MarArTona de Poesia: Nuno Moura

 

Gravado no dia 12 de Abril de 2014 por Paulo Raposo na Zona Franca, aos Anjos. Lisboa.

Capa: a partir de foto de Marta Raquel Fonseca

 
em Abril,

depois do país habitual, do SAAL, e do turismo rural, do colonialismo
e de mais do mesmo, d’essa enxada é minha e de ter de tratar da
vidinha, dos ajuntamentos e ajustamentos da ascenção da classe média e
do declínio e queda do Filipe La Féria, da auto-construção, dos Sétima
Legião e da gentrificação, febre suína e da Etelvina, da PIDE e do
José Cid, do Salgueiro Maia e da Vila Faia, da luta de classes e
aumento dos passes, comissões de trabalhadores e alto Q.I. dos
esquentadores, do retorno dos Mellos e da Joana Vasconcelos, do avô
Cavernoso e do champô Quitoso, do Fungágá da Bicharada e da Acampada,
do Chico Fininho e do Marinho Pinho, das Greves Gerais e Ciências
Sociais, do Sá Carneiro, Roque Santeiro e César Monteiro, das Doce e
do tremoço, da malta do Frágil e da Mota Engil, do IPAAR e da Feira
Popular, da Nova Gente, o Independente, e o novo Intendente, do
turismo na linha e da galinha da vizinha, das ajudas externas e das
idas às termas, dos condomínios de luxo e da falta de luz, dos
milagres económicos e interlúdios cómicos, do pós-modernismo e
nacional-cançonetismo, do Alberto Pimenta e aguenta aguenta, dos
anúncios da Meo e do liberalismo neo, das provas de vinhos e brincar
aos pobrezinhos, do punk, pós-punk, e voltar a lavar a roupa no
tanque, dos estágio não remunerados e casas de fados, do fascínio e da
faxina, da farra e da pouca uva, depois do futuro e do Kuduru, depois
da democracia e disto,

depois disto tudo,

enquanto isto tudo,

às tantas, por essas e por outras,

e de um estirada, a dar largas uns aos outros,

vai-se juntar gente para ler & tocar

no Pátio da Zona Franca,

depois de tudo, enquanto isto, e antes do resto

 

stressfm-macau:

SKY SENT CHANNEL 天空速遞

May Ha 夏仲美

透過虛擬的大氣網絡,將地表上各種人類的雜事,傳送給當下正在生活的人們 。

Cantonese 廣東話頻道

ep1-Freeform Lifestyle

第一集-自由生活,風中狂奔

嘉賓:Aquino Da Silva亞堅奴

生於澳門的中泰混血兒亞堅奴是一名平面設計師,將會分享他在忙碌的都市生活當中的快樂元素。

Music音樂:

Crosshair – Morning Haze

Chris Hadfield – Space Oddity

(via stressfm-podcasts)

stressfm-podcasts:

rádio pedras 14

#1

um convite a caminhar-pausar com a lisboa que acontece entre o intendente-mouraria, a baixa-cais do sodré, o mercado da ribeira-poiais de são bento. 
paisagens sonoras que trazem as vozes das pessoas e dos lugares, que contam histórias absurdas, que criticam, que se divertem, que respiram, tecendo, um documento que espreita por entre as brechas do que possa ser estar vivo hoje, o que possa ser cidade, o que possa ser o corpo que se cria com o mundo.

pedras é uma rede de práticas de estar - com a cidade a que o c.e.m se dedica desde 2005.

 
World Porn: global intimacy and mass self-communication
Silicon Valley is responsible for many of the prevailing cultural narratives of this young century. The explosive and unwavering evolution of Moore’s Law and its many side-effects has emboldened digital media corporations and their leaders to become outspoken advocates of specific political ideas, enacting specific policy agendas with the might, self-righteousness and impunity of yesterday’s industrial Barons.
This peculiar mix of warm fuzzy hippie morals and better-protect-yo-neck ultracapitalism - what Barbrook and Cameron correctly identified as The Californian Ideology - has of late been focusing its efforts on the hot topic of global internet access. The narrative is always the same, whether in the extravagant form of Google’s Project Loon or in the slightly scarier Facebook idea of long-flight solar-powered drones: internet access is going to “connect the world” and improve the lives of millions of people in rural and remote areas, finally including them in the “global community” that is The Network.
The vision is usually depicted like this: some Black African individual or community is faced with an apparently insurmountable problem, often related to labor or disease, often to the sound of a moving New Age ukulele tune. The situation is dire. Then, with the flick of a screen, The Internet comes along and a whole new world of information is revealed. Local wisdom is then joyfully updated and this new-found knowledge becomes the stepping stone for a new era of self-reliance.



