Chemical Illusions on Diets

When I stopped using the appetite moderator, I was left without satiety sensation, for around approximately three years. Nothing I was eating was putting myself satisfied!

My relatives started to watch my food, controlling the quantity consumed, foods types and so on. I started to hate my body, to feel awfully and that was resulting in more hunger! Therefore, I began to eat hidden, only increasing my guilt, which enlarged more my appetite! My hunger was infinite during three years from 17 to the 20 years old. Therefore, besides I to have recovered ten kilograms that had been painful lost, I’d acquired plus twenty weight! This was little in absolute numbers, but since I have only height of 1,54m, I was severely affected. Nevertheless, the plus weight wasn’t an unsupportable fact due to the foods’ quality that I was eating, since they were moreover not industrialized. However, my diet was based on refined food that had contained chemical additives through the commercial flavorings, specially the famous concentrated chicken and beef broth flavor!

I did take an important decision at 20 years age: I WOULDN’T APART ME FROM THE OTHERS WHILE EATING ANYMORE! In a certain point this marked the first peace agreement with my body, since I would respect it and would defend its hungry sensation in front of anybody and AGAINST all, if it would needed. Inexplicably my appetite reduced and, still maintaining the same type of foods, I lost ten kilograms up to 21 years old. Therefore, while beginning a walk towards the body’s peace, I had discovered the next step of the ecological diet!

STEP THREE: Never use appetite moderators, nor with medical prescription! The appetite moderators affect the cerebral functioning, terminating by the deregulation of the satiety sensation. While stopping using the appetite moderator we do not feel any more satiety, since this stimulus was not arrived through the normal routes received from several signs sent by the organism, but through chemical substances acting directly over the neurons disconnected with the real homeostasis or physical balance. If my physician had patience, not prescribing me any moderator and if had given time to my body, the balanced diet prescribed by him would have been effective. Certainly, it would take more time and the effects would be less expressive, since I would not have reached the "ideal" weight table. However, it would have reached and remained with the normal weight, because under the moderator effect, I confess to have eaten less than he had prescribed, what did carry my body to a physiological hunger state. In this way, when the stimulus of false satiety ceased, I began to feel a physiological hunger what added up to the emotional stress caused by the guiltiness returned uncontrollable. The physiological hunger is a problem that affects the people tending them to gain weight more easily than incline them to losing it and know to be able to turn round this problem will give the direction that we will take to build our ecological diet.

key words: appetite moderator, physiological hunger, body peace, fight against body, metabolic routes

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by Gladis Franck da Cunha

Becoming thin today, putting on weight tomorrow

STEP TWO: we should have establish a PEACE agreement with our body. This begins with the discover of the beauty and follows for the persuasion of the body to have its own intelligence, therefore being able to reach its ideal status of balance and shape.

The dance,  Matisse

The peace refereed, follows on the opposite direction by the seek for a silhouette and for a weight "idealized" by us. In other words, we should have entrusted that our body is intelligent and he will be able to reach the form and the weight you devise for our health.
Our task starts to create the ideal conditions so the body works in the more efficient manner and can reach its balance by itself. In this context, the next steps of the ecological diet are to raise actions that we will have to undertake to create the necessary conditions to the balance of our movable ecosystem or body.

Chemical Interventions: becoming thin today, putting on weight tomorrow.
Before advancing for the step three I am going to do a personal report of the periods of war and peace that I maintained with my body and of the results gathered from these contradictory psychological states. I was a normal child, not even thin not even fat, result of a standard of healthy food. When I was young most of the foods were prepared at home by my mother, since practically there were no industrialized products and with this they were not making part of the daily food chemical additives, preservatives, flavors, colorings, taste enhancers, acidulates, etc. So, I could eat of everything and nothing was prohibited me, except ice cream because my asthma bronquites. Parallel to the food chemicals additives absence I was able to play the childlike jokes settled in outdoor spaces and, even without being able to accompany my brothers and friends in all the rushes, I was an active child. In this period, I lived a full peace with my body, though without being conscious of that.

