sexta-feira, julho 11, 2008

não sei

See just this Post & Comments / 0 Comments so far / Post a Comment /   Home
Up, Down.

So you're the kind of vegetarian who only eats roses.   Is that what you meant with your beautiful losers?

That from Leonard Cohen, probably written sometime in the early 60s, maybe late 50s. A-and then there were these three chinese fortune cookies I got at China Brasil in the last few months:

Faça segredo dos seus planos por enquanto. / Keep your plans secret for now.
Keep your plans secret for now.
Não tenha pressa, a prosperidade baterá brevemente à sua porta. / Don't be in a hurry, prosperity will soon knock on your door.
Don't be in a hurry, prosperity will soon knock on your door.
Use seus talentos nos mais diversos aspectos. / Use your talents in the most diverse situations.
Use your talents in the most diverse situations.

Thinking yesterday how your 'image mode' determines much of what you think and understand. For example; Charles Taylor uses the word 'axis' to relate a series of issues or positions on issues. This was confusing to someone who posted on the subject over at United Online. I wondered about her confusion ... and yesterday realized that he uses a 'geometric image mode' as a framework for his thinking, and that being in his 80s, and thus having had in his early education even more geometry than I had, and that people not very much younger than I have had no geometry whatsoever ... well!

Consider too 'montage', the justaposition of images making a new idea contained in neither of the initial images. This technique is common currency in the visual arts, particularly photography. Another example is 'flashback' as used in film.

Indeed, in daily reflection, fossicking among the flotsam and jetsam in the 'stream of consciousness' ... much of what comes out of the process: what is important or unimportant, what merits approbation or censure ... etc. is not only determined by whatever mode is active, but is also the descriptive frame of reference - which determines who understands the thought when it is passed on.

This constitutes another layer within or on top of Taylor's notion of a 'Social Imaginary', or collection of assumptions. There are assumptions built into our very perceptions.

At the time I was sitting in this town's central square, just about empty at that hour, pale winter sun comfortably warm, and a raggedy man came in with a bag of breadcrumbs for the pigeons, and sat for a very short time throwing them out on the ground, folded up the plastic bag he had carried them in, walked over to the refuse bin, looked in first to see if there was anything worth picking up, and then put the bag in the bin and went on. And right away I was thinking what a wonderful backdrop this bit of business would make for a scene in some movie - the lovers are parting and in the background a tramp is feeding the pigeons and doesn't even take the time to watch them eat.

The tall morena aroused his honest interest and admiration. She was a waitress at the local, and when the subject of language teachers came up she said to him, "Eu tou uma boa professora - mas eu falo rápido e só falo uma vez! / I am a good teacher - but I talk fast and I only say things once!" He didn't take her up on it - it was not really an offer as far as he could see at the time, and shortly after that she was fired for mysterious reasons. But she stayed in his thoughts. Then she turned up at the shipyard where he worked one day as a welder-in-training, and then appeared with one of his few friends among the engineers. At first he was pleased, because he liked them both - but one night when he was out-and-about he came across them and neither one said hello. It was an oblique situation, nothing as overt as being snubbed, just the way things unfolded, and yet it wasn't accidental either. The engineer even denied all involvement when asked the next day. Evenually he left town, and she with him. Ai ai ai!