The Floating Town (Part 1) - Rust Don't Mean Ruined • Surreal AI Music Video (4K)



 

They towed us out here to be sold for scrap.

We had other plans.


Every hull in this harbor was towed out for scrap,

Stamped and forgotten and left off the map.

But the rope found the rope and the board found the nail,

And a town grew up out of everything that failed.

Now there's smoke in the morning, there's bread on the line,

And a door that still opens at a quarter past nine.

The paint's coming off, well, so is mine.

We're getting along just fine.


Rust don't mean ruined, old don't mean done,

The tide still lifts us, every last one.

They wrote us off, but the water never did.

Rust don't mean ruined, old don't mean done.


Miss Ada came out here at sixty-five or so,

Said the world quit waving, so she let the waving go.

She's mending the same coat she's mended for years,

One brass button still on from her wedding day.

And she'll tell you a patch is just a place that held on,

And she'll pour you a cup before you ask.

We don't throw much away out here,

Not a coat, not a boat, not a year.


Somebody asked me, don't it hurt, being left behind?

I said, friend... we weren't left.

We were let go. There's a difference.

I used to think growing old meant learning what to leave.

Turns out it's learning what's worth carrying.

And every light in this town is still on.


Rust don't mean ruined, old don't mean done,

The tide still lifts us, every last one.

If your hands look older, if your days run long,

Rust don't mean ruined. Come on. Sing along.

Rust don't mean ruined... old don't mean done.


They towed us out here to be sold for scrap...

and we built a town instead.


      "The Floating Town is a surreal AI film and music video series set far out on the open water - an imaginary settlement made from about a hundred old ships that had finished their working lives. Ferries, trawlers, coal barges, tugboats, one great listing passenger liner. Out here they found each other. Rope to rope, board to nail, until they were something new: a home inside a rusted hull, a garden growing out of an old lifeboat, a warm window in the fog.

      Everyone here is past sixty. Their coats are patched wool and oilskin, mended for decades, with brass buttons and rope worn as jewelry. Nobody hurries, because nobody is being timed. They're the kind of neighbours who know exactly when to knock and when to just leave a chair waiting.

      They share their decks with gentle animals every bit as old and as odd - woolly sea-cows, long-eared seabirds, a plump dragon the size of a house cat, one enormous sleepy snail who will not be rushed. It's all graded like a faded 35mm feature: burnt orange, tobacco brown, oxidized teal, sea fog grey. A peaceful, fictional world about community, craftsmanship and things worth taking care of.

      Somewhere in the second verse of the song, a woman walked in that I hadn't planned for. Her name is Miss Ada. She's still wearing the coat she's been mending for years - with one brass button left on it from her wedding day. She'll tell you a patch is just a place that held on. She'll pour you a cup before you ask."

      in, YouTube video notes


Emil Nolde (German-Danish, 1867-1956), Frisian Houses II, 1910



      Emil Nolde’s Frisian Houses II presents a vivid, expressive view of traditional houses in the Frisian landscape. Bold colours, strong contrasts and simplified forms transform the rural scene into an almost dreamlike composition. The intense reds, yellows, blues and greens create emotional energy rather than naturalistic description. Nolde’s vigorous brushwork and distorted perspectives emphasise the primitive, atmospheric character of the architecture.


Nuria Mezquita - Canção de amor / Canción de amor

 


"Então darei meeia-volta.

E hei-de partir com o sol, quaando a tarde morrer..."

conste porém que a tarde não morre,

é a noite que a mata,

e eu empresto-lhe a faca.


  Tradução de A.M.


  Original:


"Entonces yo darée la meedia vuelta.

Me irée con el sol cuaando muera la tarde..."

pero que conste que la tarde no se muere,

siempre la asesina la noche,

y yo le presto el cuchillo.


      O poema apresenta o amor como experiência intensa, inquieta e simultaneamente vulnerável. A linguagem poética aproxima o sentimento do eterno e da traição. "a tarde não morre" e deveria morrer. Há amores, assim!


A Beatles' photo



      John, Paul, George and Ringo conversam com o Maharishi, Mahesh Yogi, no comboio entre Londres e Bangor, 25 de agosto de 1967.


The Mary Wallopers - Frost Is All Over

 


Oh, what would you do if your kettle boiled over?

What would I do well I'd fill it again

What would you do if the cow ate a clover?

What would I do well I'd set it again.

The prices are up and the herrings are roasted

Kitty lie over close to the wall

You to be drunk and me to be sober

Kitty lie over close to the wall.


Oh, what would you do if you married a solider?

What would I do well I'd follow his gun

What would you do if he died in the ocean?

What would I do well I'd marry again

The prices are up and the herrings arе roasted

Kitty lie over closе to the wall

How would you like to marry a solider?

