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“Fear values travelling�

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Carpaccio Magazine Issue #2: “Fear values travelling” “Fear values travelling. At a given moment, very far from our country and our language, the fear and the instinctive desire to find again the shelters of the old habits, spreads all over and conquers us. That moment we burn in fever, but we are full of pores. The slightest conflict shakes our very foundations. A cascade of light brings us in front of eternity. This is the reason why no one should say that one travels for pleasure. I would see in travelling rather an exercise. We travel for our education, if by the term of education we mean the sharpening of our inmost sense, the sense of eternity.” “Lo que vale la pena de un viaje es el miedo. Es que en cierto momento, tan lejos de nuestro país, de nuestra lengua, un miedo vago se apodera de nosotros y un deseo instintivo de recobrar el amparo de los viejos hábitos. Es la más clara contribución del viaje. El menor choque nos conmueve hasta el fondo del ser. Por eso no hay que decir que se viaja por placer. Uno viaja por su cultura, si por cultura se entiende el ejercicio de nuestro sentido más íntimo, que es el de la eternidad “ “Allò que val la pena d’un viatge és la por. És que en cert moment, tan lluny del nostre país, de la nostra llengua, una por vague s’apodera de nosaltres i un desig instintiu de recobrar l’empara dels vells hàbits. És la més clara contribució del viatge. El menor xoc ens conmou fins al fons de l’ésser. Per això no s’ha de dir que es viatja per plaer. Hom viatja per la seva cultura, si per cultura s’entén l’exercici del nostre sentit més íntim, que és el de l’eternitat. “ Carnets, Albert Camus. Carpacciomagazine 


Editors: Emma Llensa: florssalvatges.net

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&

MarĂ­a Cerezo: nuevaprimavera.com


Front cover:

Illustration: “Houses”, Kai Chan

Back cover:

Design: “Issue #3”, Miguel Van Keze

Collaborators: (thanks to) Jennifer M.Lee, Clara Gispert Vidal, Hèléne Deroubaix, Vivien Ayroles, Anthony Cudahy, Audrey Malo “Cendrille”, Anne Elle, Diana Virviescas, Rebecca Anderson, Muge, James Hughes, Julie Badín, Ira Tviga, Maury Gortemiller, Uriel A. Duran, Ana Himes, Naoko Stoop, Gabriella Lacza, Zoe Burnett, Jon MacNair, Claire Sloan, Kate “hoppipoppi”, Elaine Abberly, Lucía Franco, Sara Thornley, Brett Manning, Miguel Van Keze, Peter Puklus, Kai Chan, and “otroscomoyo”. ISSN: 2013-4517

All artwork shown on Carpaccio Magazine is copyrighted and protected material and may not be reproduced, adapted or altered w/o the consent of the original artist(s). Carpacciomagazine 


Emma Llensa 1986 Girona (Spain).

These thoughts were written in a Hèlsinki-Rovaniemi-Kemijärvi and Lisboa-Cascais travel. Travelling is going to the unexpected, to the unkown. You don’t know how you’ll feel, you don’t know how the lack of Sun will affect you, you don’t know anything until you go.

* (cat): “He passat pel mateix lloc dos cops i / el segon cop / els arbres eren més taronges. La tardor m’atrapa veloçment. I una persona menjant pèsols / com si fossin cacauets. Les coses belles no es poden posseir. / Ni fent l’amor. / Ni fent l’art. / La impossibilitat de comunicació. Un sol que no sap com sortir. / Tot és creure. / Llum diferent. Allò que més em sorprèn és l’Ara i l’Aquí. / Saber que hi ha vida, gent. / I pensar que hi ha un Allà. / (No estem preparats per entender un Allà). L’Ara i l’Aquí són lents. / No es mouen. / Resten immòbils perquè són l’eternitat. Ni el sol em resulta agradable. / La sensació de voler tornar-me del revés. / M’agradavria ser-me desconeguda.” Emma Llensa

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“I’ve been there two times and the second time the trees were more orange. Fall catches me fast. A person eating peas. As if they were peanuts. We can’t possess beautiful things. The impossibility of communication. A sun which doesn’t know how to come. Everything is believing. Different light.

