gestartet bin ich bei Sonne, Mond und Sternen, aber die fallen so sehr ins miep miep wir haben uns alle lieb Fach, dass ich es fallenließ

danach liebäugelte ich mit dem hier:

stromerte lange bei Jugendstilmotiven rum

fiel in die Welt von M.C. Escher

wollte danach unbedingt den Möbius

und landete finally beim 5. Element. Jetzt muss ich nur noch aus diesen Vorlagen meinen eigenen Entwurf gestalten

M.C. Escher, hands drawing each other, symbolizing cooperation and mutual assistance

(source, and here is more M.C. Escher)

Economic rights are a subset of human rights. Put very briefly and simplistically, they are what could be called anti-poverty rights: for example, there’s a right to a certain standard of living, to social security, to work, to fair wages, to healthcare, housing etc.

It’s an understatement to say that there’s no universal consensus on these rights. Some say that these aren’t “real” human rights, even some who believe that poverty is a real problem (like Bill Easterly for example). Others say that these rights are useless or even harmful. Here are a few of the most common objections raised against economic rights, and my counter-objections.

The big state criticism

Economic rights are believed to require invasion of privacy and hence violations of an important freedom right (freedom rights such as free speech, privacy, habeas corpus etc. are usually distinguished from economic rights, political rights etc.). In order to verify whether people have a right to social security benefits or healthcare benefits, the state has to check people’s income (legal and illegal), their family composition, their health, their medical consumption, their lifestyle etc.

The assumption behind this criticism is that the state is the only or the main party responsible for the realization of economic rights. This is not the case. People in need can call on other people to help. And these other people have a moral responsibility to help. The duties of mutual assistance, charity and philanthropy point to a horizontal aspect of economic rights. People in need do not only have a vertical right to assistance, or a right directed at the state. Their economic rights can be addressed at their fellow citizens, and these have a duty to respect and protect these rights. It’s only when horizontal duties fail that the state should intervene. If we think of economic rights in this way, the dangers of an overbearing state don’t look that ominous anymore.

The rule that economic rights should – in part – be realized by citizens has another advantage as well: economic rights tend to foster community spirit and feelings of solidarity and belonging.

But this insistence on solidarity shouldn’t obscure the rule that people have a responsibility to help themselves and support themselves. This kind of independence is a part of freedom and an important good. Solidarity comes into play only when self-help is unsuccessful or impossible, and the state comes into play only when solidarity is unsuccessful or absent.

Different kinds of duties

Another objection: some say that economic rights, if they are rights at all, are radically different from “normal” human rights – also called freedom rights – and can therefore be given a lower priority (and maybe aren’t even real rights at all). Freedom rights imply duties of abstention or forbearance, whereas economic rights require duties of active help, involvement and intervention. In the case of violations of freedom rights, the remedy is easy: stop doing what you’re doing. In the case of violations of economic “rights”, the remedy is often very difficult if not impossible. If there is no work, no one can give it to me. If a country is poor, no one can raise the standard of living.

When freedom rights are violated, the victim can go to a court and a judge can force the violator to stop his or her actions. When economic rights are violated, it’s useless to go to a court. Not only isn’t there an obvious violator who can be stopped, there is often no one who can stop the violation from happening. Hence it looks like these rights are unenforceable and often have no remedy. Rather than rights, it seems that they are aspirations or policy goals, often long term policy goals.

However, there’s again an erroneous assumption underlying all of this. The distinction between the two types of duties – forbearance and active assistance – isn’t clean-cut. Freedom rights require active intervention by the state in order to enforce forbearance. They require an efficient judiciary and police force. For some states, this may be as unattainable as prosperity. In fact, it’s precisely because of a lack of prosperity that many states are unable to guarantee protection for freedom rights. Of course, the fact that economic rights are a prerequisite for freedom rights isn’t a sufficient reason to call them rights. But neither is it a reason not to call them rights.

Conversely, economic rights often require more forbearance than active intervention. Economic rights in China during the Great Leap Forward would have been better served by state forbearance. All types of human rights require forbearance and intervention. Perhaps economic rights generally need more intervention, but that is a difference in degree and not in essence, and it isn’t a sufficient reason to reject the label of “rights” for the aspirations inherent in economic rights.

Ought implies can

There’s another criticism of economic rights, related to the previous one. Economic rights are said to violate a general rule for rights: ought implies can; there can be no obligation to do something if there is no capability to do it. You cannot have a duty to help someone who’s drowning if you can’t swim yourself. Hence the person drowning doesn’t have a right to be assisted by you. The same is said to be true of economic rights which therefore aren’t real rights. If a poor country doesn’t have the resources to help its poor citizens, then these citizens don’t have a right to be helped.

