Arquivo para a ‘Museology’ Categoria

Notre Dame on fire

15 Apr

Today the Notre Dame was been on fire in enourmous proportions. 
The present church was built in the year 1163, when the Romanesque church there was demolished because Bishop Maurice de Sully considered it unworthy of values and the technical innovations allowed new daring forms and arches and ceilings were erected.
The church of Notre Dame, which stands for Our Lady [and one of the oldest of the Gothic style, and the long process of construction that lasted until the mid-fourteenth century, and the various architects who participated in the construction justifies the stylistic differences present.
During the French Revolution several elements of the church were stolen, ending the space itself by serving as a warehouse for food, but Victor Hugo incorporated to it a romantic spirit and inclusion, the novel The Hunchback of Notre Dame in 1831.
There are indications that the Celts would have celebrated ceremonies there and later the Romans would have made a temple of devotion to the god Jupiter, and still there would have existed one of the first churches of Christianity in Paris: the Basilica of Saint-Etienne, designed by Quildebert I by around 528 AD.
The fire destroys a patrimony of humanity, a historical document and the reconstruction will hardly maintain the original originality, is a great loss for the history.
In live now NBC News has a documentar about this:


The Interiority: garden, indifference or puppets

09 Apr

Following a great development of the idea of the Polis, the next movement of thought goes into interiority, Aristotle had been the preceptor of Alexander the Great, who built the first great empire of antiquity, but then came the Roman Empire, the polis was confined in ideas about law, wars of conquest and finally the Roman pax, which was the surrender to the great empire.
The thought will confine the interiority, Warburton will call the chapter on Garden Epicurus, because he ran his school in a house with a garden, and his basic ideas was how to make the philosophy practical to make life happy, the practical was so rules of how to work inner issues, and between them avoiding ideas about death.
A second school that emerged in this period were called skeptics, for their indifference in many relevant matters, or Stoics because they met at the gates of the cities called “stoa”, hence the name of the school.
The basic idea is captured by Warburton as: “Our attitude toward what happens is within the limits of our control, though whatever happens is not.”(Warburton: 2012, 32).
To a birth of reason, because the Stoics believed that we should not feel sad about something wrong that happens to us, when we are deceived or have emotions that would hinder our thinking, we should always eliminate it completely.
Thus, if contemporary philosophy can be said to be objectivist in the sense of the subjectivists, the influence of Cicero on the Enlightenment is recognized, especially in Locke, Hume, and Montesquieu.
Finally, Augustine’s view of Warburton as that which all reality as “puppets” of divine thought, nothing more unjust, Augustine tried to free himself from the Manichean thought that imprisoned him in a struggle between good and evil, and his conversion to Christianity was just that cristianism isn’t manichaeism view of life.
I know that even Christian scholars see it that way, and Manichaeism is still an influential part of religion.

Warburton, N. Uma história da filosofia. São Paulo: LP&M, 2012. (in portuguese).
The philosopher Massimo Pugliucci has interess in stoicism and explain this thinking:



The work of Lev Manovich

02 Apr

The what differentiates Manovich from other discourses is his understanding of computer language and his study of interfaces, this was reflected in his works such as the one presented at the Chelsea Art Museum in New York, the Finnish Zentrum für Kunst und Medientechnologie in Karlsruhe, at The Walker Art Center (Minneapolis) and at the Museum of Contemporary Art Kiasma (Helsinki).
He has received numerous awards such as the Guggenheim Fellowship and the Digital Cultures Fellowship (University of California, Santa Barbara) and has been a reference professor of digital art at the California Institute of the Arts and the University of Arts and Design (Helsinki) and Arts Center Hong Kong), with a universal vision, therefore.
Without ignoring conventional readings and media, he shows that the reformulations of the categories for analysis of the current models function as a sort of genealogical map of the new media (I would say anthropological, but I understand the perspective of the author), where he seeks to sketch the possibilities and perspectives of the future.
In this way, both the perspective of the computer and its productive potential appear to be linked to its work as mediator of culture.
It appears in Manovich’s text: “Each stage in the history of computer media presents its own aesthetic opportunities as well as its own projection of the future: in short, its own ‘research paradigm’ “(Manovich, 2001).
And it points to the future by saying that some techniques: “At a later stage, these paradigms will be modified or even abandoned.
In this book, you wanted to the “new media research paradigm, during its first decade, before it falls asleep in invisibility,” which is where the ideas of interfaces should break.

