ÁRVORE DO ANO 2026: Candidaturas 2025 Abertas

Inscrições e Regulamento disponíveis em: https://forms.gle/87pvuSeYd8ckWUQb7 R. Mestre Lima de Freitas, n.º 1, 1549-012 Lisboa, PORTUGAL Phone: + 351 21 7100014 (chamada para rede fixa nacional) | www.unac.pt P Antes de imprimir, pense no MEIO AMBIENTE.

HALLOWEEN TANGO/MILONGA

AGENDA CULTURAL: Tango Argentino/Milonga, Lagos, Algarve, PORTUGAL, Plural

FUNG LOY KOK Institute of Taoísmo: Taoist Tai Chi Personal Testimony

The Rewarding and Enticing flavour of Life! The Tiger's Mouth Blog: Feeling Amazing with Taoist Tai Chi® arts by Canada Blog Editor · Oct 29, 2025 Personal Stories After beginning Taoist Tai Chi® practice, Jolanta is feeling like a new person! With heartfelt gratitude, she reflects on the deep changes and unexpected joy tai chi brings to her life. View more and like, share and comment on our Facebook page.

A prática diária de Tai Chi Taoista

 

Comecei o dia com a prática da Forma, Toryus e Donyus.

Fiz repetições do movimento Repele o macaco.

Um estimulo 

Um sentir 

O observar e deixar ir.

 🎥Vídeo da prática:

FOTOGRAFIA/PHOTOGRAPHY - LENSCULTURE: "Interview Clay Feet ... Photographs by Rebecca Horne Interview by Sophie Wright"

Interview Clay Feet Blending self-portraiture, still life, and mythic gesture, Rebecca Horne’s “Clay Feet” charts the unstable terrain of transformation as an embodied act of making, unmaking, and reclaiming the female image. Photographs by Rebecca Horne Interview by Sophie Wright The encyclopedic collection of images that make up Rebecca Horne’s Clay Feet explore what it is to create a new self. Slipping in-between different materials, still lifes and self-portraits, old images excavated from the past and new ones crafted by the artist, she maps out a world where meaning is unstable. Embracing contradiction, the project grapples with finding a way to navigate uncertain waters and capture the process of “aging and growing at the same time.” Inspired by the German art historian Aby Warburg’s mammoth work the Bilderatlas Mnemosyne—an unfinished, ever-changing cluster of printed matter pinned onto wooden panels, tracing gestures and themes across images throughout history—Clay Feet inserts the artist’s own body into the mix. Horne’s embodied inquiry takes place against the backdrop of art history; an act of resistance against the way women’s bodies have been represented across time. In this interview for LensCulture, Horne speaks to Sophie Wright about the themes enveloped in her personal atlas, using photography to process change and her first encounter with Warburg’s work. Sophie Wright: There’s a beautiful anecdote you mention in your statement about archeology digs you visited with your father. Can you tell me more about what has shaped your approach to photography? RH: My dad was an archeologist. I remember, at least once, being the only one to find an artifact on a dig—I think it was partly because I was closer to the ground, but also because I was so into it. The part that captivated me wasn’t just the finding of things; it was the idea that there was an entire culture with a whole system that was now invisible but existed in that space and time. And the stories that these little fragments could tell—a piece of a vase could show us what people were eating and how they made their food as well as what kind of technologies they used. But it was always a flawed, incomplete picture, or an echo. SW: What were your first subjects, and how has that changed up until now in your most recent work? RH: During my BFA at San Francisco Art Institute I experimented and tried my hand at everything from metalworking to printmaking and film. Sometimes I would dress in drag and take self portraits, but I would also just go about my daily business dressed as a man. I would wear vintage suits, slick my hair back and apply makeup called beard stipple to make a five o’clock shadow. I noticed how I took up more space and held my body differently. And when I think about this and the work I’m making now I do see a connection—I’m still asking questions about masculinity. The SFAI photo department had a big landscape tradition that I rejected. There was an emphasis on process and antique technologies. I learned that I’m interested in ideas and not so much the delivery. I don’t really care whether what I’m using is digital or analog. I just want it to be a simple delivery system for the picture I’m interested in making. SW: You started with self-portraiture early on, then became more interested in the everyday and the objects that populate it—but in this project you’re coming back where you started. RH: Maybe I am embracing some of the themes that were resonating at the time—in a more sophisticated way, I hope. I haven’t made any self portraiture for well over 20 years, so this was a big shift and a really different space, to be doing it again in my fifties. SW: Can you tell me about the seed of your latest project Clay Feet? How did it start? Would you say it grew from something you’ve done before or does it mark a step in a different direction? RH: I always wanted to make a very rich encyclopedic book with lots of categories and subcategories. Clay Feet includes works which are more engaged with still life and have their own ideas attached to them. But the envelope is art history—and the idea of transformation and metamorphosis, myths, gestures, combined with the styles in which the images are made. I’m not just riffing on Renaissance imagery, but also modern traditions like cubism, surrealism and minimalism. The project is a container that holds all of those things, which is convenient because I’m prolific—or at least that is what my friends say. The very first spark or inkling to Clay Feet was a photobook, Men Untitled by Carolyn Drake. There was something in it that connected with the rage that I felt. I think I drew on those feelings last summer when I was in a state of extreme liberation. I had ended a long relationship with a controlling man and my son moved off to college. The person who I had made breakfast, lunch and dinner for every day for 17 years had left home. I had more time and that was really profound to me—it became an explosively creative period. I was also more than a little angry about how much time had been taken from me, as an artist, while I had tried to fulfill the roles that were expected of me. I just started exploring this really raw, visceral space, asking who I was outside of motherhood, stepping into a new time of life and fully embracing it. I played at embodying various anti-maternal figures in my pictures and in my life. Physically I was becoming stronger. I could swim, train, I could test my endurance, I could make and perform art. I could have younger men as muses. So this personal shift combined with a lot of other ideas.

