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Thursday, May 28, 2009

Bintan Island in the short profile



Although Bintan is not as popular as Bali yet,the island is certainly developing into a magnificent tourist resorts in Riau Islands Province. Bintan may even bigger name in the region has fabulous beaches and natural marine beauty reinforced by several international resorts such as Bintan Resort and Bintan Agro Resort. The modern facilities and infrastructures would make your holiday as unforgettable one.

The total area of 1,949.13 sq.km provides easy International access to Singapore and Malaysia with approximately 45 minutes ferry rides from Bandar Bentan Telani (BBT) International Terminal. Tourist information in the Riau Islands Province may also be obtained from a big plasma screen comprising a variety of tourist information like Hotels, Resorts, Restaurant and other attractions.

Bintan is also a part of Special Economic Zone (SEZ) endowed with abounding marine natural beauties with pristine white sand beaches as long as 5 km such as Trikora Beach. The lavish sunset on the beach is unforgettable warmed end of your day at Bintan.



bintan beach in village

UNE BONNE PHOTO


El otro dia, viniendo en un vuelo de Air France, tuve la suerte de encontrar en la revistilla que tienen en esos asientos en los cuales apenas cabian mis rodillas, una entrevista al fotógrafo PATRICK DEMACHELIER. Eso hizo que pasara unos momentos agradables olvidandome de lo encogido e incómodo que viajaba.
En el artículo le preguntan: ¿Qué es una buena foto? y el responde (pongo el texto original en francés...siempre se puede recurrir a "herramientas del idioma" de google, jeje):

"On a oublié ce qu'était une bonne photo. Il y a quarante-cinq ans, Harper's Bazaar était extraordinaire à regrader. Aujourd'hui, mis à part Vogue, les magazines n'ont plus de style. Une bonne photo, c'est juste un moment précis, parfaitement saisi."

Y el que tenga oidos que oiga y el que quiera entender que entienda.............

Wednesday, May 27, 2009

List of Shopping Centre in Batam

No

Name

Address

1. Mega Mall / Hyper Mart Batam Centre
2. Batam Centre Mall Batam Centre
3. Matahari Lucky Plaza Lubuk Baja
4. Ramayana Dept Store Nagoya
5. Robinson Dept Store Nagoya
6. Batam City Square Lubuk Baja
7. Center Point Dept Store Nagoya – Lubuk Baja
8. Top 100 Penuin and Jodoh Penuin – Lubuk Baja
9. DC Mall Batu Ampar
10. Panbil Mall Muka Kuning
11. Pusat Belanja Marina Marina City
12. Nagoya Hill Nagoya
13. STC Mall Sekupang

Tuesday, May 26, 2009

List of Tourist Attraction in Batam




No

Name

Address

1.

Water Front City/Marina Beach

Sekupang

2.

Nongsa Beach

Nongsa

3.

Melur Beach

Galang Island

4.

Melayu Beach

Rempang Island

5.

Kampung Panau Beach

Kabil, Nongsa

6.

Tanjung Pinggir Beach

Sekupang

7.

Pulau Setokok Beach

Galang Island

8.

Sekilak Batu Besar Beach

Batu Besar, Nongsa

9.

Tengku Fisabilillah Bridge

Batam-Tonton

10.

Nara Singa II Bridge

Tonton-Nipah

11.

Ali Haji Bridge

Nipah-Setokok

12.

Sultan Mahmud Abidin

Setokok-Rempang

13.

Tuanku Tambusai Bridge

Rempang-Galang

14.

Raja Kecik Bridge

Galang-Galang Baru

15.

Vietnam Refugees Camp

Galang

16.

Mini Bulang Lintang Museum

Bulang Lintang

17.

Jabi Batu Besar Village

Nongsa

18.

Setokok Village Tour

Setokok Island

19.

Japan Graveyard

Galang Island

20.

Tumenggung Abdul Jamal Graveyard

Bulang Island

21.

H. Daeng Fuang Graveyard

Nongsa

22.

Nong Isa Graveyard

Nongsa

23.

Keramat Graveyard

Sekupang

24.

Pilar Tri Argulasi Primer

Galang

25.

Gugus Islands Tour

Galang

26.

Belakang Padang Island Tour

Belakang Padang

27.

Bulang Lintang Island Tour

Bulang

28.

Akar Panjang Island Tour

Jembatan 1

29.

Batam Centre Mosque

Batam Centre

30.