Never mind the swiss-cheese holes in that vision, related to techno-determinism, digital exploitation, or the White West Coast borderline-racist fixation with "Africa". There is another gaping void in this utilitarian, functionalist project and depiction of unconnected poor people: it totally disregards the basic human need, will, and tendency to have fun with technology. Case in point: the global explosion of digital self-produced sexual media content, otherwise known as amateur porn.

Abundance never travels alone. When we speak about digital divides and the need to connect the world, we often forget to consider what that particular victory condition looks like. How it will generate a whole new breed of interrogations and paradoxes. The rise of informationalism, despite all the noble imagery coming out of Mountain View, is not confined to the domains of labor and disease eradication. Software takes command of every aspect of human lives and it starts precisely by messing up the old-school Maslow hierarchy of needs and desires. You get mobile connected cameras in the hands and bedrooms of millions of people, don’t expect things to remain quiet.
Pornhub has stats. 1.68 million visits every hour. 63.2 billion videos watched in 2013. That’s YouTube serious. Pornhub is a vast network of channels that serve every kind of porn genre known to mankind. The fact that they have their own yearly statistics report speaks plenty about how important sexuality is, in this global internetworked community of ours. For people who have been online for a decade or so, knowing that the United States, Europe and Japan are big pornography consumers shouldn’t really come as a surprise. The real news is all the newcomers, all the colored, the poor people, the emergent markets and their enthusiastic smartphone-enabled digital intimacy sharing. 
For all its traffic analysis and goofy horny variables, Pornhub is mostly useful to this conversation if you’re looking at consumer trends, but that’s not where the real frisky electronic action is. Innovation happens in dark corners, in the shadow of big business and in the most unpredictable gatherings. If you really want to know about World Porn, you need to look at XVIDEOS.

XVIDEOS doesn’t have a glossy yearly report or an efficient team of statisticians, but it’s not a mom-and-pop store operation, either. Extremely aware of what time it is, they make their entire database available in machine-readable format, as well as a real-time feed of published videos. For some unfathomable reason that future historians will have to confront, the site has become a major access point of emergent porn, global south raunchiness, pixelized and grainy mobile uploads shot from Lima to Lagos, from Rio to Baghdad, Kigali to Mumbai. Behold the connectedness.
What is it about the digital that provokes this degree of openness and sharing? What are all these faces and sounds saying about the network, about themselves, to themselves and all those able to see? What does the software do with all this heat, where does it take these whispers, these orgasms, these unknowing, unwilling or proud confessions of our human presence on the grid?

People who mourn the Great Loss of Privacy have either never been down one of the many labyrinths of World Porn or they’re lying shamelessly to their peers. It only takes a few minutes on one of these channels to realize that the powerful ability to produce and communicate our own networked images, our own interconnected versions of reality, has little or no regard for whatever categories existed in the now forever-lost analog cultural distinction between the public and the private.
This is not to say that the Facebook version of the “privacy is dead” argument is somehow devoid of malice and commercial intent, but it does mean that if one billion people share their personal lives in one way, you can bet that a billion more will continue to do so in a variety of fashions. Ubiquitous access to media software and devices is only the first step.
When we talk now, we are aware of each other. We know that the network is watching and listening, that it can host both our work and our play, our secrets and our struggles. To connect is to accept the unpredictable, the mundane, the revealing of the invisible, and it always works both ways. The abyss gazes back.
Connecting requires us to let go.

 

 

World Porn: global intimacy and mass self-communication

Silicon Valley is responsible for many of the prevailing cultural narratives of this young century. The explosive and unwavering evolution of Moore’s Law and its many side-effects has emboldened digital media corporations and their leaders to become outspoken advocates of specific political ideas, enacting specific policy agendas with the might, self-righteousness and impunity of yesterday’s industrial Barons.

This peculiar mix of warm fuzzy hippie morals and better-protect-yo-neck ultracapitalism - what Barbrook and Cameron correctly identified as The Californian Ideology - has of late been focusing its efforts on the hot topic of global internet access. The narrative is always the same, whether in the extravagant form of Google’s Project Loon or in the slightly scarier Facebook idea of long-flight solar-powered drones: internet access is going to “connect the world” and improve the lives of millions of people in rural and remote areas, finally including them in the “global community” that is The Network.

