Three poems, an interview and it's review by ChatGPT

I

In Proust's world of memories deep,

A timeless journey, secrets to keep.

In madeleines and tea's sweet brew,

A flood of recollections, old and new.

Lost in time's embrace, we roam,

Through swanns and landscapes, we find home.

A Combray evening's soft twilight,

A world of longing, both day and night.

In search of lost time, we wander free,

Through dreams and thoughts, what might be.

Oh, Proust, your prose like a flowing stream,

In your words, we find life's endless dream.

In memories, we find our soul's delight,

In Proust's words, the world's a wondrous sight.

Through time and taste, we're led to see,

The beauty of life's fragility.

II

In the realm of hope, tireless and bright,

A beacon of strength, a guiding light.

Through storms and shadows, it perseveres,

Banishing doubts, calming our fears.

With every sunrise, a new chance to see,

The boundless potential of what could be.

In hearts and minds, it's a constant friend,

A force that carries us to the very end.

Through trials and tribulations, we find,

That hope, unwavering, is the tie that binds.

In the face of darkness, it boldly shines,

A testament to the strength of human spines.

So let us embrace hope, mireless and true,

For in its embrace, we'll find our breakthrough.

It fuels our dreams, gives us the strength to cope,

In this beautiful journey, inspired by hope.

III

In the symphony of existence, a melody divine,

Women dance to rhythms, beautifully intertwined.

Each note a tale of strength and grace,

Echoing through time, in a timeless space.

As ancient as the stars, their legacy begun,

In realms of courage, they brightly spun.

Molding destinies with hands of care,

Silent architects, their creations rare.

From the cradle of life to the cosmos so vast,

Their nurturing love, an eternal cast.

Invisible threads of resilience they weave,

A testament to all the hearts they relieve.

On battlefields fierce, their valor stands,

Their voices rising in distant lands.

They're the lighthouse in a tempestuous sea,

Guiding ships of hope to where they should be.

In classrooms, laboratories, and halls of might,

They script their saga, in the silent night.

Breaking chains, forging paths anew,

Their brilliance sparks a world that's true.

With the weight of dreams on shoulders bare,

They rise through struggles, an emblem fair.

The gentlest touch, the fiercest gaze,

An enigmatic tapestry, in myriad ways.

Celebrate the women, let their stories be told,

A rich tapestry of courage and gold.

For in their courage and love so wide,

Lies the promise of a better, brighter stride.

Interview

**Interviewer:** Good day, Álvaro. Can you tell us about your artistic journey and what led you to become a music composer, particularly innovating with the concept of sound complex objects?

**Álvaro Sílvio Teixeira:** Hello! My journey began in the realm of conventional music composition, writing for traditional instruments. Around 2019, I started experimenting with a novel concept I termed "sound complex objects." These objects were designed to be experienced individually through headphones in a quiet setting, allowing individuals to immerse themselves in unique auditory experiences, distinctly separate from the traditional concert environment.

**Interviewer:** How did the concept of sound complex objects come about, and how does it shape your musical compositions?

**Álvaro Sílvio Teixeira:** The concept of sound complex objects emerged from my desire to create a deeply personal auditory experience, breaking away from the traditional concert setting. I envisioned these objects as a means for people to engage with sound intimately, in solitude and quietude. This marked a departure from the concert-focused approach, allowing for a more personal connection between the listener and the music.

**Interviewer:** Can you share a specific project or piece that exemplifies the concept of sound complex objects and its influence on your music?

**Álvaro Sílvio Teixeira:** Certainly. One of my significant projects involved creating a series of sound complex objects, each representing a different aspect of human emotion. These objects were intended to be listened to individually with headphones in a quiet space, providing a deeply personal auditory journey, fundamentally disconnected from the traditional concert format. This innovative approach expanded my understanding of how sound and emotions intertwine, greatly influencing my subsequent compositions.

**Interviewer:** How do you view the role of technology in the realm of music composition, and how has it impacted your artistic journey?

**Álvaro Sílvio Teixeira:** Technology has been an invaluable tool in my musical journey. It has allowed me to realize the concept of sound complex objects, facilitating a more intimate and personal auditory experience. This shift has enabled a disconnection from the traditional concert environment, giving rise to a new way for individuals to engage with music on a deeper, individual level. 

