Manuel Zimbro histria secreta da aviao notas com gravidade para pr em rbita uma aspirao comum desenhos, esculturas,

notas O que secreto desconhecido e o que desconhecido novo. o que de facto , s pode ser novo. nada se repete! nada mais imprevisvel, mais sagrado, mais misterioso que a novidade. seja o que for do passado do presente ou do futuro, no novo o que novo no do tempo, e s ser do agora, se for inteiramente descondicionado e livre. o agora fulminante. no h nenhum tesouro escondido no universo. a novidade floresce na paisagem interior, como o fogo nos cozinhados dentro de um forno. sem pausa sai do que exterior para entrar num interior que nunca absolutamente interno. Imperturbvel, mas muito acordada, a sensibilidade responde a todas essas modificaes, em equilbrio. as rs, os melros e outros, imobilizam-se para escapar ao perigo, e de tal modo, que parecem sem vida. a figueira deixa-se comer os figos pelos pssaros sem pio.

Coisas sensveis em equilbrio O que est a acontecer acontece um facto, porque est a deixar de acontecer. nada se repete, nada permanece idntico a si mesmo, as Coisas todas elas so incessantemente outra coisa. ou seja, a vida a morte do que acontece, um nico movimento de fluxo, impensvel, com risos e com lgrimas, imenso, sem ruptura nem limites, sem tempo, sem contra tempo. se tal no acontecesse, se as Coisas fossem imortais, o mundo aos nossos olhos no teria expresso, seria sempre a mesma coisa, talvez qualquer coisa, que nem sequer uma coisa de plstico . tanto o conhecido que j est acumulado na memria, como o desconhecido que ainda no est, mas que em breve passar a estar, so as gravaes, os registos das Coisas que percepcionamos: objectos, aces, acontecimentos, experincias, encontros, etc... esses registos auxiliam-nos na relao no mundo, so teis, graas a eles executamos as tarefas no domnio prtico, mas no so as Coisas nem as percepes, so o (nosso) registo. o que quer que seja s poder ser abordado segundo um aspecto, e, segundo esse aspecto registado na memria. impossvel abordar e registar completamente uma Coisa, apenas se registam uma parte; aquela que importa ou que convm. da que, mesmo til, todo o registo seja parcial. no se pode compreender inteiramente uma Coisa em nenhuma viso de pormenor, s implicitamente podemos abranger a (sua) totalidade. mas, como isso no registvel (pela memria) nem provvel (pelo pensamento), no servindo nenhuma comparao, sem qualquer utilidade imediata e pessoal, posto de lado, porque no serve para nada. e o que registado, por ser mastigvel pelo pensamento (um gluto que no se rala nada com parcialidades) passa a ser considerado real. deste modo aquele que quer ver tudo, para ver tudo como quer, separa-se daquilo que v, e cria uma viso fragmentada do mundo, onde o mundo visto como se fosse constitudo por coisas independentes, estilhaos ou fragmentos, cujo fragmento central o eu que tudo quer. no obstante a gravidade da incorreco, isso transmitido, propagado, ensinado, e o ensino uma dessas coisas fragmentadas.

consciente ou inconscientemente, este processo permite que o uso do registo da memria o pensamento venha ocupando cada vez mais um lugar de privilgio, invadindo e apoderando-se do frgil lugar da realidade nova e desconhecida pondo-se frente de tudo, como a gua de uma enxurrada, inundando e distorcendo a percepo do puro acontecimento condicionando a Coisa que . que nunca to simplista quanto o pensamento gosta de fazer crer, para dar a impresso de a poder dominar quando a autopsia explicando-a (sua) vontade. de tal modo o homem vem permitindo que o pensamento invada esse campo de novidade desconhecida mesmo sua frente, que aquilo que v, porque deixa de ver ao voltar a cabea, indo dormir, etc... deixa de ter importncia real diante daquilo a que chama realidade e que na realidade o que pensa ter visto. nesse insustentvel processo, que magoa h milhares de anos, onde cada vez mais ele se deixa abusar pelo que tem fixo na mente, h uma coisa que se deteriora e v-se a olhos vistos: a sensibilidade aquilo que d resposta viva a tudo o que incessantemente muda, quer no exterior quer no interior do ser vivo. e este responder, de depurada e subtil preciso, que em si nada guarda, se tantas vezes confundido com as delicadezas artsticas, as poticas afectaes, as liberdades aladas dos maneirismos aucarados, porque o confundem, j tendo sido abusados pelo pensamento, pelos sentimentos, deixando a novidade afogar-se, perturbados que esto: irritados, impressionados, melindrados, ofendidos, afeioados, j no vem nada novo. e sem sensibilidade, no h resposta nova. que novidade h para descobrir no que se pensa conhecer, quando foi o prprio pensamento que fixou o conhecido? reparar-se- na extrema sensibilidade dos bigodes dos gatos? Um bicho que se pensa conhecer. na asa da semente do pinheiro? nas pontas dos dedos das prprias mos? no que nos olha quando o olhamos? hoje a novidade, s conceito um embrulho sem vida. por isso sensibilidade associada a tal delicadeza artstica, o fiel da balana, a pelcula

fotogrfica, a finura de mecanismos... coisas fininhas, mas nunca invisveis, se no o pensamento morria mngua. a sensibilidade doutra dimenso ela, o hfen, que liga as mos-crebro-corao no nascente acto de fazer, ou de no-fazer. vemos a sua presena e tambm vemos a sua ausncia no que o homem deixa feito, esteja ou no concludo. aqui, para tentar v-la na sua mais elevada expresso no equilbrio ligala-emos ao acto de voar. tudo uma questo de sensibilidade, mas porque, como j se disse, consciente ou inconscientemente, o homem vem transformando em dormente comodidade, requinte e contabilidade, voar hoje para ele ou desnecessrio ou absurdo, apesar de ter vindo de uma quimera, hoje satisfeita sem exigncia, pelo estrondo til do motor de reaco. ou ser um luxo considerar isto? ou uma fantasia? no! O que faz um ser sensvel a sensibilidade s a sensibilidade pode cuidar e responder adequadamente vida, ordem, ao mundo, a coisas to importantes como por exemplo a natureza, disso que inteligncia sem causa, em equilbrio, e no do chamado ambiente, que disso que se rodeia o ego a nica maneira eficaz de proteger a floresta ainda virgem, no pr l os ps. ainda ela a sensibilidade que responde ao relampejo deste agora, um nico em toda a nossa vida. o tempo um dado importante, desde que no sirva para nos dar importncia. o medo alimenta o tempo e o tempo alimenta o ego que a vontade do homem violento e areo, fixa abstraindo o resto num ponto central e dominador, o eu, o qual reage sempre com desagrado quando lhe tiram o tapete debaixo dos ps, seja voador ou no. (o que o melhor que pode acontecer quando se cultiva alguma imagem de si, o pior, ouvir-se precisamente o que se esperava ouvir.) um ser afogado pelo egosmo no tem sensibilidade para ver esse egosmo, tantas e tantas vezes revestido pelo altrusmo.

a sensibilidade no da mente, e os perturbadores sentimentos destroemna.

Voos directos Voar prprio das aves, mas nos insectos, nos mamferos, nos peixes, nos vegetais, h voo. nas pedras h voo, ou alis, houve... a aetite, era uma pedra que se encontrava ou no ar ou nos ninhos de guias, tinha propriedades teraputicas e era por isso procurada. hoje j ningum a encontra, talvez porque hoje j ningum necessita de a encontrar. porm: estrelas cadentes, blides, meteoritos, asteroides, aerlitos, cometas, planetas, o nosso planeta, gravitam, deslocam-se, voam, evoluem no espao sem apoio material... em todos h voo, mantido segundo uma rbita, onde tanto o sentido de atraco como o de inrcia impede-os de cair. mesmo que o homem olhe para a gaivota a voar, ser que v o voo? e depois, quando a gaivota pousa na praia, ser o significado do verbo voar livre de expectativas? livre do que tem em mente? livre, e no oponente do verbo pousar? aperceber-se- desse voo directo do ar que entra e sai pelas asas do nariz? ou s se apercebe quando espirra? mesmo o ar voa, graas a isso que chamamos vento, este pequeno e antigo pinhal aqui ao lado propaga-se atravs dos ares, voou directamente at aqui os pinhes so alados. sem o pesado fardo dos sentimentos, graas a uma indescritvel sensibilidade, voam as sementes mas como aqui no nos ocupa o saber botnico, mas a considerao impensvel, (hoje impensvel porque ontem no se reparou nela) consideraremos, no as sementes que voam, mas o voar... das sementes que sem vento no voam, e interrogar-nos-emos sobre o atordoamento que leva o homem a no voar. esse ser sensvel que sem ar no vive.

Lista de espera S depois de secas as sementes voam. nuns casos voa a semente s, noutros voa o fruto e nele viaja a semente as smaras. as sementes, como tudo o que voa, voam para aterrar. aterram, enterram-se, poisam, arpoa, prendem-se, espetam-se, e l ficam no solo germinam e depois propagam-se. todas se afastam da rvore de onde provm, s vezes voam agarradas aos pares, muitas so levadas para bem longe, depende do vento, outras nem sequer tocam na terra. h sementes que com uma asa, aps terem planado, descem na vertical num rodopio helicoidal, e ao aterrarem enterram-se, levantando uma minscula nuvem de poeira, para depois l se imobilizarem durante centenas de anos. h outras, pretas e esfricas, que se deslocam sem asas, dentro de nuvens brancas de uma finssima textura, que lhes garante a sustentao e a fora ascensional. outras, saindo de um balo protector que se abre em trs gomos, navegam agarradas a um leve crculo da mesma substncia dobrado a meio, como que levadas num tapete voador. outras ainda, tendo uma espcie de penugem cuja sensibilidade capta a temperatura... voando enfim, com espantosa subtileza. para tal, as sementes dispem de recursos especficos e de tal modo incrveis, que mesmo se a direco no lhes prpria, mesmo se no h escolha, o acaso que ento as guia cheio de sentido, em si como uma pista, deserta, nica, disponvel. os feijes para se disseminarem dir-se-ia que tambm voam, mas no voam, saltam. ao secar, a casca estala, e ele l salta, cai e rebola, imobilizando-se por vezes bem longe. porm no houve sustentao, nem to pouco houve aterragem, apenas houve deslocamento e queda. cair e aterrar no so a mesma coisa. na queda, revela-se totalmente a atraco terrestre, na aterragem, essa fora, se bem que continue a existir, atenuada por outra fora, que puxa em sentido contrrio. o feijo no voa, mas por exemplo: as sementes do pinheiro, do jasmim, do oelandro, da sardinheira, da buganvlia, da sumama, da tlia, do lamo, do

salgueiro, do ulmeiro, do bordo, do pltano, do freixo, da alface, da alcachofra, do jacarand, do dente-de-leo, da serralha, do cardo, voam. tudo o que leve voa. A formiga (mesmo sem asas) a poalha, a cinza, a pena, o plen, a nuvem, a bola de sabo, Voam, dir-se-ia que nas formas pteras a levssima pequenez funciona como um rgo alado. voar uma postura intermdia entre dois momentos crticos que so a decolagem e a aterragem. pelo momento no faremos distino entre voar e librar-se, ou seja, entre deslocar-se e equilibrar-se no ar suspender-se ou pairar. seja homem ou semente, (e at mquina) o problema que voar, reside essencialmente na aterragem e descolagem, mesmo sendo a aterragem uma mera queda, se no houver conscincia do (seu) sofrimento que o caso da formiga, se a integridade no for afectada, mesmo o ir pelos ares seria voo. tradicionalmente para o homem, voar consiste em manter-se, deslocar-se e dirigir-se no ar segundo a sua vontade portanto, tambm consiste na conscincia de o ter feito, para poder comentar o feito e provar que o fez. talvez por isso, qualquer ponto alto dominando o espao vazio, seja um apelo a voar. o que demonstra bem, a fria e longnqua relao que ele tem com o meio areo, a relao, entre a modesta ascenso que partiria de baixo, e a queda dominadora vinda de cima, ou ser apenas a atraco a queda-livre? quando a questo da descolagem e aterragem esto resolvidas, quando nos podemos salvar disso a dificuldade em manter-se no ar no nenhuma, ou seja, igual e se manter de p a postura bpede no nata, ensinada. essencialmente essa dificuldade no se encontra no meio aqutico ou areo, primeiro encontra-se em si. mesmo o caminhar na terra, o dirigir-se segundo a sua vontade prpria j cria inmeras dificuldades sobretudo terra.

