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Você pode encontrar o seu primeiro rolo de fita na embalagem. Regal Limousine Service offers top notch service for your very special event in the DC area That means it was written before Sept. It's a community-based project which helps to repair anything. Qualia is not a simulation of something identical that is blown up, but an experimental hypothesis regarding a scientific fantasy ruined by a social nightmare. SM1TH, D. Here phenomenology includes Gestalt and the concept of qualia itself. Yea Right. Where they killed him, with a triangle hit of masonry, they erected an Egyptian obelisk with the eternal flame of masonry on top. No entanto, a plasticidade dessa obra reside na capacidade de Michelin operar a técnica e adaptar as características do meio a uma. Consulte o Zebra Programming Guide para obter mais informações sobre esse comando. It is not a matter of shoe-horning signs into grammatical categories, but of perceiving them, on the basis of the activation of the linguistic subject, in their primordial lexical instability lost in the forest of contemporary technologies. REM Tônico é caracterizado por quase paralisia e aumento do fluxo sangüineo cerebral. Biol, ,

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Interesting Legislation and also UnConstitutional. Highway leads to Dulce, New Mexico where there is a massive underground facility. It is called Nightmare Hall. Dictionary 3. Games 4. Cars 5.

Food 6. Song lyrics 7. Britney Spears 2. WWE 3. Shakira 4. Jessica Simpson 5. Paris Hilton 6. American Idol 7. Beyonce Knowles 8. Chris Brown 9. Pamela Anderson Lindsay Lohan 8. New York 9. Baby names Music harry potter katie price kids crazy frog buttons dogs for sale 1.

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Wikipedia 7. Video 8. Rebelde 9. Mininova Wiki blonde bikinis star wars twinks disney tv guide youtube. Then they do the OK sign with their right hand and place it on their forehead. Do it. Then turn your hand around. Do you see the your hand forms. Pretty sneaky little freaks aren't they. Remember in prophecy: the mark of the beast on your right hand or forehead.

There are rooms in Windsor Castle. Did someone miss 6 rooms? The company was questioned about this and they said it was a coincidence. Yea Right! Look the masons even have their own Bible. Who's really creating the caos on your earth? And we have all seen these dolts doing the Horned God symbol.

Now let's move to 33's. Bill Gates logo for Microsoft I think he was talking about a part of his anatomy Microsoft it has 7 dots in each row and you can also sometimes see an 11 and 13, but you can always see a He got as many of them in there as he could, eh In the movie with Mothman Prophecies about a winged creature with red eyes and seeing on a different level, interesting the map in the movie of Point Pleasant West Virginia showed highway The movie "Vanilla Sky" starts with his 33rd birthday, the main character has 7 board of directors called the 7 dwarfs and they still see him as though he is an 11 year old boy.

The Bush tax cut plan would reduce taxes on the upper class from Which of course sits on the 33rd degree latitude line. Did you see the Bank of Amerika's new logo in the last year?

Placed him on the plane with a note in his pocket and flew the cessna with remote control into the Bank of Amerika. Count the number of spaces on the U. Hiel Clinton bombed that plant in Sudan that was only producing half that nations medicine supply Do we extradite for Murder Bill? Can you say "Ritualistic Murder" children. Yep, Bill Clinton may not have inhaled. But a Porker in the White House ABC News.

John F. Where they killed him, with a triangle hit of masonry, they erected an Egyptian obelisk with the eternal flame of masonry on top. George Bush Sr. Were not your policies radically different from Reagan's. Didn't you ride his coat tails into office. The Pentagon in D.

Its angles are even at 33 degrees. A pentagram with a pentagram in the center. See the Eastern Star symbol. Women's sect of Masonry.

On August 6, at a. This was "Day One" of a new age, the Nuclear Age. It was also 33 days after th 13 x 13 anniversary of the signing of the Declaration of Independence. From July 4, to July 4, equaled years. From July 4, to August 6, Hiroshima bomb was 33 days. By the 33rd President.

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Accounting Firm Arthur Anderson address in N. Pagan Saturn car Company Care to take a drive with him? Mercury Car Co Pagan god Chevrolet has the Maltese cross as their logo.

Just like the Nazi's would wear. Burning fossil fuels is over 50 years out dated Above stood an Egyptian obelisk with the eternal flame of Masonry! Like the U. The murder of the Pope John Paul I who was in power for only 33 days In Amerika one of the 33 cent stamps had the Empire State building on it, which is now the tallest building in New York.

Right Illuminati. Also Bill Clinton in his speech accepting the democratic parties nomination in gave credit to his mother and Carol Quigly his college professor. Carol Quigly wrote a book called "Tragedy and Hope" , where he showed the secret hand that controled Amerika's government. There are 33 titles in the Old Testament for the antichrist.

