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O MATERIAL TEM SEMPRE RAZÃO (24):
Pedro Lomba lança programa de irresponsabilidade política
- ‘Para combater o "discurso superficial e vazio que não se compromete com nada e que nada assume", Pedro Lomba propõe-se ter conversas informais off-the-record com os jornalistas, de forma a poder dizer o que lhe apetece em nome do Governo sem ter de se comprometer com nada nem de assumir nada. Confusos? Não estejam. É o que acontece quando uma pessoa se torna adjunto do adjunto de Pedro Passos Coelho.
(…)
Lomba diz, para se justificar, que há briefings em on e em off "noutras democracias consolidadas". É verdade. Mas também há políticos que têm sexo com menores e escutas sem mandado judicial "noutras democracias consolidadas" e não é por isso que os queremos imitar. Os briefings off-the-record do Governo, em qualquer país, são uma prática condenável.
Em termos simples: só em casos excepcionais é admissível que um governante fale off-the-record. O uso do off-the-record reduz a responsabilização (accountability) e aumenta a inimputabilidade (deniability) dos políticos. Muitos o fazem? Sim, mas não deviam fazer e os jornalistas não os deviam ouvir. A aceitação do off-the-record em declarações de um governante promove a irresponsabilidade do governante e do Governo, aumenta a opacidade da política, reduz a liberdade de imprensa e abre a porta ao tráfico de influências. Que alguém que escreveu um livro intitulado Teoria da Responsabilidade Política não perceba isto, é lamentável.’
buzzfeed: Kind of Blue: the Caribbean meets the Atlantic. (via)
Kacper Kowalski’s Aerial Photos of Poland's Forests in Autumn
Jutting out into the southern Baltic sea, Pomerania in Poland is famous for its large swathes of forests, dotted with lakes and meandering rivers. In autumn, the varied patches of forest come out in a riot of colours, their leaves drying at different rates and exposing the thick undergrowth and waterways. Flying from paragliders and geoplanes, aerial photographer Kacper Kowalski has been photographing this region from the air for years. Kowalski’s magnificent pictures show nature's beauty as it changes through the year.
Born in 1977, Kowalski is a graduate of the Technical University of Gdańsk, where he studied architecture. His architectural eye came to play an important role in his photography. “By profession I am an architect, so I look at the world through my education – arranging everything in maps and drawings,” says Kowalski.
Kowalski lives and works in Gdynia.
Read more »© Amusing Planet, 2013.
tipificação
em breve, quando todos os crimes forem hediondos, teremos os crimes hediondo-hediondíssimos.
eu que não sou de intrigas
Pensava que Bon Jovi já não cantava. Depois vi as imagens do concerto em Lisboa e ouvi uma das músicas. Percebi que tinha razão.
O Novo. O Velho.
Escutei muito esta sentença, de importantes intelectuais de vanguarda na década de 90, quando se defendia a necessidade de uma nova forma de interpretar a Constituição.
O diagnóstico emergia da percepção de que a Constituição ("o novo") era cotidianamente violada em decorrência de uma interpretação retrospectiva ("olhar o novo com os olhos do velho") que impedia que o novo se efetivasse ("transformava o novo em velho").
Pena que alguns daqueles mesmo intelectuais, que foram fundamentais no passado, perderam a capacidade de perceber o novo.
Seus olhos burocratizados, corroídos pelo tempo, envelhecidos pela técnica (dogmática), não conseguem minimamente notar que algo novo está emergindo das ruas.
E está emergindo há algum tempo.
Unauthorized Installations: The Fine Art of Urban Subversion
Brad Downey is familiar with both sides of the art world, with a fine arts degree and gallery exhibitions, on the one hand, and run-ins with the authorities about his sometimes-unsanctioned street art on the other.
His work is harder to describe that it is to simply see, since it is often in the most public places you could imagine (or documented via extensive photography) – erupting from sidewalks, disrupting bicycle lanes or literally ripping up cobbled streets
Per the pictures, sometimes these installations transpose ideas and objects from other contexts, but they also frequently warp existing everyday objects like bicycles, cars, signs, benches, shopping carts and garbage cans.
Sometimes he works alone – sometimes collaboratively. Some of his pieces are stand-alones and one-offs while others form sets, like Wedging (shown above), which is a series of experiments of balance and obstruction in alleys with ordinary household items.
He has had run-ins with police while working in cities ranging from London to Amsterdam, on both art and guerrilla marketing projects performed in that gray area of public and possible vandalism.
[ By WebUrbanist in Art & Street Art & Graffiti. ]
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Para recordar as cassetes áudio
Bem mais consequente que um eventual regresso à cassete áudio para consumo musical parece ser contudo o trabalho de reflexão sobre memórias no departamento do design que nos propõe Neil Stevens, cujo trabalho a Flavorwire recentemente destacou. A sua série 'Don't Forget the Tape' nasceu da sua vontade em decorar a parede do sótão. E assim nasceram peças que evocam algumas das marcas de que se falava nos dias das cassetes...
Podem ver aqui a série completa.
eu que não sou de intrigas
Rui Tavares, em entrevista ao i, sugere novo partido de esquerda. Porque há poucos, imagino. A esquerda leva mais longe a democracia. Um homem, um voto, um partido. Sempre que alguém à esquerda se chateia faz-se um movimento ou um partido. Há mais partidos à esquerda que argentinos no plantel do Benfica.
