Dominus Winery - Herzog & de Meuron http://fivenonblondes.wordpress.com/2008/11/20/dominus/uron
Luis de Garrido http://www.domoticaviva.com/PHP/newsphp_2009.php?id=29
sábado, 10 de dezembro de 2011
segunda-feira, 5 de dezembro de 2011
The turist gaze. John Urry
http://books.google.com/books?id=bhhtg1sz0YAC&printsec=frontcover&hl=pt-BR&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false
Sensous Geografies: body, sense and place. Paul Rodaway
http://books.google.com/books?id=N-bw705gul4C&printsec=frontcover&hl=pt-BR&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false
"what would happen if some of us then started to see, hear, touch, smell, and taste things?"
"A sensuous geography maby therefore lay some claim to reasserting a return of geographical to the fullness of a living word or everyday life as a muntisensual and mutidimensional situatedness in space and in relationship to places."
"the senses are not merely passive receptors of particular kinds of environmental stimuli but are actively envolved in the structuring of that information and are significant in the overall sense of a world achieved by the sentient. In this way, sense and reality are related."
"The senses both as a relantionship to a world and the senses as in themselvesa kind of structuring of space and defining of place."
"what would happen if some of us then started to see, hear, touch, smell, and taste things?"
"A sensuous geography maby therefore lay some claim to reasserting a return of geographical to the fullness of a living word or everyday life as a muntisensual and mutidimensional situatedness in space and in relationship to places."
"the senses are not merely passive receptors of particular kinds of environmental stimuli but are actively envolved in the structuring of that information and are significant in the overall sense of a world achieved by the sentient. In this way, sense and reality are related."
"The senses both as a relantionship to a world and the senses as in themselvesa kind of structuring of space and defining of place."
quarta-feira, 30 de novembro de 2011
Art, Space and the City
Notas sobre a introdução do livro,
"It investigates the critical perspectives of the cultural geography, urban sociology and critical theory, through analyses of the city, urban space and its gendering and the monument. A duality emereges between public art which is bound by the aesthetics of the object, and art as a continuos, participatory process of social criticism"
"The relation between conventional public art and development is one of complicity,whilst emerging practices of art offer resistance to conceptualisations of the city which exclude the interests of its inhabitants. Two roles for art are suggested: as decoration within a re-visioned field of urban design in which the needs of users are central, and as a social process of criticism and engagement, defining the public realm not as public sites but as complex fields of public interest. The tension between these positions is creative. "
Chapter 1: THE CITY
This chapter considers changing ideas of the city which are produced by social structures of value and power.
"It investigates the critical perspectives of the cultural geography, urban sociology and critical theory, through analyses of the city, urban space and its gendering and the monument. A duality emereges between public art which is bound by the aesthetics of the object, and art as a continuos, participatory process of social criticism"
"The relation between conventional public art and development is one of complicity,whilst emerging practices of art offer resistance to conceptualisations of the city which exclude the interests of its inhabitants. Two roles for art are suggested: as decoration within a re-visioned field of urban design in which the needs of users are central, and as a social process of criticism and engagement, defining the public realm not as public sites but as complex fields of public interest. The tension between these positions is creative. "
Chapter 1: THE CITY
This chapter considers changing ideas of the city which are produced by social structures of value and power.
The snapshot suggests an incidental moment within the city, one instant in its diversity; the distanced view represents the city as a single idea, as if it might always be that way.
The eyes of the skin - Juhani Pallasmaa
Notas sobre a Introdução do livro:
Sobre o porquê de desenvolver a pesquisa do livro, o autor diz:
"I had become increasingly concerned about the vias towards vision, and the suppression of the other senses, in the way architecture was conceived, taught and critiqued, and about the consequent disappearence of sensory and sensual qualities from the arts and architecture."
"My assumptions of the role of the body as the locus of perception, thought and conciousness, and of the significance of the senses in articulating, storing and processing sensory responses and thoughts"
"(...) I wished to express the significance of the tactile sense for our experience and understanding of the world, but I also intended to create a conceptual short circuit between the dominant sense of vision and the suppressed sense modality of touch"
"we do indeed see by our skin"
agora, ela começa a levantar a ideia da percepção visual através da pele:
"All the senses, including vision, are extensions of the tactile sens; the senses are specialisations of the skin tissue, and all sensory experiences are modes of touching and thus related to tactility."
"touch as 'the mother of the senses'"
"My body is truly the navel of my world, not in the sense of the viewing point of the central perspective, but as the very locus of reference, memory, imagination and integration."
"I lend my emotions and associations to the space and the space lends me its aura, which entices and emancipates my perceptions and thoughts. An architectural works is not experienced as a series of isolated retinal pictures, but in its fully integraated material, embodied and spiritual essence."
sobre a virtualidade cibernética:
"Computer imaging tend to flatten our magnificent, multi-sensory, simultaneous and synchronic capacities of imagination by turning the design process into a passive visual manipulation, a retinal jorney."
"Unconscious peripheral perception transforms retinal gestalt into spatial and bodily experiences. Peripheral vision integrates us with space, while focused vision pushes us out of the space, making us mere spectators."
Uma comparação fortíssima, e que me parece muito interessante trabalhar (se não nesse projeto, depois):
"The loss of focus can liberate the eye from its historial patriarchal domination."
Sobre o porquê de desenvolver a pesquisa do livro, o autor diz:
"I had become increasingly concerned about the vias towards vision, and the suppression of the other senses, in the way architecture was conceived, taught and critiqued, and about the consequent disappearence of sensory and sensual qualities from the arts and architecture."
