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Back in late October of this year, I went to the International Symposium on Mixed and Augmented Reality that took place here in Orlando, FL. I might not have had a chance to attend had it been somewhere else (as in Tokyo or LA), but luck was on my side this time. I had previously seen augmented reality at events such as OTRONICON (Orlando Electronic Interactive Convention), and I wanted to see what’s new about this technology.

In the last few years, people have made the switch from desktop PCs to laptops, from MP3 players to the iPod, and from DVDs to downloads. Now it seems like we are on the horizon for a new generation of technology. The Nintendo DSi, the Wii, the PS3, the Xbox 360 and the iPhone are bringing AR to our gaming experience, and even the NFL and Burger King have tried this. But you may be asking yourself, what is augmented reality (AR)?

According to Wikipedia, AR is is “a term for a live direct or indirect view of a physical real-world environment whose elements are merged with (or augmented by) virtual computer-generated imagery – creating a mixed reality.”

In simpler words, AR is the combination of real-world live video with computer-generated graphics that creates a mixed world, or in other words, a mixed reality, in your devices. To achieve this, AR relies on knowing and understanding the location and the movement of the user. You may have already seen AR in actual live NFL games seen on TV. You may have seen a graphic or animation with something like “3rd and 4″ on the field. It’s called the “First Down Line” created by SportVision. It looks as if the graphic has been painted over the field. It looks real. Even when there is a camera zooming in or out, the graphic zooms in or out as well. It provides information in real-time. The Burger King AR online ad, which can be found at sites such as GameTrailers.com, is also fun to watch and interact with (as long as you got a web camera).

There was a great variety of MR/AR devices for different purposes at ISMAR 2009. MR/AR for the military ? Yes, there’s an MR/AR for that. MR/AR for kids and learning? Put a Spell was a very fun app to play with. Another one was Sony’s EyePet, a game which is already out in Europe and will make its US debut in the next few months. If you are on vacation and visiting a city, AR applications can give you information about places by pointing your device to them (think of brief Wikipedia-style info by pointing to the Statue of Liberty or Yankees Stadium), or it can give directions to go to other places.

ISMAR is really much more than fun and games. Not only there were many applications that can be used in fields such as science, education, media, marketing and others,  influential people of this technology were also at the event. Think of ithis as the Game Developers Conference for augmented reality. I met great people in the world of MR/AR and attended some workshops and tutorials which were truly fascinating (sorry Spock!) in order to understand some more about their work in the development of this brilliant technology.

Because Christmas is here and there won’t be that many news during this holiday season, I’ll take the opportunity to post more information about mixed and augmented reality starting today.

Español | English

A fines de octubre de este año, fui a el Simposio Internacional de realidad mixta y aumentada (ISMAR, en inglés), que tuvo lugar aquí en Orlando, FL. Yo no podría haber tenido la oportunidad de asistir si hubiera sido en otro lugar (como en Tokio o Los Angeles), pero la suerte estaba de mi lado esta vez. Ya había visto la realidad aumentada en eventos como OTRONICON, y yo quería ver qué hay de nuevo sobre esta tecnología.

En los últimos años, la gente ha hecho el cambio de PC de escritorio a portátiles, de reproductores MP3 al iPod, y de los DVDs a las descargas por Internet. Ahora parece que estamos en el horizonte de una nueva generación de la tecnología. El Nintendo DS, el Wii, el PS3, el Xbox 360 y el iPhone  están trayendo AR a nuestra experiencia de juegos, e incluso la NFL y Burger King han intentado esto. Pero usted debe estar preguntandose, ¿qué es la realidad aumentada (AR)?

Según Wikipedia, AR es “es el término para definir una visión directa o indirecta de un entorno físico en el mundo real, cuyos elementos se combinan (o se aumentan) con elementos virtuales para la creación de una realidad mixta a tiempo real.”

En palabras más sencillas, AR es la combinación de vídeo en vivo en tiempo real con gráficos generados por ordenador que crea un mundo mixto, o en otras palabras, una realidad mixta, en sus dispositivos. ¿Por qué una realidad mixta (RM)? Sólo puede ver los gráficos y las animaciones a través de su(s) dispositivo(s). Para lograr esto, AR se basa en conocer y comprender la ubicación y el movimiento del usuario. Puede ser que ya hayan visto AR en verdaderos partidos en vivo de la NFL vistos en la televisión. Usted puede haber visto un gráfico o animación con “3ro y 4″ en el campo. Se llama la “First Down Line” creada por SportVision. Parece como si el gráfico ha sido pintada sobre el campo. Parece real. Incluso cuando hay una cámara de acercar o alejar el zoom en el gráfico o fuera así. Provee información en tiempo real. El anuncio AR de Burger King en línea, que se puede encontrar en sitios como GameTrailers.com, es también divertido due to its interactivity (con tal que tengan una cámara web).

In simpler words, AR is the combination of real-world live video with computer-generated graphics that creates a mixed world, or in other words, a mixed reality, in your devices. To achieve this, AR relies on knowing and understanding the location and the movement of the user. You may have already seen AR in actual live NFL games seen on TV. You may have seen a graphic or animation with something like “3rd and 4″ on the field. It’s called the “First Down Line” created by SportVision. It looks as if the graphic has been painted over the field. It looks real. Even when there is a camera zooming in or out, the graphic zooms in or out as well. It provides information in real-time. The Burger King AR online ad, which can be found at sites such as GameTrailers.com, is also fun due to its interactivity (as long as you got a web camera).