They had Jesus die at 33 and the Masons started writing his history 33 years later. Yes the entire Bible is in Masonic code! My number is 11, as all their numbers who are of us. Also I have a secret glory for them that love me. Alister Crowley about Satan, Satan worshiper and 33rd degree mason. Oh, I'm in Fear. All Right Lets Open it Up! Apollo 13 spacecraft, name 'Aquarius' which occurred at in the afternoon military time on April 13, Mars Pathfinder landing site Apollo is a pagan god, Roman Empire.

Columbia module columbia route word in latin is columba, a pagan god Roman Empire. Saturn rocket booster Saturn is a pagan god, Roman Empire.

Remember the metaphor in the Bible of the Tower of Babel. Where Satan was erecting a tower to try to climb out of hell to get into Heaven. Earth - Hell, Heaven, The heavens. Somebody was trying to leave this earth, and something was holding them back.

You can verify this by watching the documentary that is available on www. They never went to the moon with Apollo It was a diversion tactic to divert your attention away from the civil rights movement and the Vietnam war protest. There was a lot of Anti-establishment activity at this time. They needed a ploy to get you to wrap yourselves around the flag.

The Eagle Never landed One small step for man Demons destroy Angels Create. Has since returned. What does financial chaos lead us to?. David Chapman the man who killed John Lennon had his parole hearing on October 11, The presidential election was on 11 7 Did you know that Hitler burned the Reichstag on 2 27 It also premiered at Blockbuster Video stores on May 7, Harry Potter series starts when he's 11 and how many books 7, and how many movies planned 7.

December 11, bombing of a Philippine jetliner that killed a Japanese passenger.

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Oh, the wisdom! Remote control? October 16, Missouri Gov. Mel Carnahan D. Carnahan, his son and an aide were killed when their small plane crashed in bad weather in Missouri. According to Reuters, Sen. Paul Wellstone's death was eerily similar to the circumstances surrounding the October plane crash death of another Democratic Senate hopeful, Missouri Gov.

Mel Carnahan. His plane crashed in bad weather in that state killing him shortly before that year's election. He was elected after his death and his widow was appointed to take his seat.

April 3, U. Commerce Secretary Ron Brown. Air Force jetliner carrying Brown and American business executives crashed into a mountain in Croatia, killing all 35 people aboard. April George Mickelson R. Mickelson died along with seven others when a stateowned airplane slammed into a silo during a rainstorm in Iowa. In September of , over riders joined the Mickelson family for the Trail's dedication ride. The ride was such a success that it has become an annual event.

The ride will be held September , Click here for more information on the next annual April 4, Pennsylvania Sen. John Heinz R. According to AP: A fiery plane-helicopter collision 11 years ago killed U. John Heinz III and showered flames on children in a playground. Heinz, a three-term Republican and heir to the Heinz food fortune, died along with the two pilots of his chartered plane and two pilots in the helicopter who were attempting to see if the plane's front landing gear was down and locked in place.

The plane's captain had radioed that an instrument light failed to confirm the gear was in place. Williamsport, Penn. April 5, Texas Sen. John Tower R. Texas Sen. August 13, Mississippi Rep.

A ideia era trazer as ruas para dentro do teatro e vice-versa, e provocar colapsos de tempo e espaço. Três camadas de tempo foram colocadas juntas no mesmo espaço do centro cultural: o tempo real do evento, o mesmo lugar em um concerto de uma semana antes e as cidades de Nova Iorque e Londres em e Era um lugar para ser visto em movimento.

Poderia também ser pensado como cinema expandido Weibel, Shaw. DesConcerto Is a hybrid of music and visual arts. In it, a dynamic system acts as a metalanguage in relation to the structure of a concert, with regard to audience and official and non-official venues. The idea was to bring the street into the theater and vice versa and to collapse space and time. Three layers of time were placed together in the same space of the cultural center: the real time of the event, a concert in the same place from a week earlier, and others in New York and London, in and It was a place to be seen in movement.

It could also be regarded as expanded cinema Weibel, Shaw. The narrative shows people moving around in cities, on the streets, in the metro, always on the move, in lines, and sometimes stopping to listen to music or to watch street musicians performing.

It is a discussion of the use of surveillance equipment and surveillance systems. The subversive ADA system explores new forms of narrative and reveals how public space is the direct result of negotiations—mediated by codes—between desires, needs, chance, and projects. Vivi viu o Vídeo Exhibition designed for the gallery A Gentil Carioca, proposes to consider how the video relates to the circuit gallery collector - museum. The images in the video were modeled using 3D animation programs showing a schematic interpretation of chemical substances.

The spheres create abstract patterns whose beauty is perversely confused with the content of the images. O vídeo aponta para o desejo e a decadência do corpo humano com cinismo e ironia. Originalmente, o vídeo foi criado para acompanhar performance de mesmo nome. Cacofonia conecta fatos históricos no âmbito da arte e da política.