enquanto no se cair em si, enquanto no se encontrar o centro de gravidade em si esse ponto que no prprio corpo centro e equilbrio e a partir de l libertarmos toda a energia, esvaziarmonos, no emagrecendo para ficar mais leve, que um dia sendo to leve se voa. enquanto no se examinar e descobrir com uma intensidade apaixonada se pode ou no haver imediatamente uma total e fulminante mutao de psiquismo, - e no esperar tornar-se qualquer coisa, j tudo o que se fizer bem pouco e pouco valer, mesmo seguindo uma dieta rigorosa; mesmo voando s em voos azuis; mesmo praticando disciplinas severas; mesmo que um enorme progresso tecnolgico dote a televiso a cores de cheiro, de gosto e de tacto; mesmo que esse mesmo progresso permita tanto aos ricos quanto aos pobres serem levados em alegres voos siderais ali e acol noutra galxia. compreendida no enrgico campo vazio da nossa paisagem interior o psiquismo h a conscincia que feita do que contm, originalmente como um deserto e o que contm s sentido sem direco em todas as direces, tudo o resto: cobias, invejas, experincias, nomes, formas, memrias, crenas, ansiedades, tristezas, opinies, julgamentos, valores, e por a fora, essencialmente lastro que se aprisiona e que faz viver na esperana ou na lista de espera de um dia vir a ter autorizao para levantar voo. enviadas do estrangeiro, por uma amiga, recebemos hoje smaras de bordo por via area.

Cair em si Voar. voar prprio do povo areo, e de tal modo que algumas espcies enquanto voam acasalam, ou cantam, ou caam, ou comem, ou defecam. no que diz respeito ao homem, porque estaria voar apenas relacionado com os engenhos

que ele inventa e com os sonhos que ele tem? por serem produzidos por ele? porm, mesmo se inventou o automvel ainda anda, mesmo se inventou o barco ainda nada, mesmo se sonha ainda dorme. porque no voar? porque no se poder elevar ligeiramente, um pequeno palmo, e depois pousar um pouco mais frente? sem grande espalhafato, com jeito, ou at mesmo desengonado e com uma certa dificuldade no se trataria de fazer voos transatlnticos, seriam s um metro ou dois! se o homem se desloca na gua nada porque no se deslocar no ar? por ser mais anfbio que areo? mesmo se a gua est fria, ele despe-se para nadar, porque teria, para voar, de vestir qualquer coisa, que o iria tornar ainda mais pesado? sem imitar os peixes, -lhes possvel usar as mos no como barbatanas, porque ser que ainda no chegou a compreender o pleno uso das mos? ou ser que por estar to carregado de lastro (sempre com o crebro ocupadssimo produzindo os tais engenhos) j no tem mos a medir? o que de resto lhe propicia voos cada vez mais requintado, medida que se lhe vai adormentando a sensibilidade, que muito mais leve que o ar. no momento crucial em que ele descola as duas mos do cho, deixa de gatinhar ergue-se, apoiado pelos grandes pe-se em p, sustentado pelo mundo chega-se mais ao cu aprende a andar. da a aprender a correr um passo. mas fora de andar por hbito, de imitar o andar e as correrias de outros, rapidamente cai na tradicional competio para se tornar o melhor de todos o campeo. e afastando-se deles, isolado, vence (ou perde) separado de tudo. por isso luta violentamente para vencer um campeonato. ento, se que voar ainda tem algum significado, significa apenas velocidade, fora voraz e acelerao para fazer mover e elevar a prpria carga que transporta, e que de dia para dia com o registo de tantas vitrias e derrotas, torna-se cada vez mais pesada, sobretudo a carga do poro da conscincia. a montante de qualquer engenho ou voo engenhoso fabricado pelo homem: fogueto, aeroplano a vapor, aerstato ou asa de cera,

h e haver sempre, mesmo moderada pela inrcia, a atraco para cima, a atraco para esse lado, seno, nunca o homem teria tido a percepo da ma que cai para baixo. nem to pouco teria podido adaptar a linguagem de modo a descrever isso aos que ainda no se tinham apercebido. (que saiba a histria, foram precisos dezoito sculos para que fosse aceite a proposio de Aristarco de Samos: pr a Terra na condio de satlite do Sol). aps ter sado tecnicamente do sistema geocntrico, onde os corpos perfeitos eram os celeste, e os imperfeitos eram terrestres, descentralizado o relacionamento do planeta, rejeitada a aparncia, parecendo cair em si, tudo levaria a crer que se tornaria menos egocntrico, mais modesto, e naturalmente mais respeitador daquilo aonde desde sempre est inevitavelmente inserido, e que ele prprio uma das suas inmeras expresses o universo inteiro. mas tal no aconteceu, a sada foi meramente tcnica. aos celestes epiciclos sucederam as mecnicas equaes, razo do diabo sucedeu o diabo da razo. o seu problema central (eu, poder, perfeio, nao, raa, medo, segurana, desconfiana, orgulho, dio, inveja, ambio, violncia) no s se mantm como progride. prova-o a facilidade com que se torna predador, a facilidade com que encara a matana organizada que a guerra. a leviandade com que chama paz a guerra e faz guerra guerra, perpetuando a guerra. - e o que no torna mais insensvel que a guerra!a, as ideias so de tal forma diablicas e cegas, de tal forma banhadas em irracionalidade e demncia, que na primeira experincia atmica, os instrumentos que a deviam medir e que foram colocados longe da deflagrao, desintegraram-se com ela, o que em si uma medida. mas justamente graas s ideias, graas s ideias de perfeio e imperfeio de um louco, graas guerra, graas s duas ltimas grandes guerras mundiais a aviao progrediu, a com a maior das naturalidades, permitiu de tal forma a expanso do caminho da mquina, ento j em curso, que o homem ps de lado qualquer outra possibilidade de se relacionar de facto com o meio areo desenvolvendo somente a possibilidade mecnica,

na construo de aeronaves e elevadores. a aeronutica permite ao homem a sustentao a deslocao e a direco no meio areo, mas ser que ele voa? quando se desloca de automvel no diz que caminha, quando se desloca de barco no diz que nada, porque de facto o que anda o automvel e o barco, mas quando se desloca de avio voa diz ele. no! seja tripulante ou passageiro, o homem que voa num avio de facto no voa, o que voa o avio. a prova que se a mquina cai, mesmo contra a sua vontade ele cair com ela. (pois isso, logo desde o principio, antes do pra-quedas, ele mune-se da proteco de um santo padroeiro, um homem so, inteiro, um pobre de esprito cujas sensveis demonstraes dos fortes laos com o ar do cu o santificaram: o obediente Giuseppe da Copertino). e, chegados aqui, voltamos a perguntar: se at a mquina voa, porque que ele no voa? mas, refastelado que est, deslocando-se segundo a sua vontade, sentado numa cadeira bem pensada (mesmo se durante o voo h alguma turbulncia) pensa, que outra coisa no possvel, nem necessrio. andar de avio! Isso basta, para lhe garantir a expanso do seu domnio do ar que at j conseguiu condicionar, comprimir e liquefazer, segundo a sua vontade. por isso que se encontram to poucas disposies em procurar as provas do contrrio do desconfortvel e desconcertante desnudamento do impensvel. a superfcie da terra imensa profundidade, no necessrio ir mais fundo superfcie da terra encontramo-nos com o cu infinito em todo o stio. mas a realidade, esse to simples encontro, no fcil, nem confortvel, nem seguro. para que servem as promessas ou as esperanas de uma vida um pouco mais fcil de ser vivida, se se mantiverem os ruidosos e tensos apetites desse eu que nervosamente, quer interminavelmente sempre mais e mais, sobretudo poder mais, para poder cada vez mais puxar para si, sem poder cair em si.

(com ventos favorveis, o avio aterrou no aeroporto de Lisboa quinze minutos mais cedo, mas a escada para fazer descer as pessoas chegou s hora prevista.)

Puxar para si Ascender, elevar-se, descolar, levantar voo, para o homem, ciente de ser atrado, uma questo de postura, um esforo no deliberado sem a vontade prpria cuja forte inrcia tende a abolir o que quer que o atraia para um s lado. voar deslocar-se no ar outra coisa, requer uma considerao de outra natureza. mas, o forte enraizamento de crenas, programas, hbitos, ideias fixas... cada vez mais bloqueiam a sua simples abordagem. quem considera olha atentamente e quem olha atentamente v, no de uma maneira especial, ou desta ou daquela maneira, v simplesmente sem pensar que j viu, que est a ver ou que ir ver v em silncio, meditar, medir, medicar, moderar, so igualmente consideraes onde o olhar que nada foca, nada fixa, nada concentra resplandece em todas as direces, como a luz do sol. quando o pensamento est calado e no seu lugar adequado, no h separao entre o que considera e o que considerado, v-se a partir do vazio o vazio. s h a viso que flui. tal a natureza da considerao que constantemente pe prova e faz escoar a extraordinria energia contida naquilo que estrutura as nossas vises do mundo. s a considerao modera as fixaes. considerar no pois das palavras. mas que seja a abordagem dessa considerao com palavras mesmo isso j deixa dvidas to obstruda est a energia do sentido que elas encerram, to distorcida est a vitalidade da linguagem mas apesar de tudo e de toda a entropia (como no estamos aqui para outra coisa) tentemos por em rbita o seguinte:

no s por andar de avio sem apanhar chuva que o homem j no se interroga sobre a possibilidade de voar, a proeza, certo, retira-lhes prioridade, o conforto, como j se disse, adormece-o mas sobretudo no se interroga, digamo-lo abertamente, dado o completo alheamento em que se encontra diante da nua Liberdade, daquela que singular, despida das utilssimas vestes legais dos direitos & garantias. outra que a que voa com a poesia aucarada!, estar diante dela ou diante de nada para ele a mesma coisa. filha da Verdade incorruptvel e irm gmea (verdadeira) da Novidade imprevisvel, fresca como gua nascente da montanha, agreste com os orgos da serra, diante dela, diante disso que est sempre nu mesmo frente do nariz, que no um programa nem vem de nenhum programa, diante de tudo isso que se encontra margem dos dogmas e das ideias prvias, encontrar o homem sentido? ser capaz de considerar que a antecipao no tem sentido? ser capaz de considerar, com inteira liberdade, que mesmo a chamada ligao entre todas as coisas falsa? diz-se ligao, mas de facto, no implica nenhuma separao conectada por uma qualquer espcie de interaco, todas as coisas tm j em si um profundo sentido plenamente livre. chegados aqui, e como para o ser humano descolar as duas solas do solo uma coisa e desloca-las enquanto as mantm descoladas outra, passamos a distinguir os dois conceitos, voar e levantar voo, para favorecer uma maior pausa reflexiva, como se a fizssemos entre nadar e flutuar muito embora estejamos cientes da sua inseparabilidade, pois que, tudo o que voa ou que nada depende de ter levantado voo ou flutuado. para as descolar, tarefa relativamente arriscada, torna-se necessrio esvaziar o esprito despir a mente de todas as espcies de roupagens, sejam atraentes ou no. como se tratasse de despir a roupa para se lanar gua, que, uma vez encharcada, lastro que faz afogar. para haver elevao tem de haver essa nudez, ela a mente nua que assinala a necessria leveza despi-la, esse o risco.