However, the adolescence came and my body assumed woman's curves leaving back the girl’s appearance. The beauty changed, but since this process happened in a very short space of time, between the eleven and I halve and the twelve and halve years old. Soon, I started to hear with great frequency the sentences: “Ours, since you put on weight!” “Gosh, how Gladis is fat!” Moreover, like any young adolescent and very immature, I began to feel myself blamed therefore. My body started to be an enemy and the food stopped being an act for the living assuming a protagonist's role, when it should be only a co-star. So, instead of eating to live, I started to live to the eating act.

By seeing old photos I realize how much the people were mistaken, so I was still normal, nor much fat and nor much thin. Only a changeable beauty has acquired new possibilities. Unfortunately, neither I, neither my neighborhood had not conceptual ways to deal appropriately with this question, me for immaturity and they for complete ignorance. So, without knowledge of cause, while waging war with my body and denying my beauty, I tipped totally over the ecosystem, assuming mistaken diets, in fact putting on weight. After I put on weight very much, keeping eight kilograms above what it would be my "NORMAL" weight. Then I did a strict diet, with medical attendance, because of not losing the quantity waited of weight in the first two weeks, I had to run over to appetite moderators prescribed by Physician! I finished become more than ten kilograms thinness in eight months reaching my “required” weight.

key words: diet, weight, thinness, silhouette, idealized image, changing mind, chemical additives

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by Gladis Franck da Cunha
Ilustration: Arte Movimento: Pandora

Body in terms of balance and remediation

The rediscovery of the personal beauty beyond the shape imposed by the market requires a new attitude before pressures exercised by society's corporal style patterns.

Speak again on the body ecology under a systemic point of view, when the organism is thinking in its mechanism and functioning as a movable ecosystem, the concepts must be applied on it in terms of ecosystem balance and remediation.

How previously we had seen on “STEP ONE”, the ecological diet is the beauty’s rediscovery, escaping from standardized models and discerning a particular beauty. I remember very well a job’s former colleague, when I worked in the Bank of Brazil, who was little obese but enchanting. She was wearing a very interesting and colorful clothes, she was one of those persons for whom we liked to look. However, in the last times of our companionship, she had begun a diet and when several kilograms were lost, with them she had lost also great part of her beauty, the face had lost the vigor and the eyes the joy, the clothes became more sober and she was already passing more unnoticed. I do not know in what the process resulted, because I moved from that Bank Agency and the contact with her was missing, I never forgot the fact that was a lively proof of the distinction between slimness and beauty.

Beauty is resulting from a peace sensation between the mind and the body, which must accompany the processes of modification happened along the time. I do not want to defend here the idea of the people must remain obese, oppositely my search is for health and balance, but as much the health as much the ecosystem balance have relation to gradual and continuous changes and not to rush and radical processes. These processes are more connected to other imbalances, perhaps even more serious; what in case of the obese people have the tendency to going aggravating the disease.

Since I emphasized previously, we cannot wait to change after reaching the ideal beauty goal, if we are not able to explore our treasures from now, we will always be in search of a golden pot in the end of the rainbow and living a war state with our body. Now we will go to the next step!

Key words: obesity, diet, disease, ecosystem, balance and remediation, health, beauty

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by Gladis Franck da Cunha
image link: Riding basics

Body ecosystem

Nowadays the looking for the thinness beauty model does not have anything with take care of health, because between the extremes of fatness and slimness, there is a sickness industry of anorexic drugs and surgeries.

One of the worst global epidemics is obesity. Even in Brazil a poor country with its large miserable population proportion, the obesity assumes epidemic contour. The result of this disease appears through countless palliative diets forms, drugs and all types of plastic surgeries.

The problems of the palliative actions it is the high dangerousness implied, because jointly to the legal and efficient diet systems established, there are others without control or supervision, self-taught practiced with illegal drugs and surgeries made by unprepared surgeons. So, many individuals are unnecessarily submitted to such dangers, except the fat excess disease, there are many concerns about of the evil health of excessive slimness model, in this way the normality sense is a lost concept, unfortunately!

