dilluns, 16 de desembre del 2013

INSIDE - UNIVERSOS CONTRACENTRACIONÁRIOS MARXISTAS OU CONCENTRACIONÁRIOS CAPITALISTAS PARA O CASO TANTO FAZ- MUITO REACCIONÁRIOS ONDE MILIONÁRIOS AUTORITÁRIOS TÊM SERVAS DA GLEBA DE RESERVA- COMER SERVAS DA GLEBA E DAR PÃO A UM MILHÃO DE PORTUGUESES QUE AS PRODUZEM OU AS SEDUZEM SÃO PARA EXPORTAR LOGO TANTO FAZ....

NUM UNIVERSO SUPERPOVOADO PAR PAUVRES CON'S

UM MILIONÁRIO CONCENTRACIONÁRIO

REFUGIA-SE DUM APOCALIPSE QUE ANDA ATRASADO A PASSOS DE COELHO...

SE DUM ATAQUE ATÓMICO OU DUMA IMPLOSÃO MONETÁRIA TANTO FAZ

FUGINDO DESSE APOCALIPSE QUE NUNCA EXISTIU

UMA EXPERIÊNCIA AVANÇA DURANTE MESES OU ANOS

NUM SUPER-DOMO OU SUPER-DOMUS MARCIANO CHAMADO PORTUCALE

50 SERVOS E SERVAS DA GLEBA

PENSAM ESTAR NUMA GUERRA ECONÓMICA QUALQUER

CONDICIONADOS PSICOLOGICAMENTE

TRABALHAM QUE NEM ESCRAVOS PARA O SEU DONO

UM COMANDO DE RUSSOS PROGRAMADOS TENTA TOMAR O DOMO PORTUCALE

OU O DOMUS UCRANIA TANTO FAZ

OS MORTOS NESTE CONFLITO SÃO RECONSTRUIDOS E REVIFICADOS

COM NOVAS PERSONALIDADES OU FALTA DELAS

E VOLTAM AO COMBATE

POIS APESAR DE HAVER EXCESSO DE MÃO DE OBRA ESCRAVA

DEVE CUSTAR LEVÁ-LA ATÉ MARTE

MESMO OS CHINESES SÓ LEVAM ROBOT'S PRÁ LUA

OS SURVIVOR'S DESTA SÉRIE TELEVISIVA

DESCOBREM QUE SÃO OS SOBREVIVENTES DA IVª EXTERMINAÇÃO TOTAL

QUE NEM SEQUER FAZ JUZ AO NOME

A ATLÂNTIDA FOI OUTRA DAS OUTRAS 3 BANCARROTAS

E OS EXTRAS OU E.T.'S GUARDAM-NOS EM COLECÇÃO

ENQUANTO DESCONTAMINAM A TERRA

AGORA É SÓ POR ALEMÃES EM VEZ DE E.T'S

E SERVOS DA GLEBA EM VEZ DE MORON'S

E OBVIAMENTE FICA TUDO FINO

diumenge, 15 de desembre del 2013

POCKET UNIVERSE'S A SAGA BY CARL SAGAN AND AUTRES SAGES UND SINGES À SUIVRE OU NON C'EST LA MÊME CHOSE SOARES DIXIT...