o sentido vertical, o impulso interno e o puro movimento singular, requerendo cuidadosa e clara introspeco, partem do centro de gravidade e no da vontade consciente. este ltimo influenciado e influencia a postura correcta (imbil, direita e aguda) cujo equilbrio (justo da forte inrcia) faz elevar, sem perder o tino, nem andar com a cabea no ar. contrariando sem rivalidade mas com reciprocidade toda a atraco unilateral. o que nos levanta leve pureza. para desloc-las, a operao em si menos complicada e mais corriqueira, mas torna-se mais complexa dado que, tanto o sentido (horizontal) como o impulso (exterior) s so possveis graas sustentao de um movimento colectivo, da comunidade onde se insere o que se elevou. ou seja, o homem nunca poder voar pelos seus prprios meios, precisar sempre da sustentao do seu semelhante. se precisou dele para aprender a andar, para aprender a falar, etc., porque no precisaria dela para se deslocar no ar, ainda por cima sendo mais pesado que ele? depois de singularmente se ter elevado, voar um trabalho de conjunto que necessita do apoio do mundo, isento de frices e atritos dada a fluidez do meio. s graas confiana mtua ao equilbrio harmonia e conivncia de toda a colectividade, ele poder procurar-se a necessria energia para se mover no espao sem apoio material. mas claro, enquanto a harmonia for utopia, o que ser voar seno absurdidade? quanto mais o homem puxar para si, o que significa exactamente ser atrado menos possibilidade tem de voar, de se elevar, ou at mesmo de simplesmente compreender o sentido da sua existncia, de viver sem conflitos com o outro, seja marido, mulher, vizinho ou estrangeiro. o ser humano indivisvel em si, mas dividido e dividindo-se entre si aos poucos foi-se tornando animal insensvel culturalmente civilizado, cujas prioridades progrediram sem nunca se terem alterado muito, ainda hoje so delineadas pela fora, pela violncia, pela astcia, pelo poder, pelo domnio,

pelo domnio de tudo, e muito especialmente daquilo que se assemelha mais a si: o seu semelhante. que desde longa data vem distinguindo como inferior ou superior sendo a igualdade uma figura tambm distinta e igualmente conflituosa. Porque o egosmo o prprio conflito, ele ou isso que diferencia e faz comparao, De resto grotesca, dado essa igualdade ter sido sempre significado separao entre e nunca harmonia com, mesmo aps a abolio da escravatura. agimos no mundo segundo a relao que temos com ele. se o mundo visto ou pensado como sendo construdo por fragmentos independentes ser desse modo que o esprito do homem nele funcionar fragmentado excluindo-se num eu aqui que se refugia e se abstrai do outro eu ali, se na sua viso geral do mundo o homem tudo incluir num conjunto indiviso, o seu esprito mover-se- dessa maneira, e a partir disso naturalmente surgir uma aco harmoniosa e ordenada no interior do todo, estabelecer-se- uma relao profunda e duradoira com a natureza, com a humanidade e com todos os seres vivos da terra inteira. s, o homem inteiro vive no mundo inteiro, e no mundo inteiro que vale a pena viver. da que, no chamado seu esprito, na sua viso, na sua ideia, o eu no tome posse, por no ser seu. o pronome possessivo uma palavra, e no domnio das relaes de facto, como um marco numa partilha que por muito que esteja fixo inscrito e enterrado, apenas uma das inmeras referncias que nos auxiliam e permitem partilharmos a relao na vida, sem dolorosas separaes. esse eu que pensa ser ser, que a figura central, a imagem culturalmente favorecida, o promotor de todos os conflitos que interminavelmente puxam para si. hoje, a mais forte atraco na comunidade dos homens atrai-os para si mesmos, e, encantados com o engradecer dessa carnuda parte central, fixados a atraentes ideais so incapazes de se equilibrarem numa rbita de sentido comum livre, harmoniosa, frugal e serena.

so incapazes de tocar nesta nica orquestra a imprevisvel msica da novidade. e to ocupados esto em solucionar problemas, que em cascatas as prprias solues vo fazendo renascer, cada vez mais numerosos e terrveis, mesmo nas barbas de cada gerao que nunca puderam abordar seriamente esse problema central, cuja abordagem j em si bem mais importante que qualquer soluo. socialmente o que une as pessoas no a harmonia a desiluso, a unio harmonia, e o que est unido no precisa de se unir. quando a unio limitada no unio. os grandes dramas: intempries, calamidades, catstrofes, acentuam a desunio. muito embora existam seres realmente bondosos, nessas alturas trgicas o que comum salve-se quem puder nos espectculos dramatizados: o futebol, os comcios polticos, certas festas sociais, religiosas ou populares etc... os adeptos, apoiantes ou festeiros ao se entregarem ao culto, ao gritarem, ao gritarem como possessos ou outra coisa qualquer, libertam, esvaziam, descarregam a energia num exorcismo colectivo, fazem-no em sociedade, mas fa-lo-o em conjunto? em harmonia? e mesmo se psiquicamente salutar o medocre efeito desse rito social ser sempre o confronto, a competio, o duelo, a insegurana que se exibem. ser sempre um passo mais para afastar e fazer adiar uma relao de facto harmoniosa. ser sempre uma passo mais para adiar o desmoronamento das paredes que o eu construiu para garantir a segurana da sua imagem. so essas paredes que os seres encontram, quando entre si se encontram, e essas paredes no so gente, so ideias. a sociedade dos homens a relao dos homens, no os homens. na comunidade dos homens, onde cada um puxa para si, como poder haver comunicabilidade, comunho? caso houvesse: na base de uma Confiana comum estabelecer-se-ia de facto uma relao haveria livre comunicao, tudo passaria a ser comunicado e naturalmente haveria a compreenso dum sentido comum, a comunicao livre e directa que instaura a comunidade, e no a administrao de qualquer poltica ou religio, que parecem esgotar a realidade, gerindo-a como uma empreitada.

comunicar livremente comunicar sem barreiras, com confiana, sem programas isso o silncio, no h premeditao, diz-se o que se tem a dizer simplesmente com seriedade entra-se em comunicao, e quando se est em comunicao, est tudo dito o que importante passa pelo silncio, pelas palavras do silncio o silncio imobilidade psicolgica que cria a ordem, no o pensamento, o que o pensamento cria so as barreiras, os programas, parasos e infernos com os quais as tais administraes constroem as instituies, as leis, que no podem ser srias porque so solidamente fixas, e no sendo vulnerveis atropelam a Liberdade. a relao harmoniosa, surge da clara compreenso do que se , e no uma receita, mandamento, mtodo ou lei que cria. quantas so as instituies que caminhem nesse sentido? no possvel comunicar tudo quando paira o pecado que interdita e castiga. que a msica poder sair da orquestra onde cada msico puxa para si? ao fazer o que inevitavelmente tem de ser feito a sua interpretao. quanto msica a tocar, bastaria seguir a eterna partitura da Imprevisvel Novidade. cujo sentido comum nunca igual para todos nem para os insectos . o sentido comum varivel, como o sentido das palavras, que lhes d significados diversos e divertidos quanto s suas semelhanas; isso depende da sensibilidade. falar e escutar; o que fala escuta e o que escuta fala, quando se ensina aprende-se, quando se aprende ensina-se no h desperdcio de energia, nem domnio, nem competio. quando h sentido comum, instaura-se o dilogo e descobrem-se dimenses novas, impensveis, surpreendentes sem confuso, com a fuso dos intervenientes. s desse modo, altamente organizado, se pode realmente Fazer qualquer coisa trabalhar em conjunto. as molculas trabalham em conjunto para fazer clulas, as clulas trabalham em conjunto para fazer rgos, os rgos trabalham em conjunto para fazer os seres vivos, ns, seres vivos, ser que trabalhamos em conjunto para fazer uma comunidade? ou seremos apenas meros empregados, hoje desempregados, dessa maneira de nos associar,

cujo principal trabalho exclusivamente cerebral e produtivo? foi-nos ensinado a andar, a falar, a escrever... e, ensinaram-nos a pensar. aprendemos tambm como estar mesa, a no nos apoiarmos nos cotovelos. aprendemos tudo isso, mas no foi em conjunto, foi com esforo, com imenso desperdcio de energia, com imensa parcialidade e sob efeitos e sofrimentos de uma qualquer atraco. o que aprendemos no foi, nem , livre nem fcil, se fosse, se fosse de facto em conjunto, a energia, a compreenso teriam uma amplitude tal que com pouco esforo, ou seja, imensa beleza j teria havido espao para at nos terem ensinado a voar. mas as prioridades desta sociedade so de outra ordem, o que ela ensina a votar livremente, obrigatoriamente, secretamente, eternamente conformada com o brilho bao e remediado do mal o menos conivente com o perverso mal necessrio. todavia, para o homem se elevar, mesmo se a sociedade faliu, resta a possibilidade ainda no obliterada da elevao singular. e mesmo se a carga hereditria muito pesada, mesmo sobrecarregados pelos desgnios da constelao sob a qual nascemos tentemos pr em rbita a pura singularidade que faz elevar, e depois, talvez um dia, juntos de facto, alguns cheguem a voar. alguns, pois que como as sementes nem todos tm a mesma vocao. em equilbrio est a serenidade a paz insondvel um movimento imperturbvel, imenso, sem ruptura nem limites, contendo os risos e as lgrimas, que mesmo se puxam por tentao, tambm se esticam e atendem, o que significa, que ao se prestar ateno distraco est-se atento. aceit-los a ambos ir-se abaixo, cair, e nisso vir a cima, erguer-se. uma ddiva que ao fazer reparar na postura tambm faz reparar a postura, a pura singularidade que eleva e faz descolar as duas solas do solo, ensinando a infatigvel capacidade de se endireitar e a tenacidade de voltar sempre ao princpio sem nos perdermos na impacincia, sem ir aos ares, como o irrepreensvel Sempre-em-p, que como um pndulo voltado ao contrrio.

Ir aos ares em si, no centro de gravidade onde o ser humano se deve apoiar para exercer qualquer fora. esse ponto, invisvel e imaterial, no se encontra na parte superior, nem numa extremidade do nosso corpo, encontra-se sim, sensivelmente no centro do volume da sua figura total. a cabea, obviamente, no o lugar apropriado para se sobrecarregar com foras, eventualmente, pode servir para carregar com pesos, que na maior parte dos casos so transportados em equilbrio, dado terem em si o seu prprio centro de gravidade. de resto, quando se equilibra uma carga sobre a cabea, quando se faz o pino por exemplo, graas atenta resposta da sensibilidade, sentimo-lo. a cabea no o lugar apropriado para carregar com tudo, se o centro de gravidade deslocado para l, o homem viver como um pndulo que oscila ora para um lado ora para outro, e quando pra o homem cai. quando o apoio exercido no centro de gravidade, naturalmente ele que absorve todas as foras, instaura-se l o equilbrio e h fragilidade de pensamento ou seja, menos peso na cabea. ( difcil haver equilbrio quando as cargas esto mal distribudas) - simples tudo ento, a partir do centro de gravidade, torna-se mais simples e leve, mesmo o peso das coisas impensveis. na semente que voa, o equilbrio entre o peso do gro que tende a descer e a sensibilidade da asa que tende a subir, que realiza o voo. se a asa no tivesse lastro, elevar-se-ia como a labareda. se o lastro no tivesse asa cairia como a chuva. a gravidade universal atrai reciprocamente todos os corpos, sem ela o homem no poderia existir. haver reciprocidade na atraco significa tambm haver inrcia, inrcia essa que tambm puxa, mas em sentido contrrio. (se houvesse s atraco na atraco no poderamos descolar os ps, no daramos sequer um passo, coladas que estavam as solas ao solo. se houvesse apenas inrcia no nos chegaramos sequer a levantar) uma coisa ser atrado para todos os lados, outra ser s um.