Cetya Tridarma Temple

Sei Panas

31.

Pura Agung Amerta Bhuana

Sei Panas

32.

Dewi Kwan Im Sekupang

Galang Island : The memory of Boat People



Batam is second gateway for tourism after Bali, with average visit of 2 million people per year enriched with humanity memoirs 32 years ago of Ex-Vietnamese Refugee-Camp sited at Galang Baru Island. The camp is used to accommodate 250 thousand Vietnamese from 1975-1997. The refugees are also known as Boat People who escaped from the civil war between the South Vietnam (Capitalist) and North Vietnam (Communist).

The memory of Boat People are still securely reserved at Galang such as the boats, barracks, Catholic Church of Cua Ky Vien, Buddhist Temple of Nha To Duc Me Vo Nhiem, al list of refugees data and photos as well as graveyard which became witness of the captivating humanity tragedy in the past. The world has also recognized Batam by rated the camp as preeminent ex refugees camp in Asia.

Batam,”The Thousand of Shop Island”

Batam is a shopping paradise for those shoppers mania where numerous shopping malls are now standing to allure you with their products and facilities ranging from fashion, restaurant to the children amusement park. Many shop houses are also conducting commercial activities offering products to cater miscellany demands. That’s why Batam is called “Scorpion Island” also known as “Thousand Shop Island”.

Batam is a part of Special Economic Zone (SEZ) in Indonesia supported by modern facilities and infrastructures such as Hang Nadim International Airport with the longest runway of 4,000 m in Indonesia,the Central Mosque,Largest Buddhist Temple in the South East Asia of Maha Vihara Duta Maitreya,Sumatra Promotion Centre designed for international exhibitions, a range of beach resort and hotels as well as shopping malls. International destinations such as Singapore are served by 45 minutes ferry rides five International Ferry Terminals at Batam Centre,Sekupang,Harbour Bay at Batu Ampar,Nongsapura and Waterfront City Marina.

Monday, May 25, 2009

Batam City in the short profile

In the year 231 AD, Batam was originally inhabited by Malay origins usually known as “Strait People”. The colonialism was defeated under the perseverance of Commander Hang Nadim at the scorpion-like island. In the 60’s, Batam turned into a reputable oil and gas logisitcs base located Sambu Island. Today, Batam has certainly transformed. .The island has evolved into a city at the Riau Islands Province designated for investment and tourism supported with modern infrastructures and facilities which grew within 25 years.

Two main districts in Batam Centre and Nagoya. Batam Centre is an area where vital government institutions located whereas nagoya is an area designated for commercial purposes such as shopping centers, hotels and restaurant. Some government institutions in Batam Centre are the Batam Industrial Development Authority (BIDA), Mayor Office, batam Parliament House, Immigration Office,The Post office, Central Mosque and Pilgrimage as well as State-Owned Gas Company. Meanwhile, as the Nagoya region the economic wheel, both as a business centre,and as central hotels and restaurants. The names itself is taken Nagoya when Japan troops Batam occupied during World War II.

The 715 sq.km area of Batam-Rempang-Galang is offering various attractive tourism packages compiled on Batam Calendar Events including Sea Eagle Boat Race. The region is also suitable for those who love the beach, art and culture,shopping,convention and treasure the historical substance in Batam.

Sunday, May 24, 2009

List of Tourist Attractions in Tanjungpinang

No Name Address Kind
1. Monumen Raja Haji Fisabilillah Tanjungpinangkota View
2. Taman Rekreasi Hanaria Batu 11 View
3. Ramayana Dept Store Jalan Wiranto Shopping
4. Bintan Centre Batu 9 Shopping
5. Traditional Market Tanjungpinangkota Shopping
6. Akau / Pasar Malam Tanjungpinangkota Shopping
7. Mesjid Raya Sultan Riau Penyengat Island History Tourism
8. Komp. Makam Engku Putri Hamidah Penyengat Island History Tourism
9. Komp. Makam Raja Haji Fisabilillah Penyengat Island History Tourism
10. Komplek Makam Raja Ja’afar Penyengat Island History Tourism
11. Istana Raja Ali Penyengat Island History Tourism
12. Makam Raja Abdulrachman Penyengat Island History Tourism
13. Benteng Pertahanan Bukit Kursi Penyengat Island History Tourism
14. Perigi Putri Penyengat Island History Tourism
15. Sungai Carang Hulu Riau History Tourism
16. Komplek Makam Daeng Marewah Hulu Riau History Tourism
17. Komplek Makam Daeng Celak Hulu Riau History Tourism
18. Kota Piring Pulau Biram Dewa History Tourism
19. Makam S. Sulaiman Badrul Alamsyah Kampung Melayu History Tourism
20. Situs Istana Kota Raja Kampung Bugis History Tourism
21. Senggarang Pulau Senggarang ReligiousTourism
22. Hutan Bakau Dompak Dompak Country River Tour
23. Sore Island Sore Island Island tour
24. Terkulai Island Terkulai Island Island Tour