How the body’s ecology becomes in this context?
Well, first I want to define the body ecology concept, leaving from a systemic point of view in which the organism is considered as a whole and working, as an environment and not a thing. In other words, it is necessary to view the body as a movable ecosystem and the concepts must be applied on it in terms of balance and remediation of ecosystems. Therefore, if it is out of balance it are sick, in this way if a person is sick this means that he is unbalanced.

Regarding the body, we see nowadays more interest on the appearance than to the balance, so people do not get worry in submit themselves to cosmetic surgeries even when they are healthy, assuming unnecessary risks characteristic to any type of invasive interventions. The desire to acquire a certain appearance induce they to fearlessly submit themselves to the surgeons, without worries about the cicatrization processes, which can produce results very different from the expected, even all the rest had elapsed right.

Unfortunately, the current running in search of beauty travestied as path to the health, raises far from a search for the organic balance because directed almost exclusively to a shape, a model, which most times, is not adjusted to the biological constitution of the searcher.
Through this chronicle, I want to begin a movement towards to the human ecosystem-body balance, sharing my experiences and successes, started years later I was obese and asthmatic, but at present I maintain these two diseases under control through an ecologic diet, which consists in changing habits and refusing to suffer. This walk consists in many steps, some I needed to retreat and I had to correct others, so I will share an itinerary built along 26 years.

Step one: we should have begun for the rediscovery of the beauty. Without any change, all we have a natural and personal beauty, modifying itself along age. However, it is always present and we must to give worth it adjusting our clothes, our hair’s cut, our garnish choose, our gestures and mood. A good example of worth’s individual beauty is given by the presenter Jô Soares, who manages to be elegant, in spite of he not having thin body, nor young age, which are values standardized by the media as beauty meaning. I don’t want to affirm that should bad to be youth, tall and thin appearance, but I want to emphasize that also can be good to have more age, to be joyfully and to be able to wear nice clothes for each specific physical type. Finally, we cannot wait to change on a reaching beauty mirage, if we are not able to explore our treasures now, we will always be looking for the pot of gold at the end of the rainbow.

key words: balance, health care, beauty concept, surgery, obesity, decease, anorexic drugs, fatness

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By: Gladis Franck da Cunha

Gwendolyn Mok e o piano ressoante

À medida que foi se estabelecendo como prioridade no piano moderno a produção de volumes sonoros cada vez maiores, o mecanismo dos abafadores foi se tornando mais eficiente. Por isso, nos pianos de Cauda atuais eles repousam sobre as cordas, enquanto que no Erard de 1875 eles são posicionados por baixo. Como resultado, além da deficiência em estancar os sons prontamente, tal piano deixa escapar uma ressonância residual ao longo da execução das notas, aproveitada pela pianista Gwendolyn Mok para resgatar o repertório pianístico de Ravel sob a original ambiência acústica desencadeadora do seu estilo de compor.

Gwendolyn Mok

Parte final da entrevista concedida por Gwendolyn Mok ao escritor Thad E. Carhart por ocasião do lançamento do CD com o repertório de Ravel, contendo 13 peças escritas originalmente para piano solo.

Thad: Eu avançaria mais um pouco, pois ele captou a idéia do século XVIII, pelo menos musicalmente falando, na maneira como ele abarca o sentido do iluminismo, mais especificamente do iluminismo francês. Uma das coisas que mais me impressionaram, especialmente com o “Le Tombeau”, é ter dedicado cada uma das seções a um amigo que morto na 1ª Guerra Mundial. Falando sinceramente, parte do velho mundo é rememorado, e também parte do moderno está representado, com todas as contradições e dor impingidos às populações durante a 1ª Guerra Mundial, que causaram tanto sofrimento na Europa.

São interessantes os fatos que concorreram para a sua formação, e se você puder resgatar isso, “Chapeau!” Como eles dizem. Agora terei que fazer, de qualquer maneira, uma pergunta estúpida, porque quero mesmo saber.
Um dos grandes clichês associados ao Ravel do piano é a afirmação: "o sostenuto quase nunca é usado, mas a usamo-lo em Ravel!" O pedal do meio foi algo que você realmente teve que dispender muito tempo para dominar, neste repertório especialmente, ou talvez seja algo que para você teve outro tipo de impacto há vinte anos?