What surprises me the most is Now and Here. Knowing that there’s life, people. And thinking that there’s a “there” (we’re not ready to understand a “there”) Here and Now are slow. They don’t move. Remain quiet because they are the Eternity. Neither the sun I find enjoyable. Wanting to be my opposite. I’d like to be unknown to myself.” Emma Llensa

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Clara Gispert Vidal

“Per la teva absència” (“because of your absence”)

1981, Banyoles, Girona

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Hèléne Deroubaix 1979, France “As a self taught artist I’ve always felt the need to discover new techniques new supplies to use in my work, I consider myself a striving artist I always try to push myself, to take risks and expose my naked soul in my visual poe try. I am sharing my Lights through mixed media.My work is a Maelstrom of Emotions made of my own philosophy of Life inspired by Hinduism & Buddhism. The landscapes of my work is made of my eternal intrinsic dichotomy of Darkness & colorful lights, sweet nostalgia & remains easier to decipher by the initiates. Yet you are all welcome to have a walk in my soul garden,enjoy the journey!” Carpacciomagazine 13


thefairyattic.free.fr

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helenia.com

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Jennifer M. Lee circa 1987 Portland, Oregon “Jennifer M. Lee is currently a student of life (although in technicality she is studying illustration in Portland, Oregon). She is a California native but currently resides and creates art in the bloody lovely Portland, Oregon. She sees a distinct correlation of her style with the literature she loves to consume in. She would love to make a living illustrating poems (even of her own) as a future path in her travels to the future.” “You are born alone. You die alone. The va lue of the space in between is trust and love. That is why geometrically speaking the circle is a one. Everything comes to you from the other. You have to be able to reach the other. If not you are alone...”-Louise Bourgeois

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Vivien Ayroles Born in 1986, living and working in Aix-en-Provence “I am using photograph in order to register feelings and encounters where I lived, I am currently living and where I travel. I developped a photographic project Entr’ouvert with Stefano Marchionini which integrates photographic images of different origins into diptychs, whose nature is to shed new light on their constituent parts : human/landscapes, internal/external. And this is actually the point of all my photographs.”

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Anthony Cudahy twenty; art student in NYC; currently trying to figure “it” out

“Wanderlust paired with a deep-set inertia; you will not travel; you will be restless”

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Audrey Malo “Cendrille”

cendrille.etsy.com & flickr.com/cendrille Audrey is a young french canadian illustrator that has recently graduated from college (Cégep du Vieux-Montréal) in graphic design. She currently runs her own etsy shop online. Her projects and hope for the future is that she may do a living from her passion, see the world and surrounds herself with lots of pet friends and beautiful objects. 24 Carpacciomagazine


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“This is about the grace of sleep I found in Japan.

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Anne Linke, 1986, Germany


Going to bed very early, lying down in squarish rooms, waking up, looking to the centred hanging lamp.

And longing for the silence in between ever since.”

“Anne Elle”

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Diana Virviescas Colombia “Trabajé como profesora de artes y diseño con niños y adolescentes por tres años, alternando con la realización de trabajos freelance en diseño. Actualmente autogestiono la impresión y publicación de dos álbumes ilustrados para niños (proyectos personales), combinado con el trabajo de freelance de diseño e ilustración. He participado en las publicaciones virtuales Zona Magazine, Popular la revista, Interstizi Magazine *2009. De igual manera colaboro con ilustraciones para el proyecto Colombiano Filosfera.”

