onde pretendo chegar depois desta escola toda burocrática e impositiva. também muito importante...

lindo que é**

Massa Crítica Porto - Janeiro 2012 from Paulo Almeida on Vimeo.

 i'm gonna start see the world!!!!

me.bretagne.2006.

um fantasma...

por minha culpa.

espero que se encaminhe.

por onde quer que vá dar. 

consciência...é difícil de a suportar às vezes.

desculpa..

fogo lá as coincidências... º.º

Qual é a probabilidade de estarmos a projectar um Centro de investigação marítima e museu dos oceanos e isto acontecer exactamente no nosso terreno?? UAU!! Poderosos! Até os animais sentiram!! xD

Lontra saiu do mar e sentou-se numa esplanada da Foz - JN

...ouço de todos os lados...
tão alto. 
tão donos da razão. 
tanta convicção...estou confusa.
tenho que me ausentar um pouco deste meio. 
deixar estes ruídos poluentes para trás. e ouvir-me.

finalmente vou...  --'

how cool* ^^,

we take care of each other

quem é que não gostava de uma tartaruguinha assim?? não resisti mesmo...e vou dizer:

QUE FOFOOOOO!!!! xD hihihi....

depois do nosso trabalho. vamos aos doces super aconchegantes em coruña....uhuhuhh!! 

cappuccinos

caramelos 

chocolates em pó

café e chocolates cremosos e quentinhos.

x)

uhuhh...

Lynn-Hershman Leeson

A scene from Lynn Hershman Leeson's !Women Art Revolution

"The women of the '70s had been earnest and breast-beating—and it just didn't work," announces the lady in the gorilla mask, one of the few self-aware voices featured in Lynn Hershman Leeson's over-40-years-in-the-making !Women Art Revolution, its sprawlingly clunky title a portent of things to come. "The bra-burning didn't actually effect social change," this member of the Guerrilla Girls—the feminist art movement's answer to the Yes Men—goes on to explain toward the end of Hershman Leeson's doc. And with those two sentences, the anonymous radical activist exposes the clueless arrogance that emanates from much of the doc's footage—archival as well as the director's own personal collection of interviews with her fellow feminist artists, curators, and historians of the '60s generation.

Which is a shame since Hershman Leeson has in her possession an important alternate history of the 20th-century art world. For every usual suspect like Judy Chicago, we learn of a lesser-known—and less showboating—woman like the Cuban political refugee Ana Mendieta, whose suspected murder at the hands of her minimalist artist husband Carl Andre overshadows the powerful work that she created in her too-short lifetime. We are taught about the feminists' mass picketing of museums during the Vietnam War and the fictional art critics that were created to generate publicity in newspapers. Unfortunately, Hershman Leeson—a critically acclaimed visual artist whose previous films include Teknolust, Conceiving Ada, and Strange Culture, all starring Tilda Swinton—has crafted a nonfiction film as cinematic as a slide show in an art history class. Added to the doc is a slick soundtrack by Sleater-Kinney's Carrie Brownstein, which only feels like a desperate attempt to inject some liveliness into the didactic proceedings. It also seems like an effort to make the academic-sounding talking heads, Hershman Leeson's gratingly timid narration, and the predictable and stale editing somehow seem less dated and more cool—which is to say, more relevant.

Unlike Pamela Tanner Boll's truly inquisitive Who Does She Think She Is?, which delves deeply and personally into the lives of a handful of working artist moms, Hershman Leeson introduces us only superficially to her dozens of pioneering friends. (Simply dividing the doc into a four-part series, one segment for each decade, thus allowing for more in-depth probing, could have made it tighter and less rambling.) Since Hershman Leeson, who brings up but never explains how she spent 10 years living as her double identity "Roberta," doesn't ask enlightening questions, but simply lets her narcissistic subjects glossily lecture about the consequences of boys'-club discrimination, it becomes difficult to sympathize with their plight no matter how right they may be. Certain asides, such as Chicago expressing shock that half the students in one of her all-female classes confessed to having been raped at one point in their lives, don't shed light on the victimization of female artists—only on women who attend Chicago's art classes.

This is why it's like a breath of fresh air when the camera finally turns away from old-guard stalwarts like choreographer Yvonne Rainer and critic B. Ruby Rich (who takes the Guerrilla Girls to task for not issuing a response to Mendieta's death—though it should be noted that Hershman Leeson never allows the monkey-masked avengers themselves to respond to Rich's charge), to focus on the less egocentric new generation represented by the Guerrilla Girls and Miranda July. This more emotionally mature, younger group of activist artists—who both embrace and reject, sometimes simultaneously, the feminist label—aren't concerned with finding themselves or taking back their own images from the Man in order to display them on their own terms. Indeed, it isn't about them at all, but about their art, which is usually less in-your-face and more striking than their predecessors' work. They've strategically given the finger to the male-dominated institutions by not defining themselves in opposition to them—by not buying those bras to burn in the first place. The Guerrilla Girls urge collectors to nab female artists' work not because it's the right thing to do, but because it's undervalued, thus a great investment. They're having their own dinner party and it's the good old boys (and girls) who are missing out.

"Publishing articles about myself actually resulted in an exhibition," Hershman Leeson says before noting that, after 35 years of struggling to break the glass ceiling, some of her early work now fetches 9,000 times its original appraisal. This is all in explanation of how—along with philanthropic help—she was able to fund this film. But if she had set aside her ego, she could have taken all this crucial material that she's so close to (there are no outtakes; all the footage is accessible online, she tells us, not realizing that abandoning early drafts isn't tantamount to self-censoring) and placed it in the hands of a talented documentarian who could have shaped it into a more thrilling form. I know for a fact there's a heck of a lot of unheralded female filmmakers out there who could use the work.