Kitty lie over close to the wall.


The prices are up and the herrings are roasted

(Kitty lie over close to the wall)

How would you like to marry a solider?

(Kitty lie over close to the wall)

The prices are up and the herrings are roasted

(Kitty lie over close to the wall)

How would you like to marry a solider?

Kitty lie over close to the wall.


Oh, what would you do if you married a landlord?

What would I do well you'd laugh for the fun

What would you do if he threat an eviction?

What would I do well I'd give him the gun

The prices are up and the herrings are roasted

Kitty lie over close to the wall

You to be drunk and me to be sober

Kitty lie over close to the wall.


      Invoking the sound of the Dubliners and the Pogues with a touch of the Dead Kennedys is the Irish folk group The Mary Wallopers. As a three-piece ballad group, they travelled Ireland singing and collecting songs. Frost Is All Over is their first single from their debut album, coming this autumn, and is a traditional Irish song about taking everything in your stride and not caring about what everyone says you should care about.


Thomas Faed - And with the burden of many years, 1888



      The painting portrays an elderly woman seated beside a road, carrying a large bundle on her back. Wrapped in a shawl, she appears weary and resigned, her posture conveying the weight of age, poverty and hardship. A distant Scottish landscape stretches beneath a subdued, cloudy sky, intensifying her isolation.


Juan Cobos Wilkins - Na corrente / En la corriente

 


Enquanto te amavas

só a ti mesmo, não crescias.


Mas quiseste amar e ser amado,

aí então

a corrente do rio

pôs-se em movimento.


  Tradução de A.M.


  Original:


Mientras te amabas

sólo a ti mismo, no crecías.


Pero anhelaste amar y ser amado

y entonces ya

la corriente del río

se puso en movimiento.


      O poema apresenta o amor como força capaz de transformar e fazer crescer o indivíduo. O sujeito poético estabelece uma relação simbólica entre o desenvolvimento pessoal e o movimento de um rio: enquanto o amor é apenas dirigido para si próprio, existe estagnação; quando surge o desejo de amar e ser amado, a corrente começa a fluir. A linguagem simples e depurada reforça a clareza da mensagem, enquanto a metáfora do rio traduz a passagem da solidão para a abertura ao outro, sugerindo que amar é também começar verdadeiramente a viver.


Vinicius de Moraes por Júlia Sonati - Eternamente exausto



"O corpo separa-se, mas o amor permanece."


      Os versos exprimem a dor de um amor marcado pela impossibilidade e pela renúncia. O sujeito poético reconhece que a presença da mulher amada ilumina a sua existência, mas sente-se incapaz de lhe oferecer mais do que sofrimento. A «exaustão» simboliza o desgaste emocional provocado pelo desejo, pela ausência e pela consciência da perda. A linguagem é intensamente lírica, recorrendo a imagens de luz, noite, mar e natureza. Assim, o amor transforma-se simultaneamente em esperança, memória e profunda solidão.


Before Midnight, 2013, dir. Richard Linklater



      "I feel like I'm running out of time."

      Richard Linklater’s Before Midnight revisits Jesse and Céline almost two decades after their initial encounter, exploring the complexities of long-term partnership. The film delves into the challenges of sustaining intimacy and individuality within a marriage, examining how past romantic ideals confront present-day realities and disillusionments. It asks whether love, in its mature form, can reconcile the dreams of youth with the demands of an evolving life together.

      Shot by Christos Voudouris with a naturalistic aesthetic that mirrors the raw honesty of its dialogue, the film often employs long takes, allowing conversations to unfold in real time. This unvarnished style grounds the philosophical discussions in a tangible reality, with the sun-drenched Peloponnesian landscape providing a poignant counterpoint to the characters' internal struggles and the shifting light reflecting the changing moods of their exchanges.


La Famille LeBlanc -Fille que moi



 

Chez nous y’avait fille que moi (bis)

Encore sur la mer il m’envoie.


  Dam didlia dl dl lam didlia dl lam

  Dam da didlam didlidé!


Le moulinier qui m’emportait (bis)

Il devint ’amoureux de moi.


À chaque mot qu’il me disait (bis)

Disait ma mie embrassez-moi.


Mais qui sait donc qui y dirait (bis)

Se sont tous les oiseaux du bois.


Les oiseaux du bois parlons t’ils (bis)

Il parle français latin aussi.


      La Famille LeBlanc est un groupe de musique traditionnelle originaire de Tétagouche-Nord (Bathurst) au Nouveau-Brunswick, au Canada. Composé de parents et de leurs trois filles, la famille LeBlanc interprète des airs du 19e siècle profondément enracinés dans les traditions acadiennes et celtiques — des trésors musicaux souvent méconnus des autres nations celtiques comme l’Irlande, l’Écosse et la Bretagne.


