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Toma Aí Um Poema (Edição n1)
Revista Volume 1, nº 1 - junho de 2021. ISSN: ------- Curitiba/PR - Brasil Expediente Publicação: Bimestral Idioma: Português Distribuição: Gratuita online em pdf Conselho editorial: Andreia Moema, Belise Campos, Jéssica Iancoski, Monique Sandrielly Editora-Chefe: Jéssica Iancoski Diagramação: Monique Sandrielly Revisão: Textos foram revisados pelos autores, não houve nenhuma modificação por parte da revista. Capa Fotografia: Darlene Andrade Modelo: Ítalo Saldanha Capista: Jessica Iancoski Contato: tomaaiumpoema@gmail.com Instagram: @TomaAiUmPoema Direitos Autorais Fair Use. Os textos e imagens publicados podem ser reproduzidos, desde que sejam preservados os nomes de seus respectivos autores e a fonte. A utilização não deve ter fins lucrativos. A responsabilidade pelo conteúdo é exclusiva de seus autores.
Gradual Wars
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Of Death
Poetry. Latinx Studies. Translated by Laura Cesarco Eglin. If life is no more than a prolonged flirtation with death, then Hilda Hilst's OF DEATH. MINIMAL ODES is the true account of a lifelong seduction. It is at once both a reverie and reliquary, as the poet imagines and reimagines that most paradoxical moment of disintegration--the corporeal flesh fusing with death's own dark corpus. With a visceral-mystical poetic voice that is as teasingly unrestrained as it is intellectually sublime, Hilst's odes enact a baroque danse macabre, where the poet revels in the incongruities of simultaneously seeking the sacred and profane. Translating the first collection of Hilda Hilst's significant body o...
the princess saves herself in this one
From Amanda Lovelace, a poetry collection in four parts: the princess, the damsel, the queen, and you. The first three sections piece together the life of the author while the final section serves as a note to the reader. This moving book explores love, loss, grief, healing, empowerment, and inspiration. the princess saves herself in this one is the first book in the "women are some kind of magic" series.
Living Electronic Music
Drawing on recent ideas that explore new environments and the changing situations of composition and performance, Simon Emmerson provides a significant contribution to the study of contemporary music, bridging history, aesthetics and the ideas behind evolving performance practices. Whether created in a studio or performed on stage, how does electronic music reflect what is live and living? What is it to perform 'live' in the age of the laptop? Many performer-composers draw upon a 'library' of materials but others refuse to abandon traditionally 'created and structured' electroacoustic work. Lying behind this maelstrom of activity is the perennial relationship to 'theory', that is, ideas, principles and practices that somehow lie behind composers' and performers' actions. The relationship of the body performing to the spaces around has also undergone a revolution as the source of sound production has shifted to the loudspeaker. Emmerson considers these issues in the framework of our increasingly 'acousmatic' world in which we cannot see the source of the sounds we hear.
