2.9.08
Always On This Line
As the day turns to night
under these suburban skies
think of all willing lies, of cutting ties,
the emptiness,
At first light, first sight,
the world seems like a miracle,
but try to hold it in your hands
and watch it get away,
oh the ugliness of fate,
When you're always on this line,
when you're always on this line,
you could've crossed a million times,
but you're always on this line,
oh, put your hands up,
claim your crime,
'cause you never had the time,
you still get to work just fine,
when you're always on this line
But it's alright, it's okay,
when there's excuses in your way,
you can try, just make it up,
settle down but don't look up,
At first bite, first lie,
the world seems like it serves you well,
but try to catch it in your hands,
treating it like a slave of the emptiness you crave,
When you're always on this line,
when you're always on this line,
you could've crossed a million times,
but you're always on this line,
oh, put your hands up,
claim your crime,
'cause you never had the time,
you still get to work just fine,
when you're always on this line,
Oh, it might be unkind of me to make you feel bad,
it might be a shame of me to treat you like that,
when there's everything you've worked for in your life,
on this line,
When you're always on this line,
when you're always on this line,
you could've crossed a million times,
but you're always on this line,
oh, put your hands up,
claim your crime,
'cause you never had the time,
you still get to work just fine,
when you're always on this line
Sarah Blasko
Planet New Year
Do you want another try?
Rewrite some Lines?
Do you want to spend some time?
If your hands are open like mine
Underneath a setting sun
Your hands are open like a child’s
Like mine
Feeling like the first to have wasted all Gods time
Waking with the birds, they’re falling from the sky
Do you think that I’d forget
About you and I?
Well I know that I was shy
But the time has hardly been unkind
Underneath this gentle light
And by the time that midnight strikes
This time
Feeling like the first to have wasted all Gods time
Waking with the birds, they’re falling from the sky
So Under-rehearsed, we never even tried
It’s a delightful curse to have wasted so much time
Sarah Blasko
26.8.08
Comentário inteligente
Mas eu acredito que vocês, arquitectos, sofram nesta sociedade obcecada pela imagem e pelo imediatismo, pois se há coisa que nos é constantemente transmitida é que tempo é dinheiro e então tudo tem de ser processado de uma forma rápida, simples e eficiente onde etapas de estudo prévio e consciencialização da realidade existente antes da intervenção, são erradamente abreviadas e desvalorizadas.
Relativamente ao que me tinhas falado do arco parabólico catenário de Gaudí fui investigar e já tinha ouvido falar da técnica mas não me foi transmitida como uma criação de Gaudí. Contaram-me que o emprego desta técnica já remonta aos anos que antecederam o nascimento de Cristo.
E essa técnica muito utilizada por Gaudí, que careceu durante muito tempo de uma explicação física, penso que foi disseminada pela via teórica, com recurso à matemática e à física pelo famoso matemático e físico suíço Leonhard Euler. E alguém depois dele deve ter continuado esse trabalho.
O que é certo é que Gaudí usou e abusou desta técnica tendo apurado o seu conhecimento.
Os arcos resultam em estruturas bastante interessantes. Quando penduramos uma corrente ela assume uma determinada forma, que depende unicamente do seu peso próprio, ou seja, a corrente está traccionada em função das forças do peso próprio.
Ao colocarmos dois pesos em dois lugares diferentes dessa mesma corrente, esta assume uma configuração diferente, adaptada às novas forças que tem que suster.
Se eu inverter a corrente, esta ficará carregada no sentido inverso e corresponderá à forma perfeita de um arco com capacidade de suporte face às forças que anteriormente apliquei na corrente.
É um bom passatempo tentar construir um arco com pedras na praia e colocarmo-nos no cimo do mesmo, verificando que o arco está apto a resistir à força do nosso peso.
Um esforço de flexão é um esforço que tende a curvar o eixo longitudinal da peça. Imaginem uma régua de plástico. Se eu pegar nas duas extremidades e tentar dobrar a régua estou a impingir um esforço de flexão. Se, por outro lado, agarrar nas duas extremidades da régua e tentar aumentar o comprimento desta “esticando-a”, estou a imprimir um esforço axial (ao longo de um eixo). Neste caso o esforço axial designa-se de tracção porque estou a esticar a régua e não a comprimi-la (compressão).