List of restaurant in Tanjungpinang

No Name Address Phone
1. Ayam goreng 88 Jl Pos Blok A 33
2. Damai Baru Jl Merdeka
3. Hanly Cafe Jl Ketapang 41
4. Tunas Pisang Catering Jl Bakar Batu
5. Maratama Jl Gambir
6. Indo Rasa Jl Merdeka 95
7. Vegetarian Sinar Bodhi Jl Bakar Batu
8. Pinang Lestari Jl Senggarang
9. Minang Jl Bakar batu
10. Bali JlTugu Pahlawan
11. Giant Rasa Jl Potong Lembu
12. Mamak Den Jl Bakar Batu
13. Kentucky Fried Chicken Jl Teuku Umar +62771 318184
14. Senggarang Jaya Jl Kampung Bugis
15. Selera Kita Jl B. Katamso
16. Siantan Jl Kemboja
17. Sam’s Anna Jl Ir Sutami
18. Ayam Goreng 88 Jl MT Haryono
19. Sangkuriang Jl B. katamso
20. Nelayan Jl Sungai Jang
21. Jawa timur Jl Raja Ali Haji8
22. Kelong Shangrilla Jl Sei Jang
23. Gerai Selera Rasa Jl Tugu Pahlawan
24. Jumbo Sari Laut Jl Usman Harun
25. Sei Nam Teluk Keriting Jl Usman Harun
26. Sari Bundo Jl Tugu Pahlawan
27. Indah Sari Jl DI Panjaitan
28. Hanaria Jl Gesek 12
29. Suka Ramai Jl Gatot Subroto
30. Vegetarian Bumi Maitreya Jl Ir Sutami
31. Bakso Pamedan Jl Raja Ali Haji
32. Bakso Solo Pramuka Jl Pramuka
33. Kayoe Manis Jl Bakar Batu
34. Bakso Solo Jl Wiratno
35. Depot Ayam Penyet Jl.Soekarno Hatta
36. Sedap Saji Jl Soekarno Hatta
37. Bambu Resto Jl Soekarno Hatta
38. Warung Semarang Jl Soekarno Hatta
39. Sweet Bakery Jl Bakar Batu
41. Saimens Bakery Jl Pos
42. Ayam Penyet Ria Jl MT Haryono
43. Putri Minang Jl Bakar Batu

Ballad of Tarr













S-shrouded these narcoleptic trees by some unnoticed gale, shed their leaves unto a tarred land which encircles the s-silence of all those who... would born dead for this Golgotha. Muted birds tired of repeating yesterdays errors, huddle nowhere in the recess: there it emerges a continental mist from the marsh that traces its way towards to cuddle the marblean feet of the mouthless hero's statue, whose only feat was shout at the moon an' sun under the eye of HORANGEL. Of Horangel... In tune with the cathodes of the Ëarth, the svelt-long night begins yetstill. And the still failing rain.








.

Penyengat Island



The magnificent Penyengat Island has even had its own love story between Sultan Mahmud Riayat Syah III (Sultan at Johor-Riau-Lingga-Pahang) and Her highness Hamidah or commonly known as Engku Putri.

Sultan Mahmud had shown his love to Engku Putri by presenting the whole Penyengat Island as his wedding offering. Engku Putri is daughter of King Haji Fisabilillah whose possess kingdom’s great treasures. One of the is Cogan, a mighty spear in a shape of golden betel vine leaf and silver bone. The Cogan is now securely reserved at the National Museum in Jakarta.

Heritages buildings may be discovered at Penyengat Island comprising of Memorial Park of Engku Putri and King Ali Haji, King Haji Fisabilillah, daeng Marewah,Daeng Celak,King Jakfar,Kantor Palace compound, Gunpower Building,and wall of defense at Kursi Hill. The hill is occupied with flawless architectural fortress during its time opposite the ocean so the soldiers were in their full alert when the enemies ship anchored.