However, we don’t follow the same logic in the case of freedom rights. Freedom rights also require resources, as we have seen. When a state doesn’t have the resources necessary to protect its citizens’ freedom rights, we usually don’t say that the citizens of such a state have lost their freedom rights. People have rights irrespective of the probability that they can be protected. Or better: the less people’s rights are protected, the more important it is that they have rights (see here). And anyway, violations of economic rights don’t occur because there are insufficient resources but because of an unequal distribution of resource, nationally or internationally. So the “can” part of “ought implies can” isn’t as fanciful as the critics of economic rights believe.

Economic rights are superfluous and useless

This is supposed to be the case because free markets should automatically produce a certain standard of living for everyone that is high enough to realize the goals inherent in economic rights. Free trade, deregulated markets and low taxes cause profits to rise, which in turn means more investments, which in turn means more and better jobs and higher incomes. All boats rise on a rising tide.

Now, it’s my belief that history – and especially recent history – has shown that this isn’t enough. Free markets are beneficial, but they don’t automatically provide high standards of living for everyone.

Economic rights are harmful and counterproductive

This is a stronger version of the “useless” argument. Economic rights are believed to require a big state (see above), high taxes and intrusive regulation. All of this hinders the economy and the creation of wealth. As a result of economic rights, there is less wealth to redistribute, and economic rights therefore undo what they want to achieve.

They are also harmful in another way: they violate freedom rights, especially the right to privacy and the right to property (because of redistribution). We’ve already seen that we can mitigate this risk when we include horizontal duties. But even if this risk is real, why should property and privacy automatically rank higher than the absence of poverty? If we assume that economic rights are real rights, then it’s not surprising to see that they can contradict other rights. Contradictions between human rights are very common. The right to privacy is often in conflict with free speech for example. Sometimes one right has to be limited for the sake of another. So why should this be a problem when dealing with economic rights?

Of course, one shouldn’t dramatize. Economic rights and freedom rights are generally not incompatible. On the contrary, they are interdependent. Freedom for the poor often doesn’t mean a whole lot. But, on the other hand, the squeaky hinge gets the oil: poverty has to have a voice if it is to be eliminated.

Gödel, Escher, Bach: An eternal golden braid
QA9.8 .H63
510.1

Interviewing trackers …

Later …

And then …

“What English word has the letters A – D – A – C consecutively?”
“What English word begins with the letters H – E and ends with the letters H – E that is not the word “he”?”

Some things I figured out pretty quickly.
These were mentioned in a book I am currently reading.

Gödel, Escher, Bach: An Eternal Golden Braid ( commonly GEB ).

Enjoy!

Ah au fait vous avez remarquez pour la Tchéquie !

Non ?

Bien sur car tout le monde s’en fout.

Si vous reprenez le post du 30 Octobre le président Tchèque disait refuser le traité de Lisbonne.

OK lui avait-on répondu mais on s’en tape et on adopte un régime d’exception (cf un autre post) et on y va quand même.

Dépité il accepte hier !

Prétextant la constitutionalité de cet accord de Lisbonne dans l’esprit des lois de la Tchéquie !

Qui a dit “on s’en …” ??

Outro dia, em uma famosa loja de materiais de construção, encontrei algo que posso considerar a coisa mais inútil já feita pela mão do homem.

Cuidado! Escada somente para demonstração, não é permitida sua utilização

Não, não estou falando da escada que não vai para lugar algum. Isso é uma escada de demonstração, tá na cara. Estou falando da placa que "explica" que a escada é apenas demonstração e não deve ser usada. Pô, minha gente. Se a loja não quer que ninguém a “use”, é só colocar uma corrente para impedir o acesso e pronto. Não insultem minha inteligência!

On s’en tape de ce que peuvent penser les Tchèques ou les dirigeants Tchèques ! puisque on gère enfin une exception “à la Française” de l’unanimité pour entériner le traité de Lisbonne que les Tchéques avaient, parait-il, demandée.

Si les Tchèques aident l’Europe à devenir plus Française dans ses pratiques qui va se plaindre ?

Un Français bien sur !

Mais avec les Tchèques on a peut-être trouvé un challenger pour la plus haute marche sur le Podium du meilleur raleur Européen.

Donc l’Europe serait plus Tchèque et moins Française tout en pratiquant des règles d’entorse à la règle plus Française, c’est bien ça ?

