Diário 1/1

Diário 1/1
07/04/2010
21:43
“A ar te não diz coisas às pessoas, mostra-lhes coisas”
Lawrence Weiner
13/04/2010
01:44
http://amigosdoaristo.blogspot.com/2009/07/sessao-de-avaliacao-do-trabalho-de.html
14/04/2010
16.30/15.30
“Ce n’est pas une image juste, c’est juste une image”
Jean-Luc Godard
14/04/2010
21.30
Rádio Difusão Por tuguesa - Antena 2
Transmissão Directa
Miso Music Por tugal
25 Anos
André Cunha Leal / Zulmira Holstein / Cristina do Carmo / Alexandra Louro de Almeida
Instituto Franco-Por tuguês, Lisboa
15/04/2010
19.10
“Porque é o nosso olhar que aprisiona muitas vezes os outros
nas suas per tenças mais estreitas e é também o nosso olhar
que tem o poder de os liber tar.”
Amin Malouf (1998)
Passejades pel buit. Una etnografia sensible
Anna Juan Cantavella (CRESSON - UB)
16/04/2010
20.53
Lo urbano, siguiendo a Lefebvre, sería el estallido de la ciudad a través de las prácticas y usos de sus habitantes, que por estar de paso sólo pueden ser transeúntes. Lo urbano es obra de los individuos y se nos
aparece así como el espacio del movimiento incansable, de la circulación, de las trayectorias, de los encuentros y desencuentros, de las negociaciones efímeras y configuradas en marcha, de las apariencias, de las
teatralidades, de los cuerpos… Aproximarnos a lo urbano significa pues aproximarse a formas de hacer, a
modalidades de pasar, a savoirs faire contextualizados, a tácticas inventadas en el momento de producirse,
a códigos de conducta aprendidos con el tiempo, a formalidades o a esquivos de los códigos institucionalizados… Y por tanto, la aproximación que parece más acer tada para su estudio es el análisis etológico
o ecológico, con la diferencia que lo que interesa a la etología humana es sólo el análisis de las prácticas
cotidianas más banales a través de los movimientos que generan los cuerpos. Nos encontraríamos cerca del
postulado de la fenomenología de comprender lo humano a través de su facticidad, de sus compor tamientos, de los hechos que se están desarrollando, de lo que está pasando allá afuera, como diría Blumer, en el
momento de la observación.(http://ciusono.blogspot.com/)
17/04/2010
16.36
Cultura e Cognição – ou o Poder do Conhecimento Tácito
Peter Hanenberg (Centro de Estudos de Comunicação e Cultura/UCP)
Comentador : Miriam Tavares (Centro de Investigação em Ar tes e Comunicação/UAlg, ESTC)
A mais famosa definição de conhecimento tácito é uma frase paradoxal de Michael Polanyi: “We know
more than we can tell”. O conhecimento tácito seria, então, algo que não é dito nem é falado, algo
que não está “à mão”. Refere-se a algo que sabemos, sem estarmos cientes desse conhecimento. No
entanto, contamos com ele para agir. Para desenvolver uma descrição mais clara da impor tância do
conhecimento tácito (no contexto da actual crise), observaremos alguns exemplos de “gut feelings”
que nos levam à resolução de problemas sem a intervenção explícita de saberes. A seguir apresentaremos a ideia de uma “geografia do pensamento” para descrever o conhecimento tácito na diversidade
cultural. Relacionaremos, por fim, o conceito de Polanyi com o ‘Sistema cogntivo de Cultura’ desenvolvido por Leonard Talmy para preparar três con­clusões: (1) o conhecimento tácito baseia-se na
experiência, é (2) par tilhado (e não simples­mente individual), e (3) constitui, por isso, um desafio para
a educação. Saber mais sobre o conhecimento tácito significa reconhecer o seu poder fundamental
para a cultura e a sua projecção no futuro próximo. (Abstract)
17/04/2010
18.29
Imagined Lives: Mystery Por traits: who’s that ruff guy?
(http://enter tainment.timesonline.co.uk/tol/ar ts_and_enter tainment/visual_ar ts/ar ticle7062921.ece)
The National Por trait Gallery asked leading novelists to create stories about some of its subjects
whose names are lost.
Rosy
Tracy Chevalier
I am still wearing the white brocade doublet Caroline gave me. It has a plain high collar, detachable
sleeves, and intricate buttons of twisted silk thread, set close together so that the fit is snug. The doublet makes me think of a coverlet on a vast bed. Perhaps that was the intention.
I first wore it at an elaborate dinner her parents held in our honour. I knew even before I stood up to
speak that my cheeks were inflamed. I have always flushed easily — from physical exer tion, from wine,
from high emotion. As a boy I was teased by my sisters and by schoolboys — but not by George.
Only George could call me Rosy. I would not allow anyone else. He managed to make the word
tender. He said it described not just my cheeks, but my lips as well, smooth and crimson as rose petals.
When I made the announcement, George did not turn rosy, but went pale as my doublet. He should
not have been surprised: it has been a common assumption that I would one day marry his cousin.
But it is difficult to hear the words aloud. I know: I could barely utter them.
Caroline bent her head, the pearls in her smooth hair catching the light. Her eyes remained on her
small, graceful hands folded in front of her. Her half-smile looked rationed. She has done nothing
wrong.
Afterwards I found George on the terrace overlooking the kitchen garden. Despite drinking steadily
all afternoon he was still pale. We stood together and watched the maids cut lettuces.
“What do you think of my doublet?” I asked. George always noticed clothes. He glanced at me. “That
”Rosy” (Probably Sir Rober t Dudley,
1574-1649)
”A Hand on My Shoulder” (Pattern for
a por trait of an unknown
noblewoman, c.1595)
”The Tale of Joshua Easement”
(Unknown man, formerly known as Sir
Ralph Winwood c.1617?20)
From the Diary of Paxton Whitfield
(Unknown man, formerly known as
Cornelius Johnson)
collar looks to be strangling you.”
“We will still see each other,” I insisted. “We can still hunt, and play cards, and attend cour t. Nothing
need change.” George did not speak.
The Tale of Joshua Easement
Terry Pratchett
Sir Joshua Easement, of Easement Manor, Shrewsbury, was, in his own estimation at least, one of the
last of the old Elizabethan seadogs — an ambition that was somewhat thwar ted by a total lack of
a grasp of the principles of navigation. Documents in the National Maritime Museum reveal that Sir
Joshua’s navigational method mainly consisted of bumping into things, and this was exacerbated by his
absolute blindness to the difference between por t and starboard