Su memoria decía basta. Eran destellos de una historia pasada. Creía haberlo superado pero aún latía en su inconsciente la posibilidad de volver a ese momento. En su abanico de posibilidades estaba la idea de huir, un viaje que la ayudaría a olvidarlo todo. Pero en esa lucha de contradicciones, le costaba la idea de dejar las cosas como estaban ya que aún podían ‘cambiar’. Tan utópico como ese pensamiento cuando ella en realidad sí sabía(aunque tan difícil de admitir) que estaba todo acabado.
Aturdida de noche y día, ajena y despierta , ella sabía que la distancia no le alcanzaba. En ese drama le hacía falta la presencia de él. Pensar. Eso necesitaba. Agarró sus cosas y salió a caminar sin destino cierto. Paraná, Uruguay, Libertad... se dejaba llevar por la Avenida Corrientes.
La noche se adueñaba, profundo despertar de recuerdos. Ese momento en que las más profundas máscaras del ser humano quedan al descubierto. Otra vez escapar de aquella soledad, otra vez…tan cíclica como su rutina. Otra vez. Acostumbrada a ese sentimiento ya. Naturalizando el olvido.
You have an important report due in two weeks, but instead of getting started on the report you find yourself cleaning out the refrigerator or reorganizing your closet. In order to reduce the dissonance that exists between what you’re doing and what you should be doing, you immediately start rationalizing this behavior. You tell yourself that you’re just one of those people who works better under pressure, so the best thing for you to do is to postpone getting started on the report.
The reality is that procrastination harms performance. Scrambling around trying to complete projects at the last minute and cramming the night before a big exam is not the most efficient or enjoyable way to get things done. Planning and pacing your projects always gets you better results, and it’s a lot less stressful than constantly pulling all-nighters and handing things in at the last possible moment.
If you’re convinced that you simply can’t get yourself to start on a task unless you feel the pressure of a looming deadline, then start creating artificial pressure for yourself. There are many ways you can do this. For example, set a timer and tell yourself that you have thirty minutes to write the first paragraph. You can even pretend that it’s a timed essay exam and that at the end of the thirty minutes you have to stop typing, no matter what. Another method you can try is to get an accountability buddy to whom you have to “hand in” regular updates of your work.
By using artificial pressure you get the best of both worlds. On the one hand, having artificial deadlines forces you to focus all of your attention on the task at hand, and it prevents you from expanding the work needlessly in order to fill the time available for its completion (Parkinson’s Law). On the other hand, this method allows you to give yourself sufficient time to do adequate research, to check your facts and figures, and to edit your work properly.
If you’re still not convinced, conduct an experiment. Take two similar tasks: postpone working on one of the tasks until the last possible minute; pace yourself on the other one. Then, compare the two experiences.
Myth Number 2: “I need to be inspired or to be in the right mood before I can work on this.”
Do you put off getting started on important tasks until you’re “in the mood” or until inspiration strikes? Telling yourself that you’re waiting for inspiration to strike is procrastination in disguise. Instead of waiting for the ideas to start flowing before you get started on a task, you need to sit down and get to work with or without inspiration. You’ll find that inspiration is a byproduct of having the discipline to do what needs to be done; inspiration comes from doing.
Stop wasting time waiting for inspiration. As Picasso once said, “Inspiration exists, but it has to find you working.”
Myth Number 3: “I need to have at least three or four hours of uninterrupted time in order to work on this.”
In “Eat That Frog! 21 Great Ways to Stop Procrastinating and Get More Done in Less Time” Brian Tracy recommends that you think continually of ways to save, schedule, and consolidate large chunks of time. Then, use that time to work on your most important tasks. However, if you don’t have a large chunk of time available to work on an important task, such as a report that’s due in a couple of weeks, it’s a mistake to keep postponing the task until you do have a few hours of uninterrupted time.
Instead, you should apply the “Swiss Cheese Approach”. This is a method that was introduced by Alan Lakein in his book, “How to Get Control of Your Time and Your Life”. Of course, Swiss cheese is easily recognizable because it’s full of holes. According to Lakein, “the underlying assumption of the Swiss cheese approach is that it is indeed possible to get something started in five minutes or less. And once you’ve started, you’ve given yourself the opportunity to keep going.”