Two years ago at this time of the year, I experienced an SL halloween horror that has haunted me ever since. The second life changed, and in some ways the events that followed have paved the path to blogging.

Various themes of horror and scariness can be observed in SL sims that are fun to visit. However, Colin Fizgig, PatriciaAnn Daviau and their friends have put up a Hall of Horrors (Horror Hall Festival, Start Area, Delgado Estates (236, 105, 3078))  that is a masterpiece. It is a different kind of halloween theme.  Sha Karrilion and Lawrence Delgado have graciously accommodated this project on their sim.

The Hall of Horrors is not infested with ghosts and ghouls.  There are no witches flying on broom and no stenciled appearance or disappearance of flying bats to annoy you.  Yet, it is an experience not to be missed.

The Enchanted Forest

The teleport point is in midst of an enchanted forest.  The light rays filtering through the canopy of the trees create a surreal atmosphere.  The trees appear to be old and fearsome.  There is an aura of horror but no direct threat.  It is like a Spielberg movie where the threat of violence is more disturbing than the violence itself.  In this menacing atmosphere, you can feel the piercing gaze of burls that dot the forest landscape.

From the teleport point, a path leads to a dialepidated building half covered with vegetation.  You have reached the Hall of Horrors.  At this point you are on your own-  one step and you will be engulfed by a building that tortures your brain.  It forces you to view things differently.  It wrenches your mind to let go your conventional thinking and forces you to adapt to a new rule where things are not what they appear to be.  It is not the threat or the fear of unknown, it is your own self that you are scared of.  You want to run away from this awkward ‘reality’ because it wrings your nerves.  You feel claustrophobic but your ego keeps pushing you deeper and deeper into the labyrinth.

The further you go, the sicker you feel.  That is the power of this building.  It horrifies you from its very design and construction.  Its logic has no beginning or end, it multiplies within itself.  Most likely you will not leave the House of Horrors on your own terms;  you will likely be teleporting out of it!

The Hall of Horror

The building team comprises of Mobius Enzo, Colin Fizgig, PartriciaAnne Daviau, Puppet Runo, Dakumi Kanto, TommyTom Jun, who are very interesting characters in SL. They defy conventions and push the limits.  They are always busy building complex and unusual things that are testimony of their super-convoluted brains.

Their child-like curiosity and ever-growing interest in things of strange and bizarre nature keep them inventing new ways of representing the 3-dimensional virtual world.  Having common friends in this playground has given me privilege to watch them build some of their masterpieces and I sincerely hope that you will have a peek into his intricate mind.

The Movers and Shakers

The event is organized by TommyTom Jun, Sha Karillion, Aviendha Vayandar.  The events will be open to public from 26 October to 1 November 2009.

In case you were wondering about ‘extras’, there are a lot of fun activities organized including high-grade shopping area and a great Horror Party. Plus, there are numerous free-stuff including Colin Fizgig’s famous real cool flying broom-mobile. The flying broom is fitted with a handle bar and a smoking tail. The broom can be used for flying at a very high speed. This broom was part of a Quiditch project which Colin undertook improvising on Galoot Yangho’s prototype and I had a privilege of watching him work on it.  See ya there.

I hadn’t made a pair of socks for myself since July, and since I found myself in Toronto last month to see U2 and had a bit of free time during the day, I went to Lettuce Knit and bought myself some Koigu. I really liked knitting with it on the Punctuated Rib socks I made for my mom back in August.

I used the Escher pattern from Knitting Socks with Handpainted Yarns. I think I’ve pretty much got my money’s worth out of that book now that I’ve made three different pairs of socks from it. It really does have some great patterns for handpainted yarn (just like the title says, go figure) and I know I’ll be pulling it off the shelf again soon since my mom has specifically requested more socks from it.

The skeins of Koigu I chose reminded me of both the fall season and Sesame Street, specifically Bert & Ernie.

Speaking of socks, I’ve already started another pair from the new Cookie A book that I bought a few Fridays ago after a stressful week of classes. I needed something that was simple (socks) yet complex (tons of cables) to hold my interest. School has been okay so far (my session is officially half over and I’ve even received some grades already) but there are some things about it that get under my skin too.

The new socks are pretty much the polar opposite of these, colorwise. But no peeking until they’re done! I have a week of crazy assignments and awesome concerts ahead of me, but I’m hoping to work on them whenever I can.

Isn’t she a beaut!

