com/

terça-feira, junho 06, 2006

Evening Sun

(In) Clouds - Fonte: Wikipedia

The lights glow.
What will happen next?

Night has fallen.
The rain stops.
What will happen next?

Night will deepen.
He does not know
What I will say to him.

When he has gone
I'll have a word in his ear
And say what I was about to say
At the meeting about to happen
Which has now taken place.

But he said nothing
At the meeting about to take place.
It is only now that he turns and smiles
And whispers:
'I do not know
What will happen next.'

Harold Pinter, Poem, 1981

Da domus

Jean Delville, 1929, The School of Silence
Fonte: Artmagik

“What domesticity regulated — savagery — it demanded. It had to have its off¬stage within itself. The stories it tells speak only of that, of the seditio smouldering up at its heart. Solitude is seditio. Love is seditio. All love is criminal. It has no concern for the regulation of services, places, moments. And the solitude of the adolescent in the domus is seditious because in the suspense of its melancholy it bears the whole order of nature and culture. In the secrecy of his bedroom, he inscribes upon nothing, on the intimate surface of his diary, the idea of another house, of the vanity of any house. Like Orwell's Winston, he inscribes the drama of his incapacity before the law. Like Kafka. And lovers do not even have anything to tell. They are committed to deixis: this, now, yesterday, you. Committed to presence, deprived of representation. But the domus made legends and representations out of these silences and these inscriptions. In place of which the megalopolis displays, commentates on them, and explains them, makes them communicable. It calls melancholy being autistic and love sex. Like the way that it calls fruges agro-alimentry products. Secrets must be put into circuits, writings programmed, tragedies transcribed into bits of information. Protocols of transparency, scenarios of operationality. After all, I'll take it, your domus, it's saleable, your nostalgia, your love, let me get on with it. It might come in useful. The secret is capitalized swiftly and efficiently. But that the secret should be a secret of nothing, be uncultivated, senseless, already in the domus, the megalopolis has no idea. Or rather, it has only the idea. Whereas the secret, because it consists only in the timbre of a sensitive, sentimental matter, is inaccessible except to stupor.

I wanted to say only this, it seems. Not that the domus is the figure of community that can provide an alternative to the megapolis. Domesticy is over, and probably it never existed, except as a dream of the old child awakening and destroying it on awakening.

LYOTARD, Jean-François (1991) - Domus and the Megalopolis The Inhuman: Reflections on Time, Stanford University Press

Monte de Sta Eufemia e Vale da Ribeira de S. Joao

O Vale da Ribeira de S. Joao

O Monte de Santa Eufemia

segunda-feira, junho 05, 2006

  Posted by Picasa

Castanheiro a movie

Não sei se já conheciam. Estava já dísponivel há alguns meses no site Architectures .
Brevemente estarão dísponiveis mais.
O meio é mensagem?

Banda Sonora: Extracto de David Bowie - Space Oddity

Ground Control to Major Tom
Ground Control to Major Tom
Take your protein pills and put your helmet on

Ground Control to Major Tom
Commencing countdown, engines on
Check ignition and may God’s love be with you

Ten, Nine, Eight, Seven, Six, Five, Four, Three, Two, One, Lift-off

This is Ground Control to Major Tom
You’ve really made the grade
And the papers want to know whose shirts you wear
Now it’s time to leave the capsule if you dare

“This is Major Tom to Ground Control
I’m stepping through the door
And I’m floating in a most peculiar way
And the stars look very different today

For here
Am I sitting in a tin can
Far above the world
Planet Earth is blue
And there’s nothing I can do

Though I’m past one hundred thousand miles
I’m feeling very still
And I think my spaceship knows which way to go
Tell my wife I love her very much (she knows!)
Ground Control to Major Tom
Your circuit’s dead, there’s something wrong
Can you hear me, Major Tom?
Can you hear me, Major Tom?
Can you hear me, Major Tom?
Can you hear....

“ am I floating round my tin can
Far above the Moon
Planet Earth is blue
And there’s nothing I can do.?

Ver ou não ver, importa?


A foto anterior não permite transmitir o que se observa de Castelo Velho.
Apesar da visibilidade, neste dia, não ser a melhor, vê-se Castanheiro do vento.

Mas a visão é apenas um de cinco sentidos. Não sabemos que importência teria na pré-história. Se calhar era tão importante ver como saber que está lá. Apesar disso tudo o certo é que se vê. Não de todos os sítios de Castelo Velho. O alto da Torre central, é o melhor ponto de observação. Casualidade? Posted by Picasa

Castelo olha Castanheiro


Olhando na direcção de Castanheiro do Vento a partir de Castelo velho de Freixo de Numão. Posted by Picasa

Castanheiro do Vento


Modelo Digital do Terreno, Castanheiro do Vento visto da Ribeira da Teja. Posted by Picasa

sábado, junho 03, 2006



Modelo Digital do Terreno com o Vale da Ribeira de S. João.
Monte de Sta Eufémia em 1º plano (No sopé está o sítio do Prazo).

Deixo aqui para abrir o apetite, o resumo do artigo que o Paul Cripps, o Graeme Earl e o David Wheatley prepararam para o volume da sessão do TAG.
(O lançamento do número especial do JIA com as actas é já dia 26 de Junho no Museu Nacional de Arqueologia).

Paul Cripps, Graeme Earl & David Wheatley

Resumo: Este artigo trata dos meios de construir e de interrogar arquitecturas pré-históricas por computador.
Perguntamos em que é que as “paisagens” criadas através de pontos e de arcos nos separam da pré-história que procuramos entender, e se de facto estas paisagens virtuais nos oferecem novos sítios pré-históricos propícios a “serem habitados”. Tomando como ponto de partida a formulação de modelos do espaço préhistórico, o artigo considera o problema de como é que a habitual metodologia de computação, condicionada tanto pelos sistemas tecnológicos, como pela informação arqueológica, e informada por perspectivas analíticas dessas “arquitecturas”, define lugares de forma útil, lugares esses a partir dos quais possamos considerar várias hipóteses e experiências de “habitar”. Considerando o desenvolvimento da paisagem como um continuum cultural complexo, e incorporando tanto as arquitecturas como os os acidentes naturais pré-históricos, reinterpretados através da experiência ambiental de gerações sucessivas, torna-se possível produzir “lugares de habitação” [“dwelling places”] paralelos em mundos virtuais em que possamos habitar, e a partir dos quais desenvolver novas narrativas do passado.

quinta-feira, junho 01, 2006

Nós outros

Gerhard-richter, 1964, Negros (Nuba), Oleo sobre tela


Que coisa é essa do pré-histórico? Até quando sobreviverá o modelo do "Man the Hunter"? Quem é esse Outro com quem me identifico por diferença e semelhança? Porque é que quanto mais o buscamos mais nos encontramos, a Nós Outros?