sábado, 31 de agosto de 2013

Men have become the tools of their tools

quote title by H. David Thoreau

Music Durutti Collumn "When The World" from the live album, 'A night in New York`

sexta-feira, 30 de agosto de 2013

Muito obrigado pelas mensagens de Parabéns!

And Sit Down Beside Me, by Patrick Watson

Dia de Aniversário- "Ando (sempre) um pouco acima do chão"

Ando um pouco acima do chão
Nesse lugar onde costumam ser atingidos
Os pássaros
Um pouco acima dos pássaros
No lugar onde costumam inclinar-se
Para o voo

Tenho medo do peso morto
Porque é um ninho desfeito
Estou ligeiramente acima do que morre
Nessa encosta onde a palavra é como pão
Um pouco na palma da mão que divide
E não separo como o silêncio em meio do que escrevo

Ando ligeiro acima do que digo
E verto o sangue para dentro das palavras
Ando um pouco acima da transfusão do poema

Ando humildemente nos arredores do verbo
Passageiro num degrau invisível sobre a terra
Nesse lugar das árvores com fruto e das árvores
No meio de incêndios
Estou um pouco no interior do que arde
Apagando-me devagar e tendo sede
Porque ando acima da força a saciar quem vive
E esmago o coração para o que desce sobre mim

E bebe

Daniel Faria 
(1971 - 1999)

quinta-feira, 29 de agosto de 2013

Planeta Terra fotografado desde Saturno- um mero ponto de luz azul

"I think the environment should be put in the category of our national security. Defense of our resources is just as important as defense abroad. Otherwise what is there to defend?"
Robert Redford

A NASA tirou a primeira fotografia do planeta Terra vista a partir dos anéis de Saturno, a 1440 milhões de quilómetros de distância.
foto NASA/ Reuters
Planeta Terra fotografado desde Saturno
O "planeta azul" surge na imagem como mais um ponto de luz azul, rodeada pelos gigantes anéis de gás de Saturno.
Na fotografia, a Terra e a Lua ocupam menos de um pixel, mas parecem maiores devido à sobreexposição.
O veículo Cassini, com o qual foi captada a imagem, aproveitou também uma ocasião insólita: um eclipse total do Sol visível desde Saturno.
"O objetivo foi capturar uma cena da Terra e anéis de Saturno com filtros que mostrem a cor natural, o que poderiam ver os olhos humanos", explicou a líder do projeto, Carolyn Porco, citada pelo "El Mundo". [Fonte: Jornal Notícias, 24/7/13]

terça-feira, 27 de agosto de 2013

Música do BioTerra: The Chameleons - Intrigue In Tangiers

Em estúdio

Oh when it's summer and the skies are glass
Oh when it's summer and the skies are glass
I just have to make the evenings last they're always flying past
Oh when it's raining and the skies are black
Oh when it's raining and the skies are black
I just have to hear the thunder roll and hear the lightning crack

With fading powers,we sit for hours by a television screen
With funny cigarettes and talk for hours of the places that we've seen

Oh brother can you hear my voice?
Oh brother can you hear my voice?
Every second that you cling to life you have to feel alive
Well it's an easy thing to sell your skin
It's an easy thing to sell your skin
With the devil banging on the door , you always let him in.

With fading powers, we dream of hours that'll never come again
Old defenders are themselves defenceless when the mad attack the sane

What can you do, when you see no future in front of you?
Food for the few
So many it seems, stand in front of you
I see my face reflected there in a sweating brow.
You hate what you see, but what can be done when there's no way out
No way out

Now brother can you hear my voice
Brother can you hear my voice
Every second that you cling to life you have to feel alive
And now it's summer and the skies are glass
When it's summer and the skies are glass
I just have to make the evenings last, they're always flashing past

So there we cower
We sit for hours by a television screen
With funny cigarettes and talk for hours of the places that we've seen

But when you sleep
But when you sleep
Where do you go?
Where do you go?

But when you sleep
But when you sleep
Where do you go?
Where do you go?

I don't know
I don't know

Ao vivo

domingo, 25 de agosto de 2013

Sky Dancing

Sky Dancing de Patrick Watson é  mais que uma música. Um hino a um modo meu de viver - (re)pensa o TEU mundo...Não é apenas MEU...é NOSSO...é de TODOS!

"Importuna Razão, não me persigas;
Cesse a ríspida voz que em vão murmura;
Se a lei de Amor, se a força da ternura
Nem domas, nem contrastas, nem mitigas;

Se acusas os mortais, e os não abrigas,
Se (conhecendo o mal) não dás a cura,
Deixa-me apreciar minha loucura,
Importuna Razão, não me persigas."