A term first used in a restricted sense by Murray Leinster in "Pocket Universes" (October 1946 Thrilling Wonder), where it is a "contrivance" rather than an encompassing world. It might broadly be said that the inhabitant of any constricted environment lives in a pocket universe, whether as a child, a prisoner, a victim of dementia, a chained watcher in Plato's cave, a resident of Hell or an inhabitant of the world inside Pantagruel's mouth. It might also be suggested that the dynamic moment of escape from confinement – a leitmotiv of Western literature – almost inevitably marks the transition from a pocket universe to a fuller and more real world. In the final pages of Mark Twain's The Adventures of Huckleberry Finn (1884), when Huck figures he "got to light out for the Territory ahead of the rest", he is anticipating his "escape" from aunt Sally in order to be free of the overgoverned social organization and its conservative inwardness of gaze that she represents: an hierarchical boundedness that has many of the psychological characteristics of the pocket universe as found in sf: that Huck will almost certainly find no freedom in the Territory is a fate beyond the pages of Huckleberry Finn (> Slingshot Ending), just as life under the stars tends to be pointed at, rather than lived, as most Pocket Universe tales come to a climax. The classic movement of the sf tale is of course outward – via Conceptual Breakthroughs and all the other forms of initiation or unshackling – and in that sense most sf works contain some sort of pocket universe, implied or explicit, which initially binds and blinds the protagonist, and from which it is necessary to escape; and most sf works lose momentum if they try to inhabit the new world on offer.
Two usages of the term seem useful, one broad, the other narrower. It can be used broadly to describe an actual miniature universe pocketed within a larger explanatory frame or device – like the various godling-crafted worlds nesting within one another in Philip José Farmer's World of Tiers sequence; or like the hidden redoubts that feature in so many Lost Race tales; or like the "natural" miniature universes observed in such works as Gregory Benford's Cosm (1998); or like the set-ups in almost any of Jack L Chalker's series (e.g., the Well World sequence and the Four Lords of the Diamond tetralogy) which feature universes constructed by godlike beings as Godgame labyrinths and inhabited by victim-players who must solve their universe to escape from it; or like similar 1950s set-ups (see Paranoia) such as in Frederik Pohl's "The Tunnel Under the World" (January 1955 Galaxy) or Philip K Dick's Time Out of Joint (1958), whose protagonists are victims of artificial worlds shaped to delude and manipulate them; or like the inverse scenario in which human protagonists are the manipulators of artificial life, ranging from Theodore Sturgeon's "Microcosmic God" (April 1941 Astounding) to the sophisticated AI-Evolution of Greg Egan's "Crystal Nights" (April 2008 Interzone); or (again trivially) like any fantasy game which involves Role-Playing Game activity within a Virtual-Reality world; or in fact like any world (such as that on which John Crowley's The Deep [1975] is set, or Terry Pratchett's Discworld) whose origins and extent reflect a sense of constraining artifice.
But none of these applications contains the one essential element that defines the true pocket-universe tale: Farmer's and Chalker's protagonists may not know the nature of the worlds in which they find themselves, but they do know that they are inhabiting some form of construct. In the pocket-universe tale as more narrowly defined, the world initially perceived seems to be the entire world, not a Keep within a larger from, and the web of taboos preventing the truth about its partial nature being known is structurally very similar to the parental restrictions which initially hamper the move through puberty into adulthood of the young protagonists of most non-genre juveniles. It could, indeed, be argued that this move through puberty is a particular example of the Conceptual Breakthrough which arguably structures all genuine sf.
The classic Generation-Starship tale is one in which the descendants of the original crew members have forgotten the true nature of things and have instituted a repressive, Taboo-governed society which suppresses any attempt to discover the truth; it is the task of the young protagonist to break through the social and epistemological barriers stifling this world while at the same time successfully managing puberty. The pure Generation-Starship story embodies, therefore, the purest form of the concept of the pocket universe. Examples of that pure form, though central to sf, are not numerous – Robert A Heinlein's Universe (May 1941 Astounding; 1951 chap) is the most famous in the list, which includes also Brian W Aldiss's Non-Stop (1956 Science Fantasy #17; exp 1958; cut vt Starship 1959), Harry Harrison's Captive Universe (1969); but Alexei Panshin's Rite of Passage (July 1963 If as "Down to the Worlds of Men"; exp 1968), for instance, though explicitly a tale of puberty, does not suggest that there is any epistemological mystery about the nature of the asteroid-sized starship from which its heroine must escape. The growth into redemptive adulthood of Silk in Gene Wolfe's Book of the Long Sun sequence (1993-1996) soon absorbs the model into more complex concerns. A good late example of the form, such as Stephen Baxter's Ark (2009), is unlikely to emphasize the Pocket Universe/puberty linkage, which has now become a Cliché, though Paul C {CHAFE} returns to it in his Exodus sequence (2007-2009).
All Post-Holocaust tales in which the descendants of survivors live in Underground habitats which they think to be the whole of reality are pocket-universe stories. The best of them is perhaps Daniel F Galouye's Dark Universe (1961), though Margaret St Clair's Sign of the Labrys (1963) and The Shadow People (1969) play fruitfully with the concept, as do Richard Cowper's Kuldesak (1972), Roger Eldridge's The Shadow of the Gloom-World (1977) and many others. In all these stories, the essential movement is from childhood constriction and taboo-driven ignorance to adult freedom and breakthrough; in Genre SF it is only more recently that ironies have significantly pervaded this pattern, as in David J Lake's Ring of Truth (1983), where a traditional enclosed world turns out to be interminably extensive, so that there is, in fact, no exit. In the great pocket-universe stories, however, there is always an out, a Sense of Wonder, a new world opening before the opened eyes
- See more at: http://www.sf-encyclopedia.com/entry/pocket_universe#sthash.HIhuXWo7.dpuf

It might be said that the inhabitant of any constricted environment lives in a pocket universe, whether as a child, a prisoner, a victim of dementia, a chained watcher in Plato's cave, a resident of Hell or an inhabitant of the world inside Pantagruel's mouth. It might also be suggested that the dynamic moment of escape from confinement – a leitmotiv of Western literature – always marks the transition from a pocket universe to a fuller and more real world. - See more at: http://www.sf-encyclopedia.com/archives/pocket_universe/41466#sthash.IkZiQryg.dpuf

WELL POCKET UNIVERSE IS A TERM USED BY MURRAY LEINSTER IN 1946

AND IS A SINGULAR TERM .....THE UNIVERSE IN A POCKET

THE UNIVERSE IN MINIATURE

LIKE THE MICROCOSMOS CONCEPT OF LYNN MARGULIS

IS A HOLISTIC APPROACH TO A ENHANCED CONCEPT OF COSMOS AND COSMOGONY

Welcome to POCKET UNIVERSE, in which THe Manolo's Herédia's or man hole here Diaz.....eat the offspring of the work force like the Morlock's eat the elite, o escol improdutivo nos mundos de H.G.Wells

Ó MEU LORD NUM QUER DAR TRABALHO ÀS SERVAS DA GLEBA MENORES DE 16 ANOS QUE TENDES NAS LEIRAS?

É EXPORTÁ-LAS COM O OURO E AS PRATAS DAS CASAS DE VOSSA SENHORIA

It might broadly be said that the inhabitant of any constricted environment lives in a pocket universe, whether as a lORD OF CHAOS, or a power lord, a war lord in a post-apocaliptyc world like in Testament XXI, a bunker society isolated from the surface, or the H.G.Wells MARXISTIC or marxist MOrlocks that devour the good Gentry or Thw Manolo’s Herédias from the future tense….is a verb form that marks the event described by the verb as not having happened yet, but expected to happen in the future
Manolo Heredia HIPERtaliban em CRUZADA PERMANENTE a BEM DA CRUZ GAMADA à BOA GENTE DE BONS COSTUMES OU CURTUMES OU CHORMES TANTO FAX….
Marxistas são aqueles que vêm os países habitados de uma orda de empregados a quererem lixar os empresários em vez de veram uma data de empresários a quererem fazer o favor de dar emprego a quem não o tem…
a child lord like the children in LORD OF THE FLIES are in a POCKET UNIVERSE
, a prisoner of Zenda or in chateau d’IF or Riddick in a prisional colony, or a soldier in a war they are in Pocket Universes like the victim’s of demential ideologies that praise Tyranus rex…..