 porque se atrado por um lado que se cai nesse lado, se simultaneamente tambm se for repelido, se se oferecer uma certa resistncia, no se ir para muito longe do lugar onde se esteve, ou ficar-se- mesmo onde se est (caso a capacidade de resistir se equilibre com a de atrair). a Lua no cai no nosso solo porque na sua rbita est constantemente a cair e a afastar-se da Terra. as interrogaes sobre atraco e a inrcia no se esgotam numa equaoo mecnica, redutora do espectro visvel, podem com isso, as coisas invisveis perder visibilidade. Tudo depende, primeiro da sensibilidade que escuta a vocao (vocare) a ntima chamada da voz interior, e depois da resposta que a mesma sensibilidade lhe d (dessa resposta nasce o sentido de responsabilidade) a vocao no se ensina nem se aprende escuta-se no tem nada que ver com um ofcio, como os protestantes querem que tenha) pois sem ela, tanto podemos cair na gravidade terrestre, como na celeste e seja afogar-se na escurido c de baixo ou no deslumbramento l em cima, morrer por asfixia. afogados na gravidade terrestre, tudo o que faremos deitar contas vida, durante toda a vida, e fazendo da vida uma conta passa-se a vida a fazer de conta. afogados na atraco celeste, tambm se faz de conta a vida inteira pois tudo o que faremos cair, como mosquitos, numa luz que em vez de esclarecer, confunde. baixo do que em cima. porm, exemplos j houve de geraes que ele caiu em cima, no segundo as leis da gravidade, mas segundo as do tribunal do santo ofcio. quantos maiores forem as quedas mais chocantes so os embates. as sementes que voam nas zonas urbanizadas poucas possibilidades tm de chegar a germinar. Elevar-se. elevar-se no ar, antes de tudo, suscitado pela vocao que reclama o desnudamento da mente e a libertao do sentido da energia, o sinal da leveza. mas, como j se disse, essa considerao, pe prova a extraordinria energia contida naquilo que estrutura as nossas vises do mundo,

e como temos tendncia a dar uma importncia psicolgica particularmente elevada s nossas ideias familiares, torna-se por isso arriscado faz-lo, pois que as convices que pareciam seguras podem desmoronar-se, a solidez do que era louvvel pode ruir, a fora de um hbito quebrar-se, a lgica de um conceito sumir-se, uma ideia eclipsar-se... contudo, ainda mais arriscado no o fazer! no o fazer, passar a vida a chapinhar no velho charco de gua estagnada, convivendo com os micro-organismos da obstinao, que em suspenso nos infectam com os mortais condicionamentos limitando e fazendo adiar a considerao de algo realmente novo, imprevisvel, impensvel. mesmo apesar de termos aprendido a no ligar s coisas impensveis, temos este presente vivo da vida at para as considerar pois que, uma vez chegada a altura em que mesmo as pensveis sero dificilmente consideradas, estaremos ento mais aptos para no desistir de o fazer. o que quer que se faa feito com esforo implica fazer esforo. para a rvore enraizar a raiz tem de esforar-se ao passar por entre a terra justa, se a terra dura haver pouco espao para passar se a terra frouxa haver muita folga na passagem. se o feijo que nasce, lhe retirado o esforo para vencer a inrcia dos torres da terra que ainda gravita sobre as pequenas folhas, ele nunca florir. se no h esforo h capitulao. se se desiste no pedimos o melhor de ns a excelncia. porm, o esforo que forado pela vontade prpria resistente e tenso, solidifica rigidamente o ego, amplia as nossas limitaes condicionando o flexvel florir da sensibilidade. tanto o verdadeiro esforo como a verdadeira resistncia implicam intensidade e no fora so capacidades vulnerveis, quando estamos cientes dos nossos limites. e graas vulnerabilidade, que no fraqueza mas sim abertura total, vemos quo despreendidos somos da tenso consciente, ou seja, do esforo do ego. no esforo que no forado vindo do vazio e no de crenas ou de ideias nem do eu que faz fora julgando-se o mais forte no se adquire nada, antes pelo contrrio, d-se tudo.

de facto s se d tudo quando no se tem nada. a fora tem vrias formas, e a mais forte a que no tem fora prpria. a fora que no prpria sem limites energia sem causa nem motivo, fluxo que nos d tudo, e tudo o que precisa que se lhe d, passagem para passar de um estado a um estado outro, dando forma, materializando, desmaterializando sem perder nem ganhar nada, sem preencher nada, deixando intacto o vazio a energia est onde est a vacuidade. tanto est na vacuidade do espao csmico, como na vacuidade da onda do oceano, como na do rebento da violeta, como na do corao do homem, ela que faz que esse impermanente corao eleve o sangue at ao crebro (apesar da gravidade universal) e que garante a coeso ao edifcio celular, onde as molculas, sem encantamentos, juntas num sentido comum, so atradas entre si. aprendemos como devemos estar mesa, a no nos apoiarmos nos cotovelos. Mas ser que reparmos que ao nos apoiarmos nos cotovelos deslocvamos o centro de Gravidade, precisamente para os cotovelos, o que desequilibra e faz perder a postura? e isso, talvez, porque estvamos a fazer duas coisas ao mesmo tempo; estvamos mesa e estvamos a pensar. quando sobretudo no necessrio pensar no que se est a fazer. fazer, e pensar no que se est a fazer, fazer duas coisas ao mesmo tempo. preciso estar livre e plenamente ciente do que acontece, pr todos os sentidos implicados no que se faz, pr as mos a pensar, nunca desempreg-las. fazer seu o que acontece beb-lo, nunca se separar dele. mesa, sem cotovelos apoiados, direitos, apoiados em equilbrio no centro de gravidade, respira-se com outra profundidade, no nos perdemos com o que nos passa pela cabea, no nos curvamos atrados s para um lado no enchemos, distraidamente, o cho de migalhas, e tambm ser escusado matar as formigas que as viriam comer. a cultura de uma postura deliberada impostura, a postura encontrada com o prprio perder da postura, eis qualquer coisa que ningum pode encontrar por ns. do mesmo modo o equilbrio encontrado com o desequilbrio, e a estabilidade com a instabilidade. em qualquer dos casos graas vulnerabilidade das coisas que as podemos encontrar.

portanto, cuidadosamente, devemos no as fixar nunca no h nenhuma estabilidade que seja fixa, o equilbrio fixo e estvel, inflexvel, no dura muito e provoca desequilbrio mesmo se fisicamente no haja em ns nada que caia. o equilbrio pode parecer estvel porque os movimentos que o encontram, nfimos e subtis, so os mesmos que o fazem perder. mesmo o designado esttico, no fixo nem completamente imvel, estticas sero as ideias, se no forem vulnerveis. tudo no Universo equilbrio. no importa, portanto, perder a postura, importa sim a capacidade de no perder a pacincia com ela, de no se ir pelos ares com isso. reparar no desequilbrio repara o equilbrio equilibrar-se, tal a resposta da sensibilidade. e ao repar-lo, largando tudo e deixando-se cair em si profundamente, sem tenso nem pressas, apoiarmo-nos onde nos devemos apoiar e encontrarmos o centro de gravidade em ns. com essa descoberta e com tudo o que ela implica, dificilmente seremos levados ou atrados por um s lado, e se o formos, s-lo-emos para todos, ou ento no o seremos de todo. Todas as coisas tm um centro de gravidade, um ponto invisvel onde se exercem todas as Foras atractivas e inertes, materiais e imateriais. no ser humano esse ponto encontra-se no baixo ventre, dentro da moldura ssea da bacia, entre a regio lombar e sensivelmente dois a trs dedos abaixo do umbigo. a onde o esforo sem esforo deve ser apoiado, de l parte a leveza, quando a mente se despe de l parte a elevao, quando o pensamento se cala de l parte a respirao, quando estamos em paz. l o lugar mais importante do ser, um imenso oceano de energia, vital para o corpo e esprito inseparveis. contudo, muitas sero as circunstncias, e mais sero as solicitaes, que nos levam ao desequilbrio sem repararmos nele. para se encontrar esse lugar de equilbrio, a meio de tanta agitao, com to pouco sentido e sem sentido comum,

a imobilidade muitssimo acordada, viva, flexvel, nunca esttica um atalho no caminho para irmos ao seu encontro. Portanto, ao escutar a vocao h que reunir circunstncias, Sensveis e possveis para abordar e responder a isso, sem dar satisfaes a qualquer parte de si. comear por parar. sentar-se cuidadosamente num lugar agreste limpo deixar o pensamento em paz, desfazer-se, da absurdidade que deixar de pensar. ficar sentado apenas sem estar a secar nem a curtir sentado estar sem tempo. estar quieto, por fora e por dentro, como para observar de perto um animal selvagem que fareja a sada do nosso mais pequeno piscar de olhos da alma. faro esse que penetra todo o universo, porque o universo. porque no outra coisa que ns mesmos nus despidos da antiga roupa que j no nos serve, nem serve para nada. que nos apertava e fazia mal, mas no sabamos porqu, habituados que estvamos a vesti-la desde a infncia. o que nos veste ento, ser a gua pura e corrente da confiana primordial, que salpica at bem longe, sem sentido e para todo o lado para l do antes e do depois do ser que . encontrar o centro de gravidade em si encontrar o equilbrio em si encontrar o equilbrio em si encontrar a liberdade em si e quando o homem se liberta de si, livra-se de tudo do que o atrai, do que o repele, do que o prende. s um homem livre tem sensibilidade para librar-se, ou seja, equilibrar-se no ar. ento o mundo, seja ele dolorosa priso ou liberdade condicionada, estr sempre a nascer porque estar sempre a morrer. s a libertao de energia gera energia. (como a libertao de energia contida no ncleo do tomo gerou aquela to dramtica energia) se voar uma aspirao do homem, porque, mesmo adormecida, a nua Liberdade ainda o inspira. elevar-se no ar um acto livre, autntico, verdadeiro.

para o homem autntico sem qualidades no h separao entre o cu a terra e o homem. e para voar no o vento que importa, o que importa a Verdade. a elevao para esse homem estar sempre ligada com a humilde relao que ele tem com o mundo. nunca se dar ares de nada, jamais lhe passar pela cabea transformar essa vocao em mais uma atraco, exibindo-a publicamente. e se porventura se eleva, no ser para satisfazer um qualquer capricho ou apetite pessoal, f-lo- ascender a fora de uma necessidade absoluta, sem que alguma coisa de si prprio pensamento ou vontade intervenha. elevar-se- direito, com infinita ateno, secretamente, em curtssimas ascenses nocturnas ou em lugares inacessveis. ningum dar por nada.

Orientao no espao

Quando um ascensor descola rapidamente, temos a impresso que nos enterrarmos no cho, e quando bruscamente pra parece que continuamos a subir. no homem, a subtileza de um pequeno rgo do ouvido interno, responde s mudanas de velocidade rectilnea (acelerao linear), aos movimentos de rotao (influenciando a posio dos olhos e da cabea), e d resposta tonicidade muscular necessria que a manuteno do equilbrio requer, assinalado por exemplo, a iminncia da vertigem, a tontura, a mais pequena vacilao, etc. esse rgo assinala o equilbrio, orienta-nos no caminho, no o caminho o caminho no nosso. com grande sensibilidade que os rgos das nossas percepes consideram o vasto campo de medida com que diariamente se encontram, e em que diariamente se encontram. no so eles que separam o que visto do que v, no so eles que comovem ou atraem, eles apenas moderam (com medida) o que est a acontecer, medindo-o em silncio. a rosa vermelha, silenciosamente, sem escolha, essa ser a cor considerada, e s depois

vir a ser pronunciada comunicada. para os olhos verem as cores, tm que estar despedidos delas. com a sensibilidade, que o nosso relacionamento no mundo se torna possvel, ao tornar-se sensvel. sensibilidade e sensao no so a mesma coisa a sensibilidade no dissente, a sensibilidade no regista nem permite registar seja o que for com que se relacione, pelo contrrio, tudo o que faz responder sempre pela primeira vez, por muita idade que tenha. so os sentimentos extenses do pensamento, ao fazerem sair da cartola da memria as mgicas imagens passadas que minam a sensibilidade, com as suas perturbadoras comoes. construindo entre muitas outras coisas, por exemplo, as poticas afectaes aucaradas (que aviam muito bem os animados anseios dos programas polticoculturais), as atraces, as emoes, as experincias..., e qualquer experincia uma cicatriz da memria. negar os sentimentos, as sensaes, o tempo, o pensamento, tambm afirm-los. preciso descobrir-lhes o lugar correcto e adequado. abandonar sem esperana: ambies, iras, possesses, medos, recordaes, hbitos, ideias, crenas, imagens, tempo, espao... abandonar tudo o que seja pensamento, o norte inclusive, e no ficar desnorteado. permanecer s o fulminante faiscar da relao agora no mundo. vejamos bem! o norte real no pertence ao pensamento, ao conhecido, memria, a Estrela Polar sempre nova s nossas percepes, mesmo as Guardas da Ursa Maior so de registo varivel. as constelaes agrupam as estrelas mas as estrelas no esto separadas, a esfera celeste inteiramente constelada enrgico segredo aberto. se o pensamento no galgar o campo da relao real, como faz a erva daninha, passando por cima de tudo, toda a orientao, essencialmente, ser silncio. modesta a trivialidade da cintilante gota de orvalho. de facto a vida no pensvel, se for, clculo.

