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Caged – in a moment of Silence


“Praias de Fu…..a  IV” (painting)  –  From the Beaches of Absolution (text)



From beaches of absolution
a horrid stench..
an odour
a protrusive bulge of havoc,
death and misguided Humanity
poisons the air in a thicket-like array of fumes
more and more impenetrable
by each sorrowful step inconspicuously taken.

– ancient sands that care not
nor notice Man’s misgivings.

Bleached, broiled and barren in a
lachrymose desolation
they sickley stare back at the face of their maker in innocence.

(In innocence?)

They sit there upon a living bed
dead to one’s lamentations
simply caressing our soles (souls)
step by step.
– and all the while Petty Theft and Larsony of the heftiest degree
dance upon our graves..



written by me (G. Almeida)
The image is of a painting  : “Praias de Fukush… IV “, September 26th – 2011    



( more than a month from the above, and a day past Rememberance..)  


.. a flittering
– moment of Silence.






 Steadfast in inaudible prayers

whispering nothing
Caged within my own transfixed Silence
Judgement and soft truce impaled
I return and do not weep –
( Again? Still? No.
I see them.
They shine


beyond Merriment and Bitter Dismay
in a parallel existance
within Time’s brittle house
but it’s hard to tell who’s at the door..  )
– once more water becomes treason
blood is no longer thicker..
My home mortified
Like all gods
I judge and am judged
The one who mends all wounds is gift wrapped
The child I call Home and is all children
crucified to an empty dream called Progress
creatures enraptured
unholy waters
an endless spiral of eternal communion with Number
I drift asunder
 bow misguided,
hull rotting,
sailing into a screaming state of Nothingness..
I am a ship,

my name is Man.




(on a far lighter and fairer tone.. a Silence)

Behold the power and expression of  together uttering “No-Sound”.


***** A brief note regarding Cage’s 4′ 33”
– Composed in 1952, this piece is most likely the most notorious and controversial within a long, diversified line of compositions by the author.
No matter what one thinks and feels regarding said piece: love, amusement, scorn, bewilderment, or awe it is impossible to be indifferent or remain the same after after having been in attendance of a performance, after “hearing” it.

Originally scored in three movements for any given instrument or group of instruments, the tension created while performing and/or perceiving the work is absolutely incredible.
[ form : 1st Movement – 30” ,  2nd Movement – 2′ 23”, and the 3rd Movement – 1´40” ]

Here Cage truly acheives his desire to create a work in which both fases necessary an fundamental for an audience to perceive (and receive / experience) a work of musical art is completely irrelevant and removed from having any influence whatsoever upon each and every performance of said piece.  The work is “rid of” and completely free of composer/performer(s), so to speak.