a chained watcher in Plato’s cave or in Socrates Portucale they like a resident of Hell or INFERNO von Jerry Pournelle or another Plutonic mythology or a Mayan or Incal one or Inca c’est presque la même chose ……
well like an inhabitant of the world inside Pantagruel’s mouth they don’t have the perception that Marxist’s and ouvriers and piolheira are human beings too……

they are too many i-dei-as and ideologies that regard the worker class as untermensch
or sub-human or shit and they are lucky enough to survive in an empresarial pocket universe full of Manolo’s Herédia’s the terratenientes the war god’s
the krupp….the FORD

GLORIA MUNDI VON FORD.DETROIT aBYSSUM

. It might also be suggested that the dynamic moment of escape from confinement OR MISERIA OR pauper city or gwetto or gueto or soweto or gwetho c’est la même chose – a leitmotiv of Western and Kappa oriented nipponic literature – almost inevitably marks the transition from a pocket universe to a fuller and more real world. In the final pages of Mark Twain’s The Adventures of Huckleberry Finn (1884), when Huck figures he “got to light out for the Territory ahead of the rest”, he is anticipating his “escape” from aunt Sally in order to be free of the overgoverned social organization and its conservative inwardness of gaze that she represents: an hierarchical boundedness that has many of the psychological characteristics of the pocket universe as found in sf: that Huck will almost certainly find no freedom in the Territory is a fate beyond the pages of Huckleberry Finn (> Slingshot Ending), just as life under the stars tends to be pointed at, rather than lived, as most Pocket Universe tales come to a climax. The classic movement of the sf tale is of course outward – via Conceptual Breakthroughs and all the other forms of initiation or unshackling – and in that sense most sf works contain some sort of pocket universe, implied or explicit, which initially binds and blinds the protagonist, and from which it is necessary to escape; and most sf works lose momentum if they try to inhabit the new world on offer.

Two usages of the term seem useful, one broad, the other narrower. It can be used broadly to describe an actual miniature universe pocketed within a larger explanatory frame or device – like the various godling-crafted worlds nesting within one another in Philip José Farmer’s World of Tiers sequence

or like the hidden redoubts that feature in so many Lost Race tales; or like the “natural” miniature universes observed in such works as Gregory Benford’s Cosm

or like the set-ups in almost any of Jack L Chalker’s series (e.g., the Well World sequence and the Four Lords of the Diamond tetralogy) which feature universes constructed by godlike beings as Godgame labyrinths and inhabited by victim-players who must solve their universe to escape from it; or like similar 1950s set-ups (see Paranoia) such as in Frederik Pohl’s “The Tunnel Under the World” (January 1955 Galaxy) or Philip K Dick’s Time Out of Joint (1958), whose protagonists are victims of artificial worlds shaped to delude and manipulate them; or like the inverse scenario in which human protagonists are the manipulators of artificial life, ranging from Theodore Sturgeon’s “Microcosmic God” (April 1941 Astounding) to the sophisticated AI-Evolution of Greg Egan’s “Crystal Nights” (April 2008 Interzone);

or (again trivially) like any fantasy game which involves Role-Playing Game activity within a Virtual-Reality world; or in fact like any world is set

But none of these applications contains the one essential element that defines the true pocket-universe tale: Farmer’s and Chalker’s protagonists may not know the nature of the worlds in which they find themselves, but they do know that they are inhabiting some form of construct.

In the pocket-universe tale as more narrowly defined, the world initially perceived seems to be the entire world, not a Keep within a larger from, and the web of taboos preventing the truth about its partial nature being known is structurally very similar to the parental restrictions which initially hamper the move through puberty into adulthood of the young protagonists of most non-genre juveniles. It could, indeed, be argued that this move through puberty is a particular example of the Conceptual Breakthrough which arguably structures all genuine sf.

The classic Generation-Starship tale is one in which the descendants of the original crew members have forgotten the true nature of things and have instituted a repressive, Taboo-governed society which suppresses any attempt to discover the truth...like any society modern or in the old good day's of Rome or Babel or Socratic with lot's of slaves and children for sex with entrepreneurs

Business ideas and trends from the greek entrepreneur Magazine von socrates of Athenas.

The latest news, expert advice, and growth strategies for small business owners without sex toys.....

it is the task of the young protagonist to break through the social and epistemological barriers stifling this world while at the same time successfully managing puberty and avoid the Socratic intrusion's

The pure Generation-Starship story embodies, therefore, the purest form of the concept of the pocket universe. Examples of that pure form, though central to sf, are not numerous – Robert A Heinlein’s Universe (May 1941 Astounding; 1951 chap) is the most famous in the list, which includes also Brian W Aldiss’s Non-Stop (1956 Science Fantasy #17; exp 1958; cut vt Starship 1959), Harry Harrison’s Captive Universe (1969); but Alexei Panshin’s Rite of Passage (July 1963 If as “Down to the Worlds of Men”; exp 1968), for instance, though explicitly a tale of puberty, does not suggest that there is any epistemological mystery about the nature of the asteroid-sized starship from which its heroine must escape. The growth into redemptive adulthood of Silk in Gene Wolfe’s Book of the Long Sun sequence (1993-1996) soon absorbs the model into more complex concerns. A good late example of the form, such as Stephen Baxter’s Ark (2009), is unlikely to emphasize the Pocket Universe/puberty linkage, which has now become a Cliché, though Paul C {CHAFE} returns to it in his Exodus sequence (2007-2009).