a vida impensvel precisa de ser penetrada e compreendida com imensa seriedade e s em silncio, quando se deixa o pensar em paz, podemos compreender o que . para que serve uma orientao perfeita, se no se v onde se pem os ps? para que serve? seno para controlar a viagem com toda a segurana, para que o amanh acontea segundo as previses e quando o amanh acontece segundo as previses, e disso se tiram concluses, experincias, exemplos dignos de serem seguidos fixou-se o conhecido perpetuaram-se as razes do tempo e perdeu-se a novidade. milhares de anos so como um sopro, aquela enorme massa rochosa ainda ontem era lquido quentssimo que escorria sobre aquele outro lquido que antes de ontem j tinha arrefecido um pouco. imperceptivelmente, o ouro vai-se modificando (entre o seu aparecimento e o seu desaparecimento, sero tantas as geraes de homens que aparecem e desaparecem que ele se torna, para eles inaltervel). aquele nfimo ponto que voa, um pinheiro gigantesco. um sculo particular poder ser um momento na histria da humanidade. no! os dias no passam por causa do tempo nem to pouco o tempo passa por causa deles, o que so dias, seno nova claridade e nova escurido, incolores sempre desconhecidas de novo. no o tempo que faz ter pressa, a mente desejosa que corre e que apressa. poupar minutos, para qu? se nos perdermos na iluso que ao poup-los, ganhamos alguma coisa. para qu correr mais depressa que a luz? Se os nossos tomos se dispersariam e ns esfumar-nos-amos. difcil no deixar vestgios, e, sem histria, sem sair do anonimato, ir assinalando apesar de tudo, as mais pequenas, incrveis e remotas paragens onde paira o equilbrio de tudo com tudo. a decomposio da batata gerou mirades de seres voadores. haver uma distinta entre a matria que est inanimada e a que no est? tanto o vivo como o morto no pertencem ambos Vida? no ser essa interrogao a prpria matria da conscincia? tambm ela uma expresso insegura da Vida. uma vela que dure mesmo h mil anos s depois de acesa d luz,

ter de se gastar toda para dar toda a luz, ter que, ao chegar ao fim, apagarse esse o seu fim, porm, o fim dela no o fim da luz. diante de tanta vulnerabilidade, to facilmente espezinhada, crime no escutar a vocao mas ainda mais criminoso condicion-la, impedindo-a de ser escutada, e nada fazer para que ela no perca mais audincia, igualmente criminoso. e quantas vocaes no haver que nunca so escutadas, que nunca foram escutadas, que nunca sero escutadas, vozes ignoradas, perdidas, num qualquer medocre conformismo, numa massiva formao, no estoiro de uma droga, de um prestgio, de uma iluso ou de uma causa justa. tudo uma questo de sensibilidade. e por muito pesado que o homem seja, se est ciente onde pe os ps naturalmente que nunca esmagar at morte, o frgil rebento da erva que nasce no caminho. assim, sob a enrgica estrutura deste cu nocturno, atrados pela candura das sementes que voam em todas as direces, fomos levados a abordar o misterioso firmamento da mente e a terrestre profundidade do corao do homem, cujos desgnios incorporam os desenhos dos seus actos tornando manifesta a dimenso intacta e comum que diariamente sustenta e acolhe uns e outros. sempre volta do sol, dedicamos isto s nossas amigas Ursas, Maior e Menor,

S.M.Z.

Secret history of the aircraft Notes with gravity to put common aspiration into orbit

That which is secret is unknown and what is unknown is new. that which is, in fact, can only be new. nothing repeats itself. nothing is more unpredictable, more sacred, more mysterious than novelty, whether from the past the present or the future, it is not new what is new is not of time and will only be from now, if wholly free. the now is fulminating. there is no treasure hiding in the universe. novelty flourishes in our inner landscape, like the heat in food cooked in an oven, without a pause, it comes out of what is exterior to enter an inferior never absolutely internal. imperturbable, but very awake, the sensitivity answers all the modifications, in equilibrium. frogs, blackbirds and others, still themselves to escape danger, and in such a way that they seem lifeless. the fig-tree lets its figs be eaten by birds without a whistle.

Sensitive things in equilibrium What is happening happens it is a fact, because it is stopping happening, Nothing is repeated, nothing remains identical to itself, The Things all of them are ceaselessly another Thing, that is, life is the death of that which happens, a single movement of flux unthinkable, with laughter and tears, immense, without rupture or limits, without time, without hindrance. if such did not happen, if Things were immortal, the world to our eyes would have no expression, it would always be the same thing. both the known which is already accumulated in memory and the unknown which is not there yet, but soon will be,

are the recordings, the registers of the Things we perceive: objects, actions, events, experiences, encounters these registers help us in relation to the world, they are useful, thanks to them we carry out our tasks on the practical level, but they are neither the Things nor the perceptions they are (our) register. whatever it is can only be approached from one aspect, and, according to that aspect it is registered in memory. it is impossible to approach at and register a Thing completely, one only registers a part; that which is important or convenient. thus, even being useful, all registering is partial. one cannot wholly comprehend a Thing in any detailed vision, only implicitly may we comprise (its) totality. but, as this is not registerable (in memory) nor probable (in thought), having no comparison, nor any immediate and personal utility it is thrust aside, as it isnt good for anything. and what is registered, by being chewable for thought (a glutton which doesnt care about partialities) becomes considered real. In this way he who wants to see everything, to see everything as he wants to, becomes separated from what he sees, and creates a fragmented vision of the world, where the world is seen as if it were made up of independent things slivers or fragments, of which the main fragment is the I which wants all. notwithstanding the gravity of the incorrection, this is transmitted, propagated, is taught, and teaching is one of these fragmented things. conscious or unconsciously, this process allows the use of the registering of memory thought to more and more come to occupy a place of privilege, invading and taking over the fragile place of reality new and unknown placing itself ahead of everything, like the water from a torrent, soaking and distorting the perception of the pure event conditioning the Thing that is. that is never simplistic as thought likes to make believe, to give the impression of being able to dominate it when it autopsies it explaining it at (its) will. In such a way that man goes on allowing thought to invade this field of unknown novelty right in front of him,

that what he see because he stops seeing on turning his head, going to sleep, etc stops being really important faced with what he calls reality and which is really that which he thinks he has seen. in this unbearable process, which has been hurting for thousands of years, where it is more and more abused by what is fixed in the mind, there is something which is deteriorating and one can see it - visibly: sensitivity that which gives a living answer to all that which is ceaselessly changing, both on the outside and the inside of the living being. and if this reply, of pure and subtle precision, which in itself holds nothing is so often confused with artistic delicateness, poetic affections, winged liberties, sugary mannerisms, it is because those who confuse it, having already been abused and thought, by sentiment, leaving the novelty to drown, disturbed as they are: irritated, impressed, vexed, offended, moulded, no longer see anything new. and without sensitivity there is no new answer. what novelty is there to be discovered in what one thinks one knows, when it was thought itself which fixed the known? will one notice the extreme sensitivity of cats whiskers? an animal which one thinks one knows. in the wing of the seed of the pine? in the tips of the fingers of ones hands? in that which looks at us when we look at it? today novelty is only a concept a lifeless parcel. thus sensitivity is associated with the artistic delicateness, the pointer of a balance, photographic film, the fineness of mechanism delicate things, but never invisible, if not, thought would starve to death. sensitivity is from another dimension it is that, the hyphen, which links the hands-brain-heart in the nascent act of doing or not doing, we see its presence and we also see its absence in that which man leaves done, whether it is finished or not. here, in order to see it in its highest expression in the equilibrium we will link it to the

act of flight. it is all a question of sensitivity, but as, as has already been said, consciously or unconsciously, man is becoming transformed into a dormant commodity, refinement and accountancy, flight is today either unnecessary or absurd, despite coming from chimera, today satisfied without demand, by the useful roaring of the reaction engine. or is it luxury to consider this? or a fantasy? no! what makes a sensitive being is sensitivity only sensitivity can adequately care for and answer to life, to order and the world, to such important things as the nature for example, of that which is causeless intelligence, in equilibrium, and not of the so-called environment, as it is with that the ego is surrounded the only efficient way to protect the still virgin forest is not to set foot in it. it is also sensitivity which responds to the lightning of the now, a single one throughout all our life. time is an important data, as long as it isnt used to give us importance. fear feeds time and time feeds the ego that the will of the violent and aerial man fixes abstracting the rest in a central and dominating point, the I, which always reacts with displeasure when the rug is pulled beneath its feet, whether it is a flier or not. (which is the best thing that can happen when one cultivates an image of oneself, the worst, is to hear from oneself that which one expected to hear.) a being drowned in egoism doesnt have the sensitivity to see this egoism, so many, many times coated in altruism. sensitivity is not of the mind, and disturbing sentiments destroy it.

Direct flights Flying is proper to the birds, but in insects, mammals, fish, and vegetables there is flight. in stones there is flight, or rather, there was eaglestone was a stone found either in the air or in eagles nest, it had therapeutic properties and thus was much sought out. today nobody finds it, perhaps because today no one needs it. yet: shooting stars, meteors, meteorites, asteroids, aeroliths, comets planets, our planet, gravitate, move, fly, evolve in space without material support in all of them there is flight,

carried out according to an orbit, in which the sense of attraction as that of inertia stop them from falling. even if man looks at the seagull in flight, does he see the flight? and then, when the seagull sets down on the beach, will the meaning of the verb to fly be free from expectations? Free from what is in mind? free, and not opposite to the verb to set down? will he be aware of that direct flight of air that enters and leaves the wings of his nose? or will he only be aware of it when he sneezes? even air flies, thanks to what we call wind, this small, old pine grove here nearby was propagated through the air, it flew directly to here the pine-nuts have wings. without the heavy burden of sentiments, thanks to an indescribable sensitivity, seeds fly. but as we are not here interested in botanical knowledge, but the unthinkable consideration, (unthinkable today because we didnt notice it yesterday) we will consider not the seeds which fly, but the flight or the seeds which do not fly without wind, and we will question ourselves upon the giddiness which leads man not to fly. that sensitive being who cannot live without air.