The shape of the navel changes to that of other parts of the body. The video points to the desire and decadence of the human with cynicism and irony. A Irmandade dos Museus Museum Brotherhood Re-reading of a video documenting an interview with Marcel Duchamp, in which he talks about his brother, Jacques Villon, on the occasion of a retrospective exhibition at the Boston Museum of Art.

The video was originally produced to accompany a performance of the same name.

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Araponga The quality of the images of graphic symbols or naturalistic landscapes leads the viewer through various states of consciousness, as in a dream that occurs in the hours between dusk and dawn. Version produced for a piece by the composer, Rodolfo Caesar, Ranap-Gaô, which forms the first chapter of a series he has been producing called Livro Brasileiro dos Mortos.

O Espírito do Rio The digital metalinguistics of O Espírito do Rio reconfigures the cultural fabric of the city: baroque and performance, musical tradition and experimentation, religious and musical syncretism and carnival.

Dreamlike, random documentary about events occurring in the city of Rio de Janeiro between and , the video is a metanarrative which comments on the way it was constructed as a documentary with reference to the history of art and the role of the image in the construction of what is reality for us. Cacofonia connects historical facts from the art world with those from politics. It brings together situations, presenting them visually as spectacle and dissolving their content into an increasingly aesthetically pleasing surface.

The audio perverts the system, installing a cynical, ironic and even pathetic order. The piece superimposing images and sounds from different contexts in terms of time, space, and situation.

A partir dessa dinâmica moderna do biopoder, como podemos pensar a experiência estética perante o novo modo de existência dos objetos técnicos? One of the most surprising phenomena of recent decades has been the emergence of new forms of spatial and temporal perception that have given rise to novel ways of socializing and conducting artistic experiments. In this world that is increasingly dependent on the market for access, speed and information, the life of the senses has been adapted to new ways of producing and consuming that are compatible with current demands for perception of time and space.

Since the processes of modernization that occurred throughout the 20th century, the flow of human energy has been capitalized and channeled into finite bundles of power and sensation, allowing our bodies to be controlled, distributed and operated by various systems of production, consumption and circulation.

In this modern dynamics of biopower, how can we understand artistic experience in the light of the new mode of existence of technical objects?

Qualia sheds light on such questions, not only in the installation in which Simone Michelin invites us to reflect on the status of artistic experience in the contemporary world, but also by providing a unique sensory experience that goes against the commonly repeated formats for interaction and immersion, which have been the hall-mark of many multi-media installations since the Influenciados pelo vitalismo romântico da naturphilosophie, eles contribuíram para o desenvolvimento da fisiologia óptica a partir de experimentações com a luz e a eletricidade.

Acreditavase que ter poder sobre a luz seria ter poder sobre a vida. The qualities of sensory experiences are epistemologically unknowable in the absence of their own direct experience. They are therefore also incommunicable. Thus, qualia, such as epiphanies, are taken to be ineffable experiences, since there is no way one individual can tell another how his or her qualitative experience actually feels, just as it is impossible to tell a blind person what colors are like or to explain listening to music to a deaf person in sign language.

The technological arrangement of Qualia does not present a collection of contemporary values that are the hallmarks of the visual technologies, such as speed, telepresence and connection.

It is concerned rather with a type of experience that, apart from being incapable of being registered or recorded, leads us think about perception in a way that goes against the flow of current techno-scientific models of sensorial rationalization. The installation contains two paradigmatic technologies as a way of encouraging us to think of how visual perception has changed in the passage from the modern to the contemporary world: stereoscopy and holography.

Both of these visual technologies are the fruit of historical processes that stretch the boundaries between art and science and have served as vectors for the analysis of the transformations of sensory experience by the visual and cognitive demands that emerged in the early days of industrialization in the 19th century. From the 19th century onwards, there was a constant transfer of new capacities for knowledge and perception to various kinds of machine.

The 19th century was precisely the period when the body came be conceived as a dynamic organism, whose organs should be dynamized and made compatible with the requirements of modern life.

In this period, scientists such as Gustav Fechner and Hermann Von Helmholtz conducted in-depth studies of the thickness of the body, conceived as thermodynamic and photosensitive material. Influenced by the Romantic vitalism of Naturphilosophie, they paved the way for the modern physiology of the eye with their experiments with light and electricity. It was believed that to have power over light was to have power over life.

Since then, the visible light spectrum has been one of the cornerstones of the modernization of perception: from the studies of fatigue in an environment saturated with light stimuli to the illumination of the nocturnal world, which led both to the rhythms of the night shift and the circulation of goods, and the perfection of spectacles and distractions.