All Post-Holocaust tales in which the descendants of survivors live in Underground habitats which they think to be the whole of reality are pocket-universe stories. The best of them is perhaps Daniel F Galouye’s Dark Universe (1961), though Margaret St Clair’s Sign of the Labrys (1963) and The Shadow People (1969) play fruitfully with the concept, as do Richard Cowper’s Kuldesak (1972), Roger Eldridge’s The Shadow of the Gloom-World (1977) and many others. In all these stories, the essential movement is from childhood constriction and taboo-driven ignorance to adult freedom and breakthrough; in Genre SF it is only more recently that ironies have significantly pervaded this pattern, as in David J Lake’s Ring of Truth (1983), where a traditional enclosed world turns out to be interminably extensive, so that there is, in fact, no exit. In the great pocket-universe stories, however, there is always an out, a Sense of Wonder, a new world opening before the opened eyes.
-

It might broadly be said that the inhabitant of any constricted environment lives in a pocket universe, whether as a child, a prisoner, a victim of dementia, a chained watcher in Plato's cave, a resident of Hell or an inhabitant of the world inside Pantagruel's mouth. It might also be suggested that the dynamic moment of escape from confinement – a leitmotiv of Western literature – almost inevitably marks the transition from a pocket universe to a fuller and more real world. In the final pages of Mark Twain's The Adventures of Huckleberry Finn (1884), when Huck figures he "got to light out for the Territory ahead of the rest", he is anticipating his "escape" from aunt Sally in order to be free of the overgoverned social organization and its conservative inwardness of gaze that she represents: an hierarchical boundedness that has many of the psychological characteristics of the pocket universe as found in sf: that Huck will almost certainly find no freedom in the Territory is a fate beyond the pages of Huckleberry Finn (> Slingshot Ending), just as life under the stars tends to be pointed at, rather than lived, as most Pocket Universe tales come to a climax. The classic movement of the sf tale is of course outward – via Conceptual Breakthroughs and all the other forms of initiation or unshackling – and in that sense most sf works contain some sort of pocket universe, implied or explicit, which initially binds and blinds the protagonist, and from which it is necessary to escape; and most sf works lose momentum if they try to inhabit the new world on offer.
Two usages of the term seem useful, one broad, the other narrower. It can be used broadly to describe an actual miniature universe pocketed within a larger explanatory frame or device – like the various godling-crafted worlds nesting within one another in Philip José Farmer's World of Tiers sequence; or like the hidden redoubts that feature in so many Lost Race tales; or like the "natural" miniature universes observed in such works as Gregory Benford's Cosm (1998); or like the set-ups in almost any of Jack L Chalker's series (e.g., the Well World sequence and the Four Lords of the Diamond tetralogy) which feature universes constructed by godlike beings as Godgame labyrinths and inhabited by victim-players who must solve their universe to escape from it; or like similar 1950s set-ups (see Paranoia) such as in Frederik Pohl's "The Tunnel Under the World" (January 1955 Galaxy) or Philip K Dick's Time Out of Joint (1958), whose protagonists are victims of artificial worlds shaped to delude and manipulate them; or like the inverse scenario in which human protagonists are the manipulators of artificial life, ranging from Theodore Sturgeon's "Microcosmic God" (April 1941 Astounding) to the sophisticated AI-Evolution of Greg Egan's "Crystal Nights" (April 2008 Interzone); or (again trivially) like any fantasy game which involves Role-Playing Game activity within a Virtual-Reality world; or in fact like any world (such as that on which John Crowley's The Deep [1975] is set, or Terry Pratchett's Discworld) whose origins and extent reflect a sense of constraining artifice.
But none of these applications contains the one essential element that defines the true pocket-universe tale: Farmer's and Chalker's protagonists may not know the nature of the worlds in which they find themselves, but they do know that they are inhabiting some form of construct. In the pocket-universe tale as more narrowly defined, the world initially perceived seems to be the entire world, not a Keep within a larger from, and the web of taboos preventing the truth about its partial nature being known is structurally very similar to the parental restrictions which initially hamper the move through puberty into adulthood of the young protagonists of most non-genre juveniles. It could, indeed, be argued that this move through puberty is a particular example of the Conceptual Breakthrough which arguably structures all genuine sf.
The classic Generation-Starship tale is one in which the descendants of the original crew members have forgotten the true nature of things and have instituted a repressive, Taboo-governed society which suppresses any attempt to discover the truth; it is the task of the young protagonist to break through the social and epistemological barriers stifling this world while at the same time successfully managing puberty. The pure Generation-Starship story embodies, therefore, the purest form of the concept of the pocket universe. Examples of that pure form, though central to sf, are not numerous – Robert A Heinlein's Universe (May 1941 Astounding; 1951 chap) is the most famous in the list, which includes also Brian W Aldiss's Non-Stop (1956 Science Fantasy #17; exp 1958; cut vt Starship 1959), Harry Harrison's Captive Universe (1969); but Alexei Panshin's Rite of Passage (July 1963 If as "Down to the Worlds of Men"; exp 1968), for instance, though explicitly a tale of puberty, does not suggest that there is any epistemological mystery about the nature of the asteroid-sized starship from which its heroine must escape. The growth into redemptive adulthood of Silk in Gene Wolfe's Book of the Long Sun sequence (1993-1996) soon absorbs the model into more complex concerns. A good late example of the form, such as Stephen Baxter's Ark (2009), is unlikely to emphasize the Pocket Universe/puberty linkage, which has now become a Cliché, though Paul C {CHAFE} returns to it in his Exodus sequence (2007-2009).
All Post-Holocaust tales in which the descendants of survivors live in Underground habitats which they think to be the whole of reality are pocket-universe stories. The best of them is perhaps Daniel F Galouye's Dark Universe (1961), though Margaret St Clair's Sign of the Labrys (1963) and The Shadow People (1969) play fruitfully with the concept, as do Richard Cowper's Kuldesak (1972), Roger Eldridge's The Shadow of the Gloom-World (1977) and many others. In all these stories, the essential movement is from childhood constriction and taboo-driven ignorance to adult freedom and breakthrough; in Genre SF it is only more recently that ironies have significantly pervaded this pattern, as in David J Lake's Ring of Truth (1983), where a traditional enclosed world turns out to be interminably extensive, so that there is, in fact, no exit. In the great pocket-universe stories, however, there is always an out, a Sense of Wonder, a new world opening before the opened eyes.
- See more at: http://www.sf-encyclopedia.com/entry/pocket_universe#sthash.7EKhvDi1.dpuf

THE POCKET UNIVERSE STORY TELL OR FAIRY TALES For MORON'S combines
the ultimate in post-modern PROPAGANDA with the RTP's video illustrations to recreate the deepest levels of dreaming in a famished road society.....