SW: There’s a performative element to the work that is definitely in your previous projects but perhaps never as intimate. Does it feel therapeutic? RH: That word therapeutic is key because there was a kind of emotional intensity to what I was doing and it was so demanding. Each day before I went into the studio I would think, “Can I really do this?” Now some of the pictures have moved outside. It started with these private performances and then evolved into public ones that are still somewhat intimate. It’s been somewhat vulnerable now that I’m showing the work to people too, because when I’m making these pictures, I’m really in it. The making is a part of the process that I really care about—the moment of performance, whether I’m working with a model, myself, or someone’s helping me, or I’m alone, is important. Maybe it is some kind of proto-drama therapy. Sometimes it feels that way. That was the cauldron from which Clay Feet emerged. I was training for an open-water race while working on the project. I felt physically powerful and proud of my body for what it could do. Becoming stronger let me explore the world in new ways, to face challenges in a different way than in the studio.

SW: Tell me about the materiality of clay and what it means to you in the context of the project? RH: Well, clay is the primordial mud, right? It’s the origin of everything, what we evolved from. It’s difficult to work with. I found it immovable, almost impossible compared to paper, which is another material I use a lot. It was a good metaphor for the effort involved in transitions and change. And I was working with this incredibly awkward moment of trying to make clay feet for myself—to take control and make a new way to move in the world. It’s absurd, but it’s also somehow profound. To imagine something really different, outside of daily life. It’s difficult and messy but it’s something that’s really happening. Clay feels like some kind of analog for the human body—it starts out malleable, but then becomes static, fixed.

SW: There’s a sense of agency there, of moulding your own image. You also mention Aby Warburg and his Mnemosyne Atlas as an influence which is almost the polar opposite of making your own image—these huge collections of archetypal images. Can you tell me more about your encounter with his work? What drew you there and how would you describe your interventions? RH: The agency part is important. One of the figures that I adopted from the Atlas is Fortuna. She’s the goddess of fortune, often seen standing on a globe or navigating a boat with her dress doubling up as a sail. I like the idea that she’s taken the veil that her body has been covered with and she’s using it to move through the world. I adopted her as a figure of charting your own course. I first discovered Aby Warburg’s Atlas online when I was about halfway through this project and I was electrified. The hair on the back of my neck stood up. I couldn’t even believe what I was seeing—it connected with what I’m doing in such a profound way. Warburg also worked in collections of images, always changing them, working with categories, iterations and a universe of associations. He photographed on black panels, with his bookshelves showing at the edges, just as I had done. He left the project unfinished, which captivated me and made me feel like I had permission to enter the work. To me, he seems more of an artist than a historian. I think it’s also really interesting how he has baffled so many scholars. Sometimes it’s pretty obvious what the connections are between the images, but often they are not at all clear. And that’s mysterious. It’s a space that I just love stepping into.

SW: Tell me more about working with the female body, and specifically, your body in these images. RH: It was this moment of literally, physically moving my pictures into this echoing stream of imagery and art history. It felt provocative, like I was doing something that was perhaps not allowed. It was definitely an act of resistance, but also saying: “I’m part of this and I’m not going to be ignored.” In much of art history, you don’t see female artists—instead you see women’s bodies represented by men. In photography traditions, it’s the same. Even now we are supposed to congratulate men that are making tiresome nudes of women and regurgitating those traditions.

SW: While your previous work revolved around the slow changes of daily life, some projects taking an interest in a scientific approach of observation, Clay Feet looks at transformation through a more mythological lens. What did this new framework give you? RH: Last July, as a part of my job as an art director, I went to the International Neuroscience conference at the Paris Brain Institute, the Pitié-Salpêtrière which has been there since the 1600s. It is considered by many as the birthplace of neurology and neuroscience. There are a few images from the Pitié-Salpêtrière in Warburg’s Atlas. Jean-Martin Charcot had a photography studio and artists working there, producing a huge amount of imagery of women that were essentially held captive there. I think the myth-making and the science happened at the same time. The idea of uncovering women, possessing them, uncovering the secrets of the reproductive system and cutting into it—all of these things were connected to the process of obtaining knowledge. The female body is used to to personify ideas, such as nature, truth, justice, and often in contradictory ways. Naked or draped female bodies in public places are invested with cultural values in a way male bodies are not. This summer I made a set of images where a female figure is completely covered by a veil or draped in fabric. Ludmilla Jordanova’s book Sexual Visions talks about the hierarchies of medicine, biology and cutting into the tissue of the body layer by layer and the blending of scientific methods of observation with earlier Greek and Roman ideas of physiognomy and truth. In these classical sculptures, there’s always draped fabric that reveals and conceals at the same time. SW: In mythology we get all of these ambivalent physical transformations that have these kinds of impossible entanglements with the environment, like the way that Daphne turns into the tree. RH: The Daphne story feels complicated. Is she escaping a rapist? Is Apollo a lover? What’s happening? There’s a lot of violence in those images of her turning into a tree that I find really difficult to look at. I thought about the physical feeling of becoming a tree when planning the shoots. Is there movement, rigidity, pain, pleasure, relief? I think this idea of becoming—becoming a monster, becoming nature—or extending and transforming the body is interesting. I love the German artist Rebecca Horn and Joan Jonas’ early work which explores changing the shapes of the body in space—that really resonates with me. In Clay Feet, for example, you see a woman drawing with a cone attached to her head—it’s this idea of creating something that is very difficult to do, barely possible. It’s like being a female artist in some ways. Are you a unicorn? Are you a dunce? A lot of the images are exploring that instability of meaning.

SW: Images that allow for contradictions, not fixing something down into one reading. And as Aby Warburg never actually ‘ended’ the Atlas, constantly moving them around on these big panels, how are you thinking of the end point of your own collection? RH: That’s what I’m grappling with right now. I’m a little afraid to end Clay Feet the book version—I have so many pictures, and too many ideas so I have to make hard decisions. I don’t think I’m done with the project overall. It keeps evolving. I’m still completely fascinated with it. Sometimes magic happens: I will make a picture and then later discover an Atlas image I hadn’t seen yet, with striking similarities. Where did these images come from? Dreams? Art? Are they part of a collective unconscious? The subconscious? Warburg was asking these questions, too, I think. Throughout this project, I saved readings for myself until I was done with large groups of the images. I didn’t want anything to interrupt the vibrations I was receiving from the Atlas. I didn’t want to learn too much about Warburg and discover things I didn’t like—but so far, it has had the opposite effect. Turns out that Warburg’s mental illness was a rare disorder that led him to think he was becoming a werewolf. He was fascinated with Fortuna, and had a medallion of her that he prized and hid… maybe she was a kind of talisman. Learning these things made me feel differently about the creatures in the atlas, and putting myself in amongst them. My plan at the moment is to keep pulling on these threads until I’ve explored them all, or until my interests lead me elsewhere.