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Rebecca Anderson Rhode island, EEUU Rebecca Anderson has been shooting things since 1989 when she inherited an instamatic 110.  flash cubes aside, she’s stepped up her photographic game since then.  Rebecca enjoys, laughing, reading, traversing and various other -ing verbs. “tennessee highways best friend in the passenger seat haze bouncing off the mighty mississip’ rolling rolling rolling down the highway (rolling down the highway)”

flickr.com/ prettydreamyforagirlfromrhodeisland/

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Muge,

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China


mugephoto.cn

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1979, b. in Chongqing, China. Lives and works in Chengdu, China 2000-2004 Studys at the Sichuan Normal University,China 32 Carpacciomagazine


2004-2008 Works as a freelance photo editor and photographer These photos belong to the series “Silencie” and “home go”. Carpacciomagazine 33


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James Hughes

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Julie Badin She questions the difficult separation between the believer and the unbeliever by playing with sacred and profane contexts. “This picture belong to a series in progress about my town: “Paris not Paris” Sometimes I don’t know where I am in this town, sometimes I’m frighte -ned, surprised, upset by the environnement. A big town where you feel a foreigner as the people you meet. Each day is an adventure. To my mind, I don’t have to go far for traveling, each time I got out of my home, the town seems to be different than yesterday. Everything evolves indefinitely, just in front of you. Travel is a form of education, the knowledge is everywhere and we have to pick up it. It’s not a pure question of time but also a question of attention.” juliebadin.book.fr Carpacciomagazine 39


Ira Tviga

1983, Saint - Petersburg, Russia. Studing at the University College for the Creative Arts in United Kindom.

The name of this project is “Sound Stills”.  “My idea  was to visualize the sound (the sound of English woods in particular)  , to make the sound into a physical object  and recreate it somewhere else.  It was important to me to place sounds of England into some place in Russia, as im originally from Russia, but ive been living to England for 2 years now.  Humans have been interested in observing sound signals because we are “better” at seeing than hearing. There are more neurons in our brains devoted to seeing than to hearing, and we might think we are more able to analyze complex data when it is in the visual domain. I went to the woods in England and recorded different natural sounds, the ones u would never hear anywhere esle. Then i went to Russia and made 6 different sculptures of the English sound waves that ive recorded (the dimension of each sculpture is 3 metres long and 1 metre high), These sculptures are the actual copies of the real electronic sound waves. I put these sculptures into the Russian woods where the photographs were taken. I documented the sound and recreated it where it doesn not belong to. But by that i made a connection for myself between two places that plays a big role in my life now.  p.s. the fact that the sculptures of digital sound waves were made without using any digital media was important to me, that was the reason for me to attach some photographs of the working process as well.” 40 Carpacciomagazine


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Maury Gortemiller I am interested in exploring the residues of human experience. The discarded objects, the flotsam left behind can impart a wealth of information about individuals and attitudes. My photographs maintain the physicality of ordinary, everyday things while opening up their potential imaginative and conceptual meanings.

“flag� 44 Carpacciomagazine


maurygortemiller.com

“Flag” and “Support the Troops” take as subject matter two of the more bombastic symbols of recent American culture: the flag and the yellow ribbon. The weathered flag and the deteriorating magnet speak to the emotional and rational subtexts lurking beneath the overt, sentimental totems of nationalism.

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U! a.k.a. Uriel A. Duran 1976, México

“Viviendo en el continente americano siempre se me hizo curioso ver cómo los mapas hechos por exploradores europeos ubicaban toda clase de monstruos que siempre me constó no existían por estos rumbos.En contraste,siempre encontré a las criaturas mitológicas europeas mucho más fascinantes. Así pues, podría decir que un mapa en dicho estilo no sólo es una guía para no perderse en caso de viaje, sino que también puede ser como un folleto de agencia turística, solo que más directo y sin publicidad para hoteles y restaurantes de esos que engatuzan turistas.”

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Ana Himes “27 años. Burgos me vio nacer, en Madrid continúo creciendo”

“¡Mira! ¿Tu mujer es tan guapa como aquella No, es una pena, ¿verdad Sí, pero ya no hay tiempo para más...” 48 Carpacciomagazine

“Pero sólo un poquito de sal, eh Con un poquito que le eches ya vale...”


