Hanami: Cerejeiras em flor

Por favor.

Fwd: textos.

from Caio Riscado
to Lucas Canavarro; Isadora Malta
date Sun, Jul 31, 2011 at 4:58 PM
subject Fwd: textos.

Amigos, leiam esses textos para iluminar o coração. Os encontros estão neles e que lindo é ver o Rodrigo dividir comigo/com a gente a experiência dele. Em especial o Hanami!!!! Parece que eu vi esse momento na peça. O chão cheio de flores e os meninos, sujeitos da obra, deitados, contemplando a paisagem. Estamos em busca por um novo tempo do olhar. Pelo menos é assim que eu me sinto escrevendo este projeto e o relendo todos os dias como venho fazendo. Estou feliz e calmo. Acho que Varanda em Tóquio seja também um pouco do tempo que estou precisando adicionar a minha vida, me tranquilizar um pouco mais. Me encontro com vcs para me encontrar e nisso ver, vislumbrar outras possibilidades para a beleza do cotidiano. Me desculpem, li as palavras do Rodrigo e fiquei muito tocado e quando fico tocado....ah, vcs já me conhecem.

acho que é isso.

amor,

Caio.

A varanda é de quem vê

Foto: Projeto 9 Eyes

Câmera escura

Pode se fazer uma câmara escura simples a partir de uma caixa onde se perfura um pequeno orifício em uma das paredes. Com um abertura pequena o suficiente, a luz de apenas uma parte da cena pode acertar qualquer parte específica da parede de trás; quanto menor o buraco, mais definida a imagem no lado de trás. Com esse dispositivo simples a imagem fica sempre invertida, embora usando espelhos seja possível projetar uma imagem que não fique ao contrário.

Agora em tamanho real...



Artista: Abelardo Morell

Ambiência

Artista: Yong Seok-Oh

Cognition

"We know by experience that likeness is different from sameness. So we sometimes might discriminate one thing from the other despite their high visual similarity, and at other times get a shock at that two different things totally irrelevant to each other look strikingly similar. These phenomena do not merely support that there is a gap between objective reality and subjective cognition. In a way, a sense of likeness always accompany with a sense of surprise. Likeness is a potential scandal. Although we impose the hierarchy of original and copy and emphasize the difference of essence and appearance in order to endure the harassing quality of likeness, we cannot stop our gaze from being attracted to it. Likeness tempts us; it puts our ability to distinguish the same and the different to the test, and disturbs the objective order of reality that we have built at pains." (Yong Seok-Oh)

O disparo

“In 2007, I turned my attention to Japanese photography, which inspired me to explore what my point of view could be in a city so far from the world that had always surrounded me, but so close to the photographic imagery towards which I was addressing my attention. Longing to break the unconscious, immediate and easy processes of the known and the predictable, I traveled to Tokyo for the first time. I was immediately struck by a sense of disorientation and an inability to quickly locate my own position within the geography of the city.

My lack of precise references to the external world created in me feelings of isolation and detachment from my previously known realities. I was bewitched by the essential and monochromatic geometric forms, so delicate and precise, of the experience of street life, where these forms cause sounds to fall into a deep silence, muffling the interaction between architecture and human figures. I was impelled toward a quest for the unseen, for details and hidden elements. My perception of this outside world lost all sense of time, revealing an essence described by a language of the surreal and the abstract.

I later returned to Tokyo to repeat the experience. Guided by the same quest, but with a greater awareness of the cultural separation, I let isolation become introspection. I sought to recreate this world that belonged to me, as it is reflected by the city’s reality, while appropriating images and moments that delineate the “me” within its boundaries. It’s become my Tokyo. These works represent a visual record of my journey and its invisible elements diluted in visible everyday life.”

(Renato D'Agostin, Tokyo Untitled)