Rebecca Horne Rebecca Horne United States http://rebeccahornephotography.com/ View Profile https://www.lensculture.com/rebecca-horne

WEBBY AWARDS 2025: Crafted with Code 2025

FUNG LOY KOK TAOIST TAI CHI: Personal Testimony - I got rid of my wheelchair with Taoist Tai Chi® arts!

"I got rid of my wheelchair with Taoist Tai Chi® arts!"

THE WEBBY AWARDS: "30th Annual Webby Awards Final Entry Deadline Dec 19"

"30th Annual Webby Awards Final Entry Deadline Dec 19"

A prática diária de Tai Chi Taoista

 

Hoje comecei o dia com a prática da Forma, Toryus e Donyus.

Senti o donyo. O coração do donyo.

O Sentir das rodas na abertura pélvica e o sacro bem caído como se um saco de areia lá estivesse. Os braços leves mas intencionados como penas 

A Forma: tive uma branca no movimento a cegonha areja as asas 

Repele o macaco bem em cima

🎥Video da prática: 

FUNG LOY KOK TAOIST INTERNAL ARTS: DOUBLE NINTH FESTIVAL 2025

The Tiger's Mouth Blog: Double Ninth Festival 2025 by Canada Blog Editor · Oct 28, 2025 Festivals Participants of Fung Loy Kok Institute of Taoism chant the Scripture of Filial Piety to celebrate the Double Ninth Festival on the ninth day of the ninth lunar month (October 29). Chanting expresses our intention to pay our respects to our elders and to our ancestors, and our wish for everlasting harmony. View more and like, share and comment on our Facebook page.

JAZZ ON THE TUBE: Jazz Birthdays, Happy Birthday Eddie Henderson October 26, 1940

Happy Birthday Eddie Henderson October 26, 1940 A salute to the hard bop trumpeter – Trumpeter and flugelhornist Edward (“Eddie”) Henderson was born October 26, 1940 in New York City. The son of a mother who was a dancer at the Cotton Club and a father who was a singer, Henderson had a trumpet lesson from Louis Armstrong when he was nine. He grew up in San Francisco, studied and played classical music, and worked towards becoming a doctor. While building his medical practice, music soon took over his life, particularly when he worked with Herbie Hancock’s Mwandishi band during 1970-73 and led two albums on which he displayed the influence of fusion-era Miles Davis. Henderson gained more experience playing with Pharoah Sanders, Norman Connors and Art Blakey’s Jazz Messengers, and since the 1990s has primarily played hard bop, still sounding pretty strong in his mid-seventies. The Eddie Henderson Quintet of 2012 performs an original ballad. Personnel: Eddie Henderson, trumpet Freddie Washington, tenor Ptah Williams, piano Bob DeBoo, bass Gary Sykes, drums -Scott Yanow

JAZZ ON THE TUBE: Jazz Birthdays, Warne Marsh Day October 26, 1927 – December 18, 1987

"Warne Marsh Day October 26, 1927 – December 18, 1987 "It’s You Or No One" Tenor-saxophonist Warne Marsh was born October 26, 1927 in Los Angeles, California. The son of an MGM cinematographer and a violinist, Marsh started on the tenor-saxophonist as a youth, playing with Hoagy Carmichael’s Teenagers during 1944-45. After serving in the Army, Marsh worked with Buddy Rich’s band in 1948. Marsh began a long-time association with pianist-teacher Lennie Tristano in 1949, becoming one of Tristano’s top students and adopting the pianist’s approach to improvising, displaying a cool tone that emphasized chordal improvisation (creating an endless series of long melodic lines) on common chord changes over an unchanging rhythm. Marsh teamed up with altoist Lee Konitz in Tristano’s sextet in 1949, recording remarkably rapid unisons on “Wow,” dazzling tradeoffs that found the two saxophonists sounding like one, and recording the first two free improvisations (“Intuition” and “Digression”) in jazz history. The tenor worked with Tristano through 1952, led some of his own similar sessions, was part of Supersax in the 1970s, and recorded on albums led by Lee Konitz, Kai Winding, Art Pepper, Ted Brown, Clare Fischer, Gary Foster, Lew Tabackin, Bill Evans, Karin Krog, Red Mitchell, and Chet Baker, co-leading some albums with fellow tenor Pete Christlieb. Warne Marsh died of a heart attack onstage right after performing “Out Of Nowhere” at Donte’s in North Hollywood when he was just 60. This rare film clip features Marsh just two months before his death, still in prime form playing “It’s You Or No One.” Personnel: Warne Marsh, tenor Larry Koonse, guitar Seward McCain, bass Jim Zimmerman, drums"

A prática diária de Tai Chi Taoista

 

Comecei o dia com a prática da Forma, Donyus e Toryus e nuvens. 

Nos Donyus as mãos ainda estão a ser trabalhadas. A postura pélvica está a ser trabalhada.

A entrega .

A observação.

O sentir.