“FROM PLAY TO PAUSE. FROM PAUSE TO WHO KNOWS.” anahimes.es

“Yo me pido el pez con la cola naranja y los bigotes verdes”

“Siempre nos quedará París... así que deja la cerveza y barre la acera que está hecha unos zorros” Carpacciomagazine 49


Naoko Stoop Born in Tokyo, Japan, Creating in Brooklyn, New York, “My artwork comes from the everyday life in my neighborhood. I draw, paint and print in my little art studio. Most of the materials I use are from the neighborhood. I get inspiration from the beautiful Prospect Park which is just half a block away from my apartment. It is also my second work place in summer.� Keio University in Tokyo. New York School of Interior Design.

brownpaperbagcollection.com

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Gabriella Lacza (age 17) & Zoë Burnett (age 16)

Cleveland, Ohio

“We have a life goals list, of little things that we would like to do before we die. One of them is “build a fort and sleep in it”. After completing the goal in the summer, we were compelled to build semi-permanent forts in our own bedrooms.”

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Jon MacNair Jon MacNair was born in Seoul, South Korea and grew up in the suburbs of Southeast Michigan where he developed a love of drawing. After many years of having people tell him “You should be an artist,” he decided to attend The Maryland Institute College of Art where he earned a degree in illustration. Jon’s commercial work has been featured in numerous editorial publications and his fine art has appeared in galleries across the country.

flickr.com/jonmacnair/


“Much of my work depicts otherworldly realms and fantastical landscapes inhabited by furry beasts and human-like creatures. Solemn faced, hooded figures wander though these worlds on a seemingly endless journey toward an unknown destination the viewer is left to ponder in their own minds. While some of the creatures I depict seem to be part of the landscape itself, others seem to be searching for a place where they can belong in this vast land; a place to call home. Though this task is somewhat daunting, they carry it out while maintaining a childlike fascination and curiosity with their surroundings that is palpable to the viewer.�

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Claire Sloan clairesloanphotography.com “I wasn’t ready to leave home when I did. I thought I was, but quickly learned otherwise. I grew up in a home and a community filled with so much love. Leaving for college was the hardest transition I have ever gone through. It feels like there is this giant magnet in my chest. It throbs and pounds inside me, pulling me back to my home. I started taking the train every few weekends to see my family and friends. These are photographs taken on those train rides home. As the academic year is coming to an end, I have finally begun to feel settled in this new place. There really is no place like home, though.�

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Kate “hoppipoppi�

Kate is eighteen years old and lives on the top of a hill. she takes enchanting thoughts and dreams and puts them into paintings in the hope that they will never be forgotten; some things that inspire her are mountains, the sea, sleeping, love, warmth and happiness. Usually, Kate uses gouache,pencils and tea on wood and paper.’ 62 Carpacciomagazine


myspace.com/hoppipoppi

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Elaine Abberly “i’m fortunate to have such a nice resting spot.””

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Lucía Franco 29 años, Uruguay diseñadora gráfica e ilustradora. luzdeluciernaga.com Cuando me escribieron con la propuesta de este “viaje”, me acordé de un hermoso poema de Oliverio Girondo, poeta y artista surrealista argentino nacido en 1891. “Vuelo sin orillas” Abandoné las sombras, las espesas paredes, los ruidos familiares, la amistad de los libros, el tabaco, las plumas, los secos cielorrasos; para salir volando, desesperadamente.

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Abajo: en la penumbra, las amargas cornisas, las calles desoladas, los faroles sonámbulos, las muertas chimeneas los rumores cansados, desesperadamente.

Ya todo era silencio, simuladas catástrofes, grandes charcos de sombra, aguaceros, relámpagos, vagabundos islotes de inestable riberas; pero seguí volando, desesperadamente.


Un resplandor desnudo, una luz calcinante se interpuso en mi ruta, me fascinó de muerte, pero logré evadirme de su letal influjo, para seguir volando, desesperadamente.

Me oprimía lo flúido, la limpidez maciza, el vacío escarchado, la inaudible distancia, la oquedad insonora, el reposo asfixiante; pero seguía volando, desesperadamente.

Todavía el destino de mundos fenecidos, desorientó mi vuelo -de sideral constanciacon sus vanas parábolas y sus aureolas falsas; pero seguí volando, desesperadamente.

Ya no existía nada, la nada estaba ausente; ni oscuridad, ni lumbre, -ni unas manos celestesni vida, ni destino, ni misterio, ni muerte; pero seguía volando, desesperadamente. -Oliverio Girondo-

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Sara Thornley Brixton, South London.