Dobrando uma camiseta como um campeão
Em Defesa dos Direitos Humanos
A luta pela preservação dos direitos e das garantias fundamentais de todos é o meu norte, é o que me move, é o que me faz marchar.
Mentirinhas #456
Hoje não tem tirinha sobre protesto… Mais ou menos.
O post Mentirinhas #456 apareceu primeiro em Mentirinhas.
From Gezi Park
A protester runs through tents covered by tear gas in Gezi park in Istanbul's Taksim square June 15, 2013. Turkish riot police stormed a central Istanbul park on Saturday firing tear gas and water cannon to evict hundreds of anti-government protesters, hours after an ultimatum from Prime Minister Tayyip Erdogan. REUTERS/Yannis Behrakis
I've been attending the Gezi Park protests since arriving in Turkey on June 6.
Thousands of people have camped at the park in Taksim Square, traditionally a gathering place for all kinds of meetings and protests, to prevent Prime Minister Erdoğan from razing the park to remove the place of assembly and erase some of the last green space in Istanbul to turn it into an Ottoman barracks shopping mall.
On the morning of the 11th, the protesters in the park were peaceful; in Taksim Square below, they were throwing fireworks and rocks and it was being responded to with tear gas and sonic booms and water canon blasts.
By nightfall, the square was becoming filled with people coming home from work, and at 7:30PM, the police gassed the square, driving the protesters into the park. I retreated into the center of the park, at which point the police completely surrounded the park, so that nobody could leave. Then they gassed the whole park.
People were passing out, puking, crying, and nobody was able to breathe or see. The police no longer were trying to get people to disperse - they were torturing them. They even gassed the ambulances outside waiting to carry away the injured protesters.
Although I was gassed several times, the final assault was so thorough that there was nowhere to go to get breathable air. In addition to the burning in my eyes and mouth, it felt like drowning.
But the crazy thing is that even after all that, I've become addicted to going to Gezi Park. Maybe it's the sense of community and purpose there - with free food, cigarettes, music, accommodations, books, education, and healthcare.
Maybe it's the joyous, resilient mood of the Turks - who, the second the gas attacks stopped, were cheering and applauding the fact that they held their ground, even while people were gagging and vomiting and it was bleak and horrible. Maybe it's because in the protests, the biggest cultural differences and partisan conflicts are forgotten, as arch political enemies and rival soccer teams are joined together in song, arm around arm.
Maybe it's because it's a rare opportunity for genuine, protracted conversation and interaction between people from all walks of life - rather than the small, unrepresentative group of looters and thugs as Erdogan characterized, the "capulcus" came from all classes, ages, political parties, and sexual orientations.
And maybe it's that I find it surreal to be walking around yesterday's battle zone as if it were a movie or stage set. But probably the real reason I keep coming back, even after being tear gassed and hearing Erdogan's "final warning" to the protestors, is that there's probably nothing more emblematic of the human condition than to be dancing in the street with a gas mask around your neck.
Art of the Brick: Nathan Sawaya’s LEGO Solo Show in New York
If you happen to be in New York this weekend stop by Art of the Brick, the upcoming solo show by artist Nathan Sawaya at the Discovery Times Square museum. The collection of LEGO sculptures is being billed as “the world’s biggest and most elaborate display of LEGO art ever and will feature brand-new, never-before-seen pieces by Sawaya.” The show opens tomorrow and runs through January 5th, 2014.
Side note: Sawaya is trying to get enough votes over on LEGO CUUSSOO to have one of his orignal artworks turned into an actual LEGO set. All imagery above courtesy Discovery Times Square. (via laughing squid)
Lisboa em Si
A Grécia vai à frente?
http://last-tapes.blogspot.com/2013/06/blog-post_16.html
António Cabrita
Diálogo na caixa de correio #13
Sabem porquê? Porque alguém meteu nos cornos do povo que a poesia é uma prática revolucionária. E que só é válida se o for. Uma ganda tanga.
O governo é isto
The infinite book tunnel
This book installation is displayed in a library in Prague, depicting how infinite is the knowledge. Youtube video below shows how the effect is achieved by installing two mirrors.
@ haha.nu
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O atelier de Vieira da Silva
Inaugurou ontem em Lisboa, por ocasião do 105º aniversário da pintora Maria Helena Vieira da Silva, aquele que era o atelier onde trabalhava quando estava na cidade (e que dividia paredes com aquela que era a sua residência lisboeta). Fica no número 3 do Alto de S Francisco (junto à Rua João Penha), a poucos metros do Jardim das Amoreiras, onde mora hoje o Museu Arpas Szènes - Vieira da Silva. Era sua a vontade de fazer daquele um espaço para as artes e os artistas. Como ontem pareceu claro nos “breves” discursos oficiais, em breve outros espaços daquela casa acolherão residências artísticas. Para já no atelier podemos ver uma exposição de fotografias deste e outros ateliers onde a pintora trabalhou (nomeadamente em cidades como o Rio de Janeiro ou Paris). E ver alguns objetos que faziam parte daquele lugar, entre os quais cavaletes, telas inacabadas, pincéis, tintas...
Atelier Lisbonne (1935)
http://last-tapes.blogspot.com/2013/06/blog-post_14.html
Ernst Jünger, O coração aventuroso. Tradução de Ana Cristina Pontes.