Its fluid, vast and violent territory is the main transit space for fluxes of capital and information, flights and marine navigation: It is to be feared that, without realizing it, the practices of the above named disciplines, which regard art through narrow spectacles, will arrive at objects that are, so to speak, dead. What were their names and their stories? According to Herbert Marcuse, this is where the utopian dimension of aesthetic experience dwells, a dimension that today is readily rejected, but one that deserves renewed interest: The notion of noise is related to the nautical roots, to the sickness of seafaring, and to the intense sound of the seas, the waves – and sounds are, in fact, waves, while the sea produces what we call white noise. Immersion and Embodiment in the Arts and Culture. It is also a cartography where “the drawings articulate spatializing practices [
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This way, a whole catalysis of the resumption of confidence of humanity in itself is to be forged step by step and, sometimes, from minimal ways. What seems to occur is just the opposite: Immersion and Embodiment in the Arts and Culture.
These are spaces and constructions on which destruction has been acting since the beginning: In places where history seems to be lost and the memory is buried, I try to listen to other times in that space and to perceive the ghostly traces of the experiences in that place — it is always fictitious, albeit linked to possibilities and historical passages.
They were expanded towards an imaginative pansensorial wandering, in which senses, memory, imagination, movements, times and spaces are blended into an inextricable compound.
These ways bump into the dangers of wandering. They are ever changing, composed by human and non-human animals in movement, other organisms and remains.
Brazilian, she lives in Rio de Janeiro, currently working in the field of art and as an experimental composer and singer. The movement of the body through a path is not necessary to constitute a movement of the body through sound: Or they will arrive at objects that have reached such a state of stiffness that in order to finish their reports, they must rely on the sole element supposedly still alive: There it was worshiped the god Copac Awana, responsible for good fishing.
I investigate different kinds of walks and activities around the shoreline, the port activity, the relation of people with the ocean, the exchanges with strangers. It was when I walked with that family, blowing the fringes of the children that laughed sea wind. She observes the entwinement between the psychic and the concrete aspects: These works are made from fictions built either on the direct experience of specific places – such as the Atlantic Avenue – as in fabled elaborations based on archival material, iconography, stories, myths, historical and geographical data, etc.
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After this, one can say that a walking body is not only walking along a pathway: The Sensual Culture Reader. It is said that the origin of the name “Copacabana” is Quechua and there are multiple versions for this designation, but they usually involve a female or androgynous entity coming from the Andes and a relation with the waters:.
There is a vivid relation between this space and the countless mixed trajectories that pervade it, in a continuous reconfiguration of places and non-places.
The environment, the social relations, and the human subjectivity — all these entries are under great pressure, tension and conflict in this Atlantic space. This authoritarian and political temptation already existed in Greek antiquity, and its multiple recurrences mark Western history.
Human subjectivity, social relations and the environment constitutes one another, in countless dynamic crossings: From left to right, from back to front: At this point, it can be filiigrane that the soundwalks I did in the beginning are growing into something else, into bigger projects and countless possibilities. Which monuments recall their tragedy?
Oxford – New York, Berg, p. Egg of little mermaid; But one fact stands out in the stories above, a quote that sounds like a dissonant alarm: Sea water after too much sun; The report of a genocide is “naturally” inscribed in the subtext of this seemingly mild and picturesque excerpt. I seek to listen, rreflections, feel, and think these places with a renewed astonishment.
They are live spaces full of constructions, tools and inorganic debris, signs and marks. According to Herbert Marcuse, this is where the utopian dimension of aesthetic experience dwells, a dimension that today is readily rejected, but one that deserves renewed interest: It is inside the world of sensations that the spirit is constructed — and the spirit produces sensations.