In a nutshell, the Swiss Cheese Approach consists of the following:
Work in small holes of time, such as fifteen minutes, twenty minutes, or half an hour.
Poke small holes into a large task on a consistent basis.
This approach works for the following reasons:
Once you get started on a task, it no longer looks as difficult and overwhelming as it did before you got started.
By poking small holes in a project you’ll be making constant progress at a good pace.
This approach allows you to create a sense of forward momentum.
Each time that you get a little bit of the task done, it gives you a feeling of accomplishment.
You’re making good use of small pockets of time, instead of wasting that time.
When you only have fifteen or twenty minutes to work on your project, instead of telling yourself that you’re better off waiting until you have more time to work on it, ask yourself the following questions:
“What can I get done in these fifteen minutes?”
“Is there a small segment of the project that I can get started on?”
“How can I use this time to poke a small hole into this project?”
Keep poking holes into the project whenever you have a few minutes to spare, and soon you’ll be surprised to discover that you’re practically done with the project.
Myth Number 4: “I’ll be able to do a better job tomorrow.”
We all have a tendency to think that things will be different in the future, even if that future is just tomorrow. In the future we’ll have more time, we’ll be better organized, we’ll have more impulse control, we’ll be better rested and have more energy, and we’ll be better equipped to get things done. Therefore, we keep handing our present-day responsibilities over to this superhero future self.
The reality is the following:
Unless you start taking steps to become more productive and effective today, you’ll be as time-starved tomorrow as you are today.
Unless you take steps to become more disciplined today, you’ll be just as undisciplined tomorrow as you are today.
Unless you take steps to become more organized today, you’ll be just as disorganized tomorrow as you are today.
This can be boiled down to the following tried and true adage: don’t put off for tomorrow what you can do today.
Conclusion
Most of us have probably used one or more of the myths above as a way to excuse ourselves from getting to work on a task that made us feel uncomfortable–because we were afraid of doing a bad job, because the task was complex and we felt overwhelmed, or because there was something else we would rather have been doing. Hopefully, after reading this article, you’ll stop saying these things to yourself when it’s time to get to work on an important task.
Casual, así todo fue. Me encontré en ese vértice opuesto al tuyo. Te miré y por un momento dudé en arrimarme o no. El tiempo había marcado el cambio de estación. No quería creer, entender…me puse a recorrer tus silencios lentamente. Hablando entre susurros, pensando diferentes respuestas, aún así, seguí. Nos miramos. Atónitos estabamos. Expectantes quizás. Hace tanto tiempo para atrás. La frialdad se hizo humanidad. Tan distante y distinta estabas pero no te diste cuenta. Empalagosas frases de cliché y una vez más todo fue. Enmarcar un futuro encuentro que no será. Que me digas la verdad, sinceramente, ¿Cómo empezar? No lo sé. Tu diplomacia, arrogante ego, era dar un paso más. Fueron dos para atrás. Tiré los dados. 'Que sea par,' pensé. Frágil número impar, sinónimo de soledad. Otra vez.
Entre Ríos, el grupo que fue vanguardia en la escena indie argentina, anuncia su separación. Para muchos la noticia no significará nada, pero es pésima para quienes amamos los sonidos electro pop, letras íntimas y melodías suaves que el grupo de Sebastián Carreras y compañía supieron producir en más de una década.
Originalmente a Entre Ríos lo formaron Sebastián Carreras, Gabriel Lucena e Isol. Sebastián y Gabriel comenzaron a trabajar juntos bajo el nombre de Tus Hermosos, llegando a grabar un CD titulado Anatomía de la melancolía. Paralelamente, Sebastián conoce a Isol y le ofrece poner voz a un tema (Dame) que, si bien aparecerá firmado como Tus Hermosos, en la práctica supone el comienzo de Entre Ríos. Enseguida cautivaron con canciones cálidas y melodías deliciosas. Suaves programaciones, sirvieron de base para que la capacidad vocal de Isol se luciera sin excusas. 'Queremos llegar a expresar sensibilidades nuevas. Encontramos en la cultura electrónica y dance una sensibilidad que tiene una inspiración más genuina que el rock' decía Sebastián.
