The two of them girls
Were hanging around
But they flew off jumped up
Took off from the ground

I'll try to let you know
How the hell they disappeared
But I'll tell you in advance
How whole thing's pretty weird

So it all started a while ago
When their distance to the floor
Might have thought "Shit I should grow!"
And they would touch it no more

By then things were still OK
Though people would still stare
They would look at them say "Oh my days"
And try to comprehend

So yeah they would not walk
They would
Levitate
Tip toes facing down
And their arms facing up straight

There's not much for me to bring up here
Only that they're gone
DAMN that's pretty weird
Best is to speak no more

So they have found other ways
Other means to move around
Moving out floating off
Not touching the ground

The two of them girls
Were hanging around
But they flew off jumped up
Took off from the ground

I'll try to let you know
How the hell they disappeared
But I'll tell you in advance
How whole thing's pretty weird

That's when that smaller gap started to span up
And if you missed it grow at start
By now it was too late

(To try and get them back...)

I'm pretty sure the cause for that
Might have been all that flying
They would do every now and then
Whenever they were starring

In any kind of show
Or anything like that
That'd make them have to go
And show them all their art

(And to get a perspective
On whatever things they thought
From top, left, bottom, right, sideways and what not)

The two of them girls
Were hanging around
But they flew off jumped up
Took off from the ground

I'll try to let you guys know how the hell they disappeared
But I'll tell you in advance how the whole thing's pretty weird

I guess they must have got that special
Flavour for the heights
Up there they could ramble
'Cause things down here are quite uptight

They opted out from this world in tension
To embrace more space in that other dimension

And now that they're vanished
Now that they're not here
I'll try to let you guys know
But the whole thing's quite unclear

They must be stuck in that spot
That points to the difference between
What is real and what is not

Yeah they must be jammed right in the frontier
Of what is made up fiction
And that that's really real

Though if they did go pass the barricade
Now they'd be considering
"Should we enter that gate"?

(That would take them girls down south
But the return it ain't that easy
That's what I'd say anyhow)

Guess the best thing would be to leave it like that
You drop on the fuel
And you save on the gas

The two of them girls were moving around
With their feet down face up
Arms straight from the ground

There's not much else I can bring up here
Only that they're gone
And DAMN that's pretty weird

So if up up there they can move quite easy
Down here gravity makes things seem pretty busy

I guess they had to relearn how to move about
To walk was not an option
They have found their way out

They really took off
Sure they escaped
I tried to look around
But it was already too late

Though something they did
Before they went away
They came to me and asked
"Alec,
will you tell them that today?"

This text is a translation from a text rapped by João Constantino of Friday 8th October during the private view of "Vestígio", Pavilhão 27 do Centro Hospitalar Psiquiátrico de Lisboa, in Lisbon, Portugal.
See documentation of the original performance here.

The English version of the text will be rapped by Alec Steadman one day after, on the 10th October 2010, as part of The Enlightenment Gallery's Take over day at Charlie Woolley’s daily broadcast at [SPACE], as part of his current exhibition there.

Can someone please take some pictures of Alec doing it so we can update English version of the blog. Thank you.

THE ENLIGHTENMENT GALLERY presents; ELECTRICAL FAULTS

Take over day @ [ SPACE ], as part of Charlie Woolley’s RADIO SHOW
This Saturday 9th October – 12 noon – 4.30pm

[ SPACE ]
129—131 MARE STREET
LONDON E8 3RH

The event will also be streamed live from 12 noon Saturday the 9th October until 12 noon Sunday the 10th October via:

http://radio.spacestudios.org.uk/

WITH ON-GOING WORK THROUGHOUT THE DAY BY:

***** Lúcia Prancha and Sara Nunes Fernandes aka Negociatas *****
‘The two of us girls disappeared all of a sudden together’

Kelly Large
‘revelations of the observer’, 2010

Giorgio Sadotti
‘Went to America Didn’t say a word’, 1999

AND SCHEDULED PERFORMANCES FROM:

1.30pm – Alan Kane

2.30pm – John Seth
‘Frequency – Plus Minus (3)’, 2010

3.00pm – Giorgio Sadotti
‘SNAIL OYSTER OYSTER OYSTER SNAIL SNAIL’, 2010

4.00pm – Vanessa Billy
‘Needed, taken, offered, wanted’, 2010

We will be doing a performance on the 8th
**** BE THERE YOU MUST ***

Arrival Project by Rafel RG & Fabiana Faleiros. Performed one evening during the São Paulo Biennale opening days. Filmed by Pedro Barateiro. Click on image to watch video.

lucia: ah check it out the mube video - blog
23:47
dramatic
soundtrack
23:49
me: yeah i know
got glued into it
totally forgot was actually here speaking to you
lucia: y
me: these videos are good
lucia: y
me: the do the same thing we wanted with to initially
!
23:51
it make you think there's a strong connection in between all-three pieces
23:52
they're all standing next to, under, or above a big spanned structure
the portico of the patriarca, in metal
the mUBE in cement
minhocao cement
lucia: yeahhhh
crazy
destiny f***
concrete
me: concreeete
lucia: :-o

I'd venture into saying that Lina's great contribution to architecture is the introduction of the anthropological eye in the architectonical making. That eyes goes deep inside there where people live, the way they organize, the way they behave. That capacity she had of really knowing how people lived, their ways of being, well that respect allied to a great strength at will and innate poetry, and ability to dream higher, to build a newer world, made Lina make the kind of work she did. Not that big in extensive volume, but holder of a monumental force. All her projects, well everything she did, she made it as if she was already missing the future.. (Marcelo Ferraz)

Push video to 2:30 to see something magnificently pretty.

Props Lina Bo Bardi

Up against the wall but they actually worked as relaxers of tensions between US and Russia. Back in the days.

And everyting would swirl sideways at the same at the same time. What a mess.

* Still warm from scanner

I don’t write my scripts. I improvise as shooting goes on. But this improvisation can only be the result of previous inner preparation, which presupposes concentration. And in fact I make my films not only when I’m shooting but as I dream, eat, talk to you.
(…)
But the real purpose of the film is to observe a huge mutation.
(…)
I watch myself filming and you hear me thinking aloud. In other words it isn’t a film, it’s an attempt at film and is presented as such.

(Jean-Luc Godard “On doit mettre dans un film,” Deux ou trois choses que je sais d’elle, 1971)

*Title of post by Tom Waits

me:today i went to one of those african shops next to the house to a buy a dress
18:36
lucia: JODER TIA
me: and then i was looking for scarf like things to put around my head, to go with the dress
lucia:YES
LIKE JACOBS
me: and then out of a sudden there's this woman who pulls me into one of those murky hairdressers in the market :)
!!!
18:37
grabs my head and starts pulling one of those sunday nigerian head dos things
lucia: omg
me: COOLIO
MADE A VIDEO
it looks like she's spanking me
lucia: !!!!!
throw that in the blog!
me: just sent you the video
AHHHHH
18:38
THE STRANGER
FUN
the stranger
!
check the video check if quality good enough

Just another independent duo from Toronto, Canada, sings Portuguese.

Props Antonia Gaeta

(…)Throughout the history of economics the stranger everywhere appears as the trader, or the trader as stranger.(…)

(…)The stranger is by nature no “owner of soil” — soil not only in the physical, but also in the figurative sense of a life-substance which is fixed, if not in a point in space, at least in an ideal point of the social environment.(…)

(…)The freedom, however, which allows the stranger to experience and treat even his close relationships as though from a bird’s-eye view, contains many dangerous possibilities. In uprisings of all sorts, the party attacked has claimed, from the beginning of things, that provocation has come from the outside, through emissaries and instigators. Insofar as this is true, it is an exaggeration of the specific role of the stranger: he is freer practically and theoretically; he surveys conditions with less prejudice; his criteria for them are more general and more objective ideals; he is not tied down in his action by habit, piety, and precedent.(…)

(…)In spite of being inorganically appended to it, the stranger is yet an organic member of the group. Its uniform life includes the specific conditions of this element. Only we do not know how to designate the peculiar unity of this position other than by saying that it is composed of certain measures of nearness and distance. Although some quantities of them characterize all relationships, a special proportion and reciprocal tension produce the particular, formal relation to the “stranger.”(…)

in The Sociology of Georg Simmel (1950)