Hubo una gran variedad de dispositivos MR / AR dispositivos para diferentes fines en ISMAR 2009. ¿MR / AR para los militares? Sí, hay una MR / AR para eso. ¿MR / AR para los niños y el aprendizaje? Put A Spell era una aplicación muy divertida con la cual jugar. Otra fue el EyePet de Sony, un juego que ya salió en Europa, y hará su debut en EE.UU. en los próximos meses. Si se encuentran de vacaciones en una ciudad que quizás no conozcan muy bien, las aplicaciones AR les pueden dar información acerca de lugares públicos señalando el dispositivo hacia aquellos (ej. apuntando su iPhone hacia la estatua de la libertad o el estadio Yankees). Tales aplicaciones también pueden dar direcciones sobre como llegar hacia aquellos lugares desde donde se encuentren.

ISMAR es realmente mucho más que diversión y juegos. No sólo hubo muchas aplicaciones que pueden ser utilizados en campos como la ciencia, la educación, los medios de comunicación, marketing y otros, personas influyesntes de esta tecnología también estuvieron en el evento. Piense en ello como la Game Developers Conference de realidad aumentada. Conocí a grandes personas en el mundo de la IM / AR y asistió a algunos talleres y tutoriales que fueron verdaderamente fascinante (Spock, lo siento) con el fin de comprender un poco mas acerca de su trabajo en el desarrollo de esta tecnología brillante.

Porque la Navidad ya llegó y no habrá muchas noticias de que durante esta temporada de vacaciones, voy a tener la oportunidad de publicar más información acerca de la realidad mezclada y aumentada a partir de hoy.

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Artes tanitim

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A post-byzantine icon from the collection of the Hellenic Institute of Venice

Διάλεξη με θέμα «Η βενετική περίοδος της ελληνικής ιστορίας – Η βενετοκρατούμενη Κρήτη» έδωσε η Γραμματέας Επικοινωνίας του Γραφείου Τύπου και Επικοινωνίας Βαρσοβίας, Μαρία Μονδέλου, στις 8 Δεκεμβρίου στο Πανεπιστήμιο Βαρσοβίας.
Η διάλεξη πραγματοποιήθηκε ύστερα από πρόσκληση του Ινστιτούτου Διεπιστημονικών Σπουδών (Institute of Interdisciplinary Studies) “Artes Liberales” του Πανεπιστημίου της Βαρσοβίας, με πρωτοβουλία της καθηγήτριας Malgorzata Borowska, διευθύντριας του Τμήματος Νεοελληνικής Φιλολογίας.
Την διάλεξη παρακολούθησαν οι φοιτητές του Β΄ έτους της Νεοελληνικής Φιλολογίας, στο πλαίσιο του μαθήματος «Κρητικά αριστουργήματα της περιόδου της Αναγέννησης».
Παρουσιάστηκαν αρχικά, τα σημαντικότερα ορόσημα της βενετικής ιστορίας και των μακραίωνων ελληνο-βενετικών σχέσεων, με έμφαση στις σχέσεις Βενετίας και Βυζαντίου.
Έγινε αναφορά, σε όψεις της ιστορίας της Βενετοκρατίας στον ελληνικό χώρο και στα χαρακτηριστικά της βενετικής κυριαρχίας, και επισημάνθηκαν ορισμένα από τα συμπεράσματα των σύγχρονων ερευνών, οι οποίες αποδεικνύουν την ύπαρξη ενός κοινού ελληνο-βενετικού πολιτισμού, καρπού της δυτικής και της βυζαντινής παράδοσης. Αναλύθηκαν τα κύρια γνωρίσματα της ιστορίας των βενετοκρατούμενων περιοχών, με έμφαση στις σημαντικότερες βενετικές κτήσεις, όπως η Κωνσταντινούπολη και η Κρήτη. 
Στη βενετοκρατούμενη Κρήτη ήταν αφιερωμένο το δεύτερο μέρος της ομιλίας. Τονίστηκε η σπουδαιότητα της βενετικής αυτής κτήσης και αναλύθηκαν ορισμένοι από τους θεσμούς που εισήγαγε η Βενετία στο νησί, καθώς και τα χαρακτηριστικά των τεσσάρων μεγαλύτερων πόλεων του νησιού κατά την διάρκεια της βενετοκρατίας (Χάνδακας, Χανιά, Ρέθυμνο, Σητεία). Ιδιαίτερη αναφορά έγινε στη λεγόμενη «Κρητική Αναγέννηση» και σε επιτεύγματα του βενετο-κρητικού πολιτισμού της ύστερης περιόδου (ενδεικτικά παραδείγματα  από την λογοτεχνία, την ποίηση, την ζωγραφική).
Τέλος, έγινε αναφορά στο έργο του Ελληνικού Ινστιτούτου Βυζαντινών και Μεταβυζαντινών Βενετίας, του οποίου η ομιλήτρια διετέλεσε υπότροφος- ερευνήτρια.
Επισημάνθηκαν η προσφορά του Ινστιτούτου ως του μοναδικού ερευνητικού ιδρύματος της Ελλάδας στο εξωτερικό και η δράση του σε ποικίλους τομείς (επιστημονική έρευνα, εκδόσεις, διοργάνωση συνεδρίων, βιβλιοθήκη, αρχείο χειρογράφων και παλαιών εγγράφων, μουσείο μεταβυζαντινών εικόνων κ.ά.). Παράλληλα, παρουσιάστηκε συνοπτικά η ιστορία της Ελληνικής Κοινότητας Βενετίας, η οποία υπήρξε η σημαντικότερη ελληνική κοινότητα του εξωτερικού. 