The good self-presentation is this keynote: Museum without Walls: Using Big Cultural Data to Re-think Cultural History – Lev Manovich, in The Graduate Center, City University of New York, see the vídeo:



Another digital read

01 Apr

McLuhan in the 1960s (Understand Media) wrote about the transformation that the electronic era brought, however, the first integrated circuits (ICs, the chips that were in the bottom tiny transistors) just beginning to emerge, the first computer on the chip, the microprocessors only appeared in the 1970s.
The chips succeeded the Internet in the mid-1970s and the explosion of personal computers in the 1980s, only in 90 the Web was born, Lev Manovich was born in 1960.
His most influential book The language of new media was published in 2001 by MIT Press, as its name indicates is Russian, and his reflection goes beyond McLuhan because it speaks of the digital age, but as the name says it is with emphasis on language and analysis structures.
The author initially presents himself with his book, gives a presentation of Dziga Vertov’s Man with a Movie Camera (1929) to talk about the peculiarity of the new media, he is intelligent and daring his proposal since it goes from the word to the without losing sight of the language, his original question is What is new media?
What brought me closer to the book was the second chapter on interfaces, made in comparison to the cinema, in order to highlight the schemas of information organization (in a new sense, of course) and its role in today’s society, this is what called the book
What is technically called IHC (Human Computer Interaction), between the cinema and the printed word have a grammar (we say a syntax in computing) itself and without understanding it we run the risk of ignoring the interfaces with proper ownership, and that largely determine how the user (some thinkers also) relate to it, I make a metaphor, it would be like wanting to read a book thinking of it as having a mouse.
In 1993, he studied the origin of computational media and its relation with avant-garde art in the 1920s, we have already posited about Gustav Klimpt and others, finally worth reading.
Manovich, Lev. The language of new media. MIT Press, 2001.
The work of Gonçalo Marto made in the course of Communication Design of the Faculdade de Belas Artes em Lisboa (Faculty of Fine Arts of Lisbon) is good start:


The prodigal son

28 Mar

The prodigal son did Just as any text is subject to different interpretations, it is not different for the biblical text, the search for exegetes is debatable, especially for the hermeneutics that admits the diversity of interpretations, because to penetrate in the Mind of God is a little too arrogant, clear for the which admit the existence of God, to others, it suffices to see itself limited only.
A Dutch writer and priest Henri Nouwen, who died in 1996, worked at Harvard University and Yale, wrote 40 books including “The Return of the Prodigal Son” (1992), in which from the painting of Rembrandt Petersburg). Through the observation of a poster with details of the picture
The Return of the Prodigal Son, the author made a spiritual walk in which he analyzes the characters of the biblical parable in the light of his personal experience, but with new elements that is the vision of his brother old. In general, when one is accepted after a wandering life, however the older brother has difficulty accepting the situation, this is symbolic for so many people who have difficulty accepting the other and include it within a certain circle, not only in the religious environment but also cultural, are all resentful “older brothers”.
Not accepting it is in a way preventing its change of route, conscious or unconscious is what many do and so we enter a vicious circle where positive changes are almost totally blocked, of course these circles become stiff and arrogant. In a globalized world in which differences are noticed, coexisting and culturally present, it is impossible to make life more fluid and pleasant with the behavior of “older brothers”, the changes then become conflicted and can reach extremes.
The parable is the “prodigal son” and not the misplaced, inconsequential or some other stigma of exclusion that we wish to put to him.
Rembrandt’s beautiful son has a detail (detail in the photo), which is the paternal hand he receives and a more delicate hand that caresses, this is our hermeneutical approach.


