Hard to answer this questions, Benjamin Nid! Thanks a lot, very good points! Maybe the deepest. If Soundpainting is a language, so there must be infinite poetics approaches (can I answer what is MY Portuguese...? or what's YOUR French?). Is hard to answer, for me, because it involves personal history, dreams, visions, things we cannot be quick about it. It took me a long time to answer the question "Why did I become in love with this (Soundpainting)? Why?". I still cannot answer completely. For me, Soundpainting make possible the invention of a utopia. A singularity in space- time, where/when everybody could be having fun together. I'm from a Keith Johnstone's (IMPRO - theatre improvisation) background, and the most important pursuit we have is: How to make your partner improviser feel good? How to please him? (like Christophe feels) More deep, Keith teaches you how to be less frightened on stage (and in life) and accept to be transformed. So I use this training on musicians, dancers, visual artists, performers, and even actors, together in the Soundpainting workshops. I can see in Soundpainting the same LIFE SKILLS that we use to train in Keith's IMPRO. But the path, method, is rather different, since establishes the soundpainter/performer game. This very facebook group helped me a lot. Be able to listen and read so many talented and different voices, around the world, helped me not to fall into the easy way of doing "MY Soundpainting" - to flourish the performance with some Brazilian music/dance/folk stuff. Of course I want to use my environment, but poetry (for me) should be an invention of environment, a discovery of places out and in you. A poet I like called Manoel de Barros used to say: “To use some words until they belong to no language.” (for more: http://wordswithoutborders.org/book-review/manoel-de- barross-birds-for-a-demolition#ixzz3XP13GtYa ). I love questions, and I think every artist doing Soundpainting too, because the focus is on process, and not on product. Is not problem-solving but problem-searching. What I’ve been thinking about lately is the collective feel of
Benjamin Franklin (Boston, 17 de janeiro de 1706 — Filadélfia, 17 de abril de 1790) foi um jornalista, editor, autor, filantropo, abolicionista, funcionário público, cientista, diplomata, inventor e enxadrista estadunidense.1Foi um dos líderes da Revolução Americana, conhecido por suas citações e experiências com a eletricidade.Religioso, calvinista, e uma figura representativa do iluminismo. Correspondeu-se com membros da sociedade lunar e foi eleito membro da Royal Society. Em 1771,1 Franklin tornou-se o primeiro Postmaster General (ministro dos correios) dos Estados Unidos.Índice [esconder] 1 História1.1 Juventude1.2 Assuntos públicos e estudos científicos1.3 Últimos anos2 Referências3 Ver também4 Ligações externasHistória[editar | editar código-fonte]Juventude[editar | editar código-fonte]Benjamin Franklin nasceu em Milk Street, Boston. O seu pai, Josiah Franklin, era comerciante de velas de cera, e casou duas vezes. Benjamin foi o 17º filho de 20 crianças nascidas dos dois casamentos.Deixou os estudos aos dez anos de idade e aos doze começou a trabalhar como aprendiz do seu irmão, James, um impressor que publicava um jornal chamado "New England Courant". Tornou-se colaborador da publicação e foi seu editor nominal, escrevendo as cartas, sob o pseudônimo de Silêncio Faz Bem, uma viúva de meia idade [carece de fontes]. Depois de uma discussão com o irmão, Benjamin fugiu, causa que o trasforma em um fugitivo da lei, indo primeiro a Nova Iorque e depois a Filadélfia, onde chegou em outubro de 1723.Em breve encontrou trabalho como impressor, mas após alguns meses, foi convencido pelo governador Keith a ir para Londres, onde, desiludido das promessas de Keith, voltou a trabalhar como compositor tipográfico, até que um mercador chamado Thomas Denham o fizesse regressar a Filadélfia, dando-lhe uma posição na sua empresa.Almanaque do Pobre Ricardo (Poor Richard's Almanac).Em 1732 começou a publicar o famoso Almanaque do Pobre Ricardo (Poor Richard's Almanac), no qual se baseia boa parte da sua popularidade nos EUA. Provérbios deste almanaque, tais como "um tostão poupado é um tostão ganhado", tornaram-se conhecidos em todo o mundo.Franklin e outros maçons juntaram os seus recursos em 1731 e iniciaram a primeira biblioteca pública de Filadélfia. Fundaram para esse fim uma empresa, que encomendou os seus primeiros livros em 1732, na sua maioria livros de teologia e educacionais, mas em 1741 a biblioteca também incluía obras de história, de geografia, de poesia e de ciência.1 Os sucessos dessa empreitada encorajaram a abertura de bibliotecas em outras cidades americanas e Franklin percebeu que tal iniciativa fazia parte da luta das colônias na defesa dos seus