The short history of the Kingdom Riau - Lingga

One of the famous historical heritages is Sultan Riau Mosque at Penyengat Island. It was built in the year 1249 Hijjriah or 1832 A.D by King Abdul Rahman . The building is 19.80 meter length and 18 meter width supported by 4 concrete pillars where each corner has a tower with 17 domes in conjunction with numbers of the Moslem ritual motions in a day. The most captivating detail in building the mosque is the usage of white eggs mixed with sands and limestone.

Penyengat Island was the centralized wall of defense of Riau-Lingga Kingdom on the Dutch colonialism in the 17th century. Two national Heroes of Indonesia were also born in island;King Haji Fisabilillah,the 4th king whom symbolizes the spirit of patriotism among the malay Origin.In honoring his spirit, the first of six main bridges connecting Batam to Galang Baru is named after him.

Another hero during those years was a King Ali Haji,who was given major contributions in literacy works. He has created the legendary rhyme of Gurindam XII in the year 1847 where is composition has grown to be religious principles of Malay lifestyles. He has even initiated and the Indonesian National language of Bahasa Indonesia. The son of Tengku Raja Haji Ahmad and Hamidah passed away in the year 1873 at his hometown of Penyengat Island.

Tanjungpinang City

In the 16th Century,Tanjungpinang was a Malay Kingdom centralized at Penyengat Island. Today, Tanjungpinang is the capital cityof Riau Islands Province endowed with fascinanting tourists attractions of historical heritages,art and culture as well as natural and marine destinations.

With total area of 812.7 sq-km,Tanjungpinang own tropical characteristics and the very strategic geographical position as commerce town and tourism town because Tanjungpinang had direct border with two developed countries, Singapore and Malaysia. This make Tanjungpinang start to have x'self order prepare all infrastructure as tourism support. Leisure and security become Tanjungpinang priority in order for every tourist which dating pay a visit to "Old Town" will get tourism experience not easy to forget.

Tourism Profile of Riau Islands

Riau Islands is strategically located on International Shipping lane of Malacca Strait right on the borders of Singapore,Malaysia,Brunei,Vietnam,Cambodia,and Thailand. The province is covering area 252,602 sq-km with total population of 1,238,364 people under six main district of Tanjungpinang City,Batam City,Bintan Regency,Karimun Regency,Natuna Regency,and Lingga Regency. Riau Islands has become the main gateway for tourism of the South East Asia region offering abundant attractions such as historical,natural,shopping,humanity,agribusiness,and marine tourism. the province has also established as one of the most favorable M.I.C.E (Meeting,Incentive,Convention and Exhibition) cities in the world. The region is predominant with striking origin culture of Malay which enriched by traditional dances,customs,and other cultural heritages.

Wednesday, May 20, 2009

The man who never existed


























[an unfinished tale]

























Spencer Mom lived in Ravenglass, in the northwest of England, where he was born in 1949.

During his childhood, he liked to visit near towns, that in those years -the years of the winds- did have all its streets covered in sand: Waberthwaite, Eskmeals, Saltcoats; all its sanded streets were blind witness of the Spencer legs walking by them, like a phantom...

Even some summer afternoons he durst walk to Bootle.

...As the blue-oval pearl of the daysky passed by behind his eyes...


The Christmas were practically rural at Ravenglass: some modern music of skiffle sounded by the speakers of the park in the centre of the town to remind us that it was a time of joy: the dry cold did cut the face skin in two.


When January came, in the winter, the snow used to fall in heavy way over the metallic roofs of the neighbourhood: Spencer Mom was there, like mesmerised with something that he couldn’t mind: what it was?
When January came, nuts were grilled over the fire: the television didn’t show but the streets of London in black and white: on the radio it could be heard African music; it was the BBC overseas, Spencer Mom tuned a show broadcasted from Rhodesia.


One day; Spencer Mom started walking towards the stars.
On the sidewalk, towards the stars.

Some say have seen him becoming progressively translucid, step by step.
The Sun of July was hitting on the sand of the streets.





.

Saturday, May 16, 2009

Yegua















Algunas noches

soy fácil, no acato límites

Algunas noches

soy fácil, no acato límites.


Tiempo atrás

lo salpicabas todo con tu encanto,

te he visto reducir hombres al llanto

y a la fortuna despreciar.