Gustav Klimt: art and media

27 Mar

We have already said that the Des Lumières Gallery recently presented an immersive exhibition by Van Gogh and that its inaugural presentation had been the work of Gustave Klimt, which means his work, as well as being representative in the current Digital Arts and Media?
Gustav Klimt (1862-1918) was an Austrian symbolist painter and draftsman and one of the great names of art nouveau, but his fundamental characteristic was what was called the “Viennese Secession Movement”, that is to say the following a strong opposition to the classicism and academicism, and that despite alliance with symbolism in the arts, are at the same time something beyond our seeing.
But the work of Gustav Klimt, although united to an artist who opposed classicism, has a deeper rupture and, therefore, his art is easily shaped when the new arts and media are passed, for its complex plasticity and at the same time little static and linear.
That is why his work in the education of this French gallery linked to the new arts and media was timely and almost “natural” and will probably be a spearhead in digital art.
The creation of public murals with his art teacher emerged around the world, and at the age of 18 he was already producing many decorating works with his brother in his decorating studio.
His work began to gain notoriety already at a young age, and special to differentiate from others of the time, and diverse works emerged in its line and arrived at the new means.


From Dali to Gaudi

20 Mar

The first contact with Gaudi would not be the first post, it was the experience I did that made me reverse the post, yesterday separated them to notice the end of the conception of objective reality.
Yes the historical path of these two Catalans is the reverse, in the Virtual Multimodal Gallery that I did, you can find 2 works of the last Dali that bring you closer to the current virtual universe (not objective therefore), while Gaudi had a great dialogue with Gothic and naturalism.
Alias for physical reasons, Gaudi was always a vegetarian long before this was fashionable.
I would say that they are complementary, but Antonio Gaudi i Cornet (1852-1926) will only impress us if we walk through his work, we feel his “aroma”, and his connection with Dali can be found in a lecture at Park Güell in 1956, for on the occasion of the feast of Mercy, the complete text in Spanish can be found on the Gaudi Club website.
In this conference Dali in defending him was 52 years old, when he died he was 22 years old.
Gaudi designed the interior of the cathedral in the form of a cross, in a stylized way the cross is present in all his works, the novelty of this church is that the representative biblical figures are all out of the church, inside there is a harmony of light, colors and sounds (above the picture I took) with the tube organs that were later placed, but certainly were in Gaudi’s imaginary, which we have already said has a cosmogony that goes beyond Christianity.
The church outside is what he wanted “a catechesis of stone,” and perhaps the height does what was his purpose “I will make all look to heaven.”
The proposal of finalization is for the year 2026, when it will be the centenary of Dali, it is also expected his canonization by the Catholic Church, nothing more just.



My first contact with Gaudi

18 Mar

Antonio Gaudi i Cornet (1852-1926), the artist, architect and mystic would only impress us if we walked through his work, felt his “aroma”, everything I read in the books was below, because this, it is my first contact. 

It was a strategic decision to see Gaudi in Barcelona from the outside in, the last thing on the first day was to see his main work The Holy Family, in his heart, is not always open to the public, in our case for a mass: in the crypt.
The next day was to stroll along the quay and the places where Gaudi went, we also passed the corner where the tram (electric in Portugal) ran over him, he was incognito days until they recognized him and on the third day he passed away.
I passed quickly, but Casa Vicens (1883-1888) is a summer house designed by Gaudi, commissioned by the owner of a brick and tile factory, Manuel Vicens, who from this 2016 became a museum open to the public, marks his style in transition.
The first works of his that I went to see the next day were the public lamp in the Plaza, a work of his youth, and then the Casa Batlló, made from 1904 to 1906, after the Casa Milà (foto) with the company of a friend Javier explained the futurism of work with space for lights and air inside the building, and the contours lowered at the tip, so as not to overshadow the architecture of the building next door.
After going through several other works we went to the Sagrada Familia, whose project is being finished by other architects respecting the ideas of Gaudi, began in 1883 and made until the day that was run over.
The images are all outside, it is a true Bible school (he said he would do a catechesis of stone and did it), and inside the lights and the sound of the tube organs (they seemed to me two, I did not confirm), they seem be a whole temple to pray, as it was defined “expiatory temple”, but I prefer even the Cathedral of the Holy Family.
From 1984 to 2005, seven of his works were classified as World Heritage by UNESCO and his Catholic devotion that intensified during his life, street work rich in imaginary and even say in the in religious imaginary, now the catholic church thinks in his beatification.