The Hellenic Institute of Venice and the Church of St. George

Lecture “The Venetian Dominion in Greece – Venetian Crete” (University of Warsaw, 8/12)

A lecture about “The Venetian period of Greek history – Crete under venetian rule” was hold by the Press Attache of the Press and Communication Office in Warsaw, Maria Mondelou, on the 8^th December at the University of Warsaw.
The lecturer was invited by the Institute of Interdisciplinary Studies “Artes Liberales” of the University of Warsaw and the director at the Department of Modern Greek Philology, Malgorzata Borowska.
A chronology of Venetian history and of the Greek-Venetian relations was initially presented. Main aspects of the Venetian dominion in Greece were described and the results of contemporary researches, that verify the existence of a common Greek-Venetian culture, product of the Latin and the Byzantine traditions, were highlighted. The most important characteristics regarding the history of regions under Venetian rule, such as Constantinople and Crete, were also presented.
The second part of the lecture was dedicated to the Venetian Crete, a most important Venetian territory. The institutions that Venice introduced in the island and the characteristics of the greater towns (Candia, Canea, Rethymnon, Sitia) during the Venetian dominion were, also, analysed. Particular attention was preserved for the so-called “Cretan Rennaissance” and the aspects of the Venetian-Cretan culture (literature, poetry, painting).
Finally, the Hellenic Institute of Byzantine and Post-Byzantine Studies of Venice and its activities were presented by the lecturer, who has been a researcher of the Institute. It was highlighted  the great importance of this foundation, as the only scientific institution of Greece abroad and several types of its activities (scientific research, editions, organization of conferences, library, archive of manuscripts and old documents, post-byzantaine icons etc.) were described.

It was, also, briefly presented the history of the Greek-Orthodox Confraternity of Venice, which for centuries has been the most important Greek Community abroad. 

Escrita em parceria e baseado na pesquisa do meu amigo Canhoto que bloga a versão portuguesa em http://canhotagem.blogspot.com/ e http://tropecassino.blogspot.com/

Co-written and based on research by my friend Canhoto, who posted the portuguese version at http://canhotagem.blogspot.com/ , http://tropecassino.blogspot.com/

During the 1940’s, the United States created the good neighbor policy attempting to consolidate their economic superiority and cultural hegemony in Latin American countries. In the northern hemisphere, Carmen Miranda had become the highest-paid actress in the U. S. due to the royalties derived from her brand of hats, clothes and wooden clogs. 

Meanwhile, south of the equator in Brazil, on the 13th February 1942, there landed Orson Welles with a mission to film two episodes of It’s All True. The first would tell the story of carnival and its influences, such as samba and candomblé; the second would pay homage to four men from the northern state of Ceará, who starred a real life extraordinary deed in a raft. The previous year, Welles had read about them in Time magazine learning how four men in a raft sailed the ocean for over 1000 miles from Fortaleza to the then federal capital Rio de Janeiro. Their names: Manuel Olímpio (known as Jacaré), Jerônimo de Sousa, Raimundo Lima e Pereira da Silva.  They travelled to ask president Getúlio Vargas for their welfare rights – the dictator conceded and promised but he never delivered. 

The main problem with the making of this movie, filmed during six months in 1942 and never released, was the director himself, one of the most influential cinematographers of the 20^th century, the polemic Orson Welles. It appears that the genius, then aged 26, got in trouble with Getúlio Vargas and Nelson Rockefeller. Stories that followed his adoption of Hollywood as a playground lab on how to infuriate both celebrities and big bosses. 

It’s All True was an attempt to debunk Hollywood stereotyping of blacks and latinos. In its last segment, the film aimed to connect the history of these ethnic groups to north-american black culture (the only part of the movie never to be recorded). Featuring Louis Armstrong, the sequence would give an account of the common genesis of samba and jazz… 

One of the motives behind the presence in Brazil of Citizen Kane’s director – one of the most influential films of all times – was that he was being harassed by William Randolph Hearst, proprietor of Time’s media empire and on whom Kane’s character was based. At the time, major U.S. celebrity magazines belonged to Hearst, who exerted his power over Hollywood and was able to add Welles’ name to the list of ‘reds’ that the FBI was already investigating one decade before the notorious witch hunt. 

And who do you think Welles hanged out with while he was down here? Vinicius de Morais, who had recently been nominated ambassador at Itamaraty (Brazilian Foreign Relations Ministry, so named after the palace in Rio de Janeiro where it operates from), wouldn’t part from the icon. Herivelto Martins and Grande Otelo were not only Welles’ work collegues, but also all night long drinking buddies in many of Rio’s shanty towns. Herivelto (music director) and Otelo (main character in one of the segments) were puzzled by the gringo’s attitude, getting wasted on cachaça until 5 a.m., and at 8 a.m. demanding everybody’s presence in the set. The Brazilians were used to Urca Casino’s routine and never woke up before noon, something that took Welles’ to the verge of a nervous breakdown. 

But it was the young director’s closeness to raftman Jacaré that really bothered the Brazilian government. The DIP (The Press and Propaganda Department under Vargas’ dictatorship) was accusing Jacaré of being … Communist, no less. When Welles filmed Four Men on a Raft, reenacting the journey they had undertook the previous year from Ceará to Rio de Janeiro, Jacaré was killed in a tragic accident at Guanabara Bay. Moved and more determined than ever, Welles created another segment to show the tragic conditions in which fishing communities lived at the time in Ceará. 