 ♥ verónica and her work

saudade.

Esta oliveira da fotografia é especial. Datada com uma precisão de 98%, tem uma idade de 1491 anos, um magnífico exemplar que pode ser apreciado por todos aqueles que visitem o Parque de Serralves na cidade do Porto, graças à oferta da árvore pela Oliveira da Serra em 2010, numa parceria pela sustentabilidade.

kind of hurt...people can really hurt each other. 

A new planet found last fall may be orbiting two stars, but it's far from a real-life Tatooine. Dubbed Kepler-16b, the world is a cold, Saturn-size gas giant with little chance of hosting desert farmers like the fictional Star Wars world.


But according to new computer simulations, the Kepler-16 stars may still shine on a world fit for life—a hypothetical Earthlike moon orbiting Kepler-16b.


Kepler-16b was discovered by NASA's Kepler spacecraft, which looks for dips in starlight as a planet transits—or passes in front of—a star, as seen from Earth.


For the new study, Billy Quarles, a doctoral student at the University of Texas at Arlington, and colleagues simulated several possible configurations for a theoretical Earth-mass world in the Kepler-16 system.


The team started by drawing up a "laundry list of parameters" for defining the habitable zone—the region around a star where a planet gets enough heat to host liquid water, essential for life as we know it—Quarles said Monday during ameeting of the American Astronomical Society in Austin, Texas.


(Related: "Earthlike Planet Found Orbiting at Right Distance for Life.")


The researchers assumed that the brighter of the two Kepler-16 stars is the main source of heat and light for any orbiting worlds.


Based on that star's size and temperature, the team determined that the main habitable zone possible around the Kepler-16 stars would extend from about 34 million to 66 million miles (55 to 106 million kilometers) out.


Capturing a Habitable Moon


With a roughly circular orbit about 65 million miles from the stars, the Saturn-like planet is on the outer edge of this main habitable zone. And while this "Tatooine" is uninhabitable, an Earthlike moon in Kepler-16b's orbit could sustain life, the researchers said.


The group isn't yet ready to say whether a moon could have formed alongside the planet. But their simulations suggest a moon could have arrived, fully formed, later in Kepler-16b's life.


According to the new models, a planet closer to the brighter star, squarely in the habitable zone, could have long ago been ejected from its orbit due to gravitational interactions with the other objects in the system.


Kepler-16b's gravitational pull could have attracted the Earthlike planet during its journey outward, turning the world from planet to moon.


Such a moon would technically be in the main habitable zone of the Kepler-16 system and—unlike Mars, on the outer edge of the habitable zone in our solar system—the moon would be massive enough to retain an Earthlike atmosphere, the team said.


First to Find an Alien Moon?


If astronomers were to discover an Earthlike satellite orbiting Kepler-16b—a bigif—it would be a major first.


More than 700 alien planets have been confirmed so far, and Kepler has identified more than 2,000 more potential planets. (Related: "Fifty New Planets Found—Largest Haul Yet.")


As of yet, though, no moons have been detected outside our solar system.


With the new study, "we can say there are exomoons possible around Kepler-16b, and what's important about this is that they are detectable ... down to 0.2 Earth masses," Quarles said.


To do so would require looking for subtle irregularities in the gas giant's orbit that could be caused by a moon's gravitational pull—something Kepler is equipped to do.


In fact, a new project using the Kepler telescope aims to make the the first systematic search for planets with moons. The new study suggests Kepler-16b may be an ideal target for the new initiative.


"For this system," Quarles said, "there should be a drive to determine if there's an exomoon there, because it could be the first one to be detected."


A "Drastic" Earth Also Possible


In addition to considering the possibility of an Earthlike exomoon of Kepler-16b, the team considered whether an as-yet undetected Earthlike planet could exist in what they call an extended habitable zone around the Kepler-16 stars.


The results suggest that a planet around 88 million miles from the stars—outside the orbit of the existing Saturn-like world—could maintain a stable orbit.


(Also see "New Planet May Be Among Most Earthlike—Weather Permitting.")


That theoretical, far-flung world could retain enough heat for liquid water, Quarles said, if it has "a very drastic atmosphere" of heat-trapping gases such as carbon dioxide and methane.

the Tree in front of my house*

"necessidade mórbida de ter e ter e ter...possuír...como se fosse para isso que estamos aqui. " - j.saramago

Sérvia, um mar de cores - por Dragoljub Zamurovic

going.

• 1 Introduction
• 2 A. Milieu (Environment-Green)
• 3 B. Esprit (Spirit-Blue)
• 4 C. Chair (Flesh-Violet)
• 5 D. Fusion (Red)
• 6 E. Caractère (Character-Clear)
• 7 F. Offre (Offering-Yellow)
• 8 G. Outil (Tool-Purple)
• 
  

"on a cosmic scale there is nothing orthogonal about the world we inhabit for right angles do not exist.
the universe is polarized into centres of gravity, concentrations of energy and matter at incredible distances from each. other and quit probaby in expansion. yet at the human level space is perceived on verticality. the trajectoryof falling bodies men and trees standing up right. this verticality is perpendicular to the ground and to the surface of still waters, wich we consider horizontal. Our spatial perceptions are intirely condicioned by the orthogonality of vertical and horizontal planes.
the right angle is not only geometry, it is also symbol, charged with mystical signifiance. it is the image of man, erect for action and supine for sleep and death. and the transition, oscillation between vertical and horizontal is the very image of life. the right angle constitutes a "pact with nature"   "