THe Manolo's Heredia Pocket Universe is a startling and subtle set-piece of sensational psycho-art or art by the

psychopathic character structure
or art by the battered-child syndrome The authoritarian character structure of the LORD's of Entrepreneur Medieval States CONSCIENCE IN THE PSYCHOPATH----or in another path or phatos....

Building on the drumbeat of ARBEIT MACHT FREI or in the actual regime or regímen THE MEEK IN MEEK PATH have dreams for free.....PAUPERIZATION MACHT FREI VON MERCKEL
from last year's german companion von Eurogrouppen or Einsatzgruppen or Einzatten gruppen or gruppen führer or führer d' gruppen or gruppenführer de future führer's
EUROGRUPPEN RABID EYE, EUROPA composes a single sweeping mindscape that carries the poop people or the poor people or the less than 99,99% of people along hypnotically, unfolding through the vistas of the unconscious with all the magic and mystery of dreaming itself without euros or écus or dollars or thalers or bit coin's for pauvre con's or wathever buy bread and ale...or just ale....

Are art and life one?
Enter EUROPA's POCKET UNIVERSE and learn the simple truth YOU are just fucked up or down
IT'S NOT WHERE EURO OR EUROPA IT'S GOING, IT'S WHERE EUROPA IT'S COMING FROM
MEDIEVAL WORLDS OF IF....AND ROBIN HOOD'S WITHOUT MACHINE GUN'S....WELL EUROPA AND EUROcentric and excentric europeans dystopian's provides a beautifully written view of evolution as a process based on interdependency and the interconnectedness of all life on the planet....except europa of course or europe of corso nappoleone

.sem moças de servir a empresários para todo o serviço e vice-versa

gente de servir bom povo gente de servir a quem se serve….primeiro

Publicat per Para a Posteridade as sobras ….e as dívidas…

POOR FOOL NO WISER THAN I WAS BEFORE - UND BIN SO KLUG ALS WIE ZUVOR- I AM CALLED MASTER EVEN DOCTOR -HEISSE MAGISTER, HOSSE DOCTOR - IN THE BEGINNING WAS THE WORD - GOETHE - AND THE WORD WAS HYDROGEN AND THE WORD MAKE HELIUM BY WORD FUSION - OR CAR WHAT WE CALL JUST AND GENEROUS, IN JUPITER OR MARS BE UNJUST VILLANY? CHRISTANUS HUYGENS 1670

THE HUNGER WAIL

I hold, if the Almighty had ever made a set of men to do all of the eating and none of the work, he would have made them with mouths only, and no hands; and if he had ever made another set that he had intended should do all the work and none of the eating, he would have made them without mouths and with all hands.

-- ABRAHAM LINCOLN.

`MY FATHER HAS more stamina than I, for he is country-born.'

The speaker, a bright young East Ender, was lamenting his poor physical development.

`Look at my scrawny arm, will you.' He pulled up his sleeve. `Not enough to eat, that's what's the matter with it. Oh, not now. I have what I want to eat these days. But it's too late. It can't make up for what I didn't have to eat when I was a kiddy. Dad came up to London from the Fen Country. Mother died, and there were six of us kiddies and dad living in two small rooms.

`He had hard times, dad did. He might have chucked us, but he didn't. He slaved all day, and at night he came home and cooked and cared for us. He was father and mother, both. He did his best, but we didn't have enough to eat. We rarely saw meat, and then of the worst. And it is not good for growing kiddies to sit down to a dinner of bread and a bit of cheese, and not enough of it.

`And what's the result? I am undersized, and I haven't the stamina of my dad. It was starved out of me. In a couple of generations there'll be no more of me here in London. Yet there's my younger brother; he's bigger and better developed. You see, dad and we children held together, and that accounts for it.'

`But I don't see,' I objected. `I should think, under such conditions, that the vitality should decrease and the younger children be born weaker and weaker.'

`Not when they hold together,' he replied. `Whenever you come along in the East End and see a child of from eight to twelve, good-sized, well-developed, and healthy-looking, just you ask, and you will find that it is the youngest in the family, or at least is one of the younger. The way of it is this: the older children starve more than the younger ones. By the time the younger ones come along, the older ones are starting to work, and there is more money coming in, and more food to go around.'

He pulled down his sleeve, a concrete instance of where chronic semi-starvation kills not, but stunts. His voice was but one among the myriads that raise the cry of the hunger wail in the greatest empire in the world. On any one day, over 1,000,000 people are in receipt of poor-law relief in the United Kingdom. One in eleven of the whole working-class receive poor-law relief in the course of the year; 37,500,000 people receive less than $60 per month, per family; and a constant army of 8,000,000 lives on the border of starvation.

A committee of the London County school board makes this declaration: `At times, (when there is no special distress), 55,000 children in a state of hunger, which makes it useless to attempt to teach them, are in the schools of London alone.' The parentheses are mine. `When there is no special distress' means good times in England; for the people of England have come to look upon starvation and suffering, which they call `distress,' as part of the social order. Chronic starvation is looked upon as a matter of course. It is only when acute starvation makes its appearance on a large scale that they think something is unusual.