Going for a  change of tide, Welles’ left Rio and went to Fortaleza where he stayed for a over a month, quickly writing and directing the script. Meanwhile he got closer to the local people, filming fishermen who had never seen a movie in their entire lives. With 10.000 dollars alone he portrayed the daily routine of those oppressed communities, the work and craft of women, and he staged the death of a fisherman in the sea, his funeral in the village and the uncertain future of his young widow. The work was confiscated while still unedited, by RKO, which was later sold to Paramount. There, in 1958, a clerk supposedly burnt the majority of the technicolor material, the sequence of It’s All True, where Grande Otelo appears. Apparently, the order came due to the studio’s fear of being sued for copyrighting unreleased footage. Is it true that there are no scenes left with Grande Otelo? 

It’s All True’s supposedly destroyed sequence focused in the origins of Rio’s Carnival and was filmed all over the city. Praça Onze, a square demolished the previous year so that Presidente Vargas avenue could be built, was reconstructed in a studio, much irritating the dictator. Other segments filmed in the then federal capital, were staged at Urca Casino, a place well-known to Welles, where he even had hot affairs, such as singer Linda Batista. 

I heard people say that the most beautiful take of the sequence shows a ritual where newly-stretched cat skinned drums are warmed up by a huge fire. In the 1993 documentary also entitled It’s All True, Herivelto Martins’ son, Peri Ribeiro, who also played a role next to Grande Otelo in the movie, said that Welles did what no other man had done for Brazil: show the country as it really was – something that ironically ended up being the reason behind the project’s failure. 

Grande Otelo and Peri Ribeiro

Welles’s career was stained only because he was given a million dollars to direct a film that he couldn’t finish because of obstacles posed by the studio itself. And is it true that also because of censorship by the Brazilian government? 

Welles commented in an interview to film critic André Bazin: “ (…) they made another version, changing ideas and remaking it their way. I filmed for 6 months, but RKO fired me”. 

As the years went by, Welles never had other proposals to conduct his own project in his own country, so by 1946 he had already moved to Europe. Recently, in 2009, a former secretary to the Brazilian government told me that in the 1950, she travelled in a plane chartered by Assis Chateaubriand (another head of media empires; this one from Brazil), to go to a party in a castle situated in Paris’ surrounding region. Once there, she stepped on a drank man who was laying on the floor and obstructing the pathway. Later she learnt that the boozy was no other that the great Orson Welles. 

Brazilians have always had the best impressions of the film maker who came down here, got into the local culture, hanged out with the artists and exalted the then fashionable nationalism put forward by the ‘New State’ (how Vargas government was termed), to the point of narrating the president’s birthday live on radio to the U.S. Welles had even an opportunity to mark his territory in the country, when one day he stopped the car to urinate by the river Itabira, in Itabirito, state of Minas Gerais, where today stands his bust sculpted by local artist Genin Guerra. 

Moments in Itabirito: water on the knee, water on the bust

In spite of all his right on scores in a land known for good football, Welles would confess years later to his friend Paul Mazursky, that when he was sent down here, the last country in the world where he wanted to go was Brazil. 

As for the movie It’s All True, it vanished for over 60 years until a film student at UCLA found it unedited in a RKO archive. However, to this day, It’s All True remains unreleased. 

In 1993, filmmakers Bill Krohn, Myron Meysel and Richard Wilson came to Brazil to see about the men on the raft and Grande Otelo. The result was the homonymous documentary It’s All True where the team set up the segment Four Men on a Raft with a new soundtrack. 

Below a taste of the documentary where Welles talks about his determination to finish the film. 

Soon, the torrent – For now the documentary film is at dreammule in a 705 Megabyte archive under the name Orson.Welles.-.It’S.All.True.-.Lost.Film.Footage.(En.Divx.Mp3).Prov.By.Tastemaker.Rip.By.Richter

There are several academic and cinematographic works about It’s All True – the film that never happened –including an American fictional short and three other films by Brazilian director Rogério Sganzerla – Nem Tudo É Verdade (1986, Not All is True), Tudo É Brasil (1997, All is Brazil) e O Signo do Caos(2005, The Sign of Chaos). A scholarly work about the topic is It’s All True: Orson Welles’ Pan-American Odyssey by Catherine Benamou, professor in the Ethnic Studies department at the University of Michigan. In 2006, she said that at the UCLA archives in California, lays extensive unpreserved and unedited material related to the three episodes.

The catalogue of the Brazilian Film Archives contains an entry indicating they own a copy. Is it true? Eventually two nerds will investigate.

It is unbelievable, but the truth is that no-one in Brazil saw 1942’s It’s All True…

Coming soon: soundtrack download ‘Orson Welles and the Samba-True’… 

– Das coisas melhores que me aconteceram na vida foi ter nascido numa aldeia da Beira Baixa, e aí ter passado toda a minha infância. Como sou filho, neto e bisneto de camponeses, em casa havia apenas um só livro, uma Vida de Santos que ninguém lia, pois as poucas letras que alguns homens da família haviam aprendido tinham-nas esquecido quase todas. Meteram-me na escola aos seis anos de idade, aprendia facilmente, mas nunca li o tal alfarrábio, pois o meu mundo também não era o das letras, mas o dos pássaros e do vento, o das águas e dos amieiros. Essa era a “poesia” que me chegava, mas havia outra, ela vinha na voz de minha mãe, e nos seus intermináveis romances, cuja lembrança me aquece ainda. (…)

Eugénio de Andrade

I had my first laugh this morning upon linking to the BBC world news site and read the following title: ‘Obama defends war at Nobel ceremony’. I considered for a moment if I had the wrong link and this was a headline from http://www.theonion.com . I checked again and no, it was the BBC: http://news.bbc.co.uk/2/hi/americas/8405033.stm. So I concluded it was just good old british humor sliding some irony into the headline.

