luni, 16 iunie 2014

Is Modern Democracy a Fake Coin ?: Why Reinventing Democracy a Dire Need of Our Age? A BOOK BY PALAKUDY The word 'democracy' gives out vibrant images of an open, transparent, free world of equal men. But is the bottom substance and spirit of modern democracy truthful to these images ? A close look reveals that modern democracy is a fake coin, that has nothing to do with the above noble images.

There are many places to get ancient  imperial coins. 

 Sources include uncleaned countries like Vietname that mint the best ROMAN AND CELTIC coins,  THEY MINT BETTER SILVER DOLLARS THAN THE CHINESE OR THE PUERTO RIQUEÑOS  old
collections OF FORGERIES ARE NOW AT SALE IN MANY COUNTRY CLUBS , and auctions. Most likely you have coins that you obtained from an
uncleaned lot (or that someone before you got from an uncleaned lot). Knowing
where this coin came from can be a huge help (especially if the coin is Greek
or Roman Provincial, covered in another guide). For Roman Imperial coins, such
information can help narrow down the mint mainly, but can sometimes help with identification
of the emperor. While we are on the subject of uncleaned coins, I would like to
extend the advice to clean your coins well enough so that you can see all
legends and images on the coin, but be careful not to overclean them.

Step 2: Identifying the Denomination

Below are the denominations possible in ancient coins, and tips to identifying which
you have. Gold coins have been excluded because, chances are if you have a
genuine gold Roman coin you won’t need to read this guide. 

Silver:

1.      Denarius:
These will be silver (white metal) and range in size from about 18-19mm, but
some may be smaller to a slight degree. The emperor’s image on these coins will
always be laureate (no “spikes” in the hair, just leafy devices in a line that
extend from behind the ears to the top of the head).

2.      Quinarius:
These are nearly the same as denarii, except they are smaller, about 14-15mm.
These are much rarer than denarii. 

3.      SilverAntoninianus (or Silvered): 
In the case of emperors, the portrait is always
radiate (with a spiked crown). Empresses can sometimes have a crescent under
their busts, but will not have a radiate crown. These generally range in size
from 20mm to 25mm, but they vary greatly. 

4.      Siliqua
& Milianrense: These don’t come by often. These were only struck during the
late Roman empire. Generally these have clips on the edge, and are thinner and
smaller than denarii or antoninianii.

Bronze (or Copper):

1.      As:
(Plural Asses), were the base unit in the Roman monetary system. These will
range in size from 25-28mm for early Roman specimens and sometimes smaller for
Severan era Asses. These will have laureate busts. 

2.      Sestertius:
This is a large denomination generally measuring from 35-30mm (early Roman) to
25mm for Severan Era. These will be distinguishable from Asses by their sheer
size and weight. These will also have laureate busts.

3.      Dupondius:
This is like the As, but the metal is made of brass instead of bronze. Brass is
a yellow metal and is commonly confused by newbies as gold. However, it is
easier to just look at the bust as they will will feature a radiate bust. These
range in size from about 27-28mm in size

4.      Quadrans:
The smallest early Roman denomination. These are usually only 15-16mm in
diameter. A common device on these is the “SC” mark.

5.      Semis:
This is like the quadrans, but is slightly larger (usually 18-20mm). They are
still smaller than the As. It can be hard to distinguish the difference.

6.      Bronze
Antoninianus: The bronze version of the Silver coin listed above. Same sizes,
but are highly variable. These always have radiate crowns on the bust.

7.      Follis:
These replaced the As and began to be minted during the Tetrarchy. These are
generally 25-27mm, but will generally be thinner than Asses. Also, the reverse
type is commonly that of Genius (the Roman god).  

The Following are late Roman Bronze Denominations
only:

8.      AE1:
A large later Roman denomination about 25-28mm. These are scarce. Most minted
by Julian II and Jovian (with a bull reverse or the emperor standing with globe
and labarum)

9.      AE2:
A medium late Roman denomination about 21-24mm. These come around from time to
time, but aren’t scarce as scarce as AE1, but are scarcer than AE3 by far.