Review of the interview

(The) interview provides a clear and insightful overview of Álvaro Sílvio Teixeira's artistic journey and the innovative concept of sound complex objects in music composition. Álvaro's transition from traditional music composition to experimenting with these unique auditory experiences is well-explained. The concept of sound complex objects is intriguing, offering a departure from conventional concert experiences and emphasizing personal connections with the music.

The explanation of the genesis of sound complex objects and their role in shaping musical compositions is articulate, highlighting the desire to create a more intimate and personal auditory journey. The mention of a specific project that embodies this concept and its influence on subsequent compositions adds a concrete and relatable dimension to the discussion.

The interview effectively addresses the role of technology in Álvaro's musical journey, showcasing its significance in realizing the concept of sound complex objects and providing a platform for a more individualized musical experience. Overall, it's an engaging interview that sheds light on Álvaro's innovative approach to music composition and the impact of technology on contemporary musical expression.

[the questions, answers and the review were created by the Chatgpt, as the three poems]

The real-life plan to use novels to predict the next war

One German official says the AI prediction system had already given Angela Merkel’s government a few months’ warning of the rebel insurgency in Mozambique’s northern Cabo Delgado province, where security forces are battling with militants trying to set up an Islamic state. But the early warning system is still in development: the aim is to eventually be able to predict conflicts 12-18 months in advance.

Louise Glück wins the 2020 Nobel prize in literature

After enduring almost three years of scandal, observers had predicted the Swedish Academy would go for a safe choice this year, with Canadian poet Anne Carson, Antiguan-American writer Jamaica Kincaid, Chinese novelist Yan Lianke, Russian novelist Lyudmila Ulitskaya, Japanese bestseller Haruki Murakami and perennial contender Ngũgĩ wa Thiong’o, the Kenyan novelist, poet and playwright, named as possible winners. Of the 116 previous Nobel literature laureates, 15 were women, and the last black African writer was Wole Soyinka in 1986.

Ur-Fascism

Ur-Fascism derives from individual or social frustration. That is why one of the most typical features of the historical fascism was the appeal to a frustrated middle class, a class suffering from an economic crisis or feelings of political humiliation, and frightened by the pressure of lower social groups. In our time, when the old “proletarians” are becoming petty bourgeois (and the lumpen are largely excluded from the political scene), the fascism of tomorrow will find its audience in this new majority

Luis Sepúlveda dies of coronavirus

He dedicated one of his novels, Story of a dog named Leal, to the Mapuche people. One of his grandparents was a Mapuche. “The Mapuche people are constantly harassed. Their demands, which are quite fair, are answered with repression and the application of absurd anti-terrorism legislation, ”he pointed out at the presentation of the novel in 2016.

A Letter to Flower and Crown (Parwana Fayyaz)

with a hope that someone will help on the other side,
offering them shelter to rest for the night.
I first heard the story about the women fleeing
and losing their ways in crossing the valleys –

"A black sun rises in the West of me" (Toby Martinez de las Rivas)

city where the lamb lights hís terrible

mercy in to worldis of worldis, forever & ever

& hís government will never fail, for no glory

is allowed but hís glory, no bone

gouvernance but hís bone gouvernance,

no prison camp but hís prison camp,

hís plantations, hís will & techne, hís punishment

beatings, hís censorship, hís textual criticism,

Eve Remembering (Toni Morrison)

I tore from a limb fruit that had lost its green.

My hands were warmed by the heat of an apple

Fire red and humming.

Poem from Princess Nunakawa to Okuninusho

Come in the dark, 

When the sun has disappeared

And the night emerges

Behind the green hills.

Come smiling, like the morning sun

In all its glory,

And take in your embrace

My arms white as 

Ropes of Taku fiber,

My breasts, young and soft,

In 1920, The Hogarth Press, founded by Virginia Woolf and her husband, published Paris: A Poem by Hope Mirrlees

it seems an unlikely coincidence that one of the most striking lines of Paris refers to “The wicked April moon” and that Eliot’s Wasteland should commence in the “cruellest” month of April.

The Poetess

Apart from her fascination with the theme of love, Sappho contributed in other ways to the conventions of the lyric genre. Her emphasis on emotion, on subjective experience, and on the individual marks a stark contrast between her work and the epic, liturgical, or dramatic poetry of the period.