The perfect marriage of Chicago’s iconic cubular verticality and its placid bedfellow, Lake Michigan, has emerged courtesy of the delightfully named Studio Gang, Jeanne Gang’s Windy City based architectural practise. Interested parties are waxing lyrical about “the largest skyscraper built/designed by a woman”, whilst sniggering about the insinuations of its phallic pomposity. I care not one jot, and I’m not going to speculate about the organic undertones of the design which may or may not expose the masculin sterility of the hard-edged modernist stalwarts who stand shoulder to shoulder with this treasure.

Indeed, I repeat with concern the lovely story of Ms Gang’s decision to impress the building with irregularly spaced windows so as to make birds aware of its presence, thus discouraging them from crashing head first into her… i don’t want to make these decisions sound maternal or feminised… the building deserves more than that.

What I am interested in is her aptness in a city of right angles, and at a particular moment in history.

at a time when the verticality of power structures appears devalued even if only in the public eye (ie, the revolution doesn’t appear to be expected just yet!). At a time when falling ice shelves and underwater disturbances threaten to raise sea levels and inflict Tsunami’s on defenceless coast lines. At a time when the public conscious is increasingly aware of its own impact on the geography of our planet, and the difference a little attention to nature can make.

The waves of this building appear to ripple up and out of lake Michigan with a syncopation reminiscent of jumping in puddles, and it is in such youthfully endearing activities that I want to find enjoyment again.

Puddles by M. C. Escher

As autumn falls into place, I want to fill hours kicking dry leaves into the ether, wrapping scarves around my shoulders and the shoulders of loved ones, enjoying nature’s stripping of itself in preparedness for a new start, in the hope that society might begin to follow suit. I see the building as an accidental manifestation of a more simple appreciation of things, where concrete becomes warped wood, glass becomes a still pond, and steel the framework of a decision to look at things differently.

Where Chicago might appear in one instance the perfect vertical manifestation of the American and indeed Western push upwards and forwards with pomp and grandiose flamboyance, this Odalisque sits amongst her brethren shiveringly aware of her own immortality; heartbreakingly conscious that in her puddles can be seen the reflections of a world taller than it deserves to be.

**

Will Alsop appeared to have a similar idea when building The Public

but on reflection (geddit!!), West Bromwich might not have been the ideal place to start a metaphoric evo-revo-lution.

Well at last the day has come to show my demo reel. After a successful industry night, I finally uploaded to youtube and voila the reveal.

I suppose you could say it’s a pattern I’ve noticed. It keeps on recurring again and again.  NLP books and a unique (and much more valuable) book called “Godel, Escher, Bach” by Alexander Hofstadter. I’m not saying it isn’t useful for them to do this, but I’m trying to explain this phenomenon. Then again, maybe it only took one person to want to do this, and then everybody else decided to follow suit. And who knows, maybe it’s really effective.

I’d like to concentrate on potential reasons for their choice of tool, and moreover their reasons for their direction of concentration – just what is it they’re looking for?

In the case of “Godel Escher Bach” it’s very clear. This is a serious book, make no mistake about that. The book is about logic, and written “in the spirit of Lewis Carroll”, who knew plenty about logic, as he himself wrote a book on logic entitled “Symbolic Logic”. The dialogues contain direct references to the subject matter. Most of the stories centre around Lewis Carroll, so I guess that’s the reason for the pattern. It’s just that some books refer to children’s stories, and you’re left wondering why. Anyway, back to “Godel, Escher, Bach”…

Having not read all of this book, I’ve just realised that on page 495, a chapter entitled “Self-Ref and Self-Rep” contains some of the things I discussed in a previous post.  Like “this sentence contains six words.” It was always going to be there anyway, whether I knew it before hand anyway, as the author has given this subject matter a much more thorough treatment than I ever could. Hopefully, though, you will see me write things that are quite original in and amongst the mixture.

I will prove one day that I have grasped this subject all to myself, with my own artwork. Escher-style nevertheless, but unique and original to me also. They won’t look like Escher works, they’ll look like mine.

“Art is either plagiarism of revolution” – Paul Gauguin.                                                                                                                                     ”Originality does not consist in saying what no one has ever said before, but in saying exactly what you think yourself” – James Stevens.

The subject matter in “Godel, Escher, Bach” is at the heart of both art and science. NLP is a little too direct, and creates a blind spot in learning. Also, NLP books tend to avoid the issues by concentrating on people instead. “Play the issues and not the person” – they need to learn all about this statement. They also need to learn to stop being so patronising with their metaphors and “interesting stories”. And Humpty Dumpty…

An improvisation:

In a certain town in low-lying Lincolnshire, where the sky is tall enough to accommodate stacked libraries of cloud, a young man reads of Invisible Cities. Dawn breaks, caramel and pearl, as it does in old stories.