10.  Centenionalis:
This is about the same size as the AE2, but was only minted during the reign of
the sons of Constantine I (Constantius II, Constans, Constantine II).

11.  AE3:
A common denomination about 15-20mm

12.  AE4:
Some debate the size limits here. I have seen some “AE4” designated coins at
about 16mm or larger. Generally though, an AE4 is only 11-15mm.

13.  AE5:
These are tiny coins measuring anywhere from 5mm to 10mm. These were minted only
during the very late Roman Empire (usually 5th century).

 

Step 3: Identifying the emperor

This is the second hardest thing to do when identifying Roman coins. Novice coin
collectors will want to study coins from all of the emperors to get a feel for
what each emperor is depicted like. For instance, Nero has characteristic
facial features that no other emperor has. Early Roman coins were engraved to
accurately reflect the emperor on the coin, but starting at about the Tetrarchy
there was a general trend to use the same “template” for each of the emperors.
When it remains unclear even after studying the bust, then you must attempt to
read the legends. With Roman coins, the emperor’s name is on the obverse.
However, the tricky part is that some emperors were not known by the names that
we know them today, and sometimes there is more than one emperor with the same
name. Here are a few tips to help:

1. Look at the denomination. Asses, Dupondii, Sestertii, quadrans, Semises, and denarii
were only minted in the first ~300 years of the Roman empire. Antoninianii were
only minted after Caracalla up until the tetrarchy. AE1-AE5 were only minted in
late Rome. This can help when you are attempting to identify Claudius I or II
(one is early, the other is later Roman), for example.

2. Early Roman coins included many of the emperors titles that late Roman coins did not.
Some examples include: TR P, COS, and Roman numerals (I, V, X, Etc). Late Roman
coins include the DN (usually at the beginning of the legends), which early
Roman coins did not.

3. Caesars (those promised to be given the title of Augustus) will almost never bare a
diadem (this was reserved for the Augustus, aka the emperor). The legends may
also include “CAES” “CAESAR” “NOBIL” “NOB”  “IVN” “FL” “CL” and combinations and
abbreviations of these.

4. Late Roman legends always begin from the left and extend around the coin in a
clockwise fashion. Early Roman coins can go either direction, but in general they
were struck in the clockwise fashion as well.


Step 4: Identifying the Reverse

This is usually the most challenging step. I have seen many reverse types over and
over again and I can usually guess the legends of some, and can usually
determine the imagery as well. However, this is due to years of experience.
Here are some tips to identifying the reverses:

1. If there is a figure holding something, try to identify what they are holding.
This is the key to determining the god or goddess that is being represented.
For instance, a victory is almost always shown holding a wreath and palm frond.

2. SC is a common reverse type for Early Roman coins, but is never found on late
Roman coins. The SC stands for Senatus Consulto. 

3. Late Roman coins tended to recycle the same reverse types across many emperors,
including a Roman soldier spearing a fallen horse rider (called a “FEL TEMP”
because of the legends “FEL TEMP REPARATIO”), two soldiers standing to the
sides of a standard(s). Another common theme prevailing only after Constantine
I The Great is the Chi-Rho Christogram.

4. Just like the obverses, the reverse of Early Roman coins will have titles that the
late Roman coins will not have (usually the same titles listed for the obverses).

5. Purchase a book or study online the various gods of goddesses of Rome. There is really
no easy way of doing this, and only practice will aid in improving this. A good
book for this is “The Handbook of Roman
Imperial Coins” by David Van Meter.

6. Roman Imperial coins NEVER have Greek characters
within the legends around the edge of the coin. There may be some in the fields
(called officina marks), as well as in the exergue (more on this later). If
your coin contains Greek legends around the edge, it is either a barbarous
imitation (coins minted unofficially by people outside, generally on the
fringes, of the Roman Empire), OR you have a Roman Provincial coin. 