Hoy rayás

el mediodía casi descosida,

sos un flamenco con el ala herida; con la intemperie te arropás


...y como yegua derramaba su esplendor

Eramos salvajes, sin frenos para el amor y en la misma fantasía, se fundía y se reia de los dos.


Algunas noches

soy fácil, no acato limites

Algunas noches

soy fácil, no acato límites.


Hoy,

quizás la sutileza me guarde un rescate,

me fui avivando en otro par de escapes, me vine sabio en boicotear


Con el tiempo fui aprendiendo a ser robot: era progamable en cuestiones del amor


...y en la misma fantasía, me fundía y se reia de los dos.



Perdido estoy; perdido estoy

perdido estoy, todos saben quien soy


Algunas noches

soy fácil, no acato limites...



...y como yegua se reia de los dos...
.

Sunday, May 10, 2009

GEOMETRIC AND MECHANICAL SPLENDOR AND THE NUMERICAL SENSIBILITY

.


F.T. Marinetti

from MARINETTI: Selected Writings (Farrar, Straus and Giroux, translated by R. W. Flint and A. Coppotelli)



We are hastening the grotesque funeral of passéist Beauty (romantic, symbolist, and decadent) whose essential elements were memory, nostalgia, the fog of legend produced by remoteness in time, the exotic fascination produced by remoteness in space, the picturesque, the imprecise, rusticity, wild solitude, multicolored disorder, twilight shadows, corrosion, weariness, the soiled traces of the years, the crumbling of ruins, mold, the taste of decay, pessimism, phthisis, suicide, the blandishments of pain, the aesthetics of failure, the adoration of death.
A new beauty is born today from the chaos of the new contradictory sensibilities that we Futurists will substitute for the former beauty, and that I call Geometric and Mechanical Splendor.
Its essential elements are: hygienic forgetfulness, hope, desire, controlled- force, speed, light, will power, order, discipline, method; a feeling for the great city; the aggressive optimism that results from the cult of muscles and sport; the imagination without strings, ubiquity, laconism, and the simultaneity that derives from tourism, business, and journalism; the passion for success, the keenest instinct for setting records, the enthusiastic imitation of electricity and the machine; essential concision and synthesis; the happy precision of gears and well-oiled thoughts; the concurrence of energies as they converge into a single victorious trajectory.
My Futurist senses perceived this splendor for the first time on the bridge of a dreadnought. The ship's speed, its trajectories of fire from the height of the quarterdeck in the cool ventilation of warlike probabilities, the strange vitality of orders sent down from the admiral and suddenly become autonomous, human no longer, in the whims, impatiences, and illnesses of steel and copper. All of this radiated geometric and mechanical splendor. I listened to the lyric initiative of electricity flowing through the sheaths of the quadruple turret guns, descending through sheathed pipes to the magazine, drawing the turret guns out to their breeches, out to their final flights. Up sights, aim, lift, fire, automatic recoil, the projectile's very personal path, hit, smash, smell of rotten eggs, mephitic gases, rust, ammonia, and so on. This new drama full of Futurist surprise and geometric splendor is a thousand times more interesting to us than human psychology with its very limited combinations.
Sometimes the great human collectivities, tides of faces and howling arms, can make us feel a slight emotion. To them we prefer the great solidarity of preoccupied motors, arrayed and eager. Nothing is more beautiful than a great humming central electric station that holds the hydraulic pressure of a mountain chain and the electric power of a vast horizon, synthesized in marble distribution panels bristling with dials, keyboards, and shining commutators. These panels are our only models for the writing of poetry. For precursors we have gymnasts and highwire artists who, in their evolutions, their rests, and the cadences of their musculature, realize the sparkling perfection of precise gears, and the geometric splendor that we want to achieve in poetry with words- in- freedom.
1) We systematically destroy the literary I in order to scatter it into the universal vibration and reach the point of expressing the infinitely small and the vibration of molecules, E.g.: lightning movement of molecules in the hole made by a howitzer (last part of "Fort Cheittam-Tepe" in my "Zang tumb tumb"). Thus the poetry of cosmic forces supplants the poetry of the human.