Harold Harvey - The Critics, 1922



      The painting presents an intimate domestic scene in a Cornish interior, where three women examine drawings and artworks around a table. Flowers, fruit, teacups and scattered papers create a lively yet harmonious composition. The women’s contrasting poses suggest concentration, curiosity and gentle criticism.


Bertolt Brecht - Conselho à atriz C. N.

 


Refresca-te, irmã, na água

Da pequena tigela de cobre com pedacinhos de gelo ‒

Abre os olhos sob a água, lava-os ‒

Enxuga-te com a toalha áspera e lança

Um olhar num livro que amas.

Começa assim

Um dia belo e útil.


      Bertolt Brecht apresenta um conselho simultaneamente simples e profundo: começar o dia com cuidado, lucidez e contacto com a leitura. O gesto de lavar os olhos e consultar um livro simboliza uma preparação para ver o mundo com maior clareza. A atriz deve cultivar não apenas o corpo e a técnica, mas também a inteligência e a sensibilidade.


Antonio Deltoro - Uma árvore / Un árbol

 


Uma árvore grande,

onde não cante o pássaro,

nem subam esquilos,

nem se esconda inquietação.


Uma árvore que vá ganhando calma

como as outras porte e espessura.


Quero plantar uma árvore de silêncio

e sentar-me à espera

que os frutos lhe caiam.


  Tradução de A.M.


  Original:


Un árbol ancho,

donde no cante el pájaro,

ni las ardillas suban,

ni se esconda inquietud.


Un árbol que vaya ganando calma

como los otros altura y espesor.


Quiero plantar un árbol de silencio

y sentarme a esperar

a que sus frutos caigan.


      O poema apresenta a árvore como símbolo de quietude, silêncio e equilíbrio. O sujeito poético imagina uma árvore larga, alheia ao movimento dos pássaros, dos animais e da inquietação, que cresce não apenas em altura e espessura, mas sobretudo em serenidade. A intenção de plantar uma «árvore de silêncio» traduz o desejo de encontrar um espaço interior de paz e contemplação. Os frutos tornam-se promessa de uma recompensa futura, recebida através da espera paciente e da aceitação do tempo.


Ingmar Bergman's The Passion of Anna, 1969

 


      On a remote island, Andreas Winkelman lives in solitude, nursing the wounds of a broken life. His quiet isolation is interrupted by three disillusioned neighbours, each concealing their own private misery. The film interrogates the fragility of human identity, observing how individuals project their internal fragmentation onto one another. It is a rigorous examination of the impossibility of achieving true intimacy when one is fundamentally estranged from the self.


The grave of Ingmar and Ingrid Bergman

 


      The grave of Ingmar and Ingrid von Rosen Bergman, Ingmar’s wife, is located on the picturesque island of Fårö, located in the Baltic Sea, a few kilometers north of the Swedish island of Gotland.

      The renowned filmmaker Ingmar Bergman chose Fårö as his home, where he directed his iconic films: Vargtimmen (Hour of the Wolf), Skammen (Shame), Persona and En Passion (The Passion of Anna). He also filmed parts of Scenes from a Marriage on the island. Ingmar Bergman passed away on Fårö on July 30, 2007.


Johan Krouthén - Three reading women in a summer landscape, 1908



      It’s time for holidays, 15 days to rest as in this painting. Krouthén presents three women resting and reading peacefully beneath the trees. Sunlight filters through the foliage, creating delicate contrasts between luminous grass and cool patches of shade. The relaxed poses and intimate setting convey tranquillity, leisure and quiet companionship. Harmonious celebration of nature, reading and contemplative simplicity are also waiting for me in Sesimbra, near Lisbon. Bye.


Melodymano - Mi Jardin



      Para ser IA está muy bien.


Desde que te conocí iluminaste mi jardín 

De girasoles floreciste más de diez mil emociones 

Sos el sol que alumbra todo mi ser y oculta mis imperfecciones 

Apareciste de la nada no me pienso alejar 

Porque ahora que te tengo nada más puedo pedir. 


Ay, si tus ojos me miraran solo a mí 

Yo me enamoraría y sería tan feliz 

Y es que hace mucho tiempo que sueño con algo así 

Con unos ojitos verdes que me miren solo a mí 

Que me miren solo a mí, que me miren solo a mí. 


En tu cara yo encontré todo lo que me faltaba 

Y en tu alma descubrí que sin ti yo no soy nada 

Sos un regalo de Dios que al fin se acordó de mí 

Sos mi risa, mi amargura, lo que más me hace feliz 

Puede ser que vos comprendas lo que yo siento

y que me entiendas porque desde que te vi. 


Iluminaste mi jardín de girasoles 

Florecieron más de diez mil emociones 

Devolviste poco a poco los colores 

Y en el desierto de mi ser crecen las flores.