Pero Isol abandonaría la banda y a partir de allí pasarían varias voces, aunque siempre interpretada por una figura femenina. Sebastián Carreras explica que las razones de dicha elección es que ‘La voz femenina es más etérea. No por nada las sirenas son mujeres y cantan. Pero la verdad es que me inspiró mucho la forma de cantar de las mujeres de la bossa nova. No hay una posición tan política en que cante una mujer’
Para sus presentaciones en vivo, Entre Ríos opta por cambiar de fórmula en pos de la experimentación. Así, las canciones se disuelven entre climas cercanos al ambient y programaciones de tono minimalista. ENTRE RIOS ha creado música electrónica-emocional, pero con los ojos puestos en un horizonte pop y sin perder ese lenguaje de ensoñación, una colección de canciones plácidas y delicadas, soñadoras y escapistas. Sus discos son de los que te hacen soñar con los ojos bien abiertos.
Pero como bien he dicho anteriormente, este proyecto de 10 años ha llegado a su fin. En palabras de Carreras,‘un artista tiene que tener una razón de ser. En las redes sociales todo el mundo sube temas, textos, se manifiesta. Habría que ver qué los mueve a hacer eso. ¿Es puro egocentrismo o piensan que realmente pueden aportar algo? Todo bien con hacer algo, pero habría que preguntarse para qué y para quién. Yo me pregunto esas cosas antes de cada disco y me encuentro con otras preguntas. ¿Quién está dispuesto a escuchar 12 canciones enteras de un artista X? ¿Y hay necesidad de hacer 40 minutos de música cuando la gente tiene sus tiempos fragmentados? El disco ya no es una obra, es un objeto. Y es obsoleto. No quiero que Entre Ríos ocupe un lugar de obsolescencia’
En mi opinión, dudo mucho que esta banda quede obsoleta. Sin dudas, será una gran pérdida para la escena indie local.
Otra suerte
Recomiendo escuchar este tema con auriculares para poder apreciar y percibir con más precisión los sonidos envolventes que la forman.
Last week I wrote this paragraph for my Language class. It's about a meaningful object that I consider as a treasure. Hope you like it!
I was given this object when I was eight years old and, frankly, it was bigger than me. Some people say its shape it’s because of the female body: softly rounded shoulders that flow smoothly into a thinner waist and then to another gently rounded curve at the bottom.
But it’s much more than an object for me. Thanks to it, I have met fabulous people. For instance, last year, I was walking with my precious treasure in a park when an English couple asked me if I wanted to join them. We ended up spending the whole day together playing some songs. It was a wonderful experience to me because then I realised how true is that music is the universal language of mankind.
My wooden friend is also my way of taking therapy.When I don’t feel very well, I just take it and start to play some beautiful melodies. That moment is a communication between this object and my soul, my feelings going through the notes. It’s a catharsis, a way of transporting me to another world just for a while. It’s my musical talisman. Actually, I take it with me every time I go out. But one thing is certain: if my friends want to play, I don’t share it. I gave them another one. After all, a womancan’t be shared.
Acabo de leer una entrevista a Sebastián Carreras, uno de los fundadores de la banda Entre Rios, y me resultó interesante una de sus líneas, la cual comparto con ustedes: 'En las redes sociales todo el mundo sube temas, textos, se manifiesta. Habría que ver qué los mueve a hacer eso. ¿Es puro egocentrismo o piensan que realmente pueden aportar algo? Todo bien con hacer algo, pero habría que preguntarse para qué y para quién'
Once upon a time, Plato said that "…why should we not calmly and patiently review our own thoughts, and thoroughly examine and see what these appearances in us really are" (Theaetetus, 155). This is introspection. It is the self-observation of our inner thoughts, desires and sensations. A different way to examine one's own thoughts, feelings and even our soul. Living in a rush doesn't help us, and sometimes, it's good to stop and try to analyse what we had done and what we'll do in the future. Not only does it allow us to check our thoughts and plans but also to be responsible for them. In this way, introspection plays a key role in this and many other arguments relating to the mind-body problem.