🎥Vídeo da prática:

FUNG LOY KOK TAOIST TAI CHI: "Practitioners Celebrating 50 Years of Taoist Tai Chi"

MEDICINA E DIREITOS SOCIAIS: "CARTA AOS MÉDICOS DAS JUNTAS MÉDICAS" - "Mais de 2000 Assinaturas em meia hora. OBRIGADO"

Pedro Chagas Freitas • following 🏆 Autor favorito dos portugueses 📚 Um milhão de livros vendidos 🎓 Formador de Escrita 🧠 Orador (des)motivacional 📩 pedrochagasfreitas@icones.pt 1d • 1 day ago • Visible to anyone on or off LinkedIn "As redes sociais são lindas quando as pessoas que as usam são lindas. Em pouco mais de 30 minutos, conseguimos mais de duas mil (sim: 2000) assinaturas da "Carta Aberta por apoios justos às famílias de crianças e jovens com cancro" . Vocês são maravilhosos. Obrigado a todos. Que bonito é o mundo quando estamos com o chip certo: porque não somos sempre assim? Tragam mais pessoas para assinar, sim? É aqui: https://lnkd.in/dQvPnbc2"

MEDICINA E DIREITOS SOCIAIS: "CARTA AOS MÉDICOS DAS JUNTAS MÉDICAS"

https://www.linkedin.com/posts/pedro-chagas-freitas_n%C3%A3o-%C3%A9-a-minha-hist%C3%B3ria-podia-ser-%C3%A9-real-activity-7388536096642555904-O3IL?utm_source=share&utm_medium=member_desktop&rcm=ACoAAApzLDcBG_PZ4U9k2iM1gWVLaAixY6uEVh4

Pedro Chagas FreitasPedro Chagas Freitas • FollowingFollowing 🏆 Autor favorito dos portugueses 📚 Um milhão de livros vendidos 🎓 Formador de Escrita 🧠 Orador (des)motivacional 📩 pedrochagasfreitas@icones.pt🏆 Autor favorito dos portugueses 📚 Um milhão de livros vendidos 🎓 Formador de Escrita 🧠 Orador (des)motivacional 📩 pedrochagasfreitas@icones.pt 6h • 6 hours ago • Visible to anyone on or off LinkedIn "Não é a minha história. Podia ser. É real. É a história de demasiadas pessoas. Recebo algumas todos os dias. Chamaram um pai à Junta. Ele foi. Entrou com a vida às costas: a mulher exausta, a filha de quatro anos a pedir colo, o filho a lutar contra uma leucemia mieloide aguda num corredor de hospital. Perguntaram-lhe se não tinha outra filha pequena. Ele respondeu que sim. Disseram-lhe que não fazia sentido estar de baixa: — A mãe já está, o pai deve trabalhar. Assim distrai-se. Distrai-se. Vou repetir a merda da palavra: distrai-se. Como se distrai um pai que vê o filho a perder força, luz, energia, vida? A distracção é um conceito inventado por quem tem o luxo de não sofrer. Para quem vive na ala pediátrica de um Hospital, de um IPO, não há distracção; há sobrevivência, um nó no estômago que não desaparece, noites que não acabam, dias que não começam. — A mãe está em casa, o pai pode trabalhar. Não, meus caros. Não. O amor não é uma função delegável, a presença não é um desperdício económico, o pai não é um acessório, a família não tem Departamentos. Este pai podia ter obedecido, podia ter voltado ao trabalho, podia ter deixado a mulher sozinha, a filha confusa, o filho doente. Ficou. Rebentou as economias todas. Ficou. Há batalhas mais importantes do que tudo: as que se travam à cabeceira de quem se ama. Senhores/as médicos/as das Juntas, a medicina que não escuta deixa de curar. Aquele pai, como tantos outros, não pediu privilégios. Pediu o mínimo: compaixão, empatia, tempo, uma possibilidade de salvação. Não há normalidade possível quando um filho luta para viver. Não há um Estado digno quando a dor de um pai, de uma mãe, vale menos do que a folha de um orçamento. Por isso vos peço: não sirvam a contabilidade. Sirvam a vida. Obrigado, Pedro"

FUNG LOY KOK TAOIST TAI CHI Personal Testimonies

"Living with scoliosis, Dita shares how Taoist Tai Chi® practice helped her find expansion through letting go in her mind. “Actually not only did the mind relax, but the body did as well… I finally achieved expansion"

T🎯DAY and WEEK HAPPY In You

A prática diária de Tai Chi Taoista

 

A prática de hoje foi direcionar o foco no Donyu

A desbloquear mas ainda muito tensa.

🎥Vídeo da prática:

FUNG LOY KOK TAOIST TAI CHI: Personal Testimonies, "Letting Go"

LITERATURA: Na Estante do Justo, por Luís Justo: Os Mortos/The Dead, de James Joyce

Estante do Justo Comentários sobre literatura e compartilhamento de outras impressões OS MORTOS Luis Justo26/10/2025Resenha de ContoNavegação de posts