I shall never forget the bitter wail of a blind man in a little East End shop at the close of a murky day. He had been the eldest of five children, with a mother and no father. Being the eldest, he had starved and worked as a child to put bread into the mouths of his little brothers and sisters. Not once in three months did he ever taste meat. He never knew what it was to have his hunger thoroughly appeased. And he claimed that this chronic starvation of his childhood had robbed him of his sight. To support the claim, he quoted from the report of the Royal Commission on the Blind, `Blindness is most prevalent in poor districts, and poverty accelerates this dreadful affliction.'

But he went further, this blind man, and in his voice was the bitterness of an afflicted man to whom society did not give enough to eat. He was one of an army of six million blind in London, and he said that in the blind homes they did not receive half enough to eat. He gave the diet for a day:

     Breakfast--3/4 pint of skilly and dry bread.

     Dinner--   3 oz. meat.
                1 slice of bread.
                1/2 lb. potatoes.

     Supper--   3/4 pint of skilly and dry bread.

Oscar Wilde, God rest his soul, voices the cry of the prison child, which, in varying degree, is the cry of the prison man and woman: `The second thing from which a child suffers in prison is hunger. The food that is given to it consists of a piece of usually bad-baked prison bread and a tin of water for breakfast at half-past seven. At twelve o'clock it gets dinner, composed of a tin of coarse Indian meal stirabout (skilly), and at half-past five it gets a piece of dry bread and a tin of water for its supper. This diet in the case of a strong grown man is always productive of illness of some kind, chiefly of course diarrhoea, with its attendant weakness. In fact, in a big prison astringent medicines are served out regularly by the warders as a matter of course. In the case of a child, the child is, as a rule, incapable of eating the food at all. Any one who knows anything about children knows how easily a child's digestion is upset by a fit of crying, or trouble and mental distress of any kind. A child who has been crying all day long, and perhaps half the night, in a lonely dim-lit cell, and is preyed upon by terror, simply cannot eat food of this coarse, horrible kind. In the case of the little child to whom warden Martin gave the biscuits, the child was crying with hunger on Tuesday morning, and utterly unable to eat the bread and water served to it for its breakfast. Martin went out after the breakfasts had been served and bought the few sweet biscuits for the child rather than see it starving. It was a beautiful action on his part, and was so recognized by the child, who, utterly unconscious of the regulations of the Prison Board, told one of the senior wardens how kind this junior warden had been to him. The result was, of course, a report and a dismissal.'

Robert Blatchford compares the workhouse pauper's daily diet with the soldier's, which, when he was a soldier, was not considered liberal enough, and yet is twice as liberal as the pauper's.

PAUPER	DIET	SOLDIER
3 1/4 oz.	Meat	12 oz.
15 1/2 oz.	Bread	24 oz.
6 oz.	Vegetables	8 oz.

The adult male pauper gets meat (outside of soup) but once a week, and the paupers `have nearly all that pallid, pasty complexion which is the sure mark of starvation.'

Here is a table, comparing the workhouse pauper's weekly allowance with the workhouse officer's weekly allowance.

OFFICER	DIET	PAUPER
7 lb.	Bread	6 3/4 lb.
5 lb.	Meat	1 lb. 2 oz.
12 oz.	Bacon	2 1/2 oz.
8 oz.	Cheese	2 oz.
7 lb.	Potatoes	1 1/2 lb.
6 lb.	Vegetables	none
1 lb.	Flour	none
2 oz.	Lard	none
12 oz.	Butter	7 oz.
none	Rice pudding	1 lb.

And as the same writer remarks: `The officer's diet is still more liberal than the pauper's; but evidently it is not considered liberal enough, for a footnote is added to the officer's table saying that `a cash payment of two shillings sixpence a week is also made to each resident officer and servant.' If the pauper has ample food, why does the officer have more? And if the officer has not too much, can the pauper be properly fed on less than half the amount?'

But it is not alone the Ghetto-dweller, the prisoner, and the pauper that starve. Hodge, of the country, does not know what it is always to have a full belly. In truth, it is his empty belly which has driven him to the city in such great numbers. Let us investigate the way of living of a laborer from a parish in the Bradfield Poor Law Union, Berks. Supposing him to have two children, steady work, a rent-free cottage, and an average weekly wage of thirteen shillings, which is equivalent to $3.25, then here is his weekly budget:

                                              (shillings) (pence)


Bread (5 quarterns) ............................. 1        10
Flour (1/2 gallon) .............................. 0         4
Tea (1/4 lb.) ................................... 0         6
Butter (1 lb.) .................................. 1         3
Lard (1 lb.) .................................... 0         6
Sugar (6 lb.) ................................... 1         0
Bacon or other meat (about 4 lb.) ............... 2         8
Cheese (1 lb.) .................................. 0         8
Milk (half-tin condensed) ....................... 0         3 1/4
Oil, candles, blue, soap, salt, pepper, etc. .... 1         0
Coal ............................................ 1         6
Beer ............................................    none
Tobacco .........................................    none
Insurance ('Prudential') ........................ 0         3
Laborer's Union ................................. 0         1
Wood, tools, dispensary, etc. ................... 0         6
Insurance ('Foresters') and margin for clothes .. 1         1 3/4 
              Total ............................. 13s.      0d.

The guardians of the workhouse in the above Union pride themselves on their rigid economy. It costs per pauper per week:

                                                  s.      d. 


Men ............................................. 6       1 1/2
Women ........................................... 5       6 1/2
Children ........................................ 5       1 1/4

If the laborer whose budget has been described, should quit his toil and go into the workhouse, he would cost the guardians for

                                                  s.      d.


