Lippi & Semma's Friendship
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About this ebook
The animal life's boundaries of Semma and Lippi's is an adventure history.
The history is the adventure that comes from the tangles that the author to do as start process to write the history.
The author believes that tangles can compose the history. They would be the thoughts as the events that materialize in the same drawing when you choose into the tangle which you did.
Could we from the drawing tip tangle make a narrative short story? Can the child do this? We choose the events whose ideas complete what represent these discovered objects. What will happen in those huddled traits? We do not know what there is inside the drawing. If we want to know what it is, and what else can be discovered, just let the mind to float.
Let's talk about it.
The Pedagogy and Psychology in education science can help us. It is not much, but it is enough. Here the complexity change for simplicity.
The Friendship of Lippi and Semma tells how this process takes care to create new possibilities.
The story will shows a little about the dynamics of creativity.
Here is a path, a little different, a case among many possible.
'No drawing no image, no boundary no limits people that no has limits no have the design or drawing, self image, valous and ethical capacity for decision'.
Therefore, give limits to create the drawing, the character, the personality.
The Friendship of Lippi and Semma tells how this process takes care to create new possibilities.
The story shows a little about the dynamics of creativity.
I want you to know how much you can offer to grow the child's imagination with a little story of tangled lines. Play scribble.
Here is a path, a little different, a case among many possible. It is a proposal to play scribble.
Learn more about this story with strangers tangled in the lines. Scribbles are multiple paths of different meanings and senses.
"****"
Pedro Moreira Nt
Who I amPedro Moreira NtI have been a writer since infancy; my father influenced me with reasonable asks to do that the best possible, and my mother, too, read to me, I have been a writer since infancy; my father influenced me with reasonable asks to do that the best possible, and my mother, too, read to me, and at both comes a song walking my mind, sweetness and lovely goodness. I am critical of that; I desire to create a mist of essay, but my preference for poem structure and sensibility do not long of art. So, I seek romanticizing concepts and developing a new sense of literature that happens in its movement. I leave it to the reader to do part of that; they create a truthful text and can do a good book. It is the interpretation, the way, a leap beyond what a word says, transforming our lives when they share.My first writings, chronic stories, participated in my soul. It was extremely critical and sarcastic about what I saw from reality.I am talking of a fifties age period behind. In a position about what I developed, my evolution was more toward apparent expressionism and realism with wave poetical intermain. I do not know, and I am a writer by chance by life.I wait to create something more dense and fragile so that a reader can discover more insight and make the story.I write all day. I threw out many texts, books, and theatre, left at home friends, gave up on other works, abandoned along the path, and presented in different ways when it was impossible.I have not had a time in which I did not have difficulties showing my art, or I was, for some reason, prohibited from showing, or people made oyster faces and bodies, seeing down shoes, putting me out because, beyond writing, I talk. And when I speak, I create conflict with conceptualistic people. I am intervenient into the academy and ideological corpus, into radicalism free. I am more definitive when I believe in what I say and highly flexible when people do not know what I am saying.My themes are variant, and many circumstances bring me a gift, a motive to write. I wrote in Portuguese two books that I like, "Lirio" - Lille, and "O Peixinho do Pantanal" - The Little Fish from Pantanal (Wetlands), and both meant creation, jump to beyond, overcome, transformation social and personal release.From that, I wrote other books seeking to show different meanings throughout of phantasy necessary, and it to parents and children a fantastic universe of possibilities for a personal construction, making life an adventure.I create a pedagogical process to write and design tangled images where it is possible to seek the theme of a short story. "Lippi and Semma Friendship" talks about that, and I wrote that short story through it. They led me to social problems, injuries, differences, the orthodoxy of community rules, cultural values, the barriers around democracy and its meaning, and the gratitude for a true friendship."Letter to the Moon" is a short love story, but love yourself, and send a letter to the Moon through a pebble launched for.Books about freedom, encountering people, loss, and gains, and becoming someone.Book for radicality of right in that it does not see your bottom."Bakery," for example, talks about that.I finished a short story made of challenges and adventures: "Memories of the Air." - from you start reading until the end, the thing is in action, in movement, an eternal fugue or secrets, and does not reveal its net. The reader will discover.
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Book preview
Lippi & Semma's Friendship - Pedro Moreira Nt
Lippi & Semma's Friendship
Published by Pedro Moreira Nt at Smashwords
Copyright 2018 Pedro Moreira Nt
Second edition, 2022
*******
Lippi & Semma's Friendship
Pedro Moreira Nt produced this book
2018
Second edition, 2022
*******
Lippi & Semma's Friendship
Why is this story different?
The child and the adult will look at the tangled images.
Who has never been making aleatory designs? Stuffed, they are with possibilities for making different things. They will encounter these things with signs that emerge in their mind and when they can play with these tangled images. It will be the moment when a child discovers that there is a logical form in these lines. So when they create any other possibilities. In reality, it is the child who, in this process, can create the image. Do we do this to exist through imagination and comparison because the mind makes choices? Yes, it is what we were waiting for, and we got a surprise. They can say: 'Wow, it was here all the time. So, thinking in this situation, we can have another line of that question:
The option is possible with the existing things, and choices are creative production where we get possibilities. The option can also be the moral question and choices for ethical decisions.
The choices are ongoing events in search of motivation. We can see how the choices create ethical decisions for art, for example, in this book, and how it is to identify some mental events and enjoy: It is not at this moment that you have to make the decision. Do not you believe this?
Choose is different from an option because choose means creating a main of making choices for possible decisions, a personal evaluation average to construct something demanding action. The option turned on a particular object in demand falling on one thing or another is always a duality. We can use these words as synonyms, but they are not.
History is the adventure that comes from drawing.
The drawing here in the book is the tangles. The tangles here form what compose the images. They would be the thoughts as the events that materialize in the same drawing when you choose to get into the trap which you did, but only it, and nothing else. We make a narrative short story from the drawn tip tangle. Can the child do this?
We choose the events