OS MORTOS Os que vivem guardam os mortos, os seus mortos. Os mortos personificados como os antepassados ou como aquilo que se estratificou na história de cada um, assim como na unidade grupal e na grande História. Representam muito, contribuem para a formação de paridades. São objetos de apelo dos vivos, referências fundadoras. A eles atribuem-se elementos do bem e do mal. Assombram e iluminam. São memória e esperança de sobrevivência, de afirmação de valores, de costumes, de identidades. Há os que os glorificam e aqueles que, de um certo modo, deixam-nos para trás em busca do novo, recusam as formas mais estritas de pertencimento aos seus, ainda que conservem involuntariamente algo do que deles herdaram. O mais célebre conto de JAMES JOYCE (Dublin1882 – Zurique, 1941) é intitulado “OS MORTOS”, faz parte de “DUBLINENSES” e trata com elegante suavidade destes temas. O enredo de “OS MORTOS” desenvolve-se durante e logo após um baile doméstico, oferecido aos amigos e familiares, por duas irmãs já idosas, Kate e Julia, e sua sobrinha, Mary Jane, que vivem juntas. É uma festa natalina. Seu protagonista maior chama-se Gabriel (como o arcanjo que anunciou o nascimento de Cristo). É outro sobrinho de duas das habitantes da casa e primo da terceira, muito querido por elas. Presença essencial para que o evento seja o que deve ser. A espera por sua chegada, junto com a esposa Gretta, promove inquietação nas anfitriãs. Acompanhando Gabriel ao longo da estória o leitor vai encontrando os outros personagens, pode ver um retrato do ambiente e, especialmente, vislumbrar questões importantes para eles, que tipificam irlandeses daquela época. Os diálogos, aparentemente moldados por formalidades sociais, são veículos para as ideias que fervilhavam naquele momento e que dividiam os habitantes da Irlanda entre os anglófilos, que admitiam a dominação da Inglaterra e, até certo ponto, eram permeáveis ao que acontecia lá e no resto da Europa, aderindo aos hábitos e transformações daquelas sociedades, e os nacionalistas, que desejavam preservar a independência do País e cultivavam as tradições que aos poucos iam sendo abandonadas pelos outros. Os mortos são os que constituíam a vida típica da Irlanda mais antiga, que falavam o gaélico e conservavam resquícios de costumes celtas. Questões religiosas entram neste campo, pois motivavam cisões acentuadas entre as pessoas. As crenças e adesões vinculadas à Igreja Católica por um lado e ao protestantismo por outro surgem com frequência no texto. As citações sobre música também são significativas, tanto no aspecto laico quanto no religioso. Neste bojo, no final do conto, Gretta traz à cena um amigo seu do tempo de adolescência, Michael (possível ligação com o arcanjo que luta contra o demônio) e que morreu naquela época. Ela chora por ele, por sua perda, de modo incompreensível para Gabriel que olhava para o mundo atraído pelo futuro, o qual não estava necessariamente enterrado na identidade do povo ao qual pertencia. Durante a festa ele recebe áspera crítica de uma das convidadas, sugerindo que seja um anglófilo, quando revela sua intenção de passar férias no continente europeu e ela sugere que Gabriel deveria trocar isto por uma viagem ao interior da Irlanda, no que é apoiada por Gretta. O conto é construído com grande sutileza e é rico em possibilidades de interpretação de eventos que aparentam simplicidade e convencionalismo. Bastante sintônico com a maior parte dos outros contos de “DUBLINENSES”. Título da Obra: OS MORTOS Autor: JAMES JOYCE Tradutor: CAETANO W. GALINDO Editora: PENGUIN/COMPANHIA Na ilustração foto de detalhe de afresco romano (MET-NY) THE DEAD The living keep the dead — their dead. The dead, personified as ancestors or as all that has become layered within the history of each individual, of the family unit, and of History itself. They signify much: they help shape kinships and likenesses. They are objects of invocation, founding references. To them are ascribed the elements of good and evil. They haunt and they illuminate. They are both memory and the hope of survival — of the preservation of values, customs, and identities. Some glorify them; others, in pursuit of the new, leave them behind, refusing the strictest forms of belonging, even while involuntarily retaining something of what they have inherited. The most celebrated of James Joyce’s (Dublin, 1882 – Zurich, 1941) short stories, The Dead, forms part of Dubliners and treats these themes with elegant subtlety. The narrative of The Dead unfolds during — and shortly after — a domestic dance hosted by two elderly sisters, Kate and Julia, and their niece Mary Jane, who all live together. It is a Christmas gathering. Its principal figure, Gabriel (named, like the archangel who announced the birth of Christ), is the beloved nephew of two of the hostesses and cousin to the third. His presence is essential for the event to become what it must be. The anticipation of his arrival, along with that of his wife Gretta, stirs unease among the sisters. Following Gabriel through the story, the reader encounters the other guests, glimpses the social milieu, and perceives — often beneath the surface — matters that defined these people and typified the Irish of that time. The dialogues, outwardly shaped by social formalities, serve as vessels for the ideas then simmering beneath Dublin’s polite veneer — ideas that divided the Irish between the Anglophiles, who accepted English domination and were, to some degree, open to the currents flowing from England and continental Europe, adopting their habits and transformations, and the nationalists, who sought to preserve Ireland’s independence and to sustain traditions gradually being abandoned by others. The dead represent those who had embodied the older, truer Ireland — speakers of Gaelic, keepers of faint Celtic customs. Religious questions emerge naturally within this sphere, for they too created deep rifts among people. Beliefs and allegiances tied to the Catholic Church on one side, and to Protestantism on the other, recur throughout the text. References to music, both sacred and secular, hold equal weight, marking the emotional and cultural rhythms of the story. It is within this framework that, at the story’s close, Gretta recalls a young friend from her adolescence, Michael (perhaps an echo of the archangel who contends with the demon), who had died in those distant years. She weeps for him — for his loss — in a way that bewilders Gabriel, who has until then viewed life as something directed toward the future, a future not necessarily anchored in the identity of the people to whom he belongs. During the festivities, Gabriel is sharply criticized by one of the guests, who hints that he is an Anglophile when he speaks of spending his holidays on the European continent; she suggests instead that he should travel through the Irish countryside — a suggestion Gretta warmly endorses. The tale is crafted with remarkable delicacy, rich in the interpretive possibilities that arise from events seemingly simple and conventional — fully attuned to the quiet depth and irony that suffuse the other stories of Dubliners. Title of the Work: The Dead Author: James Joyce Translator: Caetano W. Galindo Publisher: Penguin / Companhia das Letras (Illustration: detail of a Roman fresco, MET–NY.)

A prática diária de Tai Chi Taoista

 

A prática da Forma, Donyus e fundacionais.

O sentir.

Observar .

No final da manhã a prática foi no parque com meditação sentada, Donyus e a Forma .

Bebemos chá puher e a vitamina D .

🎥Vídeo da prática: 

MUSIC FAMOUS FESTIVALS IMAGES: These Woodstock Photos Kept Under Wraps — Discover the Untold!

FOTOGRAFIA/PHOTOGRAPHY, Documentary: These old photos will turn your view of the past upside down! part 19

MUSIC: Memory Feelings and AI Creations

FUNG LOY KOK TAOIST TAI CHI: Personal Testimonies

A prática diária de Tai Chi Taoista

 

A prática da Forma de Tai Chi Taoista 

Deixar ir 

🎥Vídeo da prática 

CINEMA STARS MEMORY: SEAN CONNERY

PORTUGAL, Plural: Swan Good Morning welcome.

FOTOGRAFIA/PHOTOGRAPHY Documents: 50 FOTOS RARAS E HISTÓRICAS QUE VOCÊ NÃO VAI CONSEGUIR ESQUECER 📷🔥

PORTUGAL, Plural: HAPPY T🎯DAY just starting...