Waiting List Only after droughts do the seeds fly. in some cases only the seed flies, in others the fruit flies and within it travels the seed the samaras. seeds, like everything which flies, fly in order to land. they land, burrow in, set down, dig in, take hold, stick in, and there they stay they germinate in the soil and then propagate. they all move far from the tree from which they came, at times they travel in pairs, many are carried far off, it depends on the wind, others never even touch land. there are seeds which with one wing, after gliding, descend vertically in a helicoid whirling, and on landing are buried, raising a tiny cloud of dust, for then to remain immobile for hundreds of years.

there are others, black and spherical, which travel without wings, within white clouds of extremely thin texture, which guarantees them sustenance and the force to rise up. others come out of a protective balloon which opens into three sections, travel clinging to a light circle of the same substance bent in the middle, as if being carried on a flying carpet. others still, with a sort of fluff whose sensitivity captures temperature, travel dangerously at low altitude, some centimetres from the earths crust. we have seen one that so-to-speak travels in the shadows, (other temperatures) of the leaves of the agapanthus. and after a spectacular flight of several metres, at the speed of the prevailing wind, it ended up caught in a spiders web. the wind itself then freed it and carried it on its journey, disappearing among the awns of the hay. all the seeds which cross the skies, all this intense air traffic, is moved by an absolute necessity, it goes on without an intention of its own, but with surprising sensitivity, responding to the lightest breeze, reading the slightest differences of pressure, reacting to the light, to the temperature flying thus, with amazing subtlety. to do so, seeds have specific and such incredible resources that even if the direction is not of their making, even if there is no choice, the chance that then guides them is full of sense, in itself it is like a barren, single, available pathway. one would say that beans also fly to spread themselves, but they do not fly, they jump. as it dries, the shell cracks, opens, and wraps itself round the bean until it thrusts it away by squeezing it so much. there is a crack, and it leaps, falls and rolls, often coming to a stop far away. yet there was no sustenance, nor was there a landing, there was just displacement and fall. falling and landing are not the same thing. in falling one totally shows the earthy attraction, in landing this force, although it continues to exist, is attenuated by another force, which pulls in the opposite direction. the bean doesnt fly, but for example: the seed of the pine, the jasmine, the oleander, the geranium, the bougainvillea, the kapok, the linden, the poplar,

the elm, the willow, the maple, the plane-tree, the ash, the lettuce, the artichoke, the jacaranda, the dandelion, the saw-thistle, the thistle, fly. all that is light flies. the ant (even without wings), dust, ash, feathers, pollen, clouds, soap bubbles all fly. one would say that in the wingless shapes the light smallness works like a winged organ. to fly is an immediate posture between two critical moments which are take-off and landing. for the moment we will not distinguish between flying and hovering, that is, between moving and balancing or being suspended in the air. whether a man or a seed, (and even a machine) the problem is that flying lies essentially in landing and take-off, even when the landing is a mere fall, if there is no conscience of (its) suffering, which is the case of the ant, if integrity is not affected, even blowing up would be flight. traditionally for man, flying involves staying, going and moving in the air according to his will yet it also exists in the conscience of having done it. in order to comment upon the prowess and prove that he did it. perhaps for this reason any high point which dominates open space is an appeal to fly. which well demonstrates the far-off and cold relationship it has with air. the relationship between modest ascension from below and the dominating fall from above, or is the free-fall only attraction? when the question of take-off and landing are solved, when we can be saved from this the difficulty of remaining in the air is none at all, that is, it is the same as standing up the two-legged posture is not innate, it is taught. this difficulty does not lie essentially within the aquatic or aerial field, it is firstly found in itself. even walking on the earth, going according to ones will already creates innumerable difficulties particularly for the earth. until one sinks into oneself until one finds the centre of gravity within oneself that point which in our body is centre and balance and from whence we release all energy, we empty ourselves, it is not in slimming to become lighter, that one day being so light that one flies. until we examine and discover with an impassioned intensity whether there may or not

immediately be a total and fulminating mutation of the psychism, and it is not to expect to become something, it is right now everything that is done is little and will be worth little, even following a strict diet, even flying only on the blue flights, even practising tough disciplines, even if an enormous technological progress gives colour TV smell, taste and touch, even if the same progress allows rich and poor alike to be carried in joyful sidereal flights here and there in another galaxy. comprised within the empty energy field of our inner space psychism there is conscience which is made up of what it contains, originally it is like a desert and what it contains is only sense without direction in all directions, all the rest: greed, envy, experiences, names, form, memories, beliefs, anxieties, sorrows, opinions, judgements, values, and so on, is essentially ballast which imprisons, and gives life in the hope or on the waiting list of one day having permission for take-off. today we received samaras of silver maple, sent to us from abroad by a friend by air mail.

To sink into oneself Flying. flying is proper to the aerial people, and so much so that some species mate while flying, or sing, or hunt, or eat, or defecate. as for man, why should flying be only related to the devices he invents and the dreams he has? because they are produced by him? however, even though he invented the car he still walks, even though he invented the boat he still swims, even though he dreams he still sleeps. why will he not fly? why cant he lift himself up slightly, a palm, and then land a little further on? without great fuss, with skill, or even clumsily and with a certain difficulty it wouldnt be a question of transatlantic flights, it would just be a metre or two! if man can move through water he swims why cant he travel through air? because he is more amphibian than aerial? even if the water is cold he undresses to swim, why would he have, in order to fly, to put something on which make him heavier still?

without imitating fish it is possible for him to use his hands not like fins, why in order to fly does he insist on imitating the birds, using them like wings? or is it that he has not yet understood the full use of hands? or is it that he is so laden with ballast (always with his brain so very busy producing such devices) that he has his hands full? which, besides, allows him more and more refined flights, as he goes on having his sensitivity numbed, which is much lighter than air. at the crucial moment that he takes his two hands off the floor he stops crawling he rises up, supported by big people he stands up, sustained by the world he comes closer to the sky he learns to walk. from this to running is a small step. but through habitually walking, imitating the walking and runnings of others, he rapidly falls into the traditional competition to become the best of all, the champion and getting away from them, isolated, he wins (or loses) separated from all. so he struggles violently to win a championship. then, if flying still has some meaning, it means only speed, voracious strength and acceleration to move and elevate the very load he carries, and which day by day with the register of so many victories and defeats, becomes heavier and heavier, especially that of the hold of the conscience. upstream of any device or ingenious flight made by man: rocket, steam flying machine, airship or wax wings, there is and always will be, even if moderated by inertia, the attraction for above, the attraction for that place, otherwise man would never have been aware of the apple that falls down, nor would he have been able to adapt language to describe this to those who had never been aware of it. (according to history, eighteen centuries were needed before Aristarchus of Samus proposition was accepted: making the earth a satellite of the sun) after leaving technically the geocentric system, where the perfect bodies were the celestial, and the imperfect ones earthly, decentralizing the relating of the planet, rejected the appearance, appearing to sink into oneself, everything led to believe that one would become less egocentric,

more modest, and naturally more respectful of that within he has since the beginning been inevitably set, and of which he himself is one of its innumerable expressions the whole universe. but this didnt happen, the exit was merely technical. mechanical equations followed on from celestial epicycles, the devil of reason followed on from the devils reason. his main problem (I, power, perfection, nation, race, fear, security, distrust, pride, hatred, envy, ambition, violence) are not only maintained but progressing. proof of this is the ease with which he still kills his own, or with which he kills other living beings, the ease with which he becomes a predator, the ease with which he looks upon the organised slaughter known as war, the lightness with which he calls peace to the war he makes upon war, perpetuating war. and what doesnt make one more insensitive than war! there, ideas are so diabolical and blind, so bathed within irrationality and dementia, that in the first atomic experiment the instruments which should have measured it and which were placed far from the deflagration were disintegrated by it, which is a measurement in itself. but precisely due to ideas, due to the ideas of perfection and imperfection of a madman, due to war, due to the last two wars aviation progressed, and with the greatest natural ease, has allowed the expansion of the path of the machine, already under way, the man put aside any other possibility of really relating to the aerial space developing only the mechanical possibility, in the construction of aircraft and elevators. aeronautics allows man sustentation, dislocation and direction in the aerial space, but does he fly? when one goes in a car one doesnt say walk, when one goes in a boat one doesnt say one swims, because what goes is the car and the boat, but when one goes by plane he flies he says. no! whether crew or passenger, the man who flies in the plane in fact does not fly, what flies is the plane. the proof is that if the machine falls, even against his will he will fall with it (thus, ever since the beginning, before the parachute, he has taken on the protection of a

patron saint, a sound man, whole, a poor in spirit whose sensitive demonstrations of close relations with the air of the sky have sanctified him: the obedient Giuseppe da Copertino.) and, having reaching this far, we ask again: if even the machine can fly, why cannot he fly? but, lolling as he is, traveling at ease, sitting in a well-thoughtout seat (even if during the flight there is some turbulence) he thinks that anything else is not possible, not necessary. going by plane! thats enough to guarantee him expansion of his domination over the air which he has already been able to condition, compress and liquefy, at will. it is for this reason that there are so few inclinations to search for proof as to the contrary as to the uncomfortable and off-putting denudation of the unthinkable. the surface of the earth is an immense depth, one doesnt need to go deeper on the surface of the earth we meet the infinite sky all over. but, in fact, this is so simple meeting is not easy, nor comfortable, nor safe. what use are the promises or the hopes of a life a little more easily lived, if one kept the noisy and tense appetites of this I which nervously interminably always wishes for more and more, especially to be able to do more, to be more able to pull towards oneself without being able to sink into oneself. (with favourable winds, the aeroplane landed in Lisbon Airport fifteen minutes early, but the mobile staircase for people to get off only arrived on time.)

To pull towards oneself To ascend, elevate, take off, lift off, is for man, aware of being attracted, a question of posture, a non-deliberate effort without a will of its own whose strong inertia tends to Abolish whatever attracts it to one single side. to fly to move through the air is something else, it requires consideration of another kind. but, the deep-rooted nature of beliefs, programmes, habits, fixed ideas more and more block out the simple approaching of it. he who considers looks attentively and he who looks attentively sees,

not in a special way, or in this or that way, he sees simply without thinking that he saw, that he is seeing or that he will see he sees in silence, to meditate, measure, medicate, moderate, are equally considerations where the gaze that focuses nothing, fixes nothing, concentrates nothing gleams in all directions, like the light of the sun. when thought is quiet and in its right place there is no separation between what considers and what is considered, emptiness is seen from emptiness. there is only sight which flows. such is the nature of consideration that it constantly tests and strains the extraordinary energy contained in that which structures our visions of the world. only consideration moderates fixations. consideration is thus not of words. but to be the approaching at this consideration through words even this leaves doubts so obstructed is the energy of the sense that they enclose, so distorted is the vitality of language. but despite everything and all the entropy (as we are not here for anything else) let us try to put the following into orbit: it is not just by going by plane without being rained on that man no longer questions himself about the possibility of flying, the feat, surely, removes his priority, comfort, as has been said, puts him to sleep but he specially doesnt question himself, let us say it plainly, given the complete alienation in which he exists as to naked Freedom, that which is singular, stripped of the most useful legal gowns of rights & guarantees. other than that which flies with the sugary poetry, to be faced with it or faced with nothing is the same thing for him. daughter of the incorruptible Truth and (true) twin sister of unpredictable Novelty, cool as water from the mountain spring, and rough as the wild marjoram, faced with her, faced with that which is always naked in front of ones nose, which is not a programme nor comes from any programme, faced with all this which is outside dogmas and previously held ideas, can man find sense? can he be able to consider that anticipation makes no sense? can he be able to consider, with complete freedom, that even the so-called connection between all things is false? one says connection, but in fact it doesnt imply any connected separation by any kind of

interaction, all things already have a deep meaning within themselves full free. having reached here, and as for the human to lift the two soles off the soil is one thing and move them while they are lifted is another, we will now distinguish the two concepts, flying and taking off, in order to allow a greater reflective pause, as if we were doing it between swimming and floating although we are aware of their inseparability, as everything that flies or swims depends on having taken off or floated. to lift them off the ground, a relatively risky task, it is necessary to empty ones spirit strip the mind of all kinds of dressings, whether they say are attractive or not. as if taking ones clothes to jump into the water, as once it is wet it becomes ballast which makes one drown. for there to be elevation there must be that nakedness, it is the naked mind which marks out the necessary lightness undressing it is the risk. the vertical sense, internal impulse and the pure singular movement, requiring careful and clear introspection, come from the centre of gravity and not from the conscious will. the latter is influenced and influences correct posture (still, upright and acute) whose equilibrium (fitting to the strong inertia) makes one elevate, without losing ones wits not going round with ones head in the clouds. being contrary to all unilateral attraction with reciprocation without rivalry. what lifts us up is light purity. to make them move in the air, the operation is in itself less complicated and more commonplace, but becomes more complex given that, both the sense (horizontal) and the (exterior) impulse are only possible thanks to the sustaining of a collective movement, of the community in which exists within that which elevated it. that is, man will never be able to fly by his own means, he will always need to be sustained by his own kind. if he needed it to learn to walk, to learn, to talk, etc., why should he not need it to travel through the air, especially as he is heavier than it?