Junto com o estereoscópio, outros artefatos visuais — como o zootrópio, o fenaquitoscópio e o traumatrópio, utilizados para realizar estudos de persistência retiniana — transformaram-se em brinquedos ópticos e foram disseminados em massa. The artistic idea of Qualia draws on the thinking of a whole range of philosophers and artists who valued modes of sensory experience based on introspection, meditation and withdrawal from the world.

This kind of perceptive sublimation proposed by Ruskin can be seen in the series of observers who appear in the landscapes painted by Caspar David Friedrich. In various of his paintings, one can find individuals represented contemplating the optical phenomena of nature with their extraordinary effects of color and light, such as stars, halos, coronas, auroras, twilight and rainbows, to name but a few, whose colors and light have a direct effect on our bodies.

Different from the objective view of the sense of sight that permeate the studies of classical optics, of a physical kind, by analogy with the camera obscura, modern, or physiological optics, studied how images are produced on the surface of the human retina. In turn, thanks to studies of the persistence of vision on the retina, modern optics has carried out various experiments connected with the temporality of viewing of an object in continuous movement and the transformation or three-dimensional apprehension of an image by way of binocular disparity.

These optical tests were linked to the construction of an ideal model of productive vision, capable of accompanying the discontinuous visual world of industrial life. Stereoscopy was fundamental to this process, not only in examining eye disparity, but also in providing exercises in ways of seeing more in a way that is more fitted to modern life. Along with stereoscopy, other visual artifacts—such as the zoetrope, the phenakistoscope and the thaumatrope, used to conduct studies of the persistence of vision—were turned into optical toys and mass produced.

In this way a peculiar connection between optics and specular distraction came about. The use of stereoscopy in Qualia is far from being a spectacle of three-dimensional images, such as is quite common nowadays. The dissociative. No início do século XIX, Goethe fez de um quarto de sua casa uma espécie de câmara obscura.

Ao fechar um dos orifícios pelos quais a imagem era tragada para o interior do recinto, o escritor observou a persistência da imagem em uma superfície branca, ou, mais precisamente, na retina. There is a visual and tactile dialogue between these circular shapes and the rectangular geometry of the viewing screen, whose field of observation is multiplied by reflections in the mirrored surfaces of the installation.

This simultaneous synthesis and disjunction of sensory experience also relates Qualia to some experiments with color and synesthesia, which have opposed ordinary functional uses of light and color, from the canvases of Georges Seurat and Paul Cézanne to the experiments of contemporary artists, such as Olafur Eliasson.

In addition to light, optical physiology has also used color to experiment with sensorial responses to these stimuli, especially as a way of investigating the effects of viewing colors in terms of visual saturation. In the Enlightenment, color was considered to be an element on the margins of reason and the ideal model for the investigation of vision was the clarity and transparency of the camera obscura.

At the beginning of the 19th century, Goethe turned one room in his house into a kind of camera obscura. On closing one of the openings through which the image came into the room, the writer observed the persistence of the image on a white surface, or, more precisely, on the retina.

The industrialization of colors, in the midth century, has helped to build up our visual culture and, as occurred with light, the modernization of perception. Before this, colors came from nature, but industrialization made them synthetically and they found their way into various parts of social life in which they had not appeared before.

Color, no longer associated with the natural world which fascinated the Romantics, became increasingly standardized, quantified and controlled for objective or functional use. The propagation of colors in digital technologies is another stage in this process of technoscientific rationalization based on the appropriation of nature, which is increasingly reduced to the status of a source of information.

In Qualia, there are no color games with afterimages; neither does this installation explore the dynamic-genetic or ecstatic effects of the use of strobe lighting or other appeals to the senses. One example of this unique quality is the exercise of contemplating and analyzing the molecular codes of the substances that bring on altered states of consciousness.

It is interesting to note that the hallucinogenic effects of the drugs represented, such as marijuana and ecstasy, held cult status in the psychedelic s. É curioso notar que os efeitos alucinógenos das drogas representadas, tais como a maconha e o ecstasy, foram cultuados nos tempos do psicodelismo, nos anos This new biopolitics of perception may be as radical as that which permeated the reorganization of the life of the senses that occurred in the early 19th century.

In contrast to this new kind of automation of perception, Qualia presents echoes of the thinking of Henri Bergson. The reflections of the French philosopher have served as a basis for many artists and other philosophers to think about renewing and broadening perception as a way of resisting the ordinary forms of everyday sensory life.

It is a unique mode of perception that sets in motion cognitive zones, such as the attention, memory and imagination in the creation of events that cannot be predicted or deduced. This type of perception is supposedly capable of actualizing the virtualities that inhabit the twists and turns of our complex sensorial universe and can be generated by artistic experiences that break with schematic sensory and motor processes. The experience of virtual reality is the exact opposite of the virtualities of Qualia, since digital images are produced by a set of algorithms, equations, syntheses and simulations that preconceive the perceptive reactions of the subject.