The town is built on a hill upon which it is only possible to think downwards.

At the top of the hill there is a church and a watchtower. All roads lead away, down the hill. The faithful direct their prayers down the hill, like rolling coins in a gutter. The old watchtower now offers free entry: visitors like to see the sky reflected darkly in the still pool at the bottom of the hill, but they never look up.

By the pool is a cinema. Filmgoers, who find the town mysteriously altered at the end of the evening, as if it has exhaled, as if something solid in it has been swallowed, are always surprised to find the hill is still there.

Map-makers dislike the hill, its shock of contours, consider it an obvious spillage in an otherwise perfectly clean cream sea. Architects conceive of  the hill hollowed out, dim catacombs wreathing towards high vaulted caverns.

The young man dreams of erosion, rivers breaking their banks, new tributaries carving through old rock, a black weight of water running down a hill.

A brief review:

I read Italo Calvino’s Invisible Cities tonight – of which the above is my poor imitation. It was short enough to finish in a couple of hours but totally fascinating. It consists of a series of fantastic lyrical visions related by Marco Polo to Kublai Kahn: a city suspended between two steep mountains; another absurdly built on stilts in the middle of a desert; a city without walls or ceilings or floors but only water pipes where houses should be.

It’s written wonderfully, and reminded me of the screwy geomtrical tricksiness of an Escher, as well as those Magritte meta-paintings in which ‘reality’ is doubled and tampered with and parodied. I read it as a virtuoso meditation upon language and its unreliableness: each of the ‘visions’, which function almost as discrete prose poems, shimmers somewhere between allegory and phantasma, embodying the tension between sign and signified. Each city is an attempt to frame the blank spaces between writer and reader, to invent an architecture of language.

Calvino explores the stratification of meaning; the process by which language buries itself under layers of allusion, wild connotation and idiosyncratic interpretation. It’s incredibly hard to quote meaningfully to demonstrate the overall effect of this, which I suppose demonstrates his point – each word, each sentence depends upon another, each is integral to the stability of the structure. It’s a remarkable feat of engineering, and a remarkable book.

I am in love.

With Land Art, that is.

What is land art?
A bit of an art history lesson for the people:
Land art (also known as Earth Works or Earth Art) is an art movement that began in the US around the 1960’s-1970’s, in which landscape and the work of art are inextricably linked. Sculptures are not placed in the landscape; rather the landscape is the very means of their creation. The works exist in nature and are left to change and alter with natural conditions.

A few very famous Land Art arists include: Andy Goldsworthy, Robert Smithson and Christo and Jean-Claude among others. One current Land Art artists that I love is Richard Schilling (also known as escher).

I’ll stop boring everyone with the history of it and just say….
this is something I intend to pursue.

I almost forgot how magical the radio, as a medium, is.

It’s past-12 already and I am about three hours past my bedtime to humanely wake tomorrow at 7 sharp. It’ll take another 5 minutes to set the alarm (have to push three, four buttons to find the glorified alarm app in Norma, my iPhone) so whatever time this finishes, bedtime will officially be 5 minutes after. Just saying.

Like any other truly beautiful thing, I found this link by coincidence (serendipity?). Had my Facebook open, my very good friend, Jeline, posted this link and I loved what she quoted from it.

“The notion that books can change lives is appealing because it’s nice to think that our lives COULD be changed – just by an idea, by a vision of the world that happens in a book. Instead of what are lives are often changed by – you know. Dumb luck. Tragedies. Coincidences.” — Ira Glass, The Book That Changed Your Life (An American Life, Chicago Public Radio)

And so I searched for the link in the website itself, and with some quick-comment guidance, here it is. Ira Glass, some girl, a book that she read, written by her grandfather.

In the show she talks about how she felt transported reading her grandfather’s notes on a book (the books) he read. I’m listening to it now as I type and my mind is not even focused on the details of their conversation.

I am titillated, nonetheless. It’s a novel experience. This American Life is a program by Chicago Public Radio, and with today’s awesome technological innovations, this wealth of a program – a fine production of voice, narration, jazz and conversation – can be heard, per episode, via the Internet.

To me, this is like an Escher. Some 70-80 years (I estimate) after the birth of radio, I – a Gen Y part-raised on TV, part-Internet – am deeply drawn. Ironic in so many levels, especially since I’m experiencing it online, I feel a certain perversion as I indulge in it.