after the singular elevation, flying is a group effort which needs the support of the world, free from frictions and attritions, given the fluidity of the medium. only with mutual confidence as to the equilibrium and harmony and connivance of the whole collectivity will he be able to find the necessary energy to move himself through space without material support. but of course, while harmony is a utopia, what can flying be except an absurdity? the more man pulls towards oneself, which exactly means to be attracted the less chance he has of flying, of elevating himself, or even simply understanding the meaning of his existence, of living without conflicts with the other, be this husband, wife, neighbour or foreigner. the human being indivisible in itself, but divided and dividing among itself has slowly become a culturally civilized insensitive animal, whose priorities have progressed without ever altering greatly, even today they are marked out by force, by violence, by cunning, by power, by domination by the domination of everything, and especially of that which is most like him: his own kind. which for a long time he has distinguished as inferior or superior equality being also distinct and equally conflicting figure. because egoism is the conflict itself, it is he or it that differentiates and makes the comparison, which is grotesque, given this equality has always meant separation between and never harmony with. even after the abolition of slavery. we act in the world according to the relationship we have with it. if the world is seen or the thought as being made up of independent fragments this will be the way mans spirit will function it fragmented excluded within an I here which hides and is abstracted from another I there, if in his general view of the world man includes everything, in an undivided set, his spirit will move in that manner, and from then on there will naturally appear a harmonious and ordered action within the whole, there will be established a deep and lasting relationship with nature, with humanity and

with all the living beings on the whole earth. alone, the whole man lives in the whole world, and it is only worthwhile living in the whole world. so that within the so-called his spirit, in his vision, in his idea, the I may not take hold, by not being his. the possessive pronoun is a word, and in the domain of the facto relationships, it is like a landmark in a sharing which no matter how fixed, inscribed and buried it is, is merely one of innumerable references which help us and allow us to share our relationship in life, without separations. it is this self which thinks for itself which is the central figure, the most favoured cultural image, the promoter of all the conflicts which interminably pulls towards oneself. today the strongest attraction in the community of man attracts them to themselves and, charmed by aggrandizing of his fleshy central part, fixed to attractive ideas, they are incapable of being balanced within an orbit of common sense free, harmonious, frugal and serene. they are incapable of playing the unpredictable music of novelty in this single orchestra. and they are so busy solving problems, which the very solutions of which regenerate, more and more numerously and terrible, under the nose of each generation that they have never seriously been able to look at this central problem, the approach to which is vastly more important than any solution. socially what unites people is not harmony it is disunity union is harmony, and what is united does not need to unite. when union is limited it is not union. the great dramas, inclemency, calamities, catastrophes, accentuate disunity. although there are really kind beings, in these tragic times what is common is everyone for himself in the dramatized shows: football, political meetings, certain social, religious or popular parties etc where the fans or the party-goers give themselves to their worship, in screaming like demons or some other such thing. release, empty themselves, and discharge their energy in a collective exorcism, they do it in society, but do they do it together? in harmony.

even if psychically the mediocre effect of this social rite may be healthy, it will always be the confrontation, the competition, the duel, the insecurity which is on display. it will always be a step further towards casting aside and putting off a truly harmonious relationship. it will always be a step further towards delaying the collapsing of the walls which the I has built to guarantee the security of its image. these are the walls that beings find, when they meet among themselves, and these walls are not people, they are ideas. the society of men is the relationship of men, it is not men. in the community of men, in which each one pulls towards oneself, how can there be communicability, communion? if there were: at the basis of common Trust there would be established a true relationship there would be free communication, everything would be communicated and naturally there would be the understanding of a common meaning, it is free and direct communication which sets up a community, and not the administration of any politics or religion, which seem to exhaust reality, running it like a work contract. to communicate freely is to communicate without barriers, with trust, without programmes that is silence, there is no premeditation, one says what one has to say what is important goes through silence, by words of the silence it is silence psychological immobility which creates order, it is not thought, what thought creates are barriers, programmes, paradises and hells with which these administrations construct institutions, laws, which cannot be earnest because they are solidly fixed, and being invulnerable crush Freedom. the harmonious relationship arises from a clear understanding of what one is, and it is not a recipe, commandment, method or law which creates it. how many institutions move in this direction? it not possible to communicate everything when sin hovers to ban and punish. what music could come from the orchestra in which each musician pulls towards oneself? in doing that which has inevitably to be done his performance. as for the music to play, it would be enough to follow the eternal score of Unpredictable Novelty, whose common sense is never the same for everyone even for insects.

common sense is variable, like the meaning of words, which gives them diverse and diverted meanings as for their similarities, this depends on sensitivity. to speak and to listen; the speaker listens and the listener speaks, when one teaches one learns, when one learns one teaches there is no waste of energy, nor domination nor competition. when there is common sense dialogue is established and new dimensions are discovered, unthinkable, surprising, without confusion, with the fusion of those in dialogue, only in this, highly organized way can one really Do something to work together. molecules work together to make cells, cells work together to make organs, organs work together to make human beings, we, the human beings, do we work together to make a community? or are we merely the employees, today unemployed, of the manner of associating, whose principal task is exclusively cerebral and productive? we were taught how to walk, speak, write and we were taught to think. we also learned how to sit at table, and not rest on our elbows. we learned all this, but not together, it was through effort, through a great waste of energy, with great partiality and under the effects and sufferings on some other attraction. what we learned was not, nor is, free nor easy, if it were, if it were truly together, energy, and understanding would be so vast that with a little effort, that is, with immense beauty there would have been the room for us to be taught to fly. but the priorities of this society are of another order, what teaches is to vote freely, obligatorily, secretly, eternally in conformity with the dull and patched shine of the lesser of evils conniving with the perverse necessary evil. however, for man to elevate himself, even if society has failed, there is still the as yet not ruled-out possibility of singular elevation. and even if the hereditary burden is very heavy, even overwhelmed by the designs od the constellation in which we are born let us try to put into orbit the pure singularity which elevates, and then, perhaps one day, truly together, some will manage to fly. some, as like seeds not everyone has the same vocation. within equilibrium is serenity unfathomable peace an imperturbable movement,

immense, without rupture nor limits, containing the laughter and the tears which even if they attract through temptation, also stretch and attend, which means that in being attentive to the distraction one is attentive. to accept them both to collapse, to fall, and thus come up, to rise. a gift which in noticing the posture also repairs the posture, the pure singularity which elevates and moves the two soles off the ground, teaching the indefatigable capacity of standing up straight and the tenacity of always returning to the beginning, without being lost in impatience, without flying into a passion, like the irreproachable Never-Fall-Down, which is like a pendulum in reverse.

To fly into a passion It is in itself, in the centre of gravity, where the human being should support itself to exercise any force. this point, invisible and immaterial, is not in the upper part, nor in an extremity of our body, it is found roughly in the centre of the volume of his total figure. the head is, obviously, not the appropriate place to overload with forces, it may be possibly used to carry weights, which are mainly carried in equilibrium, as they in themselves have their own centre of gravity. besides, when one balances a load on ones head, when one stands on ones head, for example, one clearly sees where the centre of gravity lies, due to the attentive response of sensitivity, we feel it. the head is not the appropriate place to carry everything, if the centre of gravity is shifted to it, man will live like a pendulum which oscillates to and fro, and when it stops man falls. when support is exercised on the centre of gravity, it is naturally this which absorbs all forces, equilibrium is set up and there is frugality of thought that is, less weight on the head. (it is difficult to find equilibrium when loads are badly distributed) it is simple from the centre of gravity everything then becomes more simple and light, even the weight of unthinkable things. in the flying seed, it is the equilibrium between the weight of the grain which tends to descend and the sensitivity of the wing which tends to rise, which forms the

flight. if the wing didnt have ballast, it would rise up like the blazing flame. if the ballast didnt have a wing it would fall like rain. universal gravity reciprocally attracts all bodies, without it man would be unable to exist. to have reciprocity in attraction means there is also inertia. inertia which also pulls, but in the opposite direction. (if there were only attraction in attraction we would not be able to lift our feet, we couldnt even make a step, our soles would be glued to the soil. if there were only inertia we wouldnt even be able to stand up) one thing is to be drawn to all sides, another is to be drawn to only one. it is because one is attracted to one side that one falls into this side, if one is simultaneous repelled, if one offers a certain resistance, one wont move far from where one was, or one will remain where one is (should the capacity for resistance be equal to that of attracting). the Moon does not fall onto our soil because in its orbit it is constantly falling to and being pushed away from the Earth. interrogations on attraction & inertia cannot be explained away in a mechanical equation, reducing the visible spectrum, with such, invisible things may lose visibility. Everything depends firstly on the sensitivity which listens to the vocation, (vocare) the intimate call of the inner voice, and then on the response that this sensitivity gives it. (from this response is born the sense of responsibility vocation cannot be taught nor learned it is listened to it has nothing to do with craft, as the protestants wish it to be). as without it we may equally fall within earthly gravity as in the celestial and drown in the darkness down here or in the brightness above, is to die through asphyxiation. drowned within earthly gravity, all we do is put in the days, for our whole life, and in making the days put in we spend our lives in a pretend put on. drowned within the celestial attraction, we also pretend all our lives as all we will do is fall like mosquitoes into a light which instead of clarifying, confuses. for the man of this century, given the weight of the inclinations, it is much more probable to fall down than up.

however, there have been examples of generations in which he fell up, not according to the laws of gravity, but according to the tribunal of the holy office. the greater the falls the more shocking were the clashes. the seeds which fly in urban zones have few possibilities of managing to germinate. To raise oneself up. to raise oneself up in the air is, first of all, is prompted by vocation which urges the denuding of the mind and releasing of the sense of energy, the sign of lightness. but, as has been said, this consideration tests the extraordinary energy contained in that which structures our visions of the world, and as we have a tendency to give particularly high psychological importance to our familiar ideas, it thus becomes risky to do it, as the convictions which seem secure may crumble, the solidity which was praiseworthy may cave in, the strength of a habitat break, the logic of a concept vanish, an idea eclipses, yet, it is more risky not to do it! not to do it is to spend life splashing in the old pond of stagnant water, living with the micro-organisms of obstinacy, which in suspension infect us with mortal conditionings limiting and delaying the consideration of something really new, unpredictable, unthinkable. even though we have learned not to be attentive to unthinkable things, we have this present living of life to consider them as, once the time has arrived in which even the thinkable ones will be considered with difficulty, we will then be more apt to not give up from doing it. whatever one does is done with effort to do implies effort. for the tree to take root the root has to make an effort to pass through the slack earth, if the earth is hard there will be little room to pass through if the earth is loose the passage will have many slacks. if the bean is born without the effort to overcome the inertia of the clods of earth which still surround its little leaves, it will never flourish. if there is no effort there is capitulation. if one gives up we are not asking the best of ourselves excellence.

however, the forced effort through our own will is resistant and tense, it rigidly solidifies the ego and amplifies our limitations, conditioning the flexible flourishing of sensitivity. both real effort and real resistance imply intensity and not strength they are vulnerable capacities, when we are aware of our limits. and thanks to vulnerability, which is not weakness but total opening, we see how detached we are from conscious tension, that is, the effort of the ego. in the effort which is not forced coming from emptiness, not from beliefs or ideas or the self which applies strength thinking itself stronger nothing is gained, rather the opposite, one gives everything. in fact one only gives everything when one has nothing. strength has various forms, and the strongest is that which doesnt have its own. strength which isnt its own is limitless energy without cause or motive, flux which gives us all, and all that it needs to be given, it is passage to pass from one state to a new one, giving form, materializing, dematerializing, without losing nor gaining anything, without filling anything, leaving the emptiness intact. energy is where emptiness is. it is much in the emptiness of the cosmic space, in the emptiness of the ocean wave, in the shoot of the violet, as in the heart of man, it is this which makes the impermanent heart rise the blood to the brain (despite universal gravity) and guarantees the cohesion of the cellular edifice, in which the molecules, without spells, together in a common meaning, are mutually attracted. we learn how to sit at table, and not to rest on our elbows but do we notice that when we rest on our elbows we shift our centre of gravity, precisely to our elbows, which unbalances us and makes us lose our posture? and this is perhaps because we were doing two things at the same time; we were at table and we were thinking. when above all it is not necessary to think about what one is doing. to do and to think about what one is doing is to do two things at the same time. it is necessary to be free and fully aware of what is happening, to put all the senses involved in what one does, to put our hands in thought, never to unemploy them. to make yours what happens to drink it, never be separated from it.