Himself ......................................... 6       1 1/2
Wife ............................................ 5       6 1/2
Two children ................................... 10       2 1/2
              Total ............................. 21s.    10 1/2d.
                                    Or, roughly, $5.46

It would require $5.46 for the workhouse to care for him and his family, which he, somehow, manages to do on $3.25. And in addition, it is an understood fact that it is cheaper to cater for a large number of people--buying, cooking, and serving wholesale--than it is to cater for a small number of people, say a family.

Nevertheless, at the time this budget was compiled, there was in that parish another family, not of four, but eleven persons, who had to live on an income, not of thirteen shillings, but of twelve shillings per week (eleven shillings in winter), and which had, not a rent-free cottage, but a cottage for which it paid three shillings per week.

This must be understood, and understood clearly: Whatever is true of London in the way of poverty and degradation, is true of all England. While Paris is not by any means France, the city of London is England. The frightful conditions which mark London an inferno likewise mark the United Kingdom an inferno. The argument that the decentralization of London would ameliorate conditions is a vain thing and false. If the 6,000,000 people of London were separated into one hundred cities each with a population of 60,000, misery would be decentralized but not diminished. The sum of it would remain as large.

In this instance, Mr. B. S. Rowntree, by an exhaustive analysis, has proved for the country town what Mr. Charles Booth has proved for the metropolis, that fully one-fourth of the dwellers are condemned to a poverty which destroys them physically and spiritually; that fully one-fourth of the dwellers do not have enough to eat, are inadequately clothed, sheltered, and warmed in a rigorous climate, and are doomed to a moral degeneracy which puts them lower than the savage in cleanliness and decency.

After listening to the wail of an old Irish peasant in Kerry, Robert Blatchford asked him what he wanted. `The old man leaned upon his spade and looked out across the black peat fields at the lowering skies. "What is it that I'm wantun?" he said; then in a deep plaintive tone he continued, more to himself than to me, "All our brave bhoys and dear gurrls is away an' over the says, an' the agent has taken the pig off me, an' the wet has spiled the praties, an' I'm an owld man, an' I want the Day av judgment."'

The Day of Judgment! More than he want it. From all the land rises the hunger wail, from Ghetto and countryside, from prison and casual ward, from asylum and workhouse--the cry of the people who have not enough to eat. Millions of people, men, women, children, little babes, the blind, the deaf, the halt, the sick, vagabonds and toilers, prisoners and paupers, the people of Ireland, England, Scotland, Wales, who have not enough to eat. And this, in face of the fact that five men can produce bread for a thousand; that one workman can produce cotton cloth for 250 people, woollens for 300, and boots and shoes for 1000. It would seem that 40,000,000 people are keeping a big house, and that they are keeping it badly. The income is all right, but there is something criminally wrong with the management. And who dares to say that it is not criminally mismanaged, this big house, when five men can produce bread for a thousand, and yet millions have not enough to eat?

divendres, 15 de novembre del 2013

DOS MOTES FRACOTES - QUER INVERSÃO POLAR COM EXPORTAÇÃO DE INFLAÇÃO ? É PARA LEVAR OU COMER JÁ? FAST FOOD EM 1500 EMPRESAS MUNICIPAIS E ESTATAIS CUSTAM TANTO COMO AS 118 PPP'S QUE EM 2005 SÓ CUSTAVAM 475 MILHÕES E SE 80 PPP'S FORAM CRIADAS DEPOIS DE 2000 A LUSOPONTE JÁ ANDA POR AÍ PARADA COMO SOÍA DIZER-SE EM INTERNETÊS FAZ TEMPO OU TEMPURA E ANDAR PARADO COM 2500 KILOMETROS DE AUTO-ESTRADA NÃO FAZ SENTIDO

é fracote

o mote...

FORMULAR

VAZIAS PALAVRAS

CRIAR

RIMAS ESCRAVAS

TESTAR

TEORIAS PARVAS

MUDAR

AXIOMAS?

GLIOMAS?

O QUE RIMA COM MAS?

MAMAS?

OBAMAS?

OSAMAS?

GAMAS?

BOLAMAS?

TRAMAS?

ESQUEMAS

EM NOTAS DE VINTE?

OU POEMAS

EM ÁGUA QUE PINTE

OU TINTE ÁGUA-PÉ?

OU ATÉ....

NA DIREITURA DO RIO

DESAFIO

EM TRATOS DE POLÉ

FEITA PROVA

QUE DESOVA

NUM BANZÉ?

dissabte, 2 de novembre del 2013

DAS APARIÇÕES NA POLÍTICA VULGAR E NA VULGATA POLITIQUEIRA - APARIÇÕES DE BIMBOS EM LIMBOS DE PALAVRAS ESCRAVAS E EM LIMBOS DE BIMBOS DE ESCRAVAS APALAVRADAS

CHÁVEZ APARECEU NUMA OBRA DO METRO DO CARAÇAS

OU DE CARACAS TANTO FAZ

LENINE DAS RELVAS MARTINS APARECEU MORTO PELO ESTADO SOCIAL SUECO

SOCRATES APARECEU NUM LIVRO SOBRE TORTURA EM DEMOCRACIA GREGA

DEPOIS DE SÉCULOS A CU ROMPER A JUVENTUS DE ATHENAS.....

SOARES APARECE EM TODO O LADO POIS O ESTADO SOCIAL

É ENORME E MAIOR QUE DEUS E O GRANDE ARQUITECTO JUNTOS...