Although The Onion caught my attention for a while with the most interesting headline ‘New study reveals most children unrepentant sociopaths’, I went back to the BBC article, had a few more laughs with the sequence of anti-peace attitudes that Obama has had since taking office, and then remembered the poster below from the brilliant portuguese blog http://www.wehavekaosinthegarden.blogspot.com 

Could not resist to post that image here. See below portuguese translation. Now I can go back to the article about sociopath children.

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Dei as primeiras gargalhadas hoje de manhã assim que entrei no site da BBC world news e li o seguinte titulo: “Obama defende a guerra na cerimônia do prémio Nobel”. Ainda pensei se me tinha enganado no link e esta noticia era do http://www.theonion.com . Olhei de novo mas não, era mesmo a BBC: http://news.bbc.co.uk/2/hi/americas/8405033.stm. Conclui portanto que de vez em quando o bom velho humor britânico ainda consegue escorregar uma satirazinha política no titulo de uma noticia.

Apesar do The Onion ter chamado a minha atenção com uma noticia interessantíssima entitulada “Novo estudo revela que a maior parte das crianças são sóciopatas impenitentes”, voltei ao artigo da BBC, dei mais umas gargalhadas perante a sequencia de atitudes pouco pacificas tomadas pelo Obama e sua administração, e depois lembrei-me do pôster abaixo, criado pelo brilhante blog português http://www.wehavekaosinthegarden.blogspot.com

E não pude resistir a postá-lo aqui.

Pronto, agora já posso ir ler sobre as crianças sóciopatas. 

Por estos días visité en el Museo de Arte Moderno de Bogotá la X bienal de Arte, y mirando las obras que utilizaban video me vinieron algunas preguntas sobre la utilización de este medio en el arte.

Sin duda es un excelente medio de expresión, pero al estar dentro de un museo en el que se presentan obras de arte contemporáneo, con sus amplios recursos de representación, al llegar a una instalación con video, los descuidos técnicos se pueden prestar para confusiones.

Uno de los videos era proyectado con desenfoque y me pregunté si era intencional. Al no encontrar una placa explicativa, como me imagino que suele suceder con muchos visitantes a este tipo de exposiciones, me alejé de la obra para no parecer un tonto si el desenfoque no era intencional. Las siguientes obras tenían todos los reproductores de DVD expuestos y, como suele suceder en Colombia, con su respectivo candado anti -robo. ¿hacían parte de la obra o simplemente es carencia de recursos o exceso de descuido?

Créanme, estas dudas no son una exageración y la razón para que surjan, además de las características del arte contemporáneo, es la sensación de descuido del museo: en un rincón habían tres proyectores con tres DVD conectados, pero no proyectaban nada y en otra se veía el menú del DVD repetirse una y otra vez ¿era esto intencional? ¿quien tendrá que esforzarse, yo para entender los conceptos o el museo y los artistas para organizar mejor las exposiciones?

Ahead of Copenhagen’s climate puppet show, activists for climate action have started the fun. This time, they are putting it between their legs and are asking us to become, the Bike Bloc.

Merging several ARTivist groups, such as the Clandestine Insurgent Rebel Clown Army, the Space Hijackers, the Yes Men, Climate Camp, Trapese, among many, many others, the Laboratory of Insurrectionary Imagination (http://www.labofii.net/) has launched yet another playful experiment in the arts of resistence. Gathering hundreds of recycled bikes, the Bike Bloc “will merge device of mass transportation and pedal powered resistance machine, postcapitalist bike gang and art bike carnival”. The big day for civil disobedience has been scheduled for the 16th of December in Copenhagen.

Below two ‘promotional’ action videos from the Bike Bloc.

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A tempo do show de fantoches em Copenhague, ativistas pela ação climática já começaram a pândega. Desta vez pedem que a ponhamos entre as pernas e que nos tornemos no Bloco das Bikes.

Reunindo vários grupos ARTivistas como o Clandestine Insurgent Rebel Clown Army, the Space Hijackers, the Yes Men, Climate Camp, Trapese, entre muitos, muitos outros, o Laboratory of Insurrectionary Imagination (http://www.labofii.net/), lançou mais uma divertida experiência nas artes da resistência. Juntando centenas de bicicletas recicladas, o Bike Bloc “irá combinar engenhos para o transporte em massa e máquinas de resistência a pedal, grupos de ciclistas pós-capitalismo e um carnaval de arte bike”. O grande dia de desobediência civil está marcado para 16 de Dezembro em Copenhague.

Abaixo dois vídeos ‘promocionais’ da planeada ação pelo Bike Bloc.

One of the things that I love about art is that one idea, one concept, can lead you into a maze of connections. Sometimes it only takes a friend to point you in one direction and if you dig deep enough you’ll find multiple roads to take your mind on an endless trip.

Such was yesterday. In the morning I got an email from my friend Dani, who has the soul of an artist, and who simply pointed me in one direction: http://www.ivanpuig.net/ (see last image after Portuguese translation for Dani’s pick).

After a while exploring the Mexican artist’s site I had already take my pick. The section ‘Tierra y Libertad’ (Land and Freedom) took me on that endless trip. I stood at the crossroads thinking Zapata, Magon, Comandante Marcos and of course the revolutionary art of ‘Los 3 Grandes’ Rivera, Siqueiros and Orozco, as well the excellent film ‘Tierra y Libertad’ by English director Ken Loach.

Ivan Puig created a machine, a production line of vases and plastic bags being filled with earth for commercialization, labeled as a final product with a barcode and the title ‘Tierra y Libertad’. In opposition to indigenous understanding of the use of mother earth, the artist makes a statement about the industrial treatment given to our planet’s natural resources.