Os arcos são estruturas preferencialmente sujeitas a esforços axiais. Para resistir à flexão um elemento necessita de ser “gordo”, para “não se deixar dobrar”. Para resistir ao esforço axial nem tanto. Por isso os arcos podem resultar em estruturas extremamente leves como é o caso do arco da ponte D. Maria Pia no Porto.
O famoso Eng. Edgar Cardoso projectou a Ponte da Arrábida, também sobre o rio Douro, recorrendo a um arco. O interessante deste caso reside no facto deste Eng. ter concebido modelos à escala, com carregamentos também na respectiva proporção, o que lhe conferia uma visão e conhecimento da estrutura melhor e mais exacta do que qualquer formulação matemática, pois ele tinha no seu modelo a interacção de muitas variáveis que mais tarde interferem e estão presentes na estrutura real.
Isto também dava mais alguns parágrafos priminha.
do meu primo João Miguel Cerdeira, na caixa de comentários do post "casa"
Relativamente ao que me tinhas falado do arco parabólico catenário de Gaudí fui investigar e já tinha ouvido falar da técnica mas não me foi transmitida como uma criação de Gaudí. Contaram-me que o emprego desta técnica já remonta aos anos que antecederam o nascimento de Cristo.
E essa técnica muito utilizada por Gaudí, que careceu durante muito tempo de uma explicação física, penso que foi disseminada pela via teórica, com recurso à matemática e à física pelo famoso matemático e físico suíço Leonhard Euler. E alguém depois dele deve ter continuado esse trabalho.
O que é certo é que Gaudí usou e abusou desta técnica tendo apurado o seu conhecimento.
Os arcos resultam em estruturas bastante interessantes. Quando penduramos uma corrente ela assume uma determinada forma, que depende unicamente do seu peso próprio, ou seja, a corrente está traccionada em função das forças do peso próprio.
Ao colocarmos dois pesos em dois lugares diferentes dessa mesma corrente, esta assume uma configuração diferente, adaptada às novas forças que tem que suster.
Se eu inverter a corrente, esta ficará carregada no sentido inverso e corresponderá à forma perfeita de um arco com capacidade de suporte face às forças que anteriormente apliquei na corrente.
É um bom passatempo tentar construir um arco com pedras na praia e colocarmo-nos no cimo do mesmo, verificando que o arco está apto a resistir à força do nosso peso.
Um esforço de flexão é um esforço que tende a curvar o eixo longitudinal da peça. Imaginem uma régua de plástico. Se eu pegar nas duas extremidades e tentar dobrar a régua estou a impingir um esforço de flexão. Se, por outro lado, agarrar nas duas extremidades da régua e tentar aumentar o comprimento desta “esticando-a”, estou a imprimir um esforço axial (ao longo de um eixo). Neste caso o esforço axial designa-se de tracção porque estou a esticar a régua e não a comprimi-la (compressão).
Os arcos são estruturas preferencialmente sujeitas a esforços axiais. Para resistir à flexão um elemento necessita de ser “gordo”, para “não se deixar dobrar”. Para resistir ao esforço axial nem tanto. Por isso os arcos podem resultar em estruturas extremamente leves como é o caso do arco da ponte D. Maria Pia no Porto.
O famoso Eng. Edgar Cardoso projectou a Ponte da Arrábida, também sobre o rio Douro, recorrendo a um arco. O interessante deste caso reside no facto deste Eng. ter concebido modelos à escala, com carregamentos também na respectiva proporção, o que lhe conferia uma visão e conhecimento da estrutura melhor e mais exacta do que qualquer formulação matemática, pois ele tinha no seu modelo a interacção de muitas variáveis que mais tarde interferem e estão presentes na estrutura real.
Isto também dava mais alguns parágrafos priminha.
do meu primo João Miguel Cerdeira, na caixa de comentários do post "casa"
23.8.08
corpo em esforço
Marta Freitas, 2000 exercício feito em Desenho II (FAUTL), pincel (tinta da china preta) sobre folha branca A2 (passou-se o mesmo com esta imagem.)
alfama
Marta Freitas, 2000, exercício feito em Desenho II (FAUTL) a lápis de cor azul escuro sobre folha A3 branca (não liguem à cor. Esta imagem foi digitalizada há muito e feito o "invert", mas agora não tenho o photoshop neste pc.)