Qualia creates a mesmerizing atmosphere where the body is conceived of as a sensorial vortex that gives rise to various forms of artistic experimentation. Another important feature of Qualia is the use of a holographic device with an exquisite alignment of multi-colored lasers. In the installation, the work with the laser is not related to any kind of identification based on the figurative use of holographs such as the exploration of three-dimensionality or the creation of a device for information storage.

Nesse sentido, o trabalho de Simone Michelin também oferece insights radicais para pensar, por exemplo, novas formas de escultura por meio do agrupamento de partículas eletromagnéticas e de metais que pairam na atmosfera. Sempre estamos do lado interno de qualquer interface? Nesse sentido, qual é o significado de objetividade? O pensamento sobre a visualidade no Ocidente mostrou que o mundo é percebido a partir. Contemplation of the laser beams reveals a kind of synergy created by the simultaneity and complementarity associated with the instantaneous experience of viewing colors, lights, projections and the other spectral emanations of the installation.

These different levels of spectrality that merge into one another in Qualia differ from the spectral order that has been one of the vectors of contemporary biopolitics: the transfusion of non-substantial body elements - such as images, touch and voice - into a world of machines inhabited by a legion of specters filed away in an omnipresent electromagnetic orbit.

The unsettling autonomy of the digital image has shattered the classical categories of the subject, object and consciousness and has also provoked intriguing reflection on the definition of space and interface. Are we always on the inside of any interface? If so, what is the meaning of objectivity? The position of external observer, in turn, would only be possible outside of a complex universe and never inside it.

Endophysics shows the human need to build model-worlds in order to understand reality outside the body, or the world in which our body is inserted. Thus, beyond direct access to the real world through the senses, a second perspective from the point of view of an imaginary observer is opened up, leading to another complex question regarding whether objective reality is only the inside part of an outside world?

All these sliding interfaces do not allow us to establish what is outside and what is inside, since another reality — or whatever lies outside the observer — will always generate a new short-circuit, at which the limits of sensory experience are the limits of our interface itself.

It is precisely the breaking-down of these limits that a unique artistic experience such as Qualia — filled with lucifer- epiphanies — can provide. Sendo o patrocinador uma companhia telefônica, a artista decidiu jogar com isso e utilizar a tecnologia do celular. Nas partes em que estariam os rostos dos supostos sujeitos retratados, a artista fez um recorte, de modo a permitir encaixar as cabeças dos próprios visitantes.

In the last years we have seen around the world the multiplication of festivals, meetings, shows and cultural centers exclusively dedicated to experiences that happen in this point of intersection. In fact, artists increasingly employ the computer to create their images, songs, texts and environments; video is an almost unavoidable presence in any installation; the interactive incorporation of the responses of the public became a must for any artistic proposal that hopes to be updated and in alignment with the state-of-the-art of culture.

Technological poetics lost the marginal and almost underground character they first had, and soon became the new hegemonic forms of artistic production.

Contrarily to most of them, Michelin seems to emphatically refuse the apologetic discourses of technology, which tend to glorify the benefits of scientific progress, the promotion of consumerism and often the direct marketing of industrial products that usually take place in great part of the international events dedicated to the relations between art, science and technology.

Her work moves in another direction, and can be characterized as critical, problematizing and divergent. Hers is a work of corrosive irony and deconstructive will in relation to the power and control mechanisms of the technological society. In this sense, she reminds us of Waldemar Cordeiro, our greatest computational artist who always included a social commentary.

Since the sponsor was a telephone company, the artist decided to play with this and employ cell phone technology. In the areas where the faces of the supposed portrayed people would be, the artist made a hole, so that the heads of the visitors could fit in it. Trainees spread through the installation, employing cell phones, took photos of the visitors posing with their heads in the holes and also encouraged people to take their own photos.

These photos were later transferred to a computer and processed by the system, becoming virtual panoramas stored in a database waiting to be installed in mobile devices, besides being shown in the exhibition space. The whole material was. Essas fotos eram depois transferidas para um computador, processadas pelo sistema e transformadas em panoramas virtuais armazenados em um banco de dados, esperando para serem instalados em dispositivos móveis.

A surpresa ficava para a hora de olhar as fotos. E, pior, o visitante estava ali também implicado, pois aparecia como mendigo em meio a centenas deles. Basicamente, coloca-nos um problema de pertencimento. De que lado estou? Qual é o meu grupo?

Sou aqui uma visita? Estou de passagem por este ambiente? Na pior das hipóteses, onde me abrigo, quem me abriga? Onde me escondo?

Traduo do ingls para portugus - [DOCX Document]

É como se o prédio pudesse ficar transparente, e seu interior,. In the space of the installation, in the four versions of the work so far realized, there were always posters explaining that that was a public domain territory and those entering into play were agreeing in having their images under this regime of availability.