Step
5: Identifying the Mint

Nearly all Early Roman coins were minted in Rome. There are some exceptions, but
without hoarde data and minute style differences, you will never know the
difference between a Sestertius minted in Rome and one minted in Lugdunum
(France). Unless you have an extensive library of books on Roman coins, you won’t
be able to find this information. Late Roman coins, though, were privy to
mintage marks. These mintage marks are almost always found in what is called the
exergue. This is the line near the bottom of the coin. Above this is the
imagery of the reverse, below it is the mintmark. There are many mints that
were open at varying times throughout late Rome, and again studying references
and practice is the only way to get better at this. Here are some tips on
identifying the mint:

1. A common adage to the beginning of the mintmark is the “SM” prefix (which is
usually present on Late Roman coins, but not always). Following this is usually
the mint label itself. Some common ones include “K”, which is that of Cyzicus, “TS”
which is that of Thessalonica, “N” which is that of Nicomedia, and probably the
most common of all mintmarks (with or without the “SM” prefix) is “SIS”, which
is Siscia. Following the mint itself is usually the officina letter (generally
in numerical or alphabetical order). Officina letters/numbers can be either in
Roman or Greek. Occasionally the officina mark is located before the mint label
as a prefix.

2. Knowing the location where your coin came from can help a lot. Listed above are common
mintmarks from coins found in and around Bulgaria and Turkey, the most common
sources of coins.

3. There are two mints which get confused all the time. These are Constantinople and
Arles. Usually the novice will assume that the “CONS” exergue is always
Constantinople, but it is not. Arles had an extensive mintage with this exergue
as well (particularly on the “GLORIA EXERCITVS Soldiers and standards” reverse
type). Generally, if the mintmark reads “CONST” it is Arles, and if “CONS” it
is Constantinople. But remember that Arles also minted coins with ARL in the
mintmark. 

4. Purchase a book which lists these mintmarks and their associated mints. I recommend “The Handbook of Roman Imperial Coins” by
David Van Meter (located on page 9). I recommend this book to all novices and I
refer to it myself now and again.

5. Roman coins were struck by hand, and thus imperfectly. Sometimes the mintmark is off
of the flan (either most or all of the way). In this circumstance it is usually
impossible to identify the mint. 

Part 6: Dating Roman Coins

Once you know the emperor, you can always get an approximate date of when the coin
was minted. Exact minting dates can only be found with extensive numismatic
literature (more about that in the next section).

luni, 19 mai 2014

DAS PALAVRAS QUE MASCARAM A VIDA E O QUE VEM DEPOIS DA DITA CUJA ACABAR - BY BRADBURY AN AMERICAN YES THEY CAN ....Americans are far more remarkable than we give ourselves credit for. We've been so busy damning ourselves for years. We've done it all, and yet we don't take credit for it.

The Illustrated Man Quotes (showing 1-16 of 16)
“We're all fools," said Clemens, "all the time. It's just we're a different kind each day. We think, I'm not a fool today. I've learned my lesson. I was a fool yesterday but not this morning. Then tomorrow we find out that, yes, we were a fool today too. I think the only way we can grow and get on in this world is to accept the fact we're not perfect and live accordingly.”
 
“Long before you knew what death was you were wishing it on someone else.”
 
“From the outer edge of his life, looking back, there was only one remorse, and that was only that he wished to go on living.”
 
“I've always figured it that you die each day and each day is a box, you see, all numbered and neat; but never go back and lift the lids, because you've died a couple of thousand times in your life, and that's a lot of corpses, each dead a different way, each with a worse expression. Each of those days is a different you, somebody you don't know or understand or want to understand.”
 
“My tunes and numbers are here. They have filled my years, the years when I refused to die. And in order to do that I wrote, I wrote, I wrote, at noon or 3:00 A.M.

So as not to be dead.”
“I'd like to know what a place is like when I'm not there. I'd like to be sure.”
 
“They'll fry you, bleach you, change you! Crack you, flake you away until you're nothing but a husband, a working man, the one with the money who pays so they can come sit in there devouring their evil chocalates! Do you think you could control them?”
 
