Things here and things still to come

studied photography at Ar.Co (Lisbon) and, in 2004 completed a Master of Arts in Photography at Kent Institute of Art and Design (Rochester, UK). In 2005, after 3 years living in London, moved back to Lisbon and was part of Gulbenkian Creativity and Artistic Creation Programme in Photography (Lisbon). On that same year had his first solo exhibitions in Centro Português de Fotografia and Silo, both in Porto, Portugal. Was also selected for the Photo London - Emerging Artists Presentations and, in 2006, took part in the Getty Images curated exhibition New Photographers 2007. In 2006 published his first book 'Silence' and has been exhibiting regularly since then. He is the founder and editor of Pierre von Kleist editions. His work is represented by Módulo - Centro Difusor de Arte (Portugal) and White Space Gallery (UK)

A fotografia de José Pedro Cortes, dura como são as coisas impossíveis de ignorar.

via vida breve.

With an effort to appear at ease

She talked in this way while she undressed, with an effort to appear at ease; then she sat at the dressing table, ran a comb through her hair, and with her bare back towards me, looking herself in the glass, said: 'Shall I put my face to bed?'
It was a familiar phrase, one that I did not like; she meant, should she remove her make-up, cover herself with grease and put her hair in a net.
'No,' I said, 'not at once.'
Then she knew what was wanted. She had neat, hygienic ways for that too, but there were both relief and triumph in her smile of welcome; later we parted and lay in our twin beds a yard or two distant, smoking. I looked at my watch; it was four o'clock, but neither of us was ready for sleep, for in that city there is neurosis in the air which the inhabitants mistake for energy.

Evelyn Waugh, Brideshead Revisited.

Essencialmente incomunicável

Como motivo, a vergonha tem a vantagem adicional de providenciar um factor de distorção temporária, e assim prescindir de leituras que façam de Lear estúpido, inflexível ou extremista - uma vez que a vergonha é ela própria a mais estúpida, inflexível e extremista das emoções. É também arbitrária; e essencialmente incomunicável. Ao contrário da culpa ou da ira, a vergonha precisa de público, mas é precisamente a existência de público que a torna vergonha. A culpa ou a ira desejam absolvição ou retribuição; a vergonha apenas quer não ser notada. [...] Cordélia não se limita a expor a mesquinha artificialidade da cerimónia: expõe também a vergonha secreta de Lear - a vergonha que o levou a reconhecer a necessidade do plano, a vergonha de o amor das outras filhas não ser genuíno, a vergonha de precisar desse amor, a vergonha de ter sido visto a precisar desse amor.

Meu querido Rogério Casanova, tudo isto se explica assim: Who gives a fuck about an Oxford comma? I've seen those English dramas too, they're cruel.

Se os poemas fossem pacotes de açúcar

Blond hair,
brown eyes,
you think you know me,
but I'm in disguise.