The vision is usually depicted like this: some Black African individual or community is faced with an apparently insurmountable problem, often related to labor or disease, often to the sound of a moving New Age ukulele tune. The situation is dire. Then, with the flick of a screen, The Internet comes along and a whole new world of information is revealed. Local wisdom is then joyfully updated and this new-found knowledge becomes the stepping stone for a new era of self-reliance.

Never mind the swiss-cheese holes in that vision, related to techno-determinism, digital exploitation, or the White West Coast borderline-racist fixation with "Africa". There is another gaping void in this utilitarian, functionalist project and depiction of unconnected poor people: it totally disregards the basic human need, will, and tendency to have fun with technology. Case in point: the global explosion of digital self-produced sexual media content, otherwise known as amateur porn.

Abundance never travels alone. When we speak about digital divides and the need to connect the world, we often forget to consider what that particular victory condition looks like. How it will generate a whole new breed of interrogations and paradoxes. The rise of informationalism, despite all the noble imagery coming out of Mountain View, is not confined to the domains of labor and disease eradication. Software takes command of every aspect of human lives and it starts precisely by messing up the old-school Maslow hierarchy of needs and desires. You get mobile connected cameras in the hands and bedrooms of millions of people, don’t expect things to remain quiet.

Pornhub has stats. 1.68 million visits every hour. 63.2 billion videos watched in 2013. That’s YouTube serious. Pornhub is a vast network of channels that serve every kind of porn genre known to mankind. The fact that they have their own yearly statistics report speaks plenty about how important sexuality is, in this global internetworked community of ours. For people who have been online for a decade or so, knowing that the United States, Europe and Japan are big pornography consumers shouldn’t really come as a surprise. The real news is all the newcomers, all the colored, the poor people, the emergent markets and their enthusiastic smartphone-enabled digital intimacy sharing. 

For all its traffic analysis and goofy horny variables, Pornhub is mostly useful to this conversation if you’re looking at consumer trends, but that’s not where the real frisky electronic action is. Innovation happens in dark corners, in the shadow of big business and in the most unpredictable gatherings. If you really want to know about World Porn, you need to look at XVIDEOS.

XVIDEOS doesn’t have a glossy yearly report or an efficient team of statisticians, but it’s not a mom-and-pop store operation, either. Extremely aware of what time it is, they make their entire database available in machine-readable format, as well as a real-time feed of published videos. For some unfathomable reason that future historians will have to confront, the site has become a major access point of emergent porn, global south raunchiness, pixelized and grainy mobile uploads shot from Lima to Lagos, from Rio to Baghdad, Kigali to Mumbai. Behold the connectedness.

What is it about the digital that provokes this degree of openness and sharing? What are all these faces and sounds saying about the network, about themselves, to themselves and all those able to see? What does the software do with all this heat, where does it take these whispers, these orgasms, these unknowing, unwilling or proud confessions of our human presence on the grid?

People who mourn the Great Loss of Privacy have either never been down one of the many labyrinths of World Porn or they’re lying shamelessly to their peers. It only takes a few minutes on one of these channels to realize that the powerful ability to produce and communicate our own networked images, our own interconnected versions of reality, has little or no regard for whatever categories existed in the now forever-lost analog cultural distinction between the public and the private.

This is not to say that the Facebook version of the “privacy is dead” argument is somehow devoid of malice and commercial intent, but it does mean that if one billion people share their personal lives in one way, you can bet that a billion more will continue to do so in a variety of fashions. Ubiquitous access to media software and devices is only the first step.

When we talk now, we are aware of each other. We know that the network is watching and listening, that it can host both our work and our play, our secrets and our struggles. To connect is to accept the unpredictable, the mundane, the revealing of the invisible, and it always works both ways. The abyss gazes back.

Connecting requires us to let go.

 

Stress Jingle #13: Gary Lucas

 

Often considered one of the best and most original guitarists alive, Gary Lucas is an eclectic recording artist with over twenty solo albums to date, with styles ranging from psychedelic to world music, electronic, classical, ambient, jazz and rock. In his sophomore year he travelled on what he calls a “pilgrimage” to see his childhood hero Captain Beefheart, with whom he later formed a strong friendship. From being a Beefheart fan Gary eventually became his co-manager and joined the Magic Band, recording two Beefheart albums in the early 80s, “Doc At The Radar Station" and "Ice Cream For Crow”, which featured his explosive solo renditions of Don Van Vliet's twisted instrumental compositions, “Flavor Bud Living" and "Evening Bell”. These recordings put Lucas on the musical map as a force to be reckoned with, and laid the groundwork for his subsequent career.