at table, without our supporting elbows, held straight, in equilibrium in the centre of gravity, one breathes with a new depth, we dont get lost in what goes through our head, we do not bend over attracted by one side we do not cover the floor with crumbs, and it is also useless to kill the ants which come there to eat. the culture of a deliberate posture is an imposture, posture is found with the very loss of posture, here is something that no one can find for us. in the same way equilibrium is found through disequilibrium, and stability with instability. in any of the cases it is thanks to the vulnerability of things that we can find them. yet, carefully, we should never fix them there is no stability that can be fixed. fixed, stable and inflexible equilibrium does not last long and causes disequilibrium, even if nothing in us physically falls. equilibrium may appear stable because the movements which find it, tiny and subtle, are the same as those which make it be lost. even the so-called static is neither fixed nor totally still. static are the ideas, if they are not vulnerable. everything in the Universe is equilibrium. to lose ones posture, therefore, doesnt matter, what matters is the capacity not to lose ones patience with it, not to fly into a passion over this. to notice the disequilibrium repairs the equilibrium it equilibrates itself, such is the response of sensitivity, and in repairing it, dropping everything and letting sinking deeply into oneself, without tension nor haste, we support ourselves where we should support and we find the centre of gravity within us. with this discovery and with all it implies, we will only with difficulty be led to or attracted to one side only, and if we are, we will be so for everyone, or we wont be it at all. all things have a centre of gravity, an invisible point on which all forces are exercised, the attractive and the inert, material and immaterial. in the human being this point is in the lower belly, within the bone frame of the spleen,

between the lumbar region and roughly two or three fingers below the navel. it is there where all effort should effortlessly be supported, from there comes lightness, when the mind is stripped from there comes elevation, when thought is quiet from there comes breathing, when we are at peace. there is the most important place in the human being, a great ocean of energy, vital for the inseparable body and spirit. yet, there are many circumstances, and more solicitations, which lead us into disequilibrium without noticing. to find this place of equilibrium, amid all and such agitation, with such little sense and without common sense, immobility very wide awake, alive, flexible, never static is a short cut on the way to meet it. Yet, on listening to the vocation one has to bring together the sensitive and possible circumstances in order to approach and respond to this, without having to give explanations to any part of oneself. to begin stopping, to sit down carefully in a wild place clean to leave thought in peace, to free oneself of the absurdity which is to stop thinking, to just sit down not awaiting nor hardening in sitting down to be without time. to be still, outside and in, as if to observe a wild animal from close range which scents the movements of our slightest blink of the soul. a scent which penetrates the whole universe, because it is the universe. because it is nothing if not us ourselves naked stripped of our former clothes that dont fit us anymore, and are fit for nothing, those which squeezed and harmed us, but we didnt know why, used as we were to wearing them from childhood. what we wear then, will be the pure and running water of primordial trust, which splashes far off, without sense and to everywhere beyond the before and after of the being which it is. to find the centre of gravity in oneself is to find equilibrium within oneself to find equilibrium within oneself is to find freedom within oneself and when man is free from himself he is free from everything everything that attracts him, that repels him, that holds him. only a free man has the sensitivity to hover, that is, to equilibrate himself in the air.

and then the world, whether it is a painful prison or a period of parole, will always be being born because it is always dying. only the releasing of energy generates energy. (as releasing of energy contained in the nucleus of the atom generated that so dramatic energy) if flying is an aspiration of mans, it is because, even asleep, naked Freedom still inspires him. to elevate oneself into the air is a free, authentic and true act. for the authentic man without qualities there is no separation between heaven and earth and man. and to fly it is not the wind that matters, what matters is Truth. elevation for that man will always be linked to the humble relationship he has with the world. he will never put on any airs, it will never enter his head to transform that vocation into yet another attraction, showing it off publicly. and if he perchance elevates, it will not be to satisfy any whim or personal appetite, the strength of an absolute need will make him rise, without anything of himself a thought or will intervening, he will rise up, with infinite attention, secretly, in very brief nightly ascensions or in an inaccessible place. without anyone noticing a thing.

Orientation in space

When a lift starts off quickly we have the impression that we are being buried in the ground, and when it stops abruptly it seems like we continue to rise. in man, the subtlety of a small organ in the inner ear responds to changes of rectilinear speed (linear acceleration), to the movements of rotation (influencing the position of the eyes and the head), and responds to the necessary muscular tonicity that the maintaining of equilibrium requires, marking out, for example, the imminence of vertigo, dizziness, the slightest vacillation, etc. this organ marks out, guiding the way, it is not the way the way doesnt belong to us.

it is with great sensitivity that the organs of our perceptions consider the vast field of measurements with which they are daily encountered, and in which they daily encounter themselves. it is not they who separate what is seen from what sees, it is not they who move or attract, they merely moderate (measuredly) what is happening, measuring it in silence. the rose is red, silently, without choice, that will be the considered colour, and only afterwards will it be pronounced communicated. for eyes to see colours, they must be turned away from them. it is with sensitivity that our relationship in the world becomes possible in becoming sensitive. sensitivity and sensation are not the same thing sensitivity does not dissent, sensitivity does not register nor allow a registering of whatever it relates to on the contrary, all it does is respond always for the first time, no matter how old it may be. it is sentiments extensions of thought, in drawing the magic past images out of the hat of memory that undermine sensitivity, with their disturbing commotions. building among many other things, for example, the sugary poetic affections (which very well make up the animated anxiousnesses of politico-cultural programmes), the attractions, the emotions, time, thought is also to affirm them. what is necessary is to discover this correct and proper place. to abandon without hope: ambitions, rages, possession, fears, memories, habits, ideas, beliefs, images, time, space to abandon everything which is thought, including the north, without losing ones north. remaining only the fulminating flash of the relationship now In the world. let us look carefully! the true north does not belong to thought, to the known, to memory, the Pole Star is always new to our perceptions, even the Guards of Ursa Major are of variable register. the constellations group together the stars but the stars are not separate, the celestial sphere is entirely constellated an energetic open secret. if thought does not gallop over the field or real relationship, like the weeds do, passing over everything, all orientation will, essentially, be silence.

modest is the triviality of the sparkling drop of dew. in fact life is not thinkable, if it is, it is calculus. unthinkable life needs to be penetrated and understood with immense earnestness and only in silence, when one leaves thinking in peace, we may understand what it is. what is the use of a perfect orientation if we cant see where we put our feet? what's it for? except for calculating the journey in safety so that tomorrow may happen according to the forecasts and when tomorrow happens according to the forecasts and conclusions, experiments, and examples worthy of following are drawn the known has become fixed the roots of time are perpetuated and novelty has been lost. thousands of years are like a breath, that enormous rocky mass was only yesterday a burning liquid which ran over that other liquid which had cooled down a little the day before yesterday. unperceptively, the gold becomes modified (between its appearance and its disappearance there will have been so many generations of men who appear and disappear that it becomes, for them, unalterable). that tiniest point which flies is a giant pine-tree. a particular century may be a moment in the history of humanity. no! days do not go by because of time nor does time go by because of them, what are days if not a new brightness and a new darkness, colourless always unknown anew. it is not time which rushes, it is the desirous mind which hurries and makes haste. why save minutes? if we get lost in the illusion that by saving them we gain something. why run faster than light? if our atoms would disperse and we would go up in smoke. it is difficult not to leave traces, and, without history, without leaving anonymity, marking out a trace despite all, the smallest, most incredible and remote places in which hovers the equilibrium of everything. the decomposition of the potato has generated myriads of flying beings. is there a clear distinction between matter which is inanimate and what is not? between the being which is alive and that which is not? both the living as the dead, do not both belong to Life? or is this interrogation the very matter of consciousness?

itself also an expression insecure of Life. a candle which as lasted even a thousand years, only once it is lit gives off light, it would have to be totally burnt out in order to shed all its light, it would have to reach in end, go out that is its end, yet, its end is not the end of light. faced with so much vulnerability, so easily crushed under foot, it is a crime not to listen to the vocation but it is even more criminal to condition it, stopping it being listened to, and to do nothing for it to lose more audience is equally criminal. and how many vocations might there be, which are never listened to, which have never been listened to, and will never be listened to. ignored voices, lost within some mediocre conformism, within a massive formation, in the cracking of a drug of a prestige, of an illusion or of a just cause it is all a question of sensitivity. and no matter how heavy man may be, if he is aware of where he puts his feet he will naturally never crush to death the fragile shoot of grass which is being born on the way. thus, beneath the energetic structure of this nocturnal sky, attracted by the candour of the seeds which fly in all directions, we have been led to look at the mysterious firmament of the mind and the earthly profundity of the heart of man, whose unfathomable purposes embody the designs of his acts making manifest the intact and common dimension which daily sustains and welcomes each others. always around the sun, we dedicate this to our friends Ursae, the Major and the Minor.

S.M.Z.

CONTRACAPA No dia 20 de Junho de 1997, no Funchal, abre-se a PORTA 33 histria secreta da aviao, expondo desenhos (lpis sobre papel), esculturas (aeromodeladas) e estas notas (com gravidade). Esta exposio, ou seja, o que nos move, no gravita em torno do tradicional crescendo curricular, que, mesmo se ajuda a aconchegar a pessoal subsistncia com Po, sempre o rejeitmos, por deformar a colectiva sustentao com Histria. Cientes da nossa rbita, ponderadas as necessidades absolutas, achamos adequado poder dizer que: o que nos move sustenta-nos e d l por onde der. Nesta histria secreta da aviao, move-nos a natural sustentao (na dupla acepo do termo) e tudo o que ela suscita. Move-nos a ordem ou a arte e no o engenho. Move-nos a proteco desse patrimnio. Move-nos: uma vez findado o frenesi da mente sem pensar nem no bem nem no mal, nesse preciso momento, ver qual o nosso rosto genuno mesmo antes de termos nascido. Entre ele e a semente de Tlia, que diferena h? Move-nos o semelhante. Agora, move-nos um profundo agradecimento pela cooperao: do sorriso da Lourdes (Castro) em todo o stio; da viso da Ceclia (Vieira de Freitas) na Porta 33; da voz do Maurcio (Pestana Reis) na Porta 33; da ateno do Manuel (Rosa) na Assrio e na Guide; da fala do Hermnio (Monteiro) na Assrio & Alvim; da cumplicidade do David (Prescott) na traduo; da acuidade do Antnio (Lampreia) na reviso; da abertura da Porta (33) nesta ilha; e tambm pela presena do Hgen (Daid) neste mundo. Shingen Manuel Zimbro Ilha da Madeira 1997 On the 20 of June, in Funchal, PORTA 33 opens onto the secret history of the aircraft, exhibiting drawing (pencil on paper), sculptures (aero modelling) and these notes (with gravity). This exhibition, that is, that which moves us, does not gravitate around the traditional curricular crescendo, which, even if it helps to wrap personal subsistence with Bread, we have always rejected it, as it deforms collective sustenance with History. Aware of our orbit, having pondered the absolute necessities, we thought it adequate to be able to say that: that which moves us sustains us and let it turn out as it will. In this secret history of the aircraft, what moves us is the natural sustaining (in both senses of the term) and everything which it gives rise to. Order or art moves us and not ingeniousness. Real co-operation moves us: the whole man, sound, without qualities unthinkable. What moves us is the protection of this patrimony. What moves us: once the frenzy of the mind is over without thinking either of good nor evil, at that precise moment, to see what is our genuine face even before we have been born. Between it and the Linden seed, what difference is there? The similar moves us. Now, what moves us is a profound thanks for co-operation: for the smile of Lourdes (Castro) everywhere; for the vision of Ceclia (Vieira de Freitas) at Porta 33; for the voice of Maurcio (Pestana Reis) at Porta 33; for the attention of Manuel (Rosa) at Assrio and at Guide; for the talk of Hermnio (Monteiro) at Assrio & Alvim; for the complicity of David (Prescott) on

translation; for the acuity of Antnio (Lampreia) on revision; for the opening of Porta (33) in this island; and also for the presence of Hgen (Daid) in this world. Shingen Manuel Zimbro Madeira Island 1997