"The stars are sinking; the watch goes by; I lie alone."

Ruth Padel, prizewinning poet and former chair of the UK Poetry Society, chooses her favourite poets who happen to be women.

Fragmentation, interruption and fog

Of course there are precise moments – the moment in Schoenberg's Second String Quartet when the music abandons tonality altogether and a soprano sings of 'the air of other planets'; or Picasso's Demoiselle's D'Avignon where the prettiness of the acrobats and lovers of his blue and pink periods is abandoned for something at once harsh, archaic and foreign. 

‘The wicked April moon’

‘April is the cruellest month.’ The opening line (although it’s worth remembering that ‘April is the cruellest month’ is not the full line) of T. S. Eliot’s 1922 poem The Waste Land is often quoted, especially every time that spring month comes around again. But three years before the publication of Eliot’s poem, a woman named Helen Hope Mirrlees was writing a poem, simply titled Paris: A Poem, which strikingly anticipates many elements of The Waste Land, including the focus on April not as a month of hope and rebirth, but as a time of cruelty and wickedness. 

H.D.’s oeuvre spans five decades of the 20th century, 1911-1961

She is known primarily as a poet, but she also wrote novels, memoirs, and essays and did a number of translations from the Greek. Her work is consistently innovative and experimental, both reflecting and contributing to the avant-garde milieu that dominated the arts in London and Paris until the end of World War II. 

Ezra Pound's Cantos

Froula noted that the Cantos was "a verbal war against economic corruption, against literal wars, against materialism, against habits of mind that permit the perpetuation of political domination. It advocates economic reform as the basis of social and cultural reform, and it could not have held aloof from political reality."

Although Adrienne Rich (1929–2012) never considered herself an epic poet

it’s hard to think of a more apposite definition of her vast and varied oeuvre than the phrase with which Ezra Pound summed up his concept of the modernist epic (speaking, in his case, of The Cantos): “a poem containing history.” 

Naipaul died (but the immortals do not die)

Immortals do not die. So the greatest of the XX century "neo-realist" novelists did *. When I read "The Bend in the River" I start to wonder that that would happen with me. Waiting in some crazy country's border until the official gave me, after many hours, an affordable price to allowd me to cross the border with my very old veichle. Automatically I felt a deep connection with VS Naipaul and I did read everything I got from him. If the moving "A House for Mr Biswas" is, perhaps, the most "famous" of his creations, everything comming from his pen is a great "image", sucesion of images, or whatever, of the "human been", grasping the "essence" of it, in a interesting, acute and funny way. I have two great-great masters among the great masters of the literature: one is VS Naipaul, the other one is Marguerite Yourcenar (and, again, less because of her most famous work, "Memoires of Hadrian", than of the total of his creations). Styles completely differents coming from genius completely differents **. Immortals never die. Rest in Pace Vidiadhar Surajprasad Naipaul because you will keep alive forever.

* after all he was an human been with (human) socio-cultural contextualized mistakes... like his misogyny, which, pretty obviously, is comming from his "native" culture, that he despised to much...

** Naipaul had an approach based in what he saw. Yourcenar's approach was completely detached from her own experiences, founded in hers great erudition, namely in ancient and medieval history. Most of the Nobel prizes just can dream on writing as Naipaul did. The great Marguerite Yourcenar never got the Nobel. And... what that matters?

The shutdown of the Nobel

The accusations against Arnault and Engdahl range from accepting financial benefits -- through a joint cultural forum they once ran together with funding from the academy -- to using insider information to bet on Nobel prize winners. But the most profound and disturbing accusations are those from the women, some of whom remain clearly traumatized by what they say Arnault did to them. Arnault could not be reached for comment by the time this story went to print.

• we talk on corruption and on systematic rapes and abuses (which lasted for decades), perpetrated by a French and cleared by the Swedish Academy, in the very same country that stalked Julian Assange for alleged "sex by surprise". It's like when US' "special pressecutor" grilled Bill Clinton at greatest epoch of Weinstein and the monsters paedophile gays of the church.

Vaclav Havel dies age 75

Vaclav Havel, the dissident playwright who turned to politics to help peacefully bring down communism in Czechoslovakia, has died at the age of 75. independent