Explain
Oh there's a funny light
In the stars tonight
You and I will ride
All the factories
All the memories
Have changed
Will you work it out?
Will you see that I'm going no where else?
I dont know where you
Think and start again
But I, I know in all we've said
I finally know how it began
It's nothing that I can even explain
Til we begin tonight
Is it a righteous fight?
The sentiment's not right
Will you work it out?
Will you sell it all
To find me?
All the weapons are
Finally coming out
But now you see that I
Only wanted to
Have it out with you
Remember our love
Whoa but in the coldest light you see
You see what you want
And you break it all
Find it somewhere else
You say that our love
Can't be a baton in your part
You say that our love
You say that our love
Is only mat
Ooooh look above you now
There's a heavy cloud
Hanging over us
All the factories
All inflameries
Are closed
Do you wake at night
Wishing you'd relied on someone else?
I don't know what you
Think you find again
But I, I know in all we've said
I finally found where I'll begin
It's something I can't even explain
Sarah Blasko
22.8.08
John Wayne Gacy Jr
His father was a drinker
And his mother cried in bed
Folding John Wayne's T-shirts
When the swingset hit his head
The neighbors they adored him
For his humor and his conversation
Look underneath the house there
Find the few living things
Rotting fast in their sleep of the dead
Twenty-seven people, even more
They were boys with their cars, summer jobs
Oh my God
Are you one of them?
He dressed up like a clown for them
With his face paint white and red
And on his best behavior
In a dark room on the bed he kissed them all
He'd kill ten thousand people
With a sleight of his hand
Running far, running fast to the dead
He took of all their clothes for them
He put a cloth on their lips
Quiet hands, quiet kiss
On the mouth
And in my best behavior
I am really just like him
Look beneath the floorboards
For the secrets I have hid
Sufjan Stevens
20.8.08
plasticities
this isn't your song
this isn't your music
how can they be wrong
when by committee they choose it all?
they choose it all
chin chin
chin chin
you're gonna grow old
you're gonna grow cold
bearing signs on the avenue
for your own personal Waterloo
you're bearing signs on the avenue
for your own personal Waterloo now
we'll fight we'll fight
we'll fight for your music halls
and dying cities
they'll fight they'll fight
for your neural walls
and plasticities
and precious territory
this isn't our song
this isn't even a musical
I thinklife is too long
to be a whale in a cubicle
nails under your cuticle
you're gonna grow old
you're gonna grow so cold
before this song can deliver you
you're bearing signs on the avenue
you're bearing signs
for your own personal Waterloo now
we'll fight we'll fight
we'll fight for your music halls
and dying cities
they'll fight they'll fight
for your neural walls
and plasticities
and precious territory
Andrew Bird
19.8.08
18.8.08
15.8.08
14.8.08
Penedo do Sono II
Esta é para a Radioflyur (Carolina M C) que está a esturricar no interior de um atelier. Já puseste a toalha molhada à frente da ventoinha? (pode ser que refresque o ar). Para o ano vamos todos para o Penedo do Sono.
P.S. O teu blog está marado!