 

Gary Lucas tours the world relentlessly both solo and with several different ensembles, including his longtime band Gods and Monsters, whose ranks once included the late singer Jeff Buckley. Over a long performing career Lucas has played and collaborated with Leonard Bernstein, The Plastic People of the Universe, Nick Cave, Alan Vega, Marc Ribot, John Zorn, Patti Smith, Jon Spencer, Kevin Coyne, Van Dyke Parks, Iggy Pop, Allen Ginsberg, Damo Suzuki, Michael Karoli, Dr John, Lou Reed, John Cale, DJ Spooky and many others.

 

(The guitar piece Gary Lucas is playing is his arrangement of the theme from Bela Tarr’s film "Satantango" by Mihály Vig)

 

"I could listen to him play for hours."
Lou Reed

 

 

 Click HERE for more Stress FM Station IDs

 

Sandra Oliveira recebe-nos com um sorriso franco, os olhos meio rasgados, uma hospitalidade simples que não denuncia à primeira a sofisticação subjacente. Designer, produtora e criadora dos Jardins Efémeros, tem o ritmo veloz de quem se move entre densas redes de relações, pessoais e digitais, próximas e globais.

A stress.fm esteve em Viseu a acompanhar o trabalho de campo de um projecto artístico participante na edição de 2014 dos Jardins, da autoria de Pedro Rebelo e Ricardo Jacinto. Foi assim que conhecemos e conversámos com Sandra Oliveira durante uma semana de preparação do evento que já se tornou um momento-chave na vida cultural da cidade. O projecto dos Jardins Efémeros começou como um desafio criativo no centro de Viseu e tem assumido a experimentação, o erro e a audácia como estratégias principais na sua clara expansão - o Festival ocupa agora uma parte significativa da geografia do centro urbano e estende-se por mais de uma semana, com uma programação que interliga as vanguardas e o mainstream.

Sandra conta as suas histórias com uma calma que contrasta com a óbvia responsabilidade do papel que cumpre em Viseu. Entre os apoios institucionais, a relação em tempos turbulenta e agora carinhosa com a sua comunidade, a gestão de equipas e a logística de produção, esta é uma surpreendente e bela anomalia na actual paisagem de uma nação e de uma Europa austera.

E também disso se falou nestes dias, dessa reflexão necessária sobre os valores que nos constituem e dirigem, sobre o que realmente importa e o que equilibra a nossa relação com os lugares. Sandra Oliveira fala do mundo, do invisível e do essencial.

 
Noise Problems is a music label based in Amsterdam. It is dedicated to electric and amplified music of all kinds, recorded live or in the studio. From experimental post-rock to some solid electronic beats, the label has a vast catalog of over 100 recordings of bands from all over the world. Noise Problems prides itself on delivering only high-quality releases, mixed and mastered according to the old codes, the ancient crafts of analog tapes and the new vortex of digital processing.
Some exquisite picks from the roster include: Imperial Tiger Orchestra from Geneva, Iva Nova from St. Petersburg, Supercity from Amsterdam, Camera from Berlin, and many others.


Since 2007, Noise Problems has been documenting much of the independent and alternative European live music scene. Despite the current economic and political regime, cultural events keep flourishing all across Europe, often the result of the effort of non-profit organizations, institutional patronage and grant programs, and the massive creative will of hundreds of passionate artists. That networked movement has been defined by some as the Epic Underground. 
This recorded body of work has been collected in the mythic six-volume collection Noise Problems Selections, a wide-ranging compilation that celebrates the label’s 50th release. There you can find bands like The Ray Pacino Ensemble, Vortex Rex, and The New Age Peasants.


Noise Problems has also been a long-time curator of the Free Music Archive, an interactive library of high-quality, legal audio downloads. The Free Music Archive is a platform for collaboration between WFMU, the most renowned freeform radio station in America, and a group of fellow curators.