SOARES QUE ATÉ PARECE PARVO APARECE EM PAPEL HIGIÉNICO CHEIO DE LETRAS

E ATÉ FAZ APARIÇÕES EM PACOTE DE CASTANHAS A DOIS EUROS A DÚZIA

E SEMI-APARIÇÕES NOS PACOTES DE MEIA-DÚZIA A 1 EURO

QUE ANDAVA ANTES NOS 100 ESCUDOS

POR ENQUANTO APESAR DAS DÉCADAS DE APARIÇÕES

QUE LEVA D'AVANÇO AO CHÁVEZ

SOARES AINDA NÃO APARECE NAS MOEDAS COMO FRANCO

OU COMO SON AMI JUAN CARLOS O MATADOR DE ELEFANTES....

TAMBÉM NÃO FAZ APARIÇÕES EM TORRADAS

NEM EM NOTAS .....

E CONTRARIAMENTE A JESUS TAMBÉM NÃO FAZ APARIÇÕES EM BATATAS FRITAS....

ESPERAMOS PACIENTEMENTE POR NOVAS APARIÇÕES

A BEM DO ESTADO SOCIAL IDE APARECENDO

ENQUANTO A GENTE SE DESVANECE....

dilluns, 28 d’octubre del 2013

NAS GUERRAS DO FIM DO MUNDO AS PALAVRAS NÃO SÃO ARMAS COM QUE DESARMAS A MATILHA OU LHES ABRES AS GOELAS EM LISBOA OU EM BUCELAS

CONFIRMO QUE A MORTE VEM

RASTEIRA COMO UMA VINHA

E LEVA OS BORREGOS NOVOS

NA FRENTE DA NOSSA LINHA

A MANTEIGA MEU IRMÃO

LEVOU GRANDE SUMIÇO

ESTÁ A BOLACHA DE SERVIÇO

ANDA DE LICENÇA O PÃO

OU NOUTRA SUBVERSÃO......

E ZANGADO ANDA O FEIJÃO

POR TER TANTO TANTO BICHO

NÓS COMEMOS O BOM LIXO

E DESERTOU NOSSO PÃO....

Sunday, December 26, 2010
C’EST A CRAONNE SUR LE PLATEAU – SOUDAIN DANS LA NUIT ET DANS LE SILENCE
Adieu la vie, adieu l’amour, Adieu toutes les femmes.
C’est bien fini, c’est pour toujours,
De cette guerre infâme.
C’est à Craonne, sur le plateau,
Qu’on doit laisser sa peau
Car nous sommes tous condamnés
C’est nous les sacrifiés !
Quand au bout d’huit jours, le r’pos terminé,
On va r’prendre les tranchées,
Notre place est si utile
Que sans nous on prend la pile.
Mais c’est bien fini, on en a assez,
Personn’ ne veut plus marcher,
Et le coeur bien gros, comm’ dans un sanglot
On dit adieu aux civ’lots.
Même sans tambour, même sans trompette,
On s’en va là haut en baissant la tête.
…..Adieu la vie, adieu l’amour,
Adieu toutes les femmes.
C’est bien fini, c’est pour toujours,
De cette guerre infâme.
C’est à Craonne, sur le plateau,
Qu’on doit laisser sa peau
Car nous sommes tous condamnés
C’est nous les sacrifiés !
C’est malheureux d’voir sur les grands boul’vards
Tous ces gros qui font leur foire ;
Si pour eux la vie est rose,
Pour nous c’est pas la mêm’ chose.
Au lieu de s’cacher, tous ces embusqués,
F’raient mieux d’monter aux tranchées
Pour défendr’ leurs biens, car nous n’avons rien,
Nous autr’s, les pauvr’s purotins.
Tous les camarades sont enterrés là,
Pour défendr’ les biens de ces messieurs-là.
au Refrain
Huit jours de tranchées,
huit jours de souffrance,
Pourtant on a l’espérance
Que ce soir viendra la r’lève
Que nous attendons sans trêve.
Soudain, dans la nuit et dans le silence,
On voit quelqu’un qui s’avance,
C’est un officier de chasseurs à pied,
Qui vient pour nous remplacer.
Doucement dans l’ombre,
sous la pluie qui tombe
Les petits chasseurs
vont chercher leurs tombes.
Refrain
Ceux qu’ont l’pognon, ceux-là r’viendront,
Car c’est pour eux qu’on crève.
Mais c’est fini, car les trouffions
Vont tous se mettre en grève.
Ce s’ra votre tour, messieurs les gros,
De monter sur l’plateau,
Car si vous voulez la guerre,
Payez-la de votre peau …
Ó RATAZANA IMUNDA
DA GUERRA QUE MUNDOS COBRE
TUA LOUCA FÉ INUNDA
AS TERRAS QUE DESCOBRE
É A FRAGMENTAÇÃO
DO IMPÉRIO ROMANO
DESSE IMPÉRIO MAÇÃO
EM QUE SER FINO
É TER MANO
COM CHALET ALPINO…

C'EST A CRAONNE SUR LE PLATEAU - SOUDAIN DANS LA NUIT ET DANS LE SILENCE Adieu la vie, adieu l'amour,
Adieu toutes les femmes.
C'est bien fini, c'est pour toujours,
Mais c'est bien fini, on en a assez, Personn' ne veut plus marcher,
Même sans tambour, même sans trompette, On s'en va là haut en baissant la tête.
Ce s'ra votre tour, messieurs les gros,
De monter sur l'plateau,
Car si vous voulez la guerre,
Payez-la de votre peau !

A GUERRA DO LOUCO

TEVE SEUS AZARES

E SOUBE-LHE A POUCO

AGORA O LOPES SOARES

VAI-SE ÀS COLÓNIAS E ZÁS

UMA PORRADA NA TOLA

VAI-SE AOS SOBAS E PÁS

AMARROTA-LHES A CARTOLA

ESTA É A CARTILHA

DA MALTA QUE PILHA

É A PROVA DOS NOVE

NO ANO QUE É DEZANOVE...