“My waiter friend, Laurent, working at the Brasserie Champs du Mars near the Eiffel Tower, one night while serving me Une Grande Beer, explained his life. “I work from ten to twelve hours, sometimes fourteen,” he says, “and then at midnight I go dancing, dancing, dancing until four or five in the morning and go to bed and sleep until ten and then up, up and to work by eleven and another ten or twelve or sometimes fifteen hours of work.” “How can you do that?” I ask. “Easily,” he says. 
“To be asleep is to be dead. It is like death. So we dance, we dance so as not to be dead. We do not want that.” “How old are you?” I ask, at last. “Twenty-three,” he says. “Ah,” I say and take his elbow gently. “Ah. Twenty-three, is it?” “Twenty-three,” he says, smiling. “And you?” “Seventy-six,” I say. “And I do not want to be dead, either. But I am not twenty-three. How can I answer? What do I do?” “Yes,” says Laurent, still smiling and innocent, “what do you do at three in the morning?” “Write,” I say, at last. “Write!” Laurent says, astonished. “Write?” “So as not to be dead,” I say. “Like you.” “Me?” “Yes,” I say, smiling now, myself. “At three in the morning, I write, I write, I write!”
 
“Ya no existe el cohete. Nunca existió. Ni la gente. No hay nadie en todo el universo. Nunca hubo nadie. Ni planetas. Ni estrellas". Eso decía. Y luego algo acerca de sus pies y sus piernas y sus manos: "No mas manos", decía. "Ya no tengo manos. Nunca las tuve. Ni cuerpo. Nunca lo tuve. Ni boca. Ni cara. Ni cabeza. Nada. Solamente espacio. Solamente el abismo".”
 
“Because sometimes the Church seems like those posed circus tableaus where the curtain lifts and men, white, zinc-oxide, talcum-powder statues, freeze to represent abstract Beauty. Very wonderful. But I hope there will always be room for me to dart about among the statues, don't you, Father Stone?”
“Wouldn’t it be fine if we could prove things with our mind, and know for certain that things are always in their place. I’d like to know what a place is like when I’m not there. I’d like to be sure.”
 
“The odors of perfume were fanned out on the summer air by the whirling vents of the grottoes where the women hid like undersea creatures, under electric cones, their hair curled into wild whorls and peaks, their eyes shrewd and glassy, animal and sly, their mouths painted a neon red.” 
 
 
“Mother wasn't afraid of the sky in the day so much, but it was the night stars that she wanted to turn off, and sometimes I could almost see her reaching for a switch in her mind, but never finding it.” 
 
“She wanted to get at the hate of them all, to pry at it and work at it until she found a little chink, and then pull out a pebble or a stone or a brick and then a part of the wall, and, once started, the whole edifice might roar down and be done away with.”
 
“To be asleep is to be dead. It is like death. So we dance, we dance so as not to be dead. We do not want that.”
 
“It was summer and moonlight and we had lemonade to drink, and we held the cold glasses in our hands, and Dad read the stereo-newspapers inserted into the special hat you put on your head and which turned the microscopic page in front of the magnifying lens if you blinked three times in succession.” 
 
 From "The Visitor":

After Leonard Mark is killed, Saul tries to imagine New York but fails:

It didn't work. It wasn't the same. New York was gone and nothing he could do would bring it back. He would rise every morning and walk on the dead sea looking for it, and walk forever around Mars, looking for it, and never find it. And finally lie, too tired to walk, trying to find New York in his head, but not finding it. (185)

There is a sense of abandonment in these images that reinforces the loneliness at the start of the story. New York is of course metonymic of Earth but also of the things Saul has given up in his poor treatment of Mark: companionship and a humane view of life, things which help place human above beasts. While the fatigue of walking is evident from the disease, it also shows a moral and spiritual collapse - the end result of chasing something he cannot achieve, much like Captain Hart in "The Man".