Check out Noise Problems:
noiseproblems.net
freemusicarchive.org/curator/Noise_Problems
noiseproblems.bandcamp.com

 

Noise Problems is a music label based in Amsterdam. It is dedicated to electric and amplified music of all kinds, recorded live or in the studio. From experimental post-rock to some solid electronic beats, the label has a vast catalog of over 100 recordings of bands from all over the world. Noise Problems prides itself on delivering only high-quality releases, mixed and mastered according to the old codes, the ancient crafts of analog tapes and the new vortex of digital processing.

Some exquisite picks from the roster include: Imperial Tiger Orchestra from Geneva, Iva Nova from St. Petersburg, Supercity from Amsterdam, Camera from Berlin, and many others.

Since 2007, Noise Problems has been documenting much of the independent and alternative European live music scene. Despite the current economic and political regime, cultural events keep flourishing all across Europe, often the result of the effort of non-profit organizations, institutional patronage and grant programs, and the massive creative will of hundreds of passionate artists. That networked movement has been defined by some as the Epic Underground

This recorded body of work has been collected in the mythic six-volume collection Noise Problems Selections, a wide-ranging compilation that celebrates the label’s 50th release. There you can find bands like The Ray Pacino Ensemble, Vortex Rex, and The New Age Peasants.

Noise Problems has also been a long-time curator of the Free Music Archive, an interactive library of high-quality, legal audio downloads. The Free Music Archive is a platform for collaboration between WFMU, the most renowned freeform radio station in America, and a group of fellow curators.

Check out Noise Problems:

noiseproblems.net

freemusicarchive.org/curator/Noise_Problems

noiseproblems.bandcamp.com

UNSHAPED_AHEAD: Entrevista a Dimos Vryzas

 

Violino ligado a pedais, acompanhado de loops e narrativas em diferentes idiomas e registadas em diferentes localidades. É com esta matéria que Dimos Vrysas cria as suas atmosferas musicais e dá corpo a Unshaped_Ahead.

Minimal e facilmente transportavel, Unshaped_Ahead nasceu no verão de 2013, num momento em que Dimus decidira vir assentar arraiais em Lisboa durante uma temporada.

Dimus Vrysas esteve no estúdio da stress.fm a falar um pouco, entre outras coisas, sobre este e outros projecto musicais de que faz parte (The Jesterdays e State of Tension) e sobre o diy e a contracultura na Grécia e em Tessalónica.

Dimos Vryzas vai apresentar Unshaped_Ahead ao vivo na stress.fm, já no próximo sábado, dia 29 de Março de 2014. Mais info sobre o evento AQUI

 

Links de interesse:

Unshaped_Ahead

The Jesterdays

State of Tension

 

ECOS #4: SAS ORKESTRA DE RÁDIOS

 

SAS Orkestra de Rádios num concerto integrado na 4ª edição do ECOS, gravado e emitido em directo pela stress.fm na tarde de 8 de Março de 2014, no Jardim de Santa Clara, em Lisboa.

Os interpretes deste concerto foram Sónia Moreira, Simão Costa e Catarina Ascensão. Originalmente, a Orkestra inclui também a presença de Ana Trincão.

"SAS Orkestra de Rádios constitui-se como uma metaorkestra que transforma antenas e rádios em instrumentos sonoros e estéticos que apelam directamente ao toque e a um contacto tácito, entre os instrumentos e as pessoas e as pessoas entre si.

As modelações sonoras e modo de tocar de cada instrumento dependem directamente do seu manuseamento através da pressão e do tacto da pele com a antena. Pode (e deve) ser tocado por várias pessoas em simultâneo. Assim, a acção de contacto (toque) entre duas pessoas ou mais pessoas passa a ser o controlador sonoro, onde diferentes formas de interações tácteis dão origem a diferentes resultados sonoros.”

 

Links relacionados:

SAS Orkestra de Rádios no Facebook

Página do ECOS

ECOS na stress.fm

 

Sábado, dia 29 de Março 2014: 

 
A seguir à Oficina de Escrita Criativa guiada por Rafael Dionísio (informação AQUI), a stress.fm vai oferecer mais um serão musical, desta vez com a presença de Dimos Vryzas, que nos trás de Tessalónica o seu projecto a solo UNSHAPED_AHEAD. 

Com UNSHAPED_AHEAD, Dimos apresenta-nos algumas vozes com que se foi cruzando nas suas  viagens. Por cima da base  sonora criada com o violino, pedais de efeitos e computador, surgem múltiplos contos e histórias, todos eles gravado por ele e transportados em formato digital.

O concerto começa às 20h e vai ser emitido em directo no stream da stress.fm.
A acompanhar, vamos ter comes & bebes.