Land and Freedom were at the center of the Mexican Revolution, which lasted from 1910 to 1920. The words became the slogan of the Mexican Liberal Party inspired by the writings of anarchist journalist Ricardo Magon. In the revolutionary figure of Emiliano Zapata, the slogan and the indigenous people found a voice and a fighter pushing for land reform in a country divided between a few very rich landowners and an impoverished majority of indigenous people. People who once had no sense of property began learning about it upon the arrival of Hernan Cortez, the ‘Apocalipto’ moment that changed the history of the American continent forever.

Zapata, Diego Rivera

Zapata was an inspiration. Zapata is still an inspiration. After all nothing came of the ‘victorious’ Mexican revolution. Land reform is still a dream in Mexico, as it is in most of Latin America. His face adorned the murals of artists like Rivera, Siqueiros and Orozco, and he became the symbol of a revolution that never really happened.

Today, his spirit watches over the EZLN (Ejercito Zapatista de Liberacion Nacional – the National Liberation Zapatista Army) who continue to tirelessly fight for justice although they are labeled as terrorists by the earth machine operators.

On the 1^st of January of 1994, when Mexico officially submitted to the North American Free Trade agreement, the Zapatistas made world news. Under the command of Marcos, and feeling they had nothing left to lose, they took arms, occupied San Cristobal de Las Casas in Chiapas, and declared war on Mexico D.F.

Big Noise films has produced an excellent documentary about the Zapatistas, available for streaming or downloading on an internet near you. On google video just type Zapatista and Big Noise and it will come right up.

And speaking of films, while Zapata’s face has been creatively combined with the Situationist slogan ‘Be Realistic. Demand the Impossible’ in stickers all over the city of Belo Horizonte, Brazil, Zapata’s motto ‘Tierra y Liberdad’ was used by English director Ken Loach as the title of his brilliant film about the anarchist struggle against Franco’s forces during the Spanish civil war (1936-1939).

(see poster below in portuguese version)

One slogan, many ideas, praxis, appropriations, digestions. Ivan Puig’s work makes a political statement that brings history into the contemporary language of conceptual art, showing how the slogan continues to be valid today in a world destroyed by lines of production that enrich a few and impoverish the majority.

No pasarán. Viva Zapata.

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Uma das coisas que mais aprecio em arte é quando uma ideia, um conceito, me levam por um labirinto de conexões. Ás vezes basta uma amiga apontar uma direção para nos levar bem fundo por inúmeras estradas onde a mente dispara em intermináveis viagens.

Foi assim ontem. Logo pela manhã, recebi um email da minha amiga Dani, que tem alma de artista, e que simplesmente me apontou numa direção: http://www.ivanpuig.net/ (ver a escolha de Dani na ultima imagem).

Após algum tempo explorando o site do artista Mexicano já tinha feito a minha escolha. A seção ‘Tierra y Libertad’ me levou naquela tal interminável viagem. Fiquei parada num cruzamento pensando Zapata, Magon, Comandante Marcos e claro na arte revolucionária de ‘Los 3 Grandes’ Rivera, Siqueiros and Orozco, bem como no excelente filme ‘Tierra y Libertad’ do diretor inglês Ken Loach.

Tierra y Libertad, Ivan Puig

Ivan Puig criou uma máquina, uma linha de produção de vasos e sacos de plástico doseados de terra para ser comercializada, e rotulada no produto final com um código de barras e o titulo ‘Tierra y Libertad’. Em oposição ao entendimento que o povo indígena tem da mãe terra, o artista expõe o tratamento industrial dado aos recursos naturais do nosso planeta.

Terra e Liberdade foram temas fundamentais na Revolução Mexicana, que durou de 1910 a 1920. As palavras se tornaram no slogan do Partido Liberal Mexicano inspirado por um texto do jornalista Ricardo Magon. Na figura revolucionária de Emiliano Zapata, tanto o slogan quanto os povos indígenas encontraram uma voz e um herói lutando pela reforma agrária num pais dividido entre uns poucos muitos ricos proprietários e uma maioria indígena empobrecida. Povos que aprenderam a noção do conceito de propriedade quando Hernan Cortez desembarcou no Mexico, o momento ‘Apocalipto’ que mudou para sempre a história da América.

Zapata, Jose Clemente Orozco

Zapata foi uma inspiração. Zapata ainda é uma inspiração. Nada resultou da ‘vitoriosa‘ Revolução Mexicana. Reforma agrária continua a ser apenas um sonho no México, assim como por toda a América Latina. A sua face ilustra os murais de artistas como Rivera, Siqueiros e Orozco, e ele se tornou no símbolo de uma revolução que nunca aconteceu.

Hoje, o seu espirito vigia o EZLN (Ejercito Zapatista de Liberacion Nacional – Exército Zapatista de Libertação Nacional) que continua a lutar por justiça apesar de ser rotulado ‘terrorista‘ pelos operadores da máquina de terra. No dia 1 de janeiro de 1994, quando o México se submeteu oficialmente ao Tratado Norte Americano de Comércio Livre, os Zapatistas foram noticia. Sob o comando de Marcos, e sentindo que nada mais tinham a perder, pegaram nas armas, ocuparam San Cristobal de las Casas nas Chiapas, e declararam guerra ao governo da cidade do México.

A Big Noise Films produziu um excelente documentário sobre os Zapatistas, disponivel para ver online ou baixar numa internet perto de voce. No Google vídeo escreva Zapatista e Big Noise que aparece logo.