15.) From "The Concrete Mixer":

Ettil Vrye frets about his fate if he stays on Earth:

All that he really knew was that if he stayed here he would soon be the property of a lot of things that buzzed and snorted and hissed, that give off fumes or stenches. In six months he would be the owner of a large pink, trained ulcer, a blood pressure of algebraic dimensions, a myopia this side of blindness, and nightmares as deep as oceans and infested with improbable lengths of dream intestines through which he must violently force his way each night. No, no. (203)

Bradbury uses his poetic style to evoke disgust instead of beauty, a satiric foreboding instead of a nostalgic look back. The images are grotesque and hyperbolic, with the use of body parts to help reinforce a sense of disease and malaise. The simple "No, no," at the end is straightforward and almost a logical conclusion to all he described before: if this is what's facing him, of course he will refuse it, emphatically so, as seen by the repetition.

16.) From "Marionettes, Inc.":

Justifying his decision to have a robot look-alike, Braling explains to Smith,

"It may be splitting hairs, but I think it is highly ethical. After all, what my wife wants most of all is me. This marionette is me to the hairiest detail. I've been home all evening. I shall be home with her for the next month. In the meantime another gentlemen will be in Rio after ten years of waiting. When I return from Rio, Braling Two here will go back in his box." (215)

The term "splitting hairs" shows how much Braling is morally compromised in making this decision - he needs to refine the argument for it to work in his favor. He refers to Braling Two as if it was Braling himself, equating the two as being essentially the same. What Braling doesn't understand is that he provides the very rationale for his replacement: if the marionette is him, then why keep the actual him around?

17.) From "The City":

As the crew of the rocket expedition continues to explore, we find,

Now the city was fully awake! Now the vents sucked and blew air, the tobacco odor from the invaders' mouths, the green soap scent from their hands. Even their eyeballs had a delicate odor. The city detected it, and this information formed totals which scurried down to total other totals. The crystal windows glittered, the Ear tautened and skinned the drum of its hearing tight, tighter - all of the senses of the city swarming like a fall of unseen snow, counting the respiration and the dim hidden heartbeats of the men, listening, watching, tasting. (227)

The use of "Now" evokes a sense of power, of a sudden surge of activity. The reference to the senses is both meant to disgust the reader with stimulants that would otherwise go unconsidered, while the repeated use of the word "totals" indicates the cold calculation of the city in its plan for revenge. The Ear's tightening creates both a physical and literary tension - a build-up to the attack that will be sprung on the prey.


From "Zero Hour":

Early in the story, we find this description:

Meanwhile, parents came and went in chromium beetles. Repairmen came to repair the vacuum elevators in houses, to fix fluttering television sets or hammer upon stubborn food-delivery tubes. The adult civilization passed and repassed the busy youngsters, jealous of the fierce energy of the wild tots, tolerantly amused at their flourishings, longing to join in themselves. (233)

There is a sense of mindless activity by adults, reinforced by the reference to "beetles" - insects - and the fixing of technology meant to comfort and pamper humans. The tension felt in relation to the world of children is seen as jealousy, then amusement - not seeing any seriousness in the activities of children, wanting to partake in the useless expense of energy when in reality it is the adult routines that are themselves empty of meaning.

19.) From "The Rocket":

The dream of space travel is summed up when the children believe they are actually in outer space:

The moon dreamed by. Meteors broke into fireworks. Time flowed away in a serpentine of gas. The children shouted. Released from their hammocks, hours later, they peered from the ports. "There's Earth!" "There's Mars!" (255)

The childlike wonder in the language is summed up by unusual word choices: the moon dreams, the meteors are likened to fireworks, and time is a "serpentine of gas". The children shouting simple declaratives show how basic the dream is, and how it's buoyed by their energy.

20.) From "The Illustrated Man":

As Phelps wonders if he truly wants to strangle his wife, Lisabeth confronts him:

She walked around the table, hands fitted to her hips, talking to the beds, the walls, the table, talking it all out of her. And he thought: Or did I know? Who made this picture, me or the witch? Who formed it? How? Do I really want her dead? No! And yet. ... He watched his wife draw nearer, nearer, he saw
the ropy strings of her throat vibrate to her shouting. This and this and this was wrong with him! That and that and that was unspeakable about him! (270)

As he ponders in italics who is responsible for the tattoo on his chest, he's also pondering where the responsibility lies in this murderous witch. Meanwhile, the language of the wife is built off short clauses that play up the anger of Lisabeth. The reference to "the ropy strings of her throat" creates the temptation to grab the throat and still the vibration of the strings - a clear foreshadow that he will indeed commit the vile act. This culminates in a white noise of accusations with the use of "this" and "that" to show how her rage is vented but has no distinct value for Phelps, that it has become a general attitude separate from whatever reasons may exist.