Gwendolyn: é uma questão pacífica de responder porque não há nenhum Pedal do meio neste piano! Por isso, não tive uma escolha. Mas outra coisa sobre este piano que é muito interessante é que seus abafadores vêm de baixo. Nos pianos modernos, os abafadores repousam sobre as cordas. Este é o detalhe único presente no Erard, que não se vê nos instrumentos modernos, cujos abafadores são muito eficientes em estancar o som. Mas no do Erard o recurso é muito mais passivo na maneira de interromper o som, fazendo com que fique mais tempo vibrando; assim se você está tocando o “Barque de Une sur l'ocean”, obtém mais prolongamento da ressonância com este instrumento.

Julgo que as duas peças musicais mais incríveis escritas por Ravel são os trabalhos da abertura do segundo movimento do concerto de piano em Sol, e a “La Vallee des Clothes” - a última parte de “Miroirs”, onde há uma frase que se prolonga por mais de 20 compassos. Ravel mantém-na e exige que seja sustentada de tal modo, que não se a deixe cair até o final.

Há realmente algumas coisas maravilhosas no seu repertório, nunca me canso de ensiná-las, estudá-las e tocá-las. Estive nisso durante 7 anos aproximadamente, esta gravação é a culminância do processo, que não será certamente a minha última do repertório de Ravel. Espero gravar outras, porque na releitura do seu material ainda encontro coisas interessantes para ensinar, estudar, ou simplesmente amar.

Thad: Você incluiu a transcrição da “La Valse”?

Gwendolyn: Não, apesar de tocar as duas versões para piano e apesar de serem muito interessantes, não consta deste CD porque optei pelos trabalhos escritos originalmente para piano solo. Que aparentemente são poucos, apenas 13 peças, porém algumas delas são divididas em vários movimentos. A grande diversidade e a incrível imaginação dispensada por Ravel a cada uma delas é realmente notável.

Gwendolyn: Sim, ele foi outro grande professor.

Thad: Sim, ele é um dos grandes proponentes da música de Ravel e não somente seu divulgador, além dele obviamente conhecer e respeitar a sua música. Agora você também faz parte dessa tradição viva.

Gwndowlyn: Não quero tanta responsabilidade!

Thad: Não se preocupe com isso, onde houver algo sendo tocado e gravado, me interessa muito ouvir.

Fonte: http://www.gwendolynmok.com/interviews.html
Tradução: Isaias Malta
Imagem de Piedmont Piano Company   link

Cuidado com leite e derivados

A função básica do leite é alimentar os filhotes de mamíferos, por este motivo a natureza não equipou adequadamente os adultos para uma dieta Láctea, desse modo o consumo de leite e derivados deve ser reavaliado na dieta ecológica.

Em toda classe dos mamíferos alimentarem-se de leite é um evento que termina cedo e seu objetivo é promover um acelerado aumento de peso dos filhotes para que eles adquiram maior resistência e passem a consumir a dieta normal da sua espécie.

A organização biológica e o desenvolvimento humano

Mesmo que possamos decifrar toda a informação contida no nosso material genético, nossa vida permanecerá um grande mistério, pois ela é muito mais do que uma informação herdada, ela é o resultado das possibilidades biológicas, que estão em permanente interação com o meio e uma coisa não pode ser simplesmente redutível à outra.

Quando batemos as palmas das mãos produzimos um som, mas não sabemos o som que cada mão produziu, porque o efeito de um processo interativo não é o simples resultado de uma soma dos efeitos de cada elemento tomado separadamente, é mais do que isso. Da mesma forma, a música não pode ser redutível apenas ao instrumento ou ao intérprete, pois da interação entre ambos surge uma terceira entidade: o som, que não está contido nem em um nem no outro, mas em ambos simultaneamente.

Nepomuceno the Villa-Lobos predecessor

In Brazilian music, Alberto Nepomuceno has become as important as Glinka, Albeniz, Smetana and Grieg have become in their own, respective, countries. Alberto Nepomuceno has not only been the precursor of musical nationalism in Brazil but he has also been considered its true founder.