She likes film, print trades, knitting and bicycles. “Self-Portrait With Chickens (Thanks, Sam Taylor Wood)� is part of a series dealing with our relationship with animals and meat. 70 Carpacciomagazine

thornleysarah@googlemail.com


Brett Manning Chicago, EEUU “I am a very passionate and sentimental person and my art is quite autobiographical... balance, obsessive detail, femininity, and an overall dreamy or transcendent feeling are represented throughout my work. It is important for me to feel calm and at one with the everything not only while I create, but just as a way of life.�

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Miguel Van Keze “My particular trip began 3 years now and there’s no return ticket at sight. Apart from Barcelona and Madrid, my hometowns in Spain, I have lived in The Hague, in Brighton and I am living in London at the moment. For me, London resembles a sedentary 50 year old, terribly overweight couch potato’s heart: a mess of veins and capillaries surrounding a chunk of pounding meat, oozing little blood steams with each beat. It’s so alive and in a continuous state of such frantic overdrive that you can’t help but feel that, at any given moment, everything will collapse, like a car in the middle of the desert with a pierced water deposit, and not even 15 bypasses will be able to save it. 74 Carpacciomagazine


Like everything else that matters in life, one loves and hates London at the same time, and learns to deal with it as part of their vital everyday habits, because that is how it is meant to be. One needs some sort of internal mechanism to help keep the sanity, so to speak, and I achieved so with my Love/Hate poster series. It has been my personal catharsis, my way to face everything I hate about the city where I live, and to get to grips with it so I won’t go bonkers in this huge, decadent, wicked, unique and overwhelming hard-beating cow’s heart.�

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Peter Puklus Kolozsvår, Hungary Peter Puklus is an example of modern documentarist. Questions of an involved or not involved view, an approach based on revealing beauty or rather importance of daily, even banal things, this was solved by documentary photographers before. So the Puklus’ generation can now focus on a complexity of documentary work. For Peter Puklus, everything around can be a subject. A single picture or one medium is not enough though to capture it. The series Intimacy - No Title contains several chapters systematically researching this topic from different sides - a man as a source of the intimacy feeling, an inhabited interior, still-lives as traces of living. However this almost scientific approach does not stop here. Many of these photographs were made on the basis of drawings and are accompanied by videos with the same subject, from the same interiors, with the same characters. The whole series gains even deeper insight in the topic and literally one more dimension.

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Kai Chan Born in Hong Kong but living in London now.

“Travel is equal to Life.” “We are travelers in our life. We travel to learn and get something from our life trip. During traveling, I have fear of having accidents, meeting bad guys, being attacked, getting diseases, and fear to die in somewhere that nobody knows… However, in my life, I fear that I might losing myself the most. It just feels like people get lost in their trips. It makes me feel so helpless and lonely. It would be double tragic if I met some bad guys. I fear that I don’t know what to do in my life, and can’t make a decision. I dread that I don’t know what I look for, where my destination is, where my future is, why I have been staying in London, what I am going to draw and what I am writing. I also fear that there is no position for me in this world. So scared to lose myself in my life trip…”

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OTROSCOMOYO otroscomoyo.livejournal.com el señor que inventó esa bomba Aunque se publicó hace más de cincuenta años, parece que aún quedan cosas que decir sobre Fahrenheit 451, aquella novela de Ray Bradbury que presentaba un mundo en el que está prohibido leer para impedir que las personas piensen por sí mismas. Vaya por dios, la gente llevaba medio siglo creyendo que la novela hablaba sobre la represión y la censura, y de pronto llega su autor a decir que en realidad trata sobre la televisión y la amenaza que ésta supone. Dejando a un lado el tema de las intenciones de los autores y las diferencias con lo que el público capta, supongo que todo se puede simplificar. No es que yo tenga muchas luces (pregúntame sobre mi primera interpretación del final de El club de lucha de Chuck Palahniuk, por ejemplo) pero el sencillo mensaje que saqué en claro cuando leí la distopía de Ray Bradbury fue “¡cuidado! nos estamos volviendo estúpidos a pasos agigantados”. En cualquier caso, si hay algo en lo que todo el mundo está de acuerdo, es que la obra fue increíblemente visionaria. Que viene a ser lo mismo que pienso de Idiocracia, la incomprendida película de Mike Judge. Trata sobre un tipo normal y corriente que es congelado por accidente y despierta en pleno siglo veintiséis, sólo para descubrir que, durante los próximos quinientos años, la selección natural ha hecho de las suyas y ha convertido a la humana en una especie rematadamente imbécil. Así, el protagonista, recién descongelado, se descubre a sí mismo como la persona viva más inteligente del planeta. En ese aterrador año 2505, la película más oscarizada consiste en noventa minutos de primer plano de un culo ruidoso, y la gente va en masa a las salas para