Seja Realista. Exija o Impossivel. http://www.flickr.com/photos/culundria/

Falando em filmes, enquanto a face de Zapata é criativamente combinada com slogan Situacionista ‘Seja Realista. Exija o Impossível’ em stickers e lambe–lambes espalhados pela cidade de Belo Horizonte, Brasil, o mote de Zapata ‘Tierra y Libertad’ foi usado pelo diretor Ken Loach como titulo do seu brilhante filme sobre a luta dos anarquistas contra as forças de Franco durante a Guerra Civil Espanhola (1936-1939).

Um slogan, muitas ideias, praxis, apropriações, digestões. O trabalho de Ivan Puig marca uma posição política que leva a história até ao centro da linguagem contemporânea da arte conceptual, mostrando como o slogan permanece valido num mundo destruído nas linhas de produção que enriquecem uns poucos e empobrecem a larga maioria.

No pasarán. Viva Zapata.

Below Dani’s pick / Abaixo a escolha de Dani

L'Ego, Ivan Puig

in http://westoons.wordpress.com/

On the day that the Nobel Peace Price declares he is sending 30.000 more troops to Afghanistan, all in the name of peace of course, I here pay my homage to the Afghan people who have endured the horrors of war for decades. Particularly to the women and children.

Below, from the Revolutionary Association of the Women of Afghanistan (www.rawa.org), who stand both for human rights in their land and against U.S. occupation, a series of pictures drawn by Afghan children, whose art reveals how they see the world around them. These images moved me and I wish I could name the young artists. My heart goes out to them.

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No dia em que o Prémio Nobel da Paz declara que vai enviar mais 30.000 tropas para o Afeganistão, isso em nome da paz claro, presto aqui a minha homenagem ao povo Afegão que sofre os horrores da guerra há décadas.

Abaixo, tirado do site da Associação Revolucionária das Mulheres do Afeganistão (www.rawa.org ), que defendem os direitos humanos no seu país e protestam a ocupação do mesmo pelos Estados Unidos, uma serie de desenhos feitos por crianças Afegãs, cuja arte revela como elas vêem o mundo a sua volta. Estas imagens são comoventes e gostaria de as poder creditar com o nome dos pequenos artistas. Meu coração vai para estas crianças.

Carpe Diem, JafaGirls

A question that feminist art historians have asked for decades is: where are all the great women artists in history? And so they digged, found a few nuns in the middle ages and as the centuries went by more and more women artists were added to the list, although still mostly western women. For most art history books however, the ‘great’ names of art continue to be those of white men.

Fast forward to contemporary movements and we see graffiti splashing urban walls with painting and, surprise surprise, still largely by men, in spite of the fact that an increasingly significant number of girls are out there bombing too. It seems that the brush, or rather the spray, continues to be largely a male utensil, while the women stay home knitting.

Not quite. While they still knit, women took their art to the streets and are bombing like graffiti artists. It’s the urban crochet guerrila of colectives such as the ‘Stitch and Bitch’  (http://www.stitchandbitchlondon.co.uk/), ‘Jafagirls’ (http://jafagirls.wordpress.com/) or the  ’Ladies Fancywork Society’ (http://www.ladiesfancyworksociety.com) operating to make our streets more colourful, more engaging and more creative spaces.

A movement to spread? Most definitely. Everyone welcomed. And, according to the girls, that includes the dudes.

For more yarnbombing art check the link on the right underArtEs or click here http://yarnbombing.com/.

Stencil on yarn, Jafagirls

Uma pergunta que historiadoras de arte feministas perguntam tem décadas é: onde estão todas as grandes mulheres artistas da história? E assim foram pesquisando, encontraram um monte de freiras da idade média e enquanto os séculos foram passando mais e mais mulheres artistas aumentaram a lista, apesar de serem na sua maioria mulheres ocidentais. Mas nos livros de história de arte, entre os ‘grandes’ nomes da arte continuam a predominar os homens brancos.

the prick who came to dinner, Jafagirls

Nos movimentos artísticos contemporâneos, destaco o graffiti que salpica as nossas paredes com cor e, surpresa surpresa, pela mão de uma maioria masculina, apesar de haver cada vez mais mulheres bombando.Parece que o pincel, ou neste caso o spray, continua a ser um utensílio majoritariamente masculino, enquanto as mulheres ficam em casa fazendo crochet.

Bem, já não é tanto assim. Apesar de ainda tricotarem as mulheres levaram a sua arte para as ruas onde bombam como os artistas de graffiti. É uma guerrilha de crochet urbana em coletivas como as ‘Stitch and Bitch’ (http://www.stitchandbitchlondon.co.uk/, as Jafagirls  (http://jafagirls.wordpress.com/) e ’Ladies Fancywork Society’ (http://www.ladiesfancyworksociety.com/) operando para tornar as nossas ruas em espaços mais coloridos, atraentes e criativos.

Um movimento crescente? Concerteza. Todos bem vindos. E, de acordo com elas, os rapazes estão convidados a participar.

Para mais informação sobre a arte de yarnbombing ver o link na direita, categoria de ArtEs, ou clique aqui http://yarnbombing.com/.

Leg warmers, Ladies Fancywork Society

O ator Alec Baldwin vai deixar o showbiz depois que seu contrato com a série 30 Rock terminar, em 2012. A declaração partiu do próprio ator em entrevista que será publicada na próxima edição da revista americana Men's Journal. “Eu não tenho mais interesse em atuar”, garantiu Alec. A notícia foi antecipada pelos sites de celebridades neste fim de semana.

