Untitled

O Amor

Vivia na temperatura tépida dos lençóis
Aquele que dava pelo estranho nome
De Amor. Às vezes soltava-se
E percorria pela mão
Dos adolescentes ruas desertas, sombras
Escuras e conspiradoras - soltou-se
O Amor - alguém gritava.


Facas em sangue
[Adolfo Luxúria Canibal / Zé dos Eclipses]
«Coraçoes Felpudos»,1990

Less Is More

More Real Than Real

In the Amazon and other places where visionary plants are understood and used, you are conveyed into worlds that are appallingly different from ordinary reality. Their vividness cannot be stressed enough. They are more real than real, and that's something that you sense intuitively. They establish an ontological priority. They are more real than real, and once you get that under your belt and let it rattle around in your mind, then the compass of your life begins to spin and you realize that you are not looking in on the Other; the Other is looking in on you. This is a tremendous challenge to the intellectual structures that have carried us so far during the last thousand years. We can do tricks with atoms, there's no question about that, but these tricks immolate us. The higher-order structure of molecules, let alone organelles and that kind of thing, is intellectual incognita to us. We have no notion of how these things work or what is going on. Yet it is from those levels that the constituent modalities of reality are being laid down.

Terence Mckenna

Old Drawing

Penumbra

Das ternas horas do passado resta a penumbra
Em espelhos de bruma a memória reflectindo
Sangrentas rosas de um amor cruel.


Fado Canibal [Adolfo Luxúria Canibal / Mão Morta]
Corações Felpudos,1990

A Detail

Madness In Any Direction

There was madness in any direction, at any hour. You could strike sparks anywhere. There was a fantastic universal sense that whatever we were doing was right, that we were winning.

Raoul Duke in Terry Gilliam's Fear and Loathing in Las Vegas (1998)

Just a Cat

Degree Of Certainty

In defining knowledge, there are two further matters to be taken into consideration, namely the degree of certainty and the degree of precision. All knowledge is more or less uncertain and more or less vague. These are, in a sense, opposing characters: vague knowledge has more likelihood of truth than precise knowledge, but is less useful. One of the aims of science is to increase precision without diminishing certainty.

Bertrand Russell (1926), Theory of Knowledge

(for The Encyclopaedia Britannica)

Lonely Planet

I've Never Seen A Blind Person

Paris Driver: Don't blind people usually wear dark glasses?

Blind Woman: Do they? I've never seen a blind person.




Jim Jarmusch, Night on Earth (1991)

Untitled

Whatever It Meant

Strange memories on this nervous night in Las Vegas. Has it been five years? Six? It seems like a lifetime, the kind of peak that never comes again. San Francisco in the middle sixties was a very special time and place to be a part of. But no explanation, no mix of words or music or memories can touch that sense of knowing that you were there and alive in that corner of time and the world. Whatever it meant.

Raoul Duke in Terry Gilliam's Fear and Loathing in Las Vegas (1998)

Old New

The Year Be Done

On now, although the year be done,


On now, although the year be done,
Now, although the love be dead,
Dead and gone;
Hear me, O loved and cherished one,
Give me still the hand that led,
Led me on.


R.L.Stevenson

Damaged

Words, Metaphors, Disguised Metaphors, and Linguistic Structures

It seems likely that the principal software used in the human brain consists of words, metaphors, disguised metaphors, and linguistic structures in general. The Sapir-Whorf-Korzybski Hypothesis, in anthropology, holds that a change in language can alter our perception of the cosmos. A revision of language structure, in particular, can alter the brain as dramatically as a psychedelic. In our metaphor, if we change the software, the computer operates in a new way.

Robert Anton Wilson, Toward Understanding E-Prime

X-Ray

One Of These days

Lula: One of these days the sun's gonna come up and burn a hole clean through the planet like a giant electrical x-ray.

David Lynch, Wild at Heart, 1990