He did invaluable research work into native folklore, mainly through his magnificent Song-Book, thus preparing the way later to be followed by the great Villa-lobos. He, deliberately, kept in mind a11 that is Brazilian. Although, in his time, he fought practically alone, under the stress of violent opposition to which his reforms gave rise, he obtained memorable success with his vocal work when he managed to annihilate the age-old prejudice that Portuguese language was not fit for educated song.

Alberto Nepomuceno was born in Ceará in 1864 and studied for many years in Rome, Vienna, Berlin and Paris, under such famous masters as Sgambatti, De Sanctis, Leche­titshi, Guilmant and Herzogenberg. In 1896 he founded the "Popular Concert Society" in Rio de Janeiro and, by this means, spread the works of Wagner and the modern French and Russian schools. Twice he was nominated Director at the National Institute of Music of Rio de Janeiro (1902-1903 and the Brazilian Government to conduct concerts of Brazilian music in Europe. He died in Rio in 1920 at the age of 56.

Widely cultured, Alberto Nepomuceno could speak five languages and met many outstanding people, amongst whom were Mahler, Strauss, Cortot, Saint Saens, Debussy, Grieg, Casela, Milhaud and others. Open minded, apure idealist, Alberto Nepomuceno, in the whole range of his artistic activity, fought for the progress of the musical environment of his days. Unfortunately, he passed away just as modern Brazilian Music began to show promise. Of his varied and extensive works, two of his five operas should be especially mentioned "Artemis" (1898) and "Abul" (1899). then the music for "Electra" (Sophocles). "Pastoral" (Coelho Neto) and "Iriel" (Luiz de Castra); his Choral-Symphonic poem "As Uyaras", a legend of the Amazon and out of his three Orchestral Suites, the famous "Série Brasileira", which is true magnificent, as is the third quartet of the four quartets called "Quarteto Brasileiro", the Trio in F Flat, and a number of religious works, instrumental works and pieces for the pianoforte "Galhofeira", "Variações", "A Brasileira" and, finally, almost a hundred "lieders". It is in the "lieders" that Nepomuceno really shows himself to be a master of Brazilian music.

SÉRIE BRASILEIRA - Orchestral Suite. This is the first conscious manifestation of a people freeing themselves from the dangerous influences that had originally chocked them. Composer Lorenzo Fernandez has rightly stated that the suite represents a true milestone in Brazilian music. Composed in Berlin in 1891, when the composer was twenty-seven years old, it was only performed in its entirety in 1897. Today, it is a classic in the repertory of national symphonic music. The suite is divided into four parts: "DAYBREAK ON THE SERRA" when the popular song of the "Sapo Cururú" and the tropical song of the "Sabiá" can be distinguished. The In1erlude is a whimsical, lively rhythm 50 typical of Brazilian folklore. "Rest in a Hammock", is a musical picture of a poignant poesy, a true treasure of refinement on Brazilian sentiment; 'here we are introduced for the first time to cultured Brazilian music, the characteristic B Flat. Finally, there is the "Batuque" a superbly wild rhythm, which 50 upset the orthodox critics of Nepomuceno's days. This was the work in which Nepomuceno first introduced the popular percussion instrument, called the "reco-reco", in classical music. ABUL - "'Dance of the Veil" and "Interlude" of Act 3.

This opera was composed between 1899 and 1905 but was only performed on the 30th June, 1913 in Buenos Aires - conducted by Gino Marinuzzi where it was greatly applauded. It is a lyric drama mystic and religious, taken from a short story, by Herbert Ward. The action takes place in Chaldea Ancient Times. It is a skilful work of music with no native imprint, but it still represents a production of the greatest capacity, even if it is not the most original and the most spontaneous.

GARATUJA - Prelude. This prelude is based on a short story written by José de Alencar. From the very beginning it was obvious that "Garatuja" was destined to become a lyrical comedy, the first authentic Brazilian opera as far as contents and form are concerned. Subject, environment, language, music, in fact the whole work, exhales the native sentiment of the composer, and it is probably for this reason that Nepomuceno felt more deeply about the work and considered it to be his best.

