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Composição em tempo real. Bartleby’s “I’d rather not to”. Keeps the “possibility hanging between event and non-event, between the capacity to be and the capacity to not be”. But how can we recognise and capture that fragment, if ‘it” appears only when we least expect it, and if it can hardly “stand on its feet”, so fleeting and transitory? See Herman Melville (1819–1891), Bartleby, the Scrivener. A Story of Wall Street.

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text rtc GB | atelierealtextoctrgb.blogspot.com Reviews
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Composição em tempo real. Bartleby’s “I’d rather not to”. Keeps the “possibility hanging between event and non-event, between the capacity to be and the capacity to not be”. But how can we recognise and capture that fragment, if ‘it” appears only when we least expect it, and if it can hardly “stand on its feet”, so fleeting and transitory? See Herman Melville (1819–1891), Bartleby, the Scrivener. A Story of Wall Street.
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text rtc GB | atelierealtextoctrgb.blogspot.com Reviews

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Composição em tempo real. Bartleby’s “I’d rather not to”. Keeps the “possibility hanging between event and non-event, between the capacity to be and the capacity to not be”. But how can we recognise and capture that fragment, if ‘it” appears only when we least expect it, and if it can hardly “stand on its feet”, so fleeting and transitory? See Herman Melville (1819–1891), Bartleby, the Scrivener. A Story of Wall Street.

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http://www.atelierealtextoctrgb.blogspot.com/2010/05/presentation.html

Composição em tempo real. Bartleby’s “I’d rather not to”. Keeps the “possibility hanging between event and non-event, between the capacity to be and the capacity to not be”. But how can we recognise and capture that fragment, if ‘it” appears only when we least expect it, and if it can hardly “stand on its feet”, so fleeting and transitory? See Herman Melville (1819–1891), Bartleby, the Scrivener. A Story of Wall Street.

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http://www.atelierealtextoctrgb.blogspot.com/2010/05/indroducao.html

Composição em tempo real.

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Composição em tempo real.

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Composição em tempo real. Bartleby’s “I’d rather not to”. Keeps the “possibility hanging between event and non-event, between the capacity to be and the capacity to not be”. But how can we recognise and capture that fragment, if ‘it” appears only when we least expect it, and if it can hardly “stand on its feet”, so fleeting and transitory? See Herman Melville (1819–1891), Bartleby, the Scrivener. A Story of Wall Street.

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