HAPPY T🎯DAY ☯️Taoist Tai Chi just starting with swan and ducks visit welcoming to "Ana"'s Coffee terrace, John Paul II Park, Caxinas, Vila do Conde, PORTUGAL, Plural

JAZZ ON THE TUBE: Happy Birthday Banu Gibson October 24, 1947, Ms. Banu Gibson "Small Fry" & "The Monkey Song" @ Sweet & Hot Music Fest...

"Happy Birthday Banu Gibson October 24, 1947 A Vibrant Voice for Classic Jazz Jazz singer Banu Gibson was born on October 24, 1947, in Dayton, Ohio. A celebrated jazz singer whose powerful voice and charismatic stage presence have made her one of the foremost interpreters of traditional jazz and swing. She began her career in musical theater before turning to jazz in the 1970s, where her dynamic energy and love for the Great American Songbook quickly set her apart. Gibson rose to prominence leading her own band, Banu Gibson and the New Orleans Hot Jazz Orchestra, bringing new life to the music of the 1920s and 1930s. She became a fixture on the New Orleans jazz scene and a regular at major festivals around the world, known for her mix of authenticity and fresh flair. Career highlights include appearances at the Newport Jazz Festival, tours across Europe and Asia, and a series of acclaimed recordings that celebrate early jazz and swing. Beyond singing, she has worked as a producer, educator, and preservationist, championing America’s jazz heritage. With her vibrant vocals and tireless dedication, Banu Gibson has become a leading ambassador of traditional jazz, keeping its joy and spirit alive for new generations. She performs “Small Fry” and “The Monkey Song” at the Sweet & Hot Music Fest 2010."

PORTUGAL, Plural: HISTÓRIAS DE LISBOA, Sic Notícias, Podcast de Miguel Franco Andrade

https://sicnoticias.pt/podcasts/historias-de-lisboa

“Estavam a fazer obras na cave do restaurante 'Irmãos Unidos' quando encontraram uma escadaria. Era o maior hospital de Lisboa do século XV” Neste episódio de ‘Histórias de Lisboa’, o jornalista Miguel Franco de Andrade conversa com o historiador e arqueólogo Carlos Boavida sobre o Hospital Real de Todos os Santos Estamos no final dos anos 50 e o Metro de Lisboa está a efetuar a sua primeira grande expansão. A linha em Y, que terminava nos Restauradores, iria chegar, nos próximos anos, à estação dos Anjos, passando necessariamente pelo Rossio e pela Praça da Figueira. Ao iniciarem os trabalhos, as máquinas e os operários rapidamente se depararam com os alicerces de um grande edifício: é o grande hospital lisboeta, cuja monumental escadaria já tinha sido vislumbrada, pouco anos antes, numas obras de ampliação de um famoso restaurante, os Irmãos Unidos, em plena praça do Rossio.

Abria-se uma janela para o passado: para aquele momento em que os reis D. João II e D. Manuel I tinham sido forçados a criar o primeiro edifício público de assistência hospitalar a uma cidade em crescimento demográfico explosivo. Nos finais do século XV e inícios do XVI, Lisboa estava ligada aos quatro cantos do mundo através de rotas de expansão oceânica, que trouxeram populações de terras distantes, novas doenças e diferentes formas de as tratar.

Como nos conta o historiador e arqueólogo, Carlos Boavida, que trabalha no Gabinete do Património Cultural dos hospitais centrais de Lisboa, este é o tempo do “Banco das Águas”, das diversas enfermarias (masculina, feminina, dos alienados, etc.) em alas dispostas em formato de cruz. Debaixo do quarteirão que atualmente divide duas grandes praças da cidade, surgia um colosso que foi ocupando toda a área que agora conhecemos como Praça da Figueira com porta para o Rossio. Resistiu a incêndios e ao terramoto de 1755, mas não à expulsão dos jesuítas pelo Marquês de Pombal, o que viria a determinar a sua transferência (cenográfica) para a nova casa: uma procissão de doentes em macas e material médico-cirúrgico em carroças para o Hospital de São José que ainda hoje, mais de 250 anos depois, serve o centro de Lisboa, mas por pouco tempo. Um novo hospital, batizado de Todos os Santos, está a surgir na zona oriental da cidade. Neste episódio de ‘Histórias de Lisboa’, o jornalista Miguel Franco de Andrade conversa com o historiador e arqueólogo Carlos Boavida sobre o Hospital Real de Todos os Santos. Histórias de Lisboa é um podcast semanal do jornalista da SIC Miguel Franco de Andrade com sonoplastia de Salomé Rita e genérico de Nuno Rosa e Maria Antónia Mendes. A capa é de Tiago Pereira Santos em azulejo da cozinha do Museu da Cidade - Palácio Pimenta.

A prática diária de Tai Chi Taoista

 

A prática da Forma, Toryus e Donyus.

Movimento Interno

Sentir.

🎥 Video da prática:

JAZZ ON THE TUBE: Sonny Criss Day October 23, 1927 – November 19, 1977

A tribute to the forgotten but talented altoist Alto-saxophonist William (“Sonny”) Criss was born on October 23, 1927 in Memphis, Tennessee. Criss moved with his family to Los Angeles when he was 15 where he freelanced as a teenager. While inspired by Charlie Parker, with whom he played opposite while with Howard McGhee’s short-lived band, Criss had a deeper and thicker tone along with a bluesier style although he was always bop-oriented. Criss had an up-and-down career, touring with Jazz At The Philharmonic in 1947, performing at Gene Norman’s Just Jazz Concerts, recording with Billy Eckstine, Gerald Wilson (1954) and Buddy Rich, and having occasional sessions of his own but, while based in Los Angeles, he was largely overlooked during the peak years of West Coast cool jazz. After spending time in Paris (1962-63), Criss returned to L.A. where he freelanced, led a few excellent sessions for the Prestige label, and stayed underrated throughout his career. Sonny Criss suffered from stomach cancer in his last year, committing suicide when he was just 40. The altoist did not appear much on film but he is in fine form during this jam session set from Los Angeles’ Memory Lane in the early 1970s. Personnel: Sonny Criss, alto sax Harry “Sweets” Edison, trumpet Hampton Hawes, piano Leroy Vinnegar, bass Bobby Thompson, drums -Scott Yanow