The surprising element came at the time of looking to the photos. Due to the low resolution quality of the cell image and also to the small size of the camera screen, the image was compressed and thus lost its granulation, revealing the images represented there. The visitor then realized that his or her face was replacing the face of a beggar, for instance, in a free-food line. And worse, the visitor was also involved in it, for he or she appears as a beggar amongst hundreds of them.

Both England at the dawn of Enlightenment, and Brazil in the peak of cyberspace capitalism, have their losers, those who were not included, those who missed the boat, the little ones. In Lilliput, Michelin makes an intersection of social differences. Lilliput performs a complex game intercrossing the public and the private, I and the Other, identity and sociability, inside and outside.

Basically, it raises the issue of belonging.

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Which side am I? Who is my group? Am I here as a guest? Am I just visiting this environment? In the worst case scenario, where do I find shelter? Who protects me? Where do I hide? We also find this interpenetration of the inside and the outside, the public and the private, in another work by Michelin immediately before Lilliput called ADA: Anarquitetura do Afeto [ADA: Anarchitecture of Affection] Therefore, in spite of being part of the exhibition, the work was not inside the space, but outside of it, exposed to the passerby in the street and not to the exhibition visitors.

However, the work showed that which was inside the exhibition space or inside the building, thanks to the several security cameras spread through different areas of the space. That is, ADA offered the interior of the exhibition and of the venue to the regard of any and every passerby. It is as if the building could become transparent and its interior entirely visible. In reality, with this work Michelin inverts the logic of vigilance. In ADA the situation is reverted: the very bowels of the institution in this case, a cultural center sponsored by a bank are exposed to the public, to the regard of the ordinary citizen.

Na verdade, com esse trabalho, Michelin inverte a lógica da vigilância. Essa recusa forçou a artista a utilizar um manequim de tamanho natural e vestido de guarda, exatamente como os guardas reais e colocado no lugar em que eles ficavam.

O manequim, naturalmente, usava câmera de vigilância. This work was not easily accomplished, since it involved control and security issues, the revelation of inside departments and the exhibition of sectors never open to public visitation. It is as if it were possible to deconstruct the mechanism of vigilance through its inversion: now everyone watches everyone. The security company hired by the cultural center refused to take part of it the idea was the guards would wear tiny security cameras in their uniforms, so that the public could see what they were seeing.

This refusal forced the artist to use a life-size manikin dressed as a guard, exactly like the real ones and placed where they are usually located. Evidently, the manikin wore a security camera.

The idea, according to the artist herself, was to transform the inner video circuits in outer circuits and to exam how the public space may be a space of negotiations, naturally mediated by codes, between desire, need and chance. Could the city be understood as the outside, the public side of our bodies? Are our bodies the private side, the interiorization of the city?

Could the video, as mediation, function as an interface between the body and the city, the public and the private, the inside and the outside, revealing symbiosis otherwise difficult to perceive? In this video, Michelin presents subjective views of what means to live in the public space and become depersonalized within it, without losing, however, the traces that identify each one of us as unique.

In it the city of Rio de Janeiro is represented through some artistic performances, public festivities and street manifestations, shared by all. There is in this video a mix of ecstasy and terror, realism and surrealism, spectacle and deconstruction, truth and artifice, inebriation and criticism. Filming and editing interfere in the documental images, distorting, granulating, unfocusing, and pushing the images to the limits of visibility.

O título refere-se ao livro póstumo de Italo Calvino, que tenta prever as tendências do mundo no século XXI, e constitui uma espécie de balanço interior da experiência da artista como estrangeira, seja fora do Brasil ou dentro. Lições Americanas [American Lessons] is a project extended from to , encompassing several installations and single channel videos. The title is a reference to the posthumous book by Italo Calvino that tries to foresee the tendencies of the world for the 21st century.

The project constitutes a kind of inner balance of the experience of the artist as foreigner, whether outside or inside Brazil. In other words: How is it possible to look at the world as someone from the outside, someone who is only passing and watches everything in a mix of fascination and terror? In several of his texts, Néstor Canclini proposes the use of the word foreigner in a ampler way, perhaps even in a metaphorical sense, as a manner to deal with the relations of estrangement, prejudice and sense of fear among social subjects, whether within or without a given geographic region.

He also proposes the use of the term operations of translation to all attempts of approximation, conciliation and understanding among strangers or foreigners. The chaotic mixture of such different things grants a surrealistic feeling to the place, and the somewhat macabre soundtrack, composed by Rodolfo Caesar, helps conveying a sense of estrangement.

There is the place of boundless consumption, pre-Christmas hallucination, where everyone gets loads and loads of ugly, expensive and worthless things. We could image the stupefaction of a Martian who arrives on Earth for the first time and lands precisely in one of these stores. The events were recorded in Rio de Janeiro, New York, Philadelphia and Los Angeles, making an ironic comparison between the euphoria when the Real Plan was implemented and when presidential elections led the Finances minister Fernando Henrique to the presidency and also the period of the Football World Cup and the frustration and economic collapse.