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verla (lo que indica que, al menos, el problema de la piratería ha sido erradicado: no todas las cosas son malas en el futuro... algunas son aún peor). Por otro lado, una serie de circunstancias injustificables me llevaron no hace mucho al cine para ver Hannah Montana: La Película. Sentado en mi butaca, preguntándome qué demonios estaba haciendo allí, comenzando a ser consciente de lo que iban a proyectar en la pantalla, me di cuenta de dos cosas: que yo también me integraría perfectamente en ese mundo apocalípticamente idiota, y que ese futuro no está a cinco siglos de distancia. Está mucho más cerca. En una determinada escena de Idiocracia, cierto personaje reflexiona “¿crees que Einstein se paseaba por ahí pensando que todos los demás eran tontos? pues ya sabes por qué inventó esa bomba”. Si lo piensas, resulta sobrecogedoramente revelador. Volviendo a Ray Bradbury, éste proponía un curioso método de salvación ante la inminente estupidez: apartado de la sociedad mediatizada, sobrevivía un pueblo de personas-libro que habían memorizado grandes clásicos de la literatura universal, como forma de salvaguardar la cultura hasta que el futuro distópico se desplomase sobre sí mismo. Lo que verdaderamente mete el miedo en el cuerpo es que, inspirado por Fahrenheit 451, sí existe un “proyecto de personas-libro” en el mundo real. Tiene página web y todo. Por suerte o por desgracia para mí, creo que hay ideas mejores en las que invertir mi tiempo que aprenderme palabra por palabra ninguna obra escrita, pero eso sólo lo digo porque no me atrevo a intentarlo. Mi profesor de filosofía del instituto, por su parte, no pensaba lo mismo: opinaba que un libro no se ha leído de verdad hasta que uno es casi capaz de recitarlo con los ojos cerrados. De todos modos, ese mismo profesor era el que nos contaba que lo que más le gustaba hacer al llegar a casa por las tardes era sentar a sus hijos delante de la tele, para que no le molestasen, y sentarse en su despacho con una buena botella de whisky. Claro que sí. Con un par. A ver, no quiero que se me malinterprete: opino que memorizar tu libro favorito, desde la primera hasta la última página, es una idea terriblemente romántica en la teoría, pero quién sabe cómo resultará en la práctica. Imagínate que viajas en el tiempo al futuro, y apareces en un mundo como los que nos muestran Bradbury o Judge. Y, recién llegado, te encuentras con un señor que, con aliento de Johnnie Walker, comienza a recitarte la Ilíada, o tal vez algo de Fernando Savater. ¿Cómo crees que reaccionarías? Yo, probablemente, me asustaría tanto que correría al cine más cercano... a ver noventa minutos de primer plano de un culo ruidoso. Supongo que, a veces, el remedio sí es peor que la enfermedad, y es que el señor que inventó esa bomba se olvidó de decir una cosa: hasta la estupidez es relativa. Carpacciomagazine 87


In April 23rd (“Sant Jordi”) ‘09 Carpaccio

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Magazine cooked in... Barcelona! (Spain)

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Pida nuestra lista de correo! pruebe nuestros platos especiales!

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Join our mailing list! taste our special dishes!

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Carpaccio Magazine Issue #2: "Fear values travelling"