Manuel Maria Barbosa du Bocage

sábado, 24 de agosto de 2013

Faun - Gaia (Totem)

FAUN combines medieval & ancient instruments with modern influences to create an enchanting and powerful atmosphere. The band's performance incorporates many different instruments, including the Celtic harp, nyckelharpa, various lutes, the bagpipes, large Japanese taiko drums, cister, the violin, flutes and even Arabic instruments like dombra, rebab, riq, oud, darabukka and bendir, as well as the melodic vocal section going from solo folk-like and often ambient melodies to chant-like and always enchanting vocal performances with the two female and frontman Oliver s.tyr vocalists combining something truelly magical.. Influences of Celtic folk and medieval music fusing with driving beats draws an ever fast growing crowd of followers.

quinta-feira, 22 de agosto de 2013

Claude-Achille Debussy nascido em 22 de Agosto de 1862

Claude-Achille Debussy nascido em 22 de Agosto de 1862. Um inconformista e um génio provocador, que influencou muitos músicos, em particular Béla Bartók, Manuel de Falla e Heitor Villa-Lobos. Belo tema e vídeo.

terça-feira, 6 de agosto de 2013

Hiroshima e Nagasaki, 6 e 9 de Agosto de 1945, por Sophia Mello Breyner

  • Todas as postagens sobre o sucedido em Hiroshima e Nagasaki no BioTerra
  • Ver  ainda Dossier Bioterra Não ao Nuclear

Vemos, ouvimos e lemos
Não podemos ignorar
Vemos, ouvimos e lemos
Não podemos ignorar

Vemos, ouvimos e lemos
Relatórios da fome
O caminho da injustiça
A linguagem do terror

A bomba de Hiroshima
Vergonha de nós todos
Reduziu a cinzas
A carne das crianças

D’África e Vietname
Sobe a lamentação
Dos povos destruídos
Dos povos destroçados
Nada pode apagar

O concerto dos gritos
O nosso tempo é
Pecado organizado

quinta-feira, 1 de agosto de 2013

The Eucalypt Invasion of Portugal

Fonte: Michaela Mcguire
Just a short drive from the Portuguese university town of Coimbra, in Vale de Canas, a sea of eucalypts extends to the horizon in all directions. The tallest tree in Europe sprouted here 120 years ago, in a deep, foggy gorge. “Karri Knight”, as the tree is known, is a lone Eucalyptus diversicolor piercing the sky at 72 metres. The brown and white–trunked giant was measured using a laser hypsometer by a team of self-professed “gum nuts” in 2010. Native to Western Australia, Karri Knight is nearly as far from home as I am. 

Popular for ornamental and medicinal reasons, eucalypts were introduced to Europe in the late 18th century by British and French botanists, including Sir Joseph Banks. By the 19th century there was almost no native woodland left in Portugal and, in 1866, some 35,000 eucalypts were planted around Coimbra in an effort to control devastating erosion. The thinking also went that the trees would help to drain swamplands and reduce the incidence of malaria.

Almost a century later, Scandinavian timber companies began buying up vast parcels of Portuguese land to grow Eucalyptus globulus, or blue gums, to pulp for paper. The vast plantations crippled village economies, many of which still relied on communal farming, by usurping land and lowering the water table.

“Portugal was not in a position to guard against those projects,” says Pedro Bingre, the regional director of Portugal’s major environmental group, Quercus, named after the native cork oak tree that, thanks in part to the proliferation of eucalypts, is in steady decline. “By the early ’70s Portugal was fighting wars in three African countries, so we needed the money. Special laws were created for the expansion of the eucalyptus.”

Now the exotic blue gum is the most abundant tree in Portugal, covering about 7% of the land. Walking through Vale de Canas beneath the towering gums feels bizarrely familiar, but Portuguese gum forests are deathly quiet. “Our fauna can’t feed on it; they can’t find refuge in it. Our insects can’t eat eucalyptus, so there are no birds,” says Bingre. “We should introduce koalas. At least there would be something cute to look at.”

Plantation eucalypts are grown in rotation periods of 12 years, during which time the undergrowth is cleared at least twice. “In a native oak forest you’d find, in one hectare of woodland, at least 70 or 80 species of plant,” says Bingre. “In a eucalyptus forest, you would hardly find more than 15.”
But it was the drying up of village water supplies that sparked a groundswell of opposition to the “eucalyptisation” of Portugal. “Ever since the mid ’70s people have been protesting,” explains Bingre.

Paulo Bernardo de Andrade, one of Quercus’ co-founders, was among the original plantation opponents. “One of the most effective protests was to pull out the baby trees,” he tells me, sitting in his dining room in Coimbra. “We used to chain ourselves to the machinery used to excavate the earth, too.” He smiles ruefully. “That was the ’70s. Things have changed.”

Today, Quercus sees education as its best strategy, helped by evolving technology. Currently Brazil produces twice as much pulp per hectare as its former colonial master, and Portugal only remains competitive because of the high cost of transporting pulp from Brazil to Europe. Meanwhile, demand for paper is declining. “People are buying less newspapers, less magazines,” says Bingre. “Some studies say that in 20 or 30 years’ time there won’t be enough demand to justify these huge plantations of eucalyptus, which will be a new problem for us. It’s very unlikely that the landowners and pulp-producing companies will be willing to convert their plantation forest back into native cork forest. It would be very expensive.” Screw-top wine caps have nobbled demand for cork, at least abroad, and it doesn’t help that eucalypts are particularly hardy, capable of regrowing up to three times after harvesting. In many parts of Portugal, eucalypts already grow wild. “As does the Australian wattle tree,” Bingre tells me. “The two trees are very aggressive species.”

To local environmentalists, the gum tree is to Portugal what the rabbit is to Australia. But de Andrade can find one redeeming feature. “Eucalyptus, it’s good for some things,” he says, pulling a long, slender object wrapped in bright fabric from the corner of the room. The didgeridoo is covered in a pattern of curls that he has marked into the wood using a small blowtorch. He gives me a quick demonstration and is surprisingly proficient. “It’s easier to make these out of bamboo or balsawood,” he says, testing its weight in one hand. “But eucalyptus is more special, I think.”