LITERATURA: Na ESTANTE DO JUSTO: "Saber Envelhecer", de Cícero

SABER ENVELHECER Luis Justo20/10/2025ResenhaNavegação de posts Anterior SABER ENVELHECER Marco Túlio Cícero (Arpino, nas cercanias de Roma, 106 a.C – Fórmias, 43 a.C) foi orador, político, filósofo e escritor. Um defensor da busca da virtude e crítico da corrupção, tanto em público quanto privadamente. A mais famosa entre as obras que nos chegaram é “As Catilinárias”. Teve considerável influência na formação do pensamento ocidental. Os temas que lhe foram caros e suas opiniões sobre eles atravessaram os séculos. “SABER ENVELHECER” é uma combinação de discurso e ensaio filosófico. O fio condutor do texto é uma reflexão sobre o envelhecimento. Sua prerrogativa é de que a velhice não deve ser encarada como o pior período da vida e sim como uma espécie de epílogo em que há muito o que se louvar e o que se fazer. Cícero dá menos importância às perdas da senescência do que ao aprendizado adquirido e àquilo que é realizável por quem é mais experiente. Na leitura de “SABER ENVELHECER” alguns acharão o autor otimista demais quanto às condições de vida dos mais velhos, outros enxergarão a prioridade que ele dá a valores perenes e à responsabilidade pelas próprias ações que cada indivíduo deve ter, atravessando todas as faixas etárias. Há diferentes ideias a serem destacadas. A concepção de “desonra do poder” é um dos pontos relevantes em seu pensamento, universaliza-se. Para ele, uma vez ocupando uma posição de poder, especialmente no que diz respeito a cargos públicos que impactam a vida de tantos outros, não se pode tomar decisões injustas ou cometer erros graves em função das paixões que subjugam o espírito. Exemplo é a volúpia, o desejo sexual descontrolado. Haveria o risco de se cometer leviandades e males graves para levar a cabo tentações desta esfera. Em essência, isto poderia ser estendido ao que concerne a variados apetites e interesses particulares por parte daqueles que detêm cargos de chefia e comando e que têm obrigações precedentes ao que é de conveniência pessoal. Para Cícero, a velhice diminui o risco do cegamento acarretado por paixões, incluindo as de cunho sexual. Com este risco diminuído e somando-se o maior equilíbrio nas escolhas e na percepção do mundo, o idoso fica propenso a exercer mais apropriadamente as funções dos postos públicos e a ser mais sereno quanto ao seu futuro individual. Ele propõe que há um bom exercício da volúpia e não necessariamente a abdicação a ela, algo equivalente à parcimônia e sobriedade. Lembra do útil balanço a ser feito entre o que se ganha e o que se perde: “Ao renunciarmos aos banquetes, às mesas que desabam sob os pratos e as taças inumeráveis, renunciamos ao mesmo tempo à embriaguez, à indigestão e à insônia.” Com Cícero, para envelhecer bem é preciso estar atento às habilidades do corpo e do espírito, desenvolvendo-as através do que lhes for favorável, em todas as fases da vida. Nisto também importam os esforços para a contenção, que implicariam valorização e proteção das capacidades de cada um. Incluem-se aqui o comer e beber bem, fazer exercícios e saber repousar para recompor as forças, sem agir para arruiná-las com os excessos. Fundamental apreciar e aplicar com adequação as competências próprias de cada estágio da vida, distinguindo-as, aceitando as transformações determinadas pelo tempo sem tomá-las como ruína inescapável. Se há perdas quanto aos atributos físicos, pode haver ganhos relativos ao intelecto, à sofisticação das ideias e temperança afetiva. Enxergar isto tudo parece uma conquista empreendida desde a juventude. São ingênuas suas concepções sobre a deterioração da memória que pode acometer os mais velhos. Deve-se levar em conta que não havia conhecimento científico sobre este tipo de perda, como acontece nas demências. Também são hoje questionáveis, talvez frágeis, alguns dos valores que ele sustenta. É preciso ponderar a respeito de sua estreita relação com o contexto histórico em que viveu Cícero e de seu lugar na sociedade. Ainda assim, há aquilo que não é perecível entre as ideias que ele propõe e no que observa sobre o humano. Falando da morte, presumivelmente próxima (ele está com oitenta e quatro anos), o filósofo propõe que seja vista com serenidade. Revela crença na eternidade da alma e na doutrina que interpreta a morte do corpo como uma forma de libertação. É bastante permeável ao que tinham pregado Pitágoras e Platão, além de outros homens que julgava sábios e se pronunciaram sobre o assunto. Todavia, ele não minimiza a importância da vida terrena em função da sobrevivência da alma e de seu destino futuro. Acha que ela deve ser vivida até o final natural, com o máximo proveito. Vale registrar o comentário do pensador dizendo que se estiver errado quanto à crença sobre a eternidade da alma, tal erro lhe é bem-vindo, pois mesmo sendo um engano, é doce. Título da Obra: SABER ENVELHECER Autor: MARCO TÚLIO CÍCERO Tradutor: PAULO NEVES Editora: L&PM Marcus Tullius Cicero (Arpinum, near Rome, 106 B.C.–Formiae, 43 B.C.) was an orator, politician, philosopher, and writer — a defender of the pursuit of virtue and a critic of corruption, both in public and in private life. Among the works that have reached us, the most famous is The Catilinarian Orations. Cicero exerted considerable influence on the formation of Western thought. The themes that moved him and the opinions he held about them have crossed the centuries. On Old Age (De Senectute), known in Portuguese as Saber Envelhecer, is a work that blends the qualities of a speech and a philosophical essay. The guiding thread of the text is a meditation on aging. Its premise is that old age should not be regarded as the worst period of life, but rather as a kind of epilogue in which much remains to be praised and accomplished. Cicero accords less weight to the losses brought by senescence than to the learning acquired and to what remains achievable by those endowed with experience. In reading On Old Age, some may find the author overly optimistic about the condition of the elderly; others will discern instead his emphasis on perennial values and on the responsibility each individual bears for his own actions, responsibilities that traverse all ages of life. Among the many ideas that deserve attention, the concept of the “dishonor of power” stands out as one of Cicero’s universal insights. For him, once a person occupies a position of authority—especially one that affects the lives of many—he must not act unjustly or commit grave errors driven by passions that enslave the spirit. A prime example is sensual desire, the uncontrolled appetite of the flesh. Yielding to such temptations, Cicero warns, may lead to recklessness and great harm. In essence, his argument can be extended to all manner of appetites and private interests in those who hold positions of command, whose obligations must precede their personal convenience. To Cicero, old age lessens the risk of blindness caused by passion, including the erotic kind. With this danger diminished, and with greater equilibrium in judgment and perception, the elderly person becomes better suited to exercise public office and to contemplate the future with serenity. He suggests that pleasure need not be renounced, but moderated — to practice a tempered form of delight rather than to surrender it altogether. He reminds us of the useful balance between what is lost and what is gained: “When we forgo banquets, tables collapsing under innumerable dishes and cups, we renounce at the same time drunkenness, indigestion, and sleeplessness.” For Cicero, to grow old well requires attentiveness to the abilities of body and spirit, cultivating them through what is favorable at each stage of life. Equally important are the efforts toward restraint, which preserve and strengthen one’s faculties — eating and drinking well, exercising, resting sufficiently, and avoiding excesses that undermine vitality. It is essential, he teaches, to appreciate and properly apply the capacities particular to each phase of life, to distinguish them, and to accept the transformations wrought by time without mistaking them for inevitable ruin. If there are losses in physical vigor, there may be gains in intellect, refinement of thought, and emotional temperance. To perceive all this is itself a victory begun in youth. His ideas about the deterioration of memory in old age may appear naïve to modern readers; scientific understanding of such decline, as in dementia, was of course unknown to him. Likewise, some of the values he upholds may seem questionable or fragile today. Yet they must be considered within the historical context of his life and station. Still, much in his thought remains imperishable—especially his insights into the nature of the human being. Speaking of death, presumably near (he was eighty-four), Cicero proposes that it be faced with serenity. He affirms his belief in the immortality of the soul and in the doctrine that interprets the death of the body as a form of liberation. His reflections reveal the influence of Pythagoras and Plato, among other sages whom he admired. Yet he does not diminish the worth of earthly life in light of the soul’s eternal fate; rather, he insists that life must be lived fully to its natural end. He even remarks, with gentle irony, that should he be mistaken about the soul’s immortality, such an error would still be welcome—“for even if it is an illusion, it is a sweet one.” Title: On Old Age (De Senectute) Author: Marcus Tullius Cicero