Unfartunately, he was never able to terminate it. The Prelude, which is Nepomuceno's best-known and best-appreciated symphonic work, was composed in 1904. In it there can be found wit, charm and frank good-humour, all admirably orchestrated. The music describes the adventures of Ivo (a kind of Till Eulenspiegel of Colonial Brazil around 1700). In 1920, when Richard Strauss was conducting this work at the head of the Vienna Philarmonic Orchestra, he did not spare his praises when he spoke of the brilliant orchestration.
Por Isaias Malta
Imagem: Dezenove vinte

A Piano's student experience

A hard event is an adult beginning to learn play the piano. Because this to be an activity traditionally relegated to the childlike world, adults become rarities due their embarrassing in public apparitions, when they return to being as children among children sharing their same afflictions.

I began to study piano less than four years ago. At beginning I left from an educator's curiosity, whom wanted to investigate the education system chosen by Alice Botelho in her piano method “My funny piano”. My husband had begun his formal studies training in a small keyboard(four octaves midi controller), but when we brought our acoustic piano I began to study for myself at home accompanying the Alice Botelho’s method, already was ending by him.

I was advancing gradually, without haste or regularity with hope to devote myself formally studying piano after my retirement. So when I was very occupied in my job, I used to stay off the piano study one or more weeks.
One year later I got play a duo piano piece together my husband, which we played in a show at piano’s teacher school. On this day I discovered some things: the fingers suffer three phases in public presentations - first they freeze, later they sweat in the tips and finally they shudder. After the presentation the teacher pointed out me about my linked notes fault execution and she gives me some exercises to practice. Six months later, after my second participation’s show I was received the same criticism about my misunderstanding’s execution.

Then I decided to enroll and to study formally, so it is still lacking much time for my retirement and I could acquire many vices difficult to correct. I began attend classes on August 2005, having completed the novice level in six months. During March until December 2006 I completed the Preparatory level, accompanying “My Funny Piano” Volume II and “Pink Book” methods, which I loved to study. On March 2007 when I began the first grade, I can already witness the importance of the formal study, since my technical development became much bigger and the advancement more quickly.

Besides identifying the most necessary exercises to each student, a teacher puts us a discipline of study. At present, even when I am work overloaded, I undertake some time to study and at least, two hours of study happen, added to the classroom sixty minutes per week. Following the current rhythm, without hurries, when I will be retired I will be able to attend master classes. For while according to the present legislation, I still would lack more than 15 years and while the piano time study advances, more difficult will increase and I probably will need more time to jump beyond piano’s third level.

Which is the importance of piano study?
My educator’s work is a delight and will be more if the piano study it is giving me a new perspective about the learning new things, the necessary effort, the fear and nervousness in front of the public gave me opportunities to share situations and sensations sensed daily by my pupils.

The experience of beginning something new needs new physical and mental structures, supplying to educators more understanding about the apprenticeships processes. To learn play an instrument or to learn dance are playful ways to enable us to identify and to increase efficiency to deal with our pupils necessities. As Violeta Parra would say, pupils make us return to the past, we became fragile in a second, and they make us feel deeply like a child in front of God and make our time fertile.

Well, regarding my initial proposition I can conclude in fact about the efficiency of methodology developed by Alice Botelho. For everyone who wants to begin the piano study even in adult phase, since I by myself almost ended her first book. Therefore, I discovered the essentiality of formal study to the technical development, so because this, self-taught persons fill themselves with vices difficult to correct. So as soon as possible, a person must to begin formal studies to do the right thing. Also I am a living proof of possibility to begin learn piano after forty age, since we respect our personal rhythm and are not in a hurry. With calm we are managing to do things seemed at first sight to us impossible and whenever we study, realize that the music is filling out spaces in our soul.

por: Gladis Franck da Cunha

Nasce o Grande Predador

O caçador atinge a plenitude dos seus sentidos se tornando máquina entregue à perseguição dos Scanners e descobre outros caçadores, no entanto, silenciosos entre si e dispersos quando a Luz se esvai, cada um indo ao seu abrigo, pois não sabem quando terão outra alimentação.