The traditional narrative proportions (romantic, sentimental, and Christian) are abolished, according to which a battle wound would have a greatly exaggerated importance in respect to the instruments of destruction, the strategic positions, and atmospheric conditions. In my poem "Zang tumb tumb" I describe the shooting of a Bulgarian traitor with a few words- in- freedom, but I prolong a discussion between two Turkish generals about the line of fire and the enemy cannon. In fact I observed in the battery of Suni at Sidi-Messri, in October, 1911, how the shining, aggressive flight of a cannonball, red hot in the sun and speeded by fire, makes the sight of flayed and dying human flesh almost negligible.
2) Many times I have demonstrated how the noun, enfeebled by multiple contacts or the weight of Parnassian and decadent adjectives, regains its absolute value and its expressive force when it is denuded and set apart. Among naked nouns I distinguish the elementary noun and the motion- synthesis noun (or node of nouns). This distinction is not absolute and it comes from almost ungraspable intuitions, According to an elastic and comprehensive analogy, I see every noun as a vehicle or belt set in motion by the verb in the infinitive.
3) Except for needed contrast or a change of rhythm, the different moods and tenses of the verb should be abolished, because they make the verb into a stagecoach's loose wheel adapting itself to rough country roads, but unable to turn swiftly on a smooth road. The infinitive verb, on the other hand, is the very movement of the new lyricism, having the fluency of a train's wheel or an airplane's propeller.
The different moods and tenses of the verb express a prudent and reassuring pessimism, a clenched, episodic, accidental egotism, a high and low of force and tiredness, of desire and delusion, of pauses, in other words, in the trajectory of hope and will. The infinitive verb expresses optimism itself, the absolute generosity of the folly of Becoming. When I say "to run," what is that verb's subject? Everyone and everything: that is, the universal irradiation of life that runs and of which we are a conscious particle. E.g.: the finale of "Salone d'albergo" by the free-wordist Folgore. The infinitive is the passion of the "I" that abandons itself to the becoming of "all," the heroic disinterested continuity of the joy and effort of acting. Infinitive verb = the divinity of action.
4) By means of one or more adjectives isolated between parentheses or set next to words- in- freedom behind a perpendicular line (in clefs) one can give the different atmospheres of the story and the tones that govern it. These adjective- atmospheres or adjectivetones cannot be substituted for by nouns, They are intuitive convictions difficult to explain. I nevertheless believe that by isolating for example, the noun "ferocity" (or putting it in brackets, describing a slaughter), one will create a mental state of ferocity, firmly enclosed within a clean profile. Whereas, if I put between parentheses or brackets the adjective "ferocious," I make it into an adjective- atmosphere or adjective-tone that will envelop the whole description of the slaughter without arresting the current of the words- in-freedom.
5) Despite the most skillful deformations, the syntactic sentence always contains a scientific and photographic perspective absolutely contrary to the rights of emotion. With words- in- freedom this photographic perspective is destroyed and one arrives naturally at the multiform emotional perspective. (E.g.: Man + mountain + valley of the free-wordist Boccioni).
6) Sometimes we make synoptic tables of lyric values with our words- in-freedom, which allow us as we read to follow many currents of intertwined or parallel sensations at the same 'lime. These synoptic tables should not be a goal but a means of increasing the expressive force of the lyricism. One must therefore avoid any pictorial preoccupations, taking no satisfaction in a play of lines nor in curious typographic disproportions.
Everything in words- in- freedom that does not contribute toward the expression of the fugitive, mysterious Futurist sensibility with the newest geometric- mechanical splendor must be resolutely banned. The free-wordist Cangiullo, in "Fumatori" (Smokers) Ila, had the happy thought of rendering the long and monotonous reveries and self-expansion of the boredom-smoke of a long train trip with this designed analogy:




TO SMOKE





The words- in- freedom, in this continuous effort to express with the greatest force and profundity, naturally transform themselves into self- illustrations, by means of free, expressive orthography and typography, the synoptic tables of lyric values and designed analogies, - (E.g.: The military balloon I designed typographically in my "Zang tumb tumb.") As soon as this greater expression is reached, the words- in- freedom return to their normal flow, The synoptic tables of values are in addition the basis of criticism in words- in- freedom. (F.g,: "Balance 1910-1914" by the free-wordist Carrà.)
7) Free expressive orthography and typography also serve to express the facial mimicry and the gesticulation of the narrator.
Thus the words-in- freedom manage to make use of (rendering it completely) that part of communicai ive exuberance and epidermic geniality that is one of the characteristics of the southern races. This energy of accent, voice, and mimicry that has shown up hitherto only in moving tenors and brilliant talkers finds its natural expression in the disproportions of typographic characters that reproduce the facial grimaces and the chiseling, sculptural force of gestures, In this way words- in- freedom become the lyric and transfigured prolongation of our animal magnetism.
8) Our growing love for matter, the will to penetrate it and know its vibrations. the physical sympathy that links us to motors, push us to the use of onomotopoeia.
Since noise is the result of rubbing or striking rapidly moving solids, liquids, or gases, onomatopoeia, which reproduces noise, is necessarily one of the most dynamic elements of poetry. As such, onomatopoeia can replace the infinitive verb, especially if it is set against one or more other onomatopoeias. (E.g.: the onomatopoeia "tatatata" of the machine guns, set against the "Hoooraaaah" of the Turks at the end of the chapter "Ponte" in my "Zang tumb tumb.")
The brevity of the onomatopoeias in this case permits the most skillful combination of different rhythms, These would lose a part of their velocity if expressed more abstractly, with greater development, that is, without the help of the onomatopoeias. There are different kinds of onomatopoeias:
a) Direct, imitative, elementary, realistic onomatopoeia, which serves to enrich lyricism with brute reality, which keeps it from becoming too abstract or artistic. (E.g.: "ratta-tat-tat," gunfire.) In my "Contraband of War" in "Zang tumb tumb," the strident onomatopoeia 'Issiiiiii" gives the whistle of a towboat on the river Meuse and is followed by the veiled onomatopoeia 'Iffiiiii ffiiiiii," echo from the opposite bank. The two onomatopoeias saved me from neeJing to describe the width of the river, which is defined by the contrast between the two consonants 'Is" and 'If."
b) Indirect, complex, and analogical onomatopoeia. E.g.: in my poem "Dunes" the onomatopoeia "dum-dum-dum-dum" expresses "he circling sound of the African sun and the orange weight of the sun, creatinga rapport between sensations of weight, heat, color, smell and noise. Another example: the onomatopoeia 'Istridionla stridionla stridionlaire" that repeats itself in the first canto of my epic poem "The Conquest of the Stars" forms an analogy between the clashing of great swords and the furious action of the waves, just before a great battle of stormy waters.
c) Abstract onomatopoeia, noisy, unconscious expression of the most complex and mysterious motions of our sensibility. (F.g.: in my poem "Dunes," the abstract onomatopoeia 1'rnn rnn rnn" corresponds to no natural or mechanical sound, but expresses a state of mind.)
d) Psychic onomatopoetic harmony, that is, the fusion of two or three abstract onomatopoeias.
9) My love of precision and essential brevity has naturally given me a taste for numbers, which live and breathe on the paper like living beings in our new numerical sensibility. E.g.: instead of saying, like the ordinary traditional writer, "A vast and deep boom of bells" (an imprecise, hence inefficient, denotation), or else, like an intelligent peasant, "This bell can be heard from such and such a village" (a more precise and efficient denotation), I grasp the force of the reverberation with intuitive precision and determine its extent, saying: "Bell boom breadth 20 square kilometers." In this way I give the whole vibrating horizon and a number of distant beings stretching their ears to the same bell sound. I escape imprecision and dullness, and I take hold of reality with an act of will that subjects and deforms the very vibration of the metal in an original manner.
The mathematical signs + - x serve to achieve marvelous syntheses and share, with their abstract simplicity of anonymous gears, in expressing the geometric and mechanical splendor. For example, it would have needed at least an entire page of description to render this vast and complex battle horizon, had I not found this definitive lyric equation: "horizon - sharp bore of the sun + 5 triangular shadows (1 kilometer wide) + 3 lozenges of rosy light + 5 fragments of hills + 30 columns of smoke - 23 flames."
I make use of "x" to indicate interrogative pauses in my thought. I thereby eliminate the question mark, which too arbitrarily localizes its atmosphere of doubt on a single point of awareness. With the mathematical 'x' the doubting suspension suddenly spreads itself over the entire agglomeration of words- in- freedom.
Always intuitively, I introduce numbers that have no direct significance or value between the words-in-freedom, but that (addressing themselves phonically and optically to the numerical sensibility) express the various transcendental intensities of matter and the indestructible correspondences of sensibility.
I create true theorems or lyric equations, introducing numbers chosen intuitively and placed in the very middle of a word, with a certain quantity of + - x =; I give the thickenesses, the relief, the volume of the thing the words should express. The placement + - + - + + x serves to render, for example, the changes and acceleration of an automobile's speed. The placement . . . . . serves to render the clustering of equal sensations. (E.g.: fecal odor of dysentery + the honeyed stench of plague sweats + smell of ammonia, etc., in "Train full of sick soldiers" in my "Zang tumb tumb").
Thus for the "ciel antérieur où fleurit la beauté" of Mallarmé we substitute geometric and mechanical splendor and the numerical sensibility of words- in- freedom.