21.) From The Epilogue:

Having seen all the stories, the narrator describes the last tattoo to form:

The picture on his back showed the Illustrated Man himself, with his fingers about my neck, choking me to death. I didn't wait for it to become clear and sharp and a definite picture. (275)

The refusal to wait for a "sharp and definite picture" plays up the panic he feels, as well as his wish to avoid the finality such a definite picture would provide - that is, his own death.

marți, 25 martie 2014

OS LEITOR TÊM MOTIVAÇÕES INDIVIDUAIS DITTAS PRIMÁRIAS SEDE E SEDES SEX E SUSSEX FOME E COME COME E SECUNDÁRIAS DENOMINADAS HÁBITOS COMO FUMAR BEBER COMER LER VER TELEVISÃO INTERNET NAVEGAR SEM SAIR DO LUGAR PÉSSIMO PARA O VIEGAS E FODERE QUE É ESCAVAR A TERRA COM UM PAU GERALMENTE OS LEITOR TEM MOTIVAÇÕES SOCIAIS NÃO POIS OS LEITOR É GERALMENTE UM CARVALHO ASSOCIAL O QUE NÃO TEM NADA DE MAL POIS OS ESCRITOR IDEM....

sursum corda é o s c carvalho

enfim carvalho vamoz lá isto está como um gajo do IST que dizia qu'ia demorar 10 anos a escrever o livro da sua vida....da vida dele que devia ser grande pois ia encher uma porção dela com um livre de lugares comuns

SING A PURA É uma cultura peculiar ele ia escrever isso umas duzentas vezes no livro e o IST só lhe tinha pago uma estada de uns dias....coisas

de um país que, segundo ele, ou mesmo terceiro ele ou terçolho vós
“tem medo de existir”, mas apesar das tendências suicidas e dos ameaços está quase da idade do Matusalém
bolas queria eu ser um país desses
mas cheira-me que devo ser mais uma dessas Noruegas ou Noriegas que por aí andam

limitando-se o país provavelmente ao papel, bolas é um paiz theatral esse pô os colonos desse paiz adeviam ter sido submetidos a uma quarentena absoluta

papel atribuido ao país de “bom aluno da troika”, sempre foi melhor que o do La Feria ao passos coelho ou aquele gordo que cantava o sou camionista enfim voltemos ao comunista ou lá ao que é este
Carvalho
que defendeu....outra vez a merda do futebol a meter-se na política primeiro um anda ao ataque agora este joga à defesa
é falta ou devia ser falta queu de futebol não percebo um carvalho apesar de até ter atirado um livre à cabeça do cabeça d'abóbora mas era pequenino ódespois melhorei
enfim já se sabe que “na vida dos povos tudo é discutível, tudo é alterável, tudo é negociável”, daí haverem carradas de povos extintos e outros ex-brancos
QUAL É A MOTIVAÇÃO DO CARVALHO A ESCREVER LOL OU A DIZER LOLLIPOP ISTO?

MOTIVAÇÃO DE MOVERE AQUILO OU A MÃO NA COUSA QUE É SUSCEPTÍVEL DE MOVER O INDIVÍDUO OU O CARVALHO

POIS OS CARVALHOS ANDAM A MOVER-SE DE CIMA PARA BAIXO NESTE PAÍS DESDE A ÚLTIMA GLACIAÇÃO A VELOCIDADES GIGANTESCAS POR VEZES MIGRANDO À VELOCIDADE DE 6 METROS POR ANO OU POR SÉCULO TANTO FAZ