Cheated Hearts
Cheated by
The opposite of love
Held on high
From up up up above
Kept my high
From the second one
Kept my eye
On the first one
Now take these rings
And stow them safe away
I'll wear them on
Another rainy day
Take these rings
And stow them safe away
I'll wear them on
Another rainy day
Take these rings
And stow them safe away
I'll wear them on
Another rainy day
Take these rings
And stow them safe away
I'll wear them on
Another rainy day
Well I'm
Taka-taka-taka-taka-takin' it off
And she's
Taka-taka-taka-taka-takin' it off
And he's
Taka-taka-taka-taka-takin' it off
And we're
Taka-taka-taka-taka-takin' it off
Sometimes
I think that I'm bigger
Than the sound
I think that I'm bigger
Than the sound
I think that I'm bigger
than the sound
I think that I'm bigger
Than the sound
She'll take on high
She'll take on high-igh
Well sometimes
I think that I'm bigger
Than the sound
I think that I'm bigger
Than the sound
I think that I'm bigger
Than the sound
Well I think that I'm bigger
Than the sound
Cheated by
The opposite of love
Held on high
From up up up above
Kept my eye
From the first one
Kept my high
From the second one
Now take these rings
And stow them safe away
I'll wear them on
Another rainy day
Take these rings
And stow them safe away
I'll wear them on
Another rainy day
Now take these rings
And stow them safe away
I'll wear them on
Another rainy day
Take these rings
And stow them safe away
I'll wear them on
Another rainy day
Yeah Yeah Yeahs
13.8.08
11.8.08
Everybody knows
Everybody knows that I love you
Everybody knows that I need you
Everybody knows that I do, except you
I told the stars above
About the one I love
I told the morning sun
Yeah I'm telling everyone
I told my mum and dad
They seemed to understand
And I'll get through to you
If it's the last thing that I do
Everybody knows that I love you
Everybody knows that I need you
Everybody knows that I do, except you
Everybody knows that I live for you
Everybody knows that I adore you
Everybody knows that it's true, except you
I told all of my friends
Again and again and again
I drove them round the bend
So now you're my only friend
I told the passers by
I made a small boy cry
And I'll get through to you
If it's the last thing that I do
'Cos everybody knows that I love you
Everybody knows that I need you
Everybody knows that I do, except you
I'm going crazy baby
What do I have to do?
You know I love you baby
Maybe you love me too
Everybody knows that I live for you
Everybody knows that I adore you
Everybody knows that it's true, except you
Except you, except you, except you
How come everybody knows, except you?
Oh everybody knows that I love you
And everybody knows that I need you
Everybody knows that I do, except you
Divine Comedy
10.8.08
My name
Why don't you ask me
How long I've been waiting
Set down on the road
With the gunshots exploding
I'm waiting for you
In the gloom and the blazing
I'm waiting for you
I sing like a slave I know
I should know better
I've learned all my lessons
Right down to the letter
And still I go on like this
Year after year
Waiting for miracles
And shaking with fear
Why don't you answer
Why don't you come save me
Show me how to use
All these things
That you gave me
Turn me inside out
So my bones can save me
Turn me inside out
You've come this close
You can come even closer
The gunshots get louder
And the world spins faster
And things just get further
And further apart
The head from the hands
And the hands from the heart
One thing that's true
Is the way that I love him
The earth down below
And the sky up above him
And still I go on like this
Day after day
Still I go on like this
Now I've said this
I already feel stronger
I can't keep waiting for you
Any longer
I need you now
Not someday
When I'm ready
Come down on the road
Come down on the road
My name, my nam
Nothing is the same
I won't go back
The way I came
Lhasa de Sela, The Living Road
5.8.08
de 5 de Agosto a 14 de Agosto
Aos poucos, que acompanham esta coisa desgovernada e insana, que muda de nome de vez em quando, devo avisar que na data acima descrita provavelmente não irei postar.
Porque a dona deste lugar sem referência vai a banhos. Porto Santo e depois de 15 a 19 na Madeira (a ilha maior).
E quem quiser conhecer o Porto Santo, ou vai ao google e faz uma busca, ou então desloca-se ao sítio.
Boas férias, para quem as tiver nesta mesma altura.
Porque a dona deste lugar sem referência vai a banhos. Porto Santo e depois de 15 a 19 na Madeira (a ilha maior).
E quem quiser conhecer o Porto Santo, ou vai ao google e faz uma busca, ou então desloca-se ao sítio.
Boas férias, para quem as tiver nesta mesma altura.