interesses.Assuntos públicos e estudos científicos[editar | editar código-fonte]Em 1758, o ano em que ele deixou de escrever para o almanaque, imprimiu O sermão do pai Abraão, hoje considerado o texto mais famoso da literatura produzida na América nos tempos coloniais.Entretanto, Franklin estava preocupado cada vez mais com os assuntos públicos; fundou a Universidade da Pensilvânia e a sociedade filosófica americana, com o fim de fomentar a comunicação das descobertas entre os homens da ciência. Ele já tinha começado a pesquisa da estática, que o iria ocupar, juntamente com outros temas científicos, com a política e com os negócios, até ao fim da sua vida.Franklin realizando o famoso experimento da pipa.Em 1748 Franklin vendeu o seu negócio e, tendo adquirido uma riqueza notável, pôde dispor de mais tempo livre para os estudos. Num espaço de poucos anos fez descobertas sobre a eletricidade que lhe deram reputação internacional.1 Ele identificou as cargas positiva e negativa e demonstrou que os raios são um fenómeno de natureza elétrica.Franklin tornou esta teoria inesquecível através da experiência extremamente perigosa de fazer voar uma pipa durante uma tempestade, em 1 de outubro de 1752. Nos seus escri
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Hard to answer this questions, Benjamin Nid! Thanks a lot, very
good points! Maybe the deepest. If Soundpainting is a language, so
there must be infinite poetics approaches (can I answer what is MY
Portuguese...? or what's YOUR French?). Is hard to answer, for me,
because it involves personal history, dreams, visions, things we
cannot be quick about it. It took me a long time to answer the
question "Why did I become in love with this (Soundpainting)?
Why?". I still cannot answer completely. For me, Soundpainting make
possible the invention of a utopia. A singularity in space-time,
where/when everybody could be having fun together. I'm from a Keith
Johnstone's (IMPRO - theatre improvisation) background, and the
most important pursuit we have is: How to make your partner
improviser feel good? How to please him? (like Christophe feels)
More deep, Keith teaches you how to be less frightened on stage
(and in life) and accept to be transformed. So I use this training
on musicians, dancers, visual artists, performers, and even actors,
together in the Soundpainting workshops. I can see in Soundpainting
the same LIFE SKILLS that we use to train in Keith's IMPRO. But the
path, method, is rather different, since establishes the
soundpainter/performer game. This very facebook group helped me a
lot. Be able to listen and read so many talented and different
voices, around the world, helped me not to fall into the easy way
of doing "MY Soundpainting" - to flourish the performance with some
Brazilian music/dance/folk stuff. Of course I want to use my
environment, but poetry (for me) should be an invention of
environment, a discovery of places out and in you. A poet I like
called Manoel de Barros used to say: To use some words until they
belong to no language. (for
more:http://wordswithoutborders.org/book-review/manoel-de-barross-birds-for-a-demolition#ixzz3XP13GtYa
). I love questions, and I think every artist doing Soundpainting
too, because the focus is on process, and not on product. Is not
problem-solving but problem-searching. What Ive been thinking about
lately is the collective feel of Soundpainting. Maybe what I like
is that its not MY Soundpainting at all and, at the same time, it
is. Its like a living organism; you cant separate the vital organs
without killing the life in it. I know Walter says that the
soundpainter is the composer, the responsible for the live
composition, for the piece, the work. I still found it hard to feel
this way. Using the same token, is he the brain of it? The heart?
But Im not my brain, and not my heart, only. Im an abyss. Or, for
Buddhists fans, the word I is an illusion. To use some words until
they belong to no language. What does it mean? Thats my conflict as
a Soundpainting Geek and an artist. Poetry doesnt mean anything,
because is not to be understood, rather, to be discovered. My focus
with Soundpainting is completely defocussed, blurred, confused. I
dont know where Im going, just where Ive been through. Like
Johnstone says: The improviser has to be like a man walking
backwards. He sees where he has been, but he pays no attention to
the future. His story can take him anywhere, but he must still
balance it and give it shape, by remembering incidents that have
been shelved and reincorporating them.. Hard to answer your
questions, Benjamin. I wish we could all sit down around a fire, in
a bright spring night, with cheap wine and some gouda cheese, and
talk together about this stuff. My English is too bad and I talk
more in a shapeline mode than with words.