ENFIM MOTIVAR O CARVALHO É PARA O LEVAR A ATINGIR O CLÍMAX NA SUCESSÃO ECOLÓGICA NÃO CON FUNDIR CON E CU LÓGICA QUE É DE OUTRA LOJA LOJA SOCRATES ACHO SE BEM QUE NÃO COMPRE NAS LOJAS DA MAçonaria prefiro os descontos do dIA OU DO MODELO OU do gajo da fundação Manel do Carvalho ou Pingo Doce pra quem gosta dessas cousas

enfim motivar é um chorrilho de letras para levar o carvalho a atingir algo que varia muito com as tendências económicas do coiso
e a agir para produzir este ou aquele efeito ou comportamento orientado

enfim MOTIVAÇÃO É UMA PALAVRA DE SENTIDO AMPLO COMO O CARALHO PERDÃO COMO OS QUERCUS OU CARVALHOS
DAÍ A GENTE NÃO ATINGIR O DELE , O SENTIDO,,,ENFIM MOTIVAÇÃO ABRANGE OUTRAS PALAVRAS
META ...OUTRA de sentido amplo
INTERESSE ESTA NEM se fala vai desde sucata a robalos e a exílios em Paris
ESCOLHA esta tem escola nã0 escolhe ser mação quem quer diria Arnaut ou dirá uma vez qu'inda mexe
DETERMINAÇÃO
POIS NÃO SENDO TODO O COMPORTAMENTO ORIENTADO É MOTIVADO, FINALIZADO TENDENTE A OBTER SATISFAÇÕES GERALMENTE SEXUAIS
SEGUNDO ANDRÉ GIDE ACTOS NÃO ORIENTADOS, SEM MOTIVOS, INDIFERENTES, GRATUITOS ora na política nada é gratuito é até bastante caro logo há necessidade de perceber-se a motiva a acção do Carvalho bolhas iste já xateia
MAS JÁ SE SABE OS ACTOS DESVINCULADOS SÓ O SÃO APARENTEMENTE O HOMEM DISSIMULA-OS NUMA MÁSCARA
OLHA JÁ SEI ONDE VOU POR ESTA MERDA....
O HOMME ESCONDE OS seus actos e no 11 de setembro os seus
X-ATOS do colectivo social ou associal como a HORDA primeva ó prima eva

curiosamente na mesma edição BOLAS ISTO É UM LIVRO?
E VAI JÁ EM LANÇAMENTO NA MESMA EDIÇÃO?

em que o provedor dos Leitor, BOM AQUI VÊ-SE A INFLUÊNCIA AFRICANA NO CARVALHO

DAÍ O NÚMERO ELEVADO DE GOSSES DO CARVALHO

dos leitor ....
aí reside a motivação nos leitor

não deve é haver muitos pois os leitor

parece-me muito solitário....
já me esquecia disto
faz tempo que os leitor
virava sapo

vineri, 12 iulie 2013

SE EXISTES E NÃO RESISTES PORQUE INSISTES? SÃO VONTADES MARINHEIRAS DE NAUFRAGAR ? NOUTRA TERRA NOUTRO LUGAR? DE UTOPIAS FEITO EM UCRONIAS DESFEITO?PERFEITO...

SE EXISTES

E NÃO RESISTES

PORQUE INSISTES....

NOS TRÓPICOS TRISTES?





PENSANDO-TE ESTOU FILHA

NESTA ILHA

RASA DE ÁGUAS

DESERTO DE IDEIAS

OÁSIS DE MÁGOAS

NESTAS AMEIAS DE AREIAS

VINGO AFRONTAS EM TI

CREIO EM IMPÉRIOS

QUE PERDI

E VEJO ASSUNTOS SÉRIOS

EM QUE ME RI….

E SE NOS BÚZIOS PROCURAS

NESTA OCIDENTAL PRAIA

ETERNAS OU TERNAS CURAS

PARA QUE A GRANA NÃO SAIA?

