É aqui que é aqui

Nas postagens abaixo, a linha do tempo da pesquisa de doutorado: notas, comentários, referências e outros fragmentos.
Nas abas acima, outras linhas: um pouco de tudo.

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Zoe Bellof e a vida secreta dos filmes

Após ouvir uma breve explanação de meus interesses de pesquisa, o Prof. Z sugeriu que eu conhecesse o trabalho da artista Zoe Bellof, que dedica-se a um campo semelhante ao que eu pretendo explorar. Alguns extratos do um ensaio inspirador disponível em seu website.
“I’ve always secretly felt that making these QuickTime movies was more like “casting a spell” that conventionally shooting a film.”
“I am not interested in being literal or illustrative but instead letting the past breathe through small discarded objects.”
[…] “one must remember that in the 19th century there was a certain obsession with the question of whether a machine itself could possess a soul. ( just as people today speculate as
to whether a computer could be have consciousness).”
“In this light all media technologies could be said to be shot through with this idea of artificial resurrection, with time and death.”
“Zoe works with a wide range of media including film, projection performance, installation and drawing. She considers herself a medium, an interface between the living and the dead, the real and the imaginary. Each project aims to connect the present to past so that it might illuminate the future in new ways.”

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links link links


marcar no começo da semana que vem algo com guto.

apresentacao do nano.

transcomunicacao experimental:




sean cubitt

levi strauss

especulative realism



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links animal

deleuze http://www.filosofia.ufpr.br/var/1364341166Anteprojeto_Juliana_Fausto.pdf

agamben http://politicsandculture.org/2005/05/07/giorgio-agambens-the-open-man-and-animal/ […] “The Open offers theoretical insight on how to dislocate biopolitics and explore ontologies that allow for the fraternal and non-hierarchical coexistence of all forms of life.”

ecologia_desde_el_arte_digital – telefonica

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Dinge und Objekte: Fremde Nähe

Objekte ist das was im Grunde…

Bill Brown : der, eine Objekt Theorie formuliert hat


Wenn wir nicht so menschlich gucken…

Jenseits des kodifizierten Reale: Kafka

Wir sind nie modern gewesen: Latour

Spielzeug und Sprachmagie in der europäischen Literatur

Yoko Tawada untersucht in ihrer Promotionsarbeit eine magische Bedeutung von Puppen, Nussknackern, Bällen, Kreiseln, Gespenstern und vielen mehr. ‘Die Kulturgeschichte des Kreisels, besonders in seiner Funktion als magisches Objekt, ist kaum bekannt. Im Unterschied zur Puppe hat der Kreisel nie eine nennenswerte Rolle in der europäischen Literatur und Kunst gespielt. Die Ethnologie bietet aber Beispiele, die zeigen, dass die Bewegungen des Kreisels manchmal als Orakel gelesen werden, Zeichen, die man interpretiert, um einen Rat für richtiges Handeln zu erhalten. Die Mehrdeutigkeit der Zeichen des Orakels wird meist in der Mehrdeutigkeit der Sprache des Interpreten wiederholt. Die Funktion des Orakels wurde in Europa zunächst durch die monotheistischen Religionen und dann durch die Wissenschaften ersetzt, wobei die Mehrdeutigkeit vor allem aus den Wissenschaften verdrängt wurde und in die Literatur flüchtete. Es gibt einen Prosatext von Franz Kafka, in dem die Folgen der Substitution der Magie durch die Wissenschaft kritisch und spielerisch thematisiert werden. anhand eines Philosophen der der Bewegung eines Kreisels folgt.’

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Rosa Barba

Por ocasião da Berlin Gallery Weekend tive o prazer de conferir, na Galeria Meyer-Riegger o trabalho de Rosa Barba. artista italiana que inspira minha pesquisa acerca da dimensão escultórica do cinema. Barba explora de forma muito sutil e ao mesmo tempo muito potente os planos do discurso, da narrativa, da imagem e do texto, depurando a forma cinema como nunca vi. Emocionante.

Rosa Barba Spacelength Thought (Ed. 3+2), 2012 projector, typewriter, 16mm film dimension variable

Pensei: O que pode nos fazer espectadores, no sentido que lhe atribui Flusser, é uma relacao objetual com a imagem.  Neste sentido, mesmo em obras ditas interativas, nas quais o interator está supostamente co-criando a obra no momento de sua fruicao, é possível que se estabeleca o paradigma objetual; dito de outro modo, a interativiade tecnologica nao é garantia de relacao de irmandade que ultrapassa a objetualidade. O objeto é outro, é fora, é dado, é manipulado. A co-criacao pode assim, ao contrário, ocorrer com trabalhos onde nao ha interacao prevista.

Destaco do texto que apresenta a exposição: “The work of Rosa Barba is based on radical experimentation with the medium of film, proposing a new language. Her pieces not only dissect cinema itself (celluloid, light, colour, sound, image, movement, time) but also fragment narration into different layers, implying a level of abstraction in which imagination and a conceptual approach play a decisive role.”

Gastei uma bos meia hora lendo os textos disponiveis sobre seu trabalho e fiquei feliz de encontrar esta entrevista on line.

JJ You also make kinetic objects where you give more attention to form, but the objects are performative as well.

RB With the objects, I am interested in a specific absence of image and in a balancing act. I use my camera the same way when I record images. I decide for a frame but then, when I point my camera to it, I have no control anymore over what actually happens inside the frame. So the sculptures are situated in the frame I prepare for them, and then they start a conversation with the different parts of the object and with the observer.


Installation view of Sight Enables Us to Appreciate Distance, 2013, Turner Contemporary, Margate, England, 70mm film, aluminum, neon lamps, and motors.

RB Using my film camera allows me to be synced with or to be close to time, especially when I film in wide-open spaces where time seems to exist endlessly in every direction—it’s almost three-dimensional. Looking through the camera, I often feel that the process of capturing time requires a specific perspective. I’m very interested in film also, because you never really know when the film actually happens. Does it happen when the light hits the camera lens? Does it happen when it is developed? Or does it actually happen when it comes out of the projector and is thrown into a space?

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Lua lua lua


Planetenkinder der Luna, Mittelalterliches Hausbuch der Grafen von Waldburg Wolfegg, fol. 17r, Fürstliche Sammlung, ca. 1470

Reproduction_of_Kepler's_Somnium_1634_Title_PageSomnium (Latin for “The Dream”) was a science fiction novel written in 1608, in Latin, by Johannes Kepler. The narrative would not be published until 1634 by Kepler’s son, Ludwig Kepler. In the narrative, an Icelandic boy and his witch mother learn of an island named Levania (our Moon) from a daemon (demon). Somnium presents a detailed imaginative description of how the Earth might look when viewed from the Moon, and is considered the first serious scientific treatise on lunar astronomy.


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Terra Rara

RARE EARTH is nothing less than an attempt to define the spirit of our age: an exhibition relating myth, identity, and cosmology to current advances in technology. It explores the material basis for the most technologically developed weapons and tools – a class of 17 ‘rare earth’ elements from the periodic table found in everything from mobile phones to computer hard drives. After the Stone Age, the Bronze Age and the Iron Age, this is the age of RARE EARTH.”

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