Assim como Jacó e o anjo
E apareceu-lhe o anjo do SENHOR
em uma chama de fogo do meio
duma sarça; e olhou, e eis que a
sarça ardia no fogo, e a sarça
não se consumia.
Êxodo 3:2

Eles nem sequer me olham, seguem seu caminho imperturbáveis, sem esbarrar em objetos ou pessoas. Sigo-os avidamente como mariposa atraída pelo rio de luz. A minha percepção aumenta com o decorrer do tempo, não os perco como antes, mesmo que às vezes, tenha que correr apressadamente no meio da multidão sob o risco de cotoveladas e xingamentos, em luta de sobrevivência para não perdê-los.

Quando a caça fracassa, restava-me ir para casa com o coração vazio da luz e sensação de inanição anímica. Descubro que os perdi quando já não mais percebo o rastro de luz; ficamos eu e os passantes, solitários cada um preso a sua dor, eu por perda objetiva e eles sob o peso difuso da existência.

A maturidade de caçador trouxe consigo alguns trunfos, quando os avisto, me lanço como um grande predador e não tenho nenhum escrúpulo em derrubar qualquer coisa no caminho, o cenário é obstáculo de somenos importância interposto entre o scanner e eu. Sob o efeito da adrenalina, minhas ventas se intumescem em prontas para as grandes arfadas, meu cabelo se eriça e os meus músculos se retesam em estado de guerra, prontos para saltar, correr, driblar, cair, levantar, passar por baixo, berrar, descer escadas num passo, subi-las em saltos, sempre com o coração aos solavancos seguindo os traços luminosos, dispostos qual leite derramado.

Tornei-me atleta de malabarismos, incansável na empreitada para acompanhá-los. Às vezes me sinto como um Jacó que se prendeu à perna do Anjo e não a soltou até que ele atendesse o seu desejo. Mas não sou tão atrevido – não fiquei coxo como no episódio bíblico, pois nunca me aproximei a ponto de tocá-los, contento-me em ficar num ponto em que sou tocado pela Luz dos seus olhos, quando eles finalmente me dirigem a atenção, à beira da minha completa exaustão.

Enquanto eles se deslocam na velocidade possível a quem levita, perscrutam indistintamente todos à sua volta e naqueles raros instantes em que cada pessoa é invadida pela luz, ela é premiada com um bem estar que durará todo o dia, às vezes por dias. Já conversei com pessoas que, sem terem idéia do ocorrido, me relataram sensações abruptas de momentos de felicidade surgidas inexplicavelmente, que lhe fizeram sorrir sem razão aparente. Elas tinham sido perscrutadas, mas nunca tive coragem de divulgar o que sei, pois já sou considerado um sujeito estranho e em nada me ajudaria a publicidade do codinome de caçador de aberrações.

Mas não estou sozinho, o dia-a-dia das jornadas de caça me fizeram descobrir outros tantos sujeitos despertos para o mesmo fenômeno, compartilhando iguais objetivos. Percebi que alguns transeuntes se ressaltavam da multidão por ter nos olhos o brilho da mesma busca que me anima. No princípio os olhei desconfiado, até ciumento de ter que dividir a atenção dos scanners com adversários padecedores o mesmo mal. Aos poucos me dei conta que podíamos formar equipes organizadas de esquadrinhamento e, quando um achasse um deles, todos seriam irradiados, porque o sol distribui seus raios irrestritamente.

Não importa quantos caçadores estivessem no seu encalço, no momento em que ele parava, nos atingia indistintamente com seu toque luminoso e entrávamos em êxtase profundo no ponto em que cada um estava, às vezes organizados num círculo improvisado, outras vezes dispersos aos arredores, na medida em que os mais fortes de nós sempre conseguiam se manter mais próximos da criatura, enquanto os de menores dotes atléticos se atrasavam na correria.
Depois do desaparecimento do scanner, cada um ia para sua casa silenciosamente para não estragar o êxtase do dia, pois não sabíamos quando teríamos outro alimento para sobreviver às trevas da pequena vida que nos aguardava traiçoeira.

Por Isaias Malta
Imagem: Cinelog