De acordo com o New York Daily News, o ator afirmou que sua carreira foi um “completo fracasso” e que não tem mais planos de atuar. “Filmes são meu passado. Foram 30 anos. Não sou jovem, mas ainda tenho tempo de fazer outra coisa”, teria dito. “A meta de quem faz cinema é estrelar um filme no qual a sua performance conduz a história, e o filme é um sucesso de crítica ou de público. Eu nunca tive isso”.

Alec Baldwin também contou à Men's Journal que tentou cancelar seu contrato com a rede americana NBC, responsável pelo programa 30 Rock, em 2007. A razão da tentativa, segundo ele, foi o escândalo familiar tornado público após ele deixar uma mensagem desrespeitosa no telefone da filha, Ireland.

Furioso por não ter conseguido falar com ela, numa conversa telefônica previamente combinada, o ator a chamou de “porquinha grosseira e insensível”. Ireland é filha de Alec com sua ex-mulher, a atriz Kim Basinger. O episódio levou o casal à Justiça na luta pela guarda da menina. Após um escândalo, o ator disse que pensou em suicídio.

Trajetória – Alec Baldwin foi indicado ao Oscar de ator coadjuvante em 2003 pelo filme Quebrando a Banca e ganhou o Emmy de melhor ator de comédia em 2008 e 2009 por 30 Rock. Seu último projeto, a produção It's Complicated, onde contracena com Maryl Streep e Steve Martin, estreia em dezembro nos Estados Unidos.

viaAlec Baldwin diz que vai se aposentar depois de ‘30 Rock’ – VEJA.com.

Fotos Tomadas por Ruth

Só até esta semana inscrições para cursos relacionados a artes cênicas, na escola recem inaugurada

As inscrições para o processo seletivo dos cursos regulares da SP Escola de Teatro – Centro de Formação das Artes do Palco podem ser feitas de 26 de novembro a 4 de dezembro de 2009 na Sede Provisória da Escola, localizada na Avenida Rangel Pestana, 2.401, Brás, São Paulo, Capital. Cada artista-aprendiz poderá se inscrever somente em um dos cursos regulares. As inscrições só podem ser realizadas pessoalmente.

Serão oferecidas 200 vagas, sendo 25 vagas para cada um dos seguintes cursos:

* Atuação
* Cenografia e Figurino
* Direção
* Dramaturgia
* Humor
* Iluminação
* Sonoplastia
* Técnicas de Palco

O candidato da SP Escola de Teatro deve ter no mínimo 18 anos até a data de início do curso e Ensino Médio completo.
Todos os cursos são gratuitos. Também serão oferecidas 100 bolsas de estudos no valor de R$ 545 destinadas a estudantes com baixa renda. O processo seletivo será composto por duas fases: 1ª fase eliminatória, de natureza dissertativa; 2ª fase classificatória, formada por provas de aptidão.
O início das aulas será no dia 20 de fevereiro. Horário das aulas: 9h às 13h, de terça a sexta-feira; sábados: das 9h às 13h e das 14h30 às 18h30.

http://www.spescoladeteatro.org.br/noticias/03.php

Pra quem leu sobre a galera do RaShowbico e tava pensando em investir na sua carreira no teatro ai vem a grande oportunidade. A SP Escola de Teatro – Centro de Formação das Artes do Palco, recém inalgurada vai oferecer cursos gratuítos para as profissões presentes no teatro.
A escola oferecerá cursos regulares e cursos de difusão cultural, sendo que alguns destes poderão se transformar em cursos de ensino à distância, transmitidos via internet. atendendo 1.200 estudantes em seus cursos.
Os cursos regulares, tem a duração de dois anos oferecerão qualificação técnica e profissional nas áreas de Atuação, Cenografia e Figurino, Direção, Dramaturgia, Humor. Além de Iluminação, Sonoplastia e Técnicas de Palco onde a escola ainda possibilitará estágios em empresas e instituições, e assim a tão sonhada entrada no mercado de trabalho.

Uma ação bem interessate pois é voltada a todos os profissionais que fazem o espetáculo e uma chance legal até mesmo para o ator que deseja se aprofundar mais na parte técnica também.

Os cursos de difusão cultural serão realizados semestralmente, com 64 horas de duração. Todos os cursos são gratuitos.O ingresso nos cursos regulares será mediante aprovação em processo seletivo e cada artista-aprendiz poderá se inscrever somente em um curso regular.

Serão 200 vagas por ano, 25 por curso. O período de inscrições é de 26/11 a 4/12 e o início das aulas será em 20 de fevereiro de terça-feira a sexta-feira: 9h às 13h a sábado 9h às 18h30.

E pra quem ta achando difícil fazer pelo horario ser de manhã vem a melhor notícia, os alunos que cursaram todo o ensino médio na rede pública e que têm renda individual de, no máximo, R$ 1.090,00, ganharão bolsa de estudo de R$ 545,00 mensais. Serão oferecidas 100 bolsas para o primeiro semestre de 2010. Os interessados devem manifestar seu interesse no ato da inscrição.

Mais informações acessem o site www.spescoladeteatro.org.br

Gostou do post twitta pra gente @quetrampo.

Flávio Leal  @lealhc

]]> http://blogdaglaucia.wordpress.com/2009/11/29/exposicao-de-fernando-fragoso-no-tenis-clube/ Sun, 29 Nov 2009 18:43:58 +0000 Gláucia Felippe http://blogdaglaucia.wordpress.com/2009/11/29/exposicao-de-fernando-fragoso-no-tenis-clube/

http://www.jonathanlevinegallery.com/

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Só porque não consigo tirar esta música da cabeça, e muito menos o refrão!

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Bom resto de fds e bom feriado!

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