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The strange case of "El Hombre montaña" [the mountain man]

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. don't click






An actual picture of "El Hombre montaña" with Crandall Orbison, 2 metres-tall wrestler, during an exhibition in Orlando





















"Sometimes, the natural laws take twisted, astonishing paths unnoticedly: from the French Revolution resulted The Republic; from The Reform, the protestantism.
Eduard Punset wasn't meant to be, when his parents did engender him, the blinding monster that his short, yet rampant career showed: in this story is intertwined the absurd with the horrific; the impossible with the latest Catalan nutrition's habits: this...this is terrible..."



Compiled by Jordi Caca






First years:

El hombre montaña was born in Sallaxsellselat-D’Guixollsterratxells, Catalonia; his Christian name was Eduard Punset, later, converted to the ultraorthodox judaism, changed it to Moshe Perez: from his very birth demonstrated an unusual strength strangling the nurse.
One time his mother was breastfeeding him, the baby Eduard sucked so strongly that almost swallows the poor woman alive.
The kid montaña was growing robust and healthy: being 3 years old, already was 1,80 metre tall, exactly as tall as his father: Chico Buarque Punset, a known merchant of bondiolles and cold cuts in the town.

Being 10, the little Eduard was already 2,19 tall, and started being called ‘the mountain’ and ‘the vertical kilometre’ by his scornful classmates. Notwithstanding, this attitude was not recommendable, since Eduard hadn’t usually good mood, and used to get violent with his classmates, sending them regularly to the hospital, sometimes in coma.

Adolescence and youth:

Being 17, Eduard ‘el hombre montaña’, was already 2,90 tall, and was engaged by Athletic Bimbo as pivot of basketball, with a contract for 10 years: thankfully to his prodigious performances, Athletic Bimbo became a club with national, even European impact, winning the astonishing thread of 79 cups in 2 years (they played alot).
No doubt: El hombre montaña would be called to play in the NBA; and so it was: with a monster-contract of 2.675 million dollar per year, Eduard would start playing for the Boston Erotomaniacs for 29 years, with total incomes that were slightly higher than the external debt of Brazil and Colombia together.

The unexpected came, finally, during his first match, against the L A Neanderthals: after a tremendous match, where he scored 175 triples; tried to immortalise himself in the bronz definitely, and attempted the biggest slam dunk ever seen: with nationwide TV transmission coast to coast, and via coaxil to 795 countries; el hombre montaña started running with perfect dominion of the ball, bounce by bounce, getting closer and closer to the basket; beheld by the amazed audience; 1, 2, 3 bounces and then yes: at high speed he tried, finally, the most AWESOME jump never seen; but in the exact moment of the jump, Eduard slipped with something unknown: water, sweat, saliva, mazola oil, a chewing gum, cum, pepsicola, Fanta, Schweppes? Nobody knows; but with the titanic impulse he did fly violently away at indescribable speed, crashing against one of the stadium’s columns, and tearing the stadium down from the foundations, due to the appalling impact, like Samson with the columns of the temple; all this, catastrophically seen live on TV, in front of the idiotized stare of millionaire audiences.

Horrific end for the mountain man, ghastly, abysmal, awful, terrible, Seinfeld; I haven’t adjectives to depict this big massacre, that ended with the mountain man, 100.000 people of the audience, and the stadium.




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Friday, May 8, 2009

FOTOGRAFOS Y ARTISTAS


Por favor no dejeis de leer el siguiente "POST" de la magnífica página de Valentin Sama.

http://valentinsama.blogspot.com/2005/04/fotgrafos-y-artistas.html

SORPRESAS TE DA LA VIDA...

Ayer, por casualidades de la vida, me hablaron de un fotógrafo que no conocía y no tenía ninguna referencia sobre el.
Se trata de Carlos "el chino" Dominguez, fotógrafo peruano nacido en 1935. Muy influyente en el fotoperiodismo de su pais, una gran persona según aquellos que lo han conocido personalmente y un gran fotógrafo. Podis juzgar vosotros. Os dejo un video.