Perhaps it’s the intimacy of it. Voices talking to you. Voices talking to each other, a one-on-one conversation, some light jazz in the background. A girl revealing her romance with her grandfather’s side-notes. Ira Glass’ expressive tenor. The narrators of the books. Roger, who only collected – and read later – his books. Another girl narrating an excerpt now.

I’ve never experienced this kind of auditory voyeurism.

—–

Here’s 30-seconds of the sex I heard.

Salve amig@s!
Dando seqüência aos posts sobre personagens importantes na história do pensamento humano, apresento M. C. Escher.

(O texto que se segue é inspirado no artigo “O Sonho Geométrico de Escher”, de Flávio Calazans, publicado no site www.mundocultural.com.br, e em uma biografia ilustrada publicada em http://www.educ.fc.ul.pt/icm/icm2000/icm33/Escher.htm)

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Auto-retrato de M. C. Escher

Mauritus Cornelius ESCHER nasceu em Leeuwarden, Holanda, em 17 de junho de 1898 e veio a falecer em 1970.

Na sua juventude não foi um aluno brilhante, nem sequer manifestava grande interesse pelos estudos, mas seus pais o convenceram a ingressar na Escola de Belas Artes de Haarlem para estudar Arquitetura. Foi lá que conheceu o seu mestre, um professor de Artes Gráficas judeu de origem portuguesa, chamado Jesserum de Mesquita.

Com o professor Mesquita, Escher aprendeu muito, conheceu as técnicas de desenho e deixou-se fascinar pela arte da gravura. Este fascínio foi tão forte que levou Mauritus a abandonar a Arquitetura e a seguir as Artes Gráficas.

Quando terminou os seus estudos, Escher decidiu sair para viajar. Em 1935 morou em Granada, Espanha, onde se encantou pelos arabescos geométricos do castelo de Alhambra, construído pelos árabes, e, do estudo dos arabescos, Escher desenvolve um estilo próprio, jogando com a geometria para ampliar a percepção e expandir a consciência da realidade por meio da arte.

Posteriormente Escher se deteve no estudo dos contrastes e paradoxos visuais, os “loopings eternos”, que buscam causar, segundo ele, um “salto” de percepção no observador-fruidor-público, questionando a realidade física, o continuum espaço-tempo, trazendo à percepção padrões que se replicam e se refletem ao infinito (antecipando o que veio a ser a geometria fractal de Mandelbrot de 1970).

Desafiando os limites, bordas e fronteiras, Escher cria uma arte delirante, gerando impacto criativo nos que se detêm longamente para contemplar seus paradoxos e impossiblidades visuais.

Em desenhos perfeitos em seus detalhes, sobrevêm perspectivas em “loopings eternos” que são, em si mesmas, um desafio à razão, à lógica linear de causa e efeito que sustenta a visão mecanicista da sociedade.

Pesquisas em vários campos da ciência comprovam, desde meados do Século 20, a intuição poética e visual de Escher acerca dos “loopings eternos”: é a própria lógica da vida, a essência da inteligência da matéria viva.

Eis alguns koans, paradoxos visuais, de Escher, que convidam a mente a transcender os estreitos limites do modo de pensar convencional.

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Visite o site oficial da M. C. Escher Foundation:

http://www.mcescher.com/

________________________

Nestes sites o leitor pode acessar a obra de M. C. Escher:

www.worldofescher.com

www.mcescher.net

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Visite também o Obvious, comunidade de arte e cultura muito interessante, que apresenta o trabalho fotográfico de Josh Sommers inspirado nas impossibilidades visuais de Escher:

http://blog.uncovering.org/archives/2008/08/as_impossibilidades_de_mcescher.html

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Uma outra dica é o livro Gödel, Escher e Bach, O Entrelaçamento de Gênios Brilhantes, cuja edição brasileira (UnB, 2001) está esgotada. Trata-se de um livro destacado que reúne apontamentos instigantes sobre música, lógica, geometria, recorrência, zen-budismo, paradoxo, natureza, significado, holismo, formiga, computador, proteína, código genético, inteligência artificial, matemática, cérebro, mente, linguagem, criatividade, livre-arbítrio, arte, e um mundo afora.

Um super livro de 800 páginas capaz de envolver o leitor da primeira à última página sugerindo o paradoxo em loopings eternos como essência da inteligência da matéria viva.

Leia um artigo sobre o livro neste link: http://cienciahoje.uol.com.br/1896

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