The Web turned 30

13 Mar

Still confuse the Internet, the Web and the Network, although they may be superimposed, they are different aspects that united the world, the pessimists say worse, the optimists say it points to the future, the realists say it is a new time with difficulties and facilities, well used will be promising for the future.
On March 9, at CERN where Tim-Berners Lee worked when he made a proposal for an Internet interpreter called and used the term web (not net), the idea of his original article was an ease of handling scientific texts online that at the very moment they were written were ready to be read, which bloggers and tweeters do today, but that was Web 2.0 in 2005.
In Geneva at CERN Berners-Lee met with Robert Cailliau, a computer science engineer who was not mentioned at all, but it was in fact that he made the first hypertext system, they were joined by other experts to discuss the present and future of the World Wide Web, or Web. 
The event, called Web @ 30, was opened yesterday (12/03) by CERN General Manager Fabiola Gianotti, in collaboration with two organizations founded by Berners-Lee: the World Wide Web Foundation and the World Wide Web Consortium ( W3C), CERN has recently restored the first website and online brower, shown at the Hackathon event (February 11-15, 2019). 
Security issues, free internet maintenance policies, governments and business structures want their control and in some countries it is not a free service, fake news and others were topics for discussion. 
A promising theme for the future is the SOLID project, we have already posted a post on it, it is in full development with the collaboration of MIT researchers, but the expectation is high and there will still be a lot of expert work to give the world a reliable Web.
Suhayl Khan showed how to access the browser in online mode using technology from the 1960s (when there was only internet and with few facilities) (Video: Suhayl Khan):


Smells, time and flowers

11 Mar

Time is urgent, time and money, being and time, but the interpretation of time is not secondary, considers it absolute, or even the “fourth dimension” that depends on it, but it is not, time is duration and when not the smell loses the “aroma” (in sense of smells).
This is how Byung-Chul Han defines it in his “The Aroma of Time: A Philosophical Essay on the Art of Delay” (Relógio d’Agua,) which, using Marcel Proust, defines it: “His temporal strategy in the face of this hasty period consists in contributing to the recovery of time, the Aroma.” (Han, 2016, 57).
Proust’s novel is “In Search of Lost Time,” do not rush has nothing to do with the digital universe, is talking about a work published in seven volumes between the years 1913 and 1925 in seven volumes, the period of the foundation of the Pequeno Jardim store in Lisbon, in Bairro Alto, at Rua Garret, 61 (photo above, still there).
He speaks of the “timelessness” of Being, losing continuity, permanence, makes a quote from Proust of something I have felt, but in the opposite sense: “The man I was no longer exists, I am another,” and says that this is an identity crisis, I felt the same crisis but in an opposite sense, something I found in a contemporary Portuguese poem called Café Orfeu.
Portuguese poet Manuel Antonio Pina says at the end: “And to which I returned, slowly as if before your smile someone (I probably) had never existed”, of course talks about a meeting of a person, one can think the smile of life, or how Marcel Proust would like a scent found, aromas I felt and tasted in Lisbon.
As I think of reforestation, Martha Nussbaum’s theme for a resumption of the “aroma of time”, I remember a music “fado” of Amália Rodrigues that says “smells good, smells like Lisbon”, the words speak of flowers in the cover, says the letter of the among other verses:
“A carnation in a stolen water It smells good, it smells like Lisbon,
A rose blooming in the cover Smells good, Smells like Lisbon ”
Lisbon smells of flowers and sea, it says at the end, but the flowers are plastic, and if they do not take care of them (the sardines are disappearing) the sea will also be plastic, but I’m dreaming of a “reforestation”.
The “fado music” follows in the immortal voice of Amalia Rodrigues:
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