"My assumptions of the role of the body as the locus of perception, thought and conciousness, and of the significance of the senses in articulating, storing and processing sensory responses and thoughts"
"(...) I wished to express the significance of the tactile sense for our experience and understanding of the world, but I also intended to create a conceptual short circuit between the dominant sense of vision and the suppressed sense modality of touch"
"we do indeed see by our skin"
agora, ela começa a levantar a ideia da percepção visual através da pele:
"All the senses, including vision, are extensions of the tactile sens; the senses are specialisations of the skin tissue, and all sensory experiences are modes of touching and thus related to tactility."
"touch as 'the mother of the senses'"
"My body is truly the navel of my world, not in the sense of the viewing point of the central perspective, but as the very locus of reference, memory, imagination and integration."
"I lend my emotions and associations to the space and the space lends me its aura, which entices and emancipates my perceptions and thoughts. An architectural works is not experienced as a series of isolated retinal pictures, but in its fully integraated material, embodied and spiritual essence."
sobre a virtualidade cibernética:
"Computer imaging tend to flatten our magnificent, multi-sensory, simultaneous and synchronic capacities of imagination by turning the design process into a passive visual manipulation, a retinal jorney."
"Unconscious peripheral perception transforms retinal gestalt into spatial and bodily experiences. Peripheral vision integrates us with space, while focused vision pushes us out of the space, making us mere spectators."
Uma comparação fortíssima, e que me parece muito interessante trabalhar (se não nesse projeto, depois):
"The loss of focus can liberate the eye from its historial patriarchal domination."
terça-feira, 29 de novembro de 2011
segunda-feira, 28 de novembro de 2011
Referência: Cao Guimarães e a História do não-ver
Iniciam-se os sequestros, e o artista passa a remontar os espaços para o qual ele é levado (sem saber quais são) através das próprias lembranças, o que permite perceber-se num sítio aberto (parque, jardim, campo), fechado (quarto, loja, barbearia), tal como os objetos que o rodeiam. Sendo assim, todas as informações sinestésicas passam a compor o cenário que ele cria em sua mente.
Durante os sequestros, apesar de não ver com os olhos, o artista passa a perceber o espaço de outra forma, continua a vê-lo, mas, sem olhos. Desse modo, com a máquina fotográfica criar retratos muito poéticos das experiências pelas quais está passando.
O produto final desse trabalho se apresenta a partir das fotografias e do texto que o artista produziu a partir de cada sequestro: surge então um filme e um livro com esse material.
Achei um artigo sobre esse trabalho, e retirei algumas frases que considerei relevantes sobre ele e sobre o que nós estamos nos perguntando nessa fase inicial de nosso trabalho:
"O texto aqui não visa à restituição do visível, pois é justamente a ausência desta dimensão sensorial que caracteriza a “experiência”. É a impossibilidade de ver que permite ao artista ter a experiência de "ver sem os olhos".
"Simultaneamente vem à tona nas estórias das “experiências” a ausência muda a que são
habitualmente relegados os sentidos cujo objeto não é visual: audição, tato, olfato e
paladar". A visão é tão forte que acaba por deixar de lado os outros sentidos...
"a perda do sentido da visão desorienta funções práticas visando
utilidades e a “experiência” abre então uma disponibilidade." é, portanto, ao não-ver, que a experiência surge.
"Que um fotógrafo busque não somente a revelação dos outros sentidos mas ainda
fotografar o não-visto é algo que aponta (o que não valeria para um fotógrafo realmente
cego) para um cansaço de imagens, uma saturação da sua previsibilidade." Exato! Esse é um dos aspectos que considero ao pensar no não-ver: romper a saturação das imagens, esse cansaço, a previsibilidade, desautomatizando o que é considerado normal e comum.
"O caráter didático da “experiência” está em seu possível poder de reeducar uma visão esgotada
(pelo bombardeio mercantil de imagens) justamente através de sua perda provisória." Zás!! aqui se dá a experiência na obra do Cao Guimarães! a experiência surge a partir da impossibilidade de ver, e daí, surge algo de novo, surge algo de aprendizado, que é onde queremos chegar, mas, temos que pensar em qual será nossa experiência. A mesma que a do Cao? Outras?
"As imagens, no entanto, só são visualizáveis durante a “experiência” através da lembrança." A relação entre a lembrança e as imagens.
"é o chão retirado ao ordinário, revelando a existência de outro mundo ali mesmo onde o hábito velara o abismo: o infraordinário miraculoso dos outros sentidos, a estranheza mortal de estar vivo acordado." Esse trecho faz emergir a sensação de quão cegos estamos com relação aos outros sentidos.
quão cegos estamos com relação aos outros sentidos...?
quão cegos estamos com relação aos outros sentidos...?
quão cegos estamos com relação aos outros sentidos...?
por tanto ver, já não vemos? frente à tanta luz, não distinguimos formas. Cao mostra que é possível ver o não-ver. o não ver dele corporifica-se na fotografia "às cegas" e na experiência que permite aos outros sentidos "verem".
se quiser, dê uma olhada no site dele
http://www.caoguimaraes.com/page2/principal_new.php
na página inicial, tem um pontozinhos bem pequenitos.. links que levam aos trabalhos. tem que achar o Histórias do não-ver.
mandei, também, um email para o site, para saber se é possível enviar, ou se há disponível, o vídeo desse trabalho. sei que há no Museu de Arte Moderna de São Paulo, mas, esses 8 mil km não dão jeito! lol
Um exemplo de ver o não-ver
http://www.estadao.com.br/noticias/nacional,jovem-fotografo-mobiliza-entusiastas-no-complexo-do-alemao-no-rio,804073,0.htm
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