3.8.08
Chocolate Jesus
Dont go to church on sunday
Dont get on my knees to pray
Dont memorize the books of the bible
I got my own special way
Bit I know jesus loves me
Maybe just a little bit more
I fall on my knees every sunday
At zerelda lees candy store
Well its got to be a chocolate jesus
Make me feel good inside
Got to be a chocolate jesus
Keep me satisfied
Well I dont want no anna zabba
Dont want no almond joy
There aint nothing better
Suitable for this boy
Well its the only thing
That can pick me up
Better than a cup of gold
See only a chocolate jesus
Can satisfy my soul
(solo)
When the weather gets rough
And its whiskey in the shade
Its best to wrap your savior
Up in cellophane
He flows like the big muddy
But thats ok
Pour him over ice cream
For a nice parfait
Well its got to be a chocolate jesus
Good enough for me
Got to be a chocolate jesus
Good enough for me
Well its got to be a chocolate jesus
Make me feel good inside
Got to be a chocolate jesus
Keep me satisfied
Tom Waits
1.8.08
Like A Hurricane
(Young)
Once I thought I saw you
In a crowded hazy bar
Dancing on the light from the star to star
Far across the moonbeams
I know that´s who you are
I saw you´re brown eyes turning once to fire
You are like a hurricane
There´s calm in your eyes
And I´m getting blow away
To somewhere safer where feelings stays
I want to love you
But I´m getting blown away
I am just a dreamer
But you are just a dream
You could have been anyone to me
Before that moment you touched my lips
That perfect feeling when time just slips
Away between us on your foggy trips
Roxy Music
31.7.08
30.7.08
Dying On The Vine
I've been chasing ghosts and I don't like it
I wish someone would show me where to draw the line
I'd lay down my sword if you would take it
And tell everyone back home I'm doing fine
I was with you down in Acapulco
Trading clothing for some wine
Smelling like an old adobe woman
Or a William Burroughs playing for lost time
I was thinking about my mother
I was thinking about what's mine
I was living my life like a Hollywood
But I was dying on the vine
Who could sleep through all that noisy chatter
The troops, the celebrations in the sun
The authorities say my papers are all in order
And if I wasn't such a coward I would run
I'll see you me when all the shooting's over
Meet me on the other side of town
Yes, you can bring all your friends along for protection
It's always nice to have them hanging around
I was thinking about my mother
I was thinking about what's mine
I was living my life like a Hollywood
But I was dying, dying on the vine
John Cale
29.7.08
a vida como um apêndice
"Os peregrinos procuram uma meta ignorada, e essa meta, que só conhecemos no fim, tem a obrigação de maravilhar, e não ser nem parecer um acrescento."
in "Nove ensaios Dantescos; Obras completas,vol III" , Jorge Luis Borges
in "Nove ensaios Dantescos; Obras completas,vol III" , Jorge Luis Borges
28.7.08
25.7.08
23.7.08
21.7.08
20.7.08
to build a house or a home
When you find a home you build it from inside with your heart walls. When you're anxious to construct a house you try to glue two epidermis, from outside to inside.
When you build a home it´s an involuntary act. Your walls even when they seem different from the other one walls tend to fuse into a whole.
When you force to build a house even when you have the absolute certainty that the other is your soul mate tend to be a prison of walls . Instead of protecting from outside world they alienate you from it.
Marta to JCR
When you build a home it´s an involuntary act. Your walls even when they seem different from the other one walls tend to fuse into a whole.
When you force to build a house even when you have the absolute certainty that the other is your soul mate tend to be a prison of walls . Instead of protecting from outside world they alienate you from it.
Marta to JCR
19.7.08
to see or to watch
When I see you I don't need to watch you.
You know the person you really love lays inside your heart. You wake up, breed, eat, walk, listen the sound of the world around you, run, swim, and sleep thinking in the person you love, even when that one isn't there.
But all you need is to feel the perfume of the beloved one, to see him even when he is far away. Televisions and things are the ones who must be watched if they are not watched they can't become what their image needs to represent. Persons can and must be loved so they don't need to be watched just to feel seen by their beloveds.
Marta to JCR, I see you even in my dreams.
You know the person you really love lays inside your heart. You wake up, breed, eat, walk, listen the sound of the world around you, run, swim, and sleep thinking in the person you love, even when that one isn't there.
But all you need is to feel the perfume of the beloved one, to see him even when he is far away. Televisions and things are the ones who must be watched if they are not watched they can't become what their image needs to represent. Persons can and must be loved so they don't need to be watched just to feel seen by their beloveds.
Marta to JCR, I see you even in my dreams.
17.7.08
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