The song "was a short poetic attempt at condensing my impression of the key moments inL'Étranger(The Stranger) byAlbert Camus" according to Robert Smith (Cure Newsnumber 11, October 1991). The lyrics describe a shooting on a beach, in which theArabof the title is killed by the song's narrator; in Camus' story the protagonist, Meursault, shoots an Arab on a beach. Overwhelmed by his surroundings, Meursault is then condemned for the honesty about his feelings. He is considered an outsider (or 'stranger') because "he refuses to lie" and "doesn't play the game".It was such a controversial song that in the US, The Cure's first compilation of singles,Standing on a Beach(1986), was packaged with a sticker advising against racist usage of the song. Smith and Elektra also requested that radio stations discontinue airing the song. It saw controversy again during the Persian Gulf Warand followingSeptember 11th."Killing an Arab" was the only single from the Three Imaginary Boysera not to be included on that album's2004 remasteralthough it remains available on the albumBoys Don't CryandStanding on a Beach. In 2005, the lyrics were changed from "Killing an Arab" to "Killing Another".
Standing on the beach
With a gun in my hand
Staring at the sea
Staring at the sand
Staring down the barrel
At the arab on the ground
I can see his open mouth
But I hear no sound
I'm alive
I'm dead
I'm the stranger
Killing an arab
I can turn
And walk away
Or I can fire the gun
Staring at the sky
Staring at the sun
Whichever I chose
It amounts to the same
Absolutely nothing
I feel the steel butt jump
Smooth in my hand
Staring at the sea
Staring at the sand
Staring at myself
Reflected in the eyes
Of the dead man on the beach
The dead man on the beach
The stranger
The StrangerorThe Outsider(L’Étranger) is a novel byAlbert Camuspublished in 1942. Its theme and outlook are often cited as examples ofexistentialism, though Camus did not consider himself an existentialist; in fact, its content explores various philosophical schools of thought, including (most prominently and specifically)absurdism, as well asdeterminism,nihilism,naturalism, andstoicism.
The title character is Meursault, an Algerian ("a citizen of France domiciled in North Africa, a man of the Mediterranean, anhomme du midiyet one who hardly partakes of the traditional Mediterranean culture")who seemingly irrationally kills an Arab man whom he recognises in FrenchAlgiers. The story is divided into two parts: Meursault'sfirst-person narrativeview before and after the murder, respectively.
This time: a connection between 'The eyes of the poor'(Baudealaire) and 'How beautiful you are' (The Cure)
How beautiful you are
You want to know why I hate you?
Well I'll try and explain...
You remember that day in Paris
When we wandered through the rain
And promised to each other
That we'd always think the same
And dreamed that dream
To be two souls as one
And stopped just as the sun set
And waited for the night
Outside a glittering building
Of glittering glass and burning light...
And in the road before us
Stood a weary greyish man
Who held a child upon his back
A small boy by the hand
The three of them were dressed in rags
And thinner than the air
And all six eyes stared fixedly on me and you
The father's eyes said "Beautiful!
How beautiful you are!"
The boy's eyes said
"How beautiful!
She shimmers like a star!"
The childs eyes uttered nothing
But a mute and utter joy
And filled my heart with shame for us
At the way we are
I turned to look at you
To read my thoughts upon your face
And gazed so deep into your eyes
So beautiful and strange
Until you spoke
And showed me understanding is a dream
"I hate these people staring
Make them go away from me!"
The fathers eyes said "Beautiful!
How beautiful you are!"
The boys eyes said
"How beautiful! She glitters like a star!"
The child's eyes uttered nothing
But a flat? and utter joy
And stilled my heart with sadness
For the way we are
For the way we are
For the way we are
And this is why I hate you
And how I understand
That no-one ever knows or loves another
Or loves another
The eyes of the poor (C. Baudelaire)
"ah! you want to know why i hate you today. it will probably be less easy for you to understand than for me to explain it to you; you are, i think, the most perfect example of feminine impenetrability that can possibly be found.
"we had spent a long day together, and it had seemed to me short. we had promised one another that we would think the same thoughts and that our two souls should become one soul; a dream which is not original, after all, except that, dreamed by all men, it has been realised by none.