Mais info:
Evento Facebook
Entrevista a Dimos Vryzas na stress.fm

Sábado, dia 29 de Março 2014:

 

A seguir à Oficina de Escrita Criativa guiada por Rafael Dionísio (informação AQUI), a stress.fm vai oferecer mais um serão musical, desta vez com a presença de Dimos Vryzas, que nos trás de Tessalónica o seu projecto a solo UNSHAPED_AHEAD

Com UNSHAPED_AHEAD, Dimos apresenta-nos algumas vozes com que se foi cruzando nas suas  viagens. Por cima da base  sonora criada com o violino, pedais de efeitos e computador, surgem múltiplos contos e histórias, todos eles gravado por ele e transportados em formato digital.

O concerto começa às 20h e vai ser emitido em directo no stream da stress.fm.

A acompanhar, vamos ter comes & bebes.

Mais info:

Evento Facebook

Entrevista a Dimos Vryzas na stress.fm

stressfm-macau:

Stress.fm was at Grappa’s cellar in Hong Kong on January 21st to watch the performance of New Zeland’s  by way of Portland Unknown Mortal Orchestra, and Macau’s Turtle Giant. An event organized by Untitled Entertainment HK.

More things to come in future posts about Turtle Giant as they are in the process of recording their third album,  macau.stress.fm has been with them, capturing, photographing and recording the process, so dear listeners, keep tuned here on stress.fm because great things are in the making.

 

SPIES NEED LOVE TOO

surveillance is a form of presence in the public sphere

a live stream by stress.fm

Spies Need Love Too makes visible the process and methods of audio recording, acknowledges their performative elements, and challenges the notion that surveillance is somehow an external presence in contemporary society. We submit that the notions of public sphere and public space must be thought of as totalities that include the speakers and the listeners, the actors and the spectators, the protesters and the protested. We pay homage to the women and men whose job is to pay attention to what other people do.

baldio - Open Office

Lisboa, Teatro Maria Matos. March 15th 2014 

The following collectives have been spied on:

AND_Lab | Casa do Vapor | Artéria | Unipop | Observatório das Transformações XXXX da Cidade de Lisboa | Corpo de Multidão

A stress.fm apresenta: 
Oficina de Escrita Criativa - Libertar as Palavras, por Rafael Dionísio
 
Sobre a oficina:Esta é uma oficina dedicada a uma introdução razoavelmente aprofundada ao mundo da palavra e da liberdade de a criar. Trata-se de motivar e sensibilizar os participantes para o universo infinito de criatividade que está à distância de um gesto no papel com uma caneta (ou qualquer outro meio de registo de escrita).Por meio de exercícios genéricos procura-se desbloquear o papel em branco e começar a experimentar fazer textos. Numa perspectiva essencialmente prática, do lado do FAZER e não do lado do APRENDER, convoca-se os participantes a libertarem as palavras.
O Monitor: Rafael Dionísio tem ministrado cursos de Escrita Criativa desde 1998. Frequentou Engenharia de Minas no Técnico e Arquitectura na UTL. Na FCSH fez a licenciatura em Estudos Portugueses e é Mestre na mesma área. Aguarda provas de doutoramento na área dos Estudos Portugueses, variante de História do Livro e Crítica Textual com a tese A Produção de Ernesto de Sousa sobre Arte e Património. Além disso tem um programa na stress.fm. É também diseur e performer. Tem uma série de vídeos em linha em torno das questões da escrita. Publica livros desde o ano 2000 na ChiliComCarne e participou com dispersos em variadas publicações.
A quem se destina: A todos os que tenham interesse em desenvolver processos criativos no âmbito da palavra escrita, tanto numa perspectiva de desenvolvimento pessoal como na perspectiva de quem aspira a construir, posteriormente, uma obra literária.Quem pode participar?Os que se inscreverem antecipadamente (número máximo de 7 participantes).Quando:Sábado, dia 29 de Março, às 14hOnde:Rua das Janelas Verdes, nº 13, 1º esq. Em Santo, LisboaQuanto:20 euros (pagos antecipadamente)
Quem estiver interessado em participar, deve enviar um email com o máximo de brevidade para: joaorafaeldionisio@gmail.comA seguir à oficina vai decorrer um concerto e um convivio acompanhado de comes & bebes »> Mais informação brevemente disponível nos canais da stress.fm

A stress.fm apresenta:

Oficina de Escrita Criativa - Libertar as Palavras, por Rafael Dionísio

 


Sobre a oficina:

Esta é uma oficina dedicada a uma introdução razoavelmente aprofundada ao mundo da palavra e da liberdade de a criar. Trata-se de motivar e sensibilizar os participantes para o universo infinito de criatividade que está à distância de um gesto no papel com uma caneta (ou qualquer outro meio de registo de escrita).
Por meio de exercícios genéricos procura-se desbloquear o papel em branco e começar a experimentar fazer textos. Numa perspectiva essencialmente prática, do lado do FAZER e não do lado do APRENDER, convoca-se os participantes a libertarem as palavras.

O Monitor:

Rafael Dionísio tem ministrado cursos de Escrita Criativa desde 1998. Frequentou Engenharia de Minas no Técnico e Arquitectura na UTL. Na FCSH fez a licenciatura em Estudos Portugueses e é Mestre na mesma área. Aguarda provas de doutoramento na área dos Estudos Portugueses, variante de História do Livro e Crítica Textual com a tese A Produção de Ernesto de Sousa sobre Arte e Património. Além disso tem um programa na stress.fm. É também diseur e performer. Tem uma série de vídeos em linha em torno das questões da escrita. Publica livros desde o ano 2000 na ChiliComCarne e participou com dispersos em variadas publicações.


A quem se destina:

A todos os que tenham interesse em desenvolver processos criativos no âmbito da palavra escrita, tanto numa perspectiva de desenvolvimento pessoal como na perspectiva de quem aspira a construir, posteriormente, uma obra literária.

Quem pode participar?

Os que se inscreverem antecipadamente (número máximo de 7 participantes).

Quando:

Sábado, dia 29 de Março, às 14h

Onde:

Rua das Janelas Verdes, nº 13, 1º esq. Em Santo, Lisboa

Quanto:

20 euros (pagos antecipadamente)


Quem estiver interessado em participar, deve enviar um email com o máximo de brevidade para: joaorafaeldionisio@gmail.com

A seguir à oficina vai decorrer um concerto e um convivio acompanhado de comes & bebes »> Mais informação brevemente disponível nos canais da stress.fm

 
Spies Need Love Too
a live stream by stress.fm 
baldio - Open Office
Lisboa, March 15th 2014 ( 2 - 4pm GMT )
 
surveillance is a form of presence in the public sphere
surveillance versus participation / perception versus reality
Following our talk and activities about media and the public sphere at Generative Indirections, we now wish to record and simultaneously live-stream all the conversations happening at Open Office - a two-day event that looks at the performative aspect of all kinds of meetings and at the different ‘meetings’ that are implied in any type of performance.
We will install and operate a listening apparatus that surveils and transmits the audio output of each one of the meetings to the internet.
Spies Need Love Too makes visible the process and methods of audio recording, acknowledges their performative elements, and challenges the notion that surveillance is somehow an external presence in contemporary society. We submit that the notions of public sphere and public space must be thought of as totalities that include the speakers and the listeners, the actors and the spectators, the protesters and the protested. We pay homage to the women and men whose job is to pay attention to what other people do.
 
relevant readings:
NSA: The Decision Problem, George Dyson
The Ecuadorian Library, Bruce Sterling
The Black Stack, Benjamin Bratton

 

Spies Need Love Too

a live stream by stress.fm

baldio - Open Office

Lisboa, March 15th 2014 ( 2 - 4pm GMT )

 

surveillance is a form of presence in the public sphere

surveillance versus participation / perception versus reality

Following our talk and activities about media and the public sphere at Generative Indirections, we now wish to record and simultaneously live-stream all the conversations happening at Open Office - a two-day event that looks at the performative aspect of all kinds of meetings and at the different ‘meetings’ that are implied in any type of performance.

We will install and operate a listening apparatus that surveils and transmits the audio output of each one of the meetings to the internet.

Spies Need Love Too makes visible the process and methods of audio recording, acknowledges their performative elements, and challenges the notion that surveillance is somehow an external presence in contemporary society. We submit that the notions of public sphere and public space must be thought of as totalities that include the speakers and the listeners, the actors and the spectators, the protesters and the protested. We pay homage to the women and men whose job is to pay attention to what other people do.

 

relevant readings:

NSA: The Decision Problem, George Dyson

The Ecuadorian Library, Bruce Sterling

The Black Stack, Benjamin Bratton