The White Room is specifically focused on the downfall of the Real Plan, but the historical period visited by the Lições Americanas [American Lessons] is extended to , a year that repeats some situations experienced in , such as the conquest of the World Cup Brazil lost in and new presidential elections. These facts, that in Brazil generated a national commotion, are seen from a distant and cold perspective by the American press, not rarely with sarcastic and ironic.

The White Room se fixa especificamente no ocaso do Plano Real, mas o recorte da história revisitada em Lições Americanas se estende até , ano que repete algumas situações vividas em , como a conquista da Copa do Mundo pelo Brasil o país perdeu em e as novas eleições presidenciais.

My dear, por exemplo, tanto pode ser traduzido como meu querido ou como minha querida, dependendo do sexo da pessoa referida. O mesmo acontece com sweetheart ou lonesome e a maioria das. The installation, not displaying the refined finishing-up that usually characterizes most works exhibited in museums and galleries, shows a poor environment, simply an untidy room in a house under restoration, with windows and curtains carelessly piled up and broken mirrors on the floor.

Two TV screens placed on the floor and another, smaller one, hung on the wall bring news and commentaries on the outside world and the results of the economic crisis in Brazil, under the form of people moving from their homes because they are no longer able to keep their living standards.

Actually, the installation simulates one of these houses. In short, here we have an unique installation, different from everything seen before, for it is a mixture of work of art and socioeconomic essay and political commentary. If we are talking about estrangement and foreign things, the issue of translation comes up, as Canclini proposes.

Translation is the possibility of foreigners to communicate. The song is obviously sung in English, and in order to be understood in Brazil, the artist translates it into Portuguese through subtitles. Curiously, in this case, the subtitles are structurally integrated to sound and images the video is unconceivable without them , to the extent of producing an interesting counterpoint and introducing new relations of meaning derived from the translation.

One of the characteristics of the English language is that most words are neuter and, therefore, have no gender distinction. My dear, for instance, could both be translated as meu querido or minha querida, depending on the gender of the addressed person. The same happens to sweetheart or lonesome and to most of the expressions of treatment.

So what once was a romantic and heterosexual song is automatically transformed into a vigorous declaration of homosexuality. Who but Michelin could extract from a romantic scene of a couple in honeymoon an unexpected discussion on sexual diversity and a forecast of September 11th?

A montagem é toda picotada, o volume do som sobe e desce a todo momento, e o ruído é exagerado em todos os sentidos. The innovating work with translation and subtitles appears as well in the already mentioned The White Room and in the video Museum Brotherhood , Irmandade dos Museus, in Portuguese , originally conceived to accompany a performance and that later gained a monochannel independent version.

The edition is all cut, the sound volume goes up and down the whole time, and the noise is exaggerated by all means.

Both questions and answers are ironized through repetitions and diagrams placed over the images. The work focus the institution of the museum and its — debatable — function of keeping and validating the work of art, at the same time that the very notion of art — aesthetics, taste — is also questioned. This is what turns her work so distinctive in relation to that which is being produced in both Brazil and abroad in the field of the intersection between art and technology.

Uma longa mesa atravessa a galeria, em cada extremidade um aparelho de tevê, um banco; nas paredes, dois espelhos refletem o ambiente. Vidéo: un art contemporain. Paris: Regard, A long table crosses the gallery, on each end a TV set, a bank; on the walls, two mirrors reflect the environment. The other piece, part of the work in progress A noiva descendo a escada The Bride Descending a Staircase , is Mallarmé Man Ray Michelin, from , a unique object that also operates reflection games.

Underlining this act of seeing has been a constant in the work of the artist, who for more than 20 years has been an attentive researcher in video and other technical languages. If cinema done by artists has introduced, since the beginning of the 20th century, changes in the modes of perceiving, thinking and configuring art, especially in respect to temporality, the video introduces, among other things, not only real time, although a striking element providing performatic proximity , but also a variation of the scale of the images and their arrangement in the space.

Without being subject to linear succession, it explores the spatial assembly and suggests a sculptural space, around which it circulates. Em Lonesome, vídeo monocanal, a montagem em telas dentro da tela evoca as experiências, como a de Abel Gance ou as de Paul Sharits, nos anos 60 e 70, no que posteriormente foi denominado expanded cinema, e incorpora, como elemento poético, as disponibilidades do tratamento digital e as novas modalidades do visionamento.