Sos el sol que alumbra todo mi ser 

Y oculta mis imperfecciones 

Me robaste el corazón con tan solo una mirada 

De los ojos más bonitos que alguien podría mirar 

Ay, si tus ojos me miraran solo a mí 

Yo me enamoraría y sería tan feliz 

Y es que hace mucho tiempo te quiero ver ahí.


    Sí, para ser IA está muy bien.


Civilização e barbárie



 

      Muito se tem insistido numa velha dicotomia, obstinada como um quisto endurecido: civilização e barbárie. Nietzsche e Burckhardt foram talvez os primeiros a invalidar a pertinência desta oposição, quer para uma teoria da cultura entendida num plano sincrónico, quer para uma periodização hierárquica da história. A grande tragédia do século XX não só lhes deu razão como elevou a uma condição hiperbólica, antes inimaginável, a fatal integração da barbárie no interior de toda a civilização.

      António Guerreiro


Robert McInnes - Dorotheum



      The composition suggests an elegant moment of beauty. Is the barefoot young woman carrying a wood container of milk from distant cows? Why does she need it? It's true "A moment of beauty is a joy forever."


Ángela Vallvey - Choro de criança / Llanto infantil

 


Senta-te, Érica. Olha como o fundo do céu

parece misterioso com o amanhecer.

Este é o rito, a suavidade com que a luz

do Sol cruza a linha curva da Terra.

A luz, peregrina, calor inevitável

neste vazio todo. A luz não reflete.

enreda-se nas silvas e no teu cabelo,

enfrentando os objetos com orgulho.

Importa , acima de tudo, que olhes os astros e as nuvens,

apesar de não poderem explicar-te o firmamento.

Não digas que se adivinha nela

o desprezo ou a tristeza,

aliás, o céu não saberia

outro modo de ser céu. Atenção,

a Lua começa a confundir-se

com a cor da manhã,

e os pássaros olham-na

planeando em segredo voar até aos seus mares

de pó negro que desconhecem o verão.

Levanta-te, Érika, não chores,

põe-te a correr novamente. Não tropeçarás mais,

o teu único muro será o céu limpo de Junho.


  Tradução de A.M.


  Original:


Siéntate, Érika. Mira cómo el fondo del cielo

parece misterioso con el amanecer.

Este es el rito, la suavidad con que la luz

del Sol cruza la línea curva de la Tierra.

La luz, que es una peregrina, inevitable calor

en todo este vacío. La luz no reflexiona,

se enreda en los zarzales y en tu pelo,

se enfrenta con orgullo a los objetos.

Importa, sobre todo, que mires a los astros y a las nubes

aunque ninguno de ellos pueda explicarte el firmamento.

No digas que en su forma

se intuyen el desprecio o la tristeza:

si no fuese así, el cielo no sabría

otra manera de ser cielo. Fíjate,

la Luna empieza a confundirse

con el color de la mañana,

los pájaros la miran

planeando en secreto volar hasta sus mares

de polvo negro que no conocen el verano.

Levántate, Érika, y no llores,

echa a correr de nuevo. No volverás a tropezar

el cielo limpio de junio será tu único muro.


      O poema aborda o choro infantil como expressão primordial de dor, medo e vulnerabilidade. A voz poética observa esse sofrimento com uma sensibilidade que ultrapassa o episódio concreto, sugerindo a fragilidade da infância perante um mundo nem sempre protetor.


The Baltic Sisters' Cuckoo song



      The Baltic Sisters is an international folk music project that was born far from the shores of the Baltic Sea, at the end of 2022 at the world music expo WOMEX, in Lisbon, where singers from Estonia, Latvia, and Lithuania first met. It was the passion for sutartinės, ancient polyphonic songs from Lithuania, that initially brought the Baltic sisters together, but now their repertoire also includes Estonian and Latvian music. Their names are: Marion Selgall, Vineta Romāne, Liene Skrebinska and Laurita Peleniūtė.

      "Sutartinės are a meditation," declares Peleniūtė. "I sometimes do them in workshops of 300 people and after one hour it brings a beautiful relationship between those people. It’s like they had a journey together. A sutartinė is like a mantra. Not so much to be listened to but performed."

      One of the most remarkable tracks they devised for the album is ‘Cuckoo Song’ which combines lyrics from all three languages. The basis is a rather brutal Estonian folk tale about a cuckoo: Stepmother kills youngest daughter, who comes back as a cuckoo who sings beautifully and gives a scarf to her older sister, a hat to her brother and drops a millstone on the stepmother who killed her. Then, the cuckoo transforms back into the young girl. A rebirth. "It was harsh for women to live in these times," says Peleniūtė. "Now we are free, so it’s a kind of healing, not to pass on this historical trauma to our daughters."


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