OH QUE ÍMPIAS TERNURAS

TU PROCURAS NESSA RAIA,,,

NESSAS FRONTEIRAS FUTURAS

CUJO DESTINO É O MAR

NÃO TENS TONTAS TONTURAS

DE NO VAZIO NAVEGAR

E QUE FIQUE AQUI ASSENTE

O MAR É DESERTO D’ÁGUA

E SE O DESERTO TE MENTE

A ÁGUA AFOGA-TE EM MÁGOA….

miercuri, 30 ianuarie 2013

TEM ALGO DE LÚGUBRE UMA SOCIEDADE ONDE OS QUE SE DIZEM JUSTOS SE MASCARAM PARA PODER JUSTICIAR OS INJUSTOS

BLACK ORDERS, ORANGE ORDERS, RED ORDERS, KLU KLUX KLAN'S

E OUTROS CLANS ARE MÁSCARAS DA ORDEM

BUT UMA ORDEM DE MÁSCARAS QUE A DESORDEM E O KAOS PROCURA

NÃO PARA INSTALAR novas ordens mas para as eliminar totalmente

é um culto de aniquilação social

é regressar à horda que nunca existiu como tal

uma sociedade de indivíduos é algo que nunca existiu

uma sociedade mesmo mascarada em ritos pressupõe hierarquias...

o mais interessante ou digamos falsamente extraordinário pois repete-se continuamente, é o aparecimento de cultos económicos revolucionários cujo objectivo não é reformar o estado ou mudá-lo, mas destrui-lo pois têm fé que algo de bom surgirá da extinção desse mesmo estado que os suprime e oprime by sub-prime per optimus prime...

Os protestos sem fim e as greves gregas ou greco-egípcias
ou greco-cartaginesas que têm como fim não reformar a economia mas destrui-la para a fazer renascer em planos quinquenais ou por graça do profeta são de certo modo compreensíveis

Mas os protestos que não têm outro objectivo senão o de derrubar o estado, não para o substituir mas simplesmente para que o estado desapareça, tem a ver mais com uma mística de poder individual, egotista, detestar quem detem o poder é normal, querer lynch mobs purificadoras e reformadoras idem, já é um sinal de desagregação social o estado alienar os seus súbditos de tal modo que estes apenas se querem livrar dele...

loot is a hindu word, é sânscrito puro, loot order is fine or is final

luni, 1 octombrie 2012

ÁRABES TODOS NÓS - O IMPÉRIO DOS MISÓGINOS POPULARISTAS IS NOW - MENINA NÃO ENTRA E MENINO SÓ POR TRÁS - O GOVERNO É PRA HOMENS DE BARBA RIJA E NÃO PARA GAROTOS DE TRINCHEIRA OU DE TRINCHA

OS DESGOVERNOS COMO OS PAÍSES E AS AFUNDAÇÕES

SÃO COMO OS B-LOGS OBRAS DE PAU FEITO

POR EGOMANÍACOS DE PAU MURCHO

À ESPERA DA IMMORTALIDADE

MAS NADA PERDURA NEM NOS GRANITOS AFLITOS

NEM NOS GAROTOS AFOITOS DE SESSENTA E NOVE EM FRENTE

SÓ AS NAÇÕES VELHAS E OS HOMMENS FEITOS DE 88 EN DIANTE

SOMEM-SE COMO OS B-LOKIS ÀS DÚZIAS QUANDO O INVERNO CHEGA

SE SE SOMEM SÓ MEN SE SUMEM OU S'ASS UMEN

NAS AREIAS MOVEDIÇAS QUE FORAM GRANITOS

A nós velhos garotos ou a vós velhos putos e putas a austeridade é só uma palavra

Como diz um santo homem que nos meteu na europa

E nos conduziu das notas de 500 mél réis às de 10 contos de réis

O que faz falta é animar a malta

Só Ares é Ficse como o Corega

Imprimir até morrer em notas de papel higiénico

Nã é austeridade...até temos aumentos de 30% ao ano

E quase todos os anos

É pena que a vida esteja tão cara

É só cortar nas gorduras Margarina em vez de Manteiga

E canhões em vez de margarina

Assis temos uma austeridade ficse meus (vossos que nem dados...)

Inda se fossem Putos à Molotov