ECONOMY n FINANCES: Studies - TED-ED: "HOW TO FIX POVERTY"

WEBBY 30 AWARDS: "...Enter by tomorrow, Oct. 24th to take advantage of early pricing."

#Put Your Work in Front of the Internet’s Best Our all-star judges are ready to see your work! Enter by tomorrow, Oct. 24th to take advantage of early pricing."

A prática diária de Tai Chi Taoista

 

A prática da Forma, Toryus e Donyus.

🎥O vídeo da prática:

JAZZ, BLUES: "Shadows on my pillow", by JOSEPHINE CARTER

PORTUGAL, Plural: AGENDA CULTURAL, CCB: 2.º Aniversário do MAC/CCB 24 a 26 out ENTRADA GRATUITA

"MAC/CCB – Museu de Arte Contemporânea e Centro de Arquitetura De visita obrigatória em Lisboa, o MAC/CCB – Museu de Arte Contemporânea e Centro de Arquitetura recebe em depósito obras da Coleção de Arte Contemporânea do Estado (CACE), a Coleção Teixeira de Freitas, a Coleção Holma/Ellipse e a Coleção Berardo. Nomes como Amedeo Modigliani, Amadeo de Souza-Cardoso, Marcel Duchamp, Lourdes Castro, Piet Mondrian, Pablo Picasso, Andy Warhol, Helena Almeida, Jean Dubuffet, Louise Bourgeois, René Magritte, Max Ernst, Salvador Dalí, Richard Serra, Adriana Varejão, Dan Flavin, Donald Judd, Bruce Nauman, Alexander Calder, Cindy Sherman, Nan Goldin, entre muitos outros, são apresentados nas exposições permanentes Uma deriva atlântica. As artes do século XX a partir da Coleção Berardo e Objeto, Corpo e Espaço. A revisão dos géneros artísticos a partir da década de 1960. O novo MAC/CCB afirma a missão do Centro Cultural de Belém, potenciando o diálogo entre as artes visuais, a arquitetura e as artes performativas, com a apresentação de exposições temporárias de artistas contemporâneos. Horário ⇒ de terça-feira a domingo, das 10:00 às 18:30 (última entrada: 18:00) | Encerra à segunda-feira."

JAZZ ON THE TUBE: Happy Birthday Jane Bunnett October 22, 1956

A tribute to an important force in Afro-Cuban jazz

AGENDA CULTURAL, CANADA: Michael is set to return to the OLG Stage, Ontario on January 18, 2026

Posted by Michael Bublé Michael is set to return to the OLG Stage at the beautiful Fallsview Casino Resort in Niagara Falls, Ontario on January 18, 2026! Artist Pre-sale starts WEDNESDAY at 10am! Use passcode: bublenation Get tickets at: http://ticketmaster.ca/event/1000634FB28BDBAC

Ana Eugénia Dias Happy Birthday Swing

PORTUGAL, Plural: R.I.P. FRANCISCO PINTO BALSEMÃO

https://www.msn.com/pt-pt/video/entretenimento/as-confissões-de-pinto-balsemão-sobre-s

A prática diária de Tai Chi Taoista

 

A prática da Forma e Toryus e Donyus.

Em aperfeiçoamento do movimento movendo as mãos como nuvens.

A compreender a expansão/ vontade 

Vontade de fazer sem impedir , fazer com a mente aberta 

Deixar ir 

Permitindo o novo .

🎥Vídeo da prática: 

Jane Goodall - Animal Rights Activist | Mini Bio | BIO