"in the evening you were a little tired, and you sat down outside a new cafe at the corner of a new boulevard, still littered with plaster and already displaying its unfinished splendours. the cafe glittered. (about 10 lines further detail the gaslights and the people around)...."a paradise for gluttons. "exactly opposite to us, in the roadway, stood a man of about forty years of age with a weary face and a greyish beard, holding a little boy by one hand and carrying on the other arm a little fellow too weak to walk. he was taking the nursemaid's place, and had brought his children out for a walk in the evening. all were in rags. the three faces were extrordinarily serious, and the 6 eyes stared fixedly at the new cafe with an equal admiration, differentiated in each according to age.
"the fatther's eyes said: "how beautiful it is! how beautiful it is! one would think that all the gold of the poor world had found its way to these walls" the boy's eyes said: how beautiful it is! how beautiful it is! but that is a house which only people who are not like us can enter". as for the little one's eyes, they were too fascinated to express anything but stupid and utter joy.
"song-writers say that pleasure ennobles the soul and softens the heart. the song was right that evening, so far as i was concerned. not only was i touched by this family of eyes, but i felt rather ashamed of our glasses and decanters so much too much for our thirst. i turned to look at you, dear love, that i might read my own thought in you; i gazed deep into your eyes, so beautiful and so strangely sweet, your green eyes that are the home of caprice and under the sovreignty of the Moon; and you said to me: "those people are insupportable to me with their staring saucer-eyes! couldn't you tell the head waiter to send them away?
"so hard it is to understand one another, dearest, and so incommunicable is thought, even between people who are in love!"
Sometimes songs are inspired by poems. I think this is the case of 'Treasure' (By: Rob Smith) which was inspired by the poem 'Remember'(By:Christina Rossetti (1830-1894))
Christina Rossetti
Remember(Christina Rossetti):
Remember me when I am gone away,
Gone far away into the silent land;
When you can no more hold me by the hand,
Nor I half turn to go, yet turning stay.
Remember me when no more day by day
You tell me of our future that you plann'd:
Only remember me; you understand
It will be late to counsel then or pray.
Yet if you should forget me for a while
And afterwards remember, do not grieve:
For if the darkness and corruption leave
A vestige of the thoughts that once I had,
Better by far you should forget and smile
Than that you should remember and be sad.
Treasure (The Cure)
Robert Smith
"She whispers
"please remember me
when I am gone from here"
she whispers
"please remember me
but not with tears...
Remember I was always true
remember that I always tried
remember I loved only you
remember me and smile...
For it's better to forget
than to remember me
and cry"
Trudging slowly over wet sand
Back to the bench where your clothes were stolen
This is the coastal town
That they forgot to close down
Armageddon - come Armageddon!
Come, Armageddon! Come!
Everyday is like Sunday
Everyday is silent and grey
Hide on the promenade
Etch a postcard :
"How I Dearly Wish I Was Not Here"
In the seaside town
...that they forgot to bomb
Come, Come, Come - nuclear bomb
Everyday is like Sunday
Everyday is silent and grey
Trudging back over pebbles and sand
And a strange dust lands on your hands
(And on your face...)
(On your face ...)
(On your face ...)
(On your face ...)
Everyday is like Sunday
"Win Yourself A Cheap Tray"
Share some greased tea with me
Everyday is silent and grey
Revista digital sobre música, literatura y cine. Consta de más de 10 secciones como 'Música indie', 'Recomendado del viernes', 'Literatura', 'Cine', 'Teatro' y 'Artista indie de la semana'. Han pasado diferentes artistas de Chile, Argentina, Colombia,Ecuador, México, Venezuela, Perú, España y Uruguay. El sitio está en permanente contacto con espacios aliados como CartelIndie (Colombia), Movimiento Ruido (Argentina), Discos perfectos (Argentina), La tertulia de los cuervos (México), Irrelephant (España), Indielogía (España) e HispanoRock (Venezuela).
Imagen de Escritos Circulares:
Créditos: José Manuel Pamos Vargas (@Jmpamos) 'He mezclado de alguna forma la @ que simboliza las nuevas tecnologías, junto con la escritura y la música, simulando una nota musical'
A menos que se indique lo contrario, las publicaciones son autoría de Escritos Circulares.