Condensações e deslocamentos como as chamas das duas velas vermelhas, em formas que lembram noivos, na abertura de Lonesome, que se deslocam, uma para a outra, tal como as referências, citações, apropriações realizadas por Simone Michelin. Nos trabalhos mais recentes dessa série, a ser finalizada ainda, as referências mais precisas tornam-se, segundo a artista, puras relações entre nomes. Paris: Bayard, Concinnitas, ano 4, n.

At one time a décor, the World Financial Center today recalls the sign itself of the horrifying spectacle. Installed six years after the recording, it induces the inseparable meanings from this event, revealed only in the final subtitle. An active word, it permits the analysis of the image in relation to the visible in its specific appearance on the screen and still refers to the clashes around the visual lexicon. Memory of a place, it is a bride - not stripped bare by her bachelors, but going up and down the stairs, in search of beautiful angles.

Concinnitas, year 4, n. The bride refers as well to the wall installation, made in in the Museum of Art of Rio Grande do Sul, where the artist presented the extensive series A noiva descendo a escada for the first time, in which various treatments have been used,3 such as texts, successions of names, generated from mathematical relations, algorithms, etc.

Condensations and displacements such as the flames of the two red candles, in forms that remind us of the newlyweds, in the opening of lonesome, who are moving, one to another, just like the references, quotations, and appropriations done by Simone Michelin. A kind of transduction is operated: one energy transforms itself into another, of a different nature, like, in her work with computational systems, its architectural constructions in producing situations in the context of art or, even, in videos such as Cacofonia cena 2, for example.

In the more recent works of this series, to be completed yet, the more precise references become, according to the artist, pure relationships among names.

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This story, a syncretism of my particular mythology, shows a process of initiation and passage from girl to woman, through the questioning of paternal authority and the affirmation of her personal. Tornaram-se comum filmes como Chien Andalou ao lado de um Picasso, por exemplo, ou Anemic Cinema, de Duchamp, próximo a sua Torture Morte, ou, de maneira mais espetacular, as videoinstalações.

Simone Michelin, reproduzido da correspondência via internet com a autora, em maio de The video is no longer standing in the regime of seeing, of the art itself, but, as Régis Debray6 notes, in the regime of envisioning, not merely supposing objects of different natures, but diverse ways of appropriation through looking. Films like Chien Andalou become common alongside a Picasso, for example, or Anemic Cinema, by Duchamp, next to his Torture Morte, or, in a more spectacular way, video installations.

Regarding the paradox of image reproduction in series, video has proven to be malleable to different forms of presentation - what Simone Michelin justly questions by presenting the situation as a sphere of intersubjectivity never given a priori.

The same question is present in the video-object Mallarmé Man Ray Michelin. Simone Michelin, reproduced from the correspondence via internet with the author, in May of Or see it in a situation, as Vivi viu o vídeo incites us. Also because, if one elides the article from the title, it announces the incorporation of a knowledge, of an instrument which is as much part of our relationships with contemporary culture as with the organization of its production, approaching and superimposing different universes of visual practices.

Her work incorporates communications and image production technologies, photography, video, computer systems, and architectural structures. She started to work with video art in Porto Alegre in ; with digital and synthesized images in ; with reactive environments and web art as of Começa a trabalhar com videoarte em Porto Alegre em ; com imagens digitais e de síntese em ; ambientes reativos e arte na rede a partir de Oi Futuro Flamengo, Rio de Janeiro, Machine: acrylic and iron structure, 24 laser diodes, smoke machine, 3 sets of LCD displays 15 x 20 cm, microcontrollers, plug-and-play, video installation: two channels of video projectors ANSI lumens 3 ; a computer, a dual head video card, a 6.

The exhibition has two stages: a kinetic structure with laser guns slowly perforating the surface of a conveyor belt and a videoinstallation using 3D technology video stereoscopy to be viewed using special glasses. The machine functions according to parameters that regulate where the laser beams fall, making different marks on the surface of the material.

The parameters that regulate the machine are divided into two kinds of statistics: the annual number of homicides and reports of people resisting arrest in the city of Rio de Janeiro; the estimated monthly profit from drugs-trafficking in the city of Rio de Janeiro; and the daily transfer of Brazilian reserves between and In the adjoining room an immersive atmosphere created by the projection of the molecules of narcotic substances mixes virtual and real space.

Carbon paper, blueprint and collage, Postcard, offset, PB, 10 x 15 cm, edition of , Primeira videoperformance realizada em Porto Alegre, RS. First vídeo-performance in Porto Alegre, RS.

Mother Goose visits the Museu de Arte do Rio Grande do Sul, meeting various characters a vampire, sleep-walking women, ballerinas, an extra-terrestrial, a. Installation designed for the show Labirinto, slides projected on mannequins, soundtrack, Espaço N. Segunda-feira, Terça-feira, Domingo esq. Fotografia PB, 50 x 60 cm, Photographic installation, Aleph, Rio de Janeiro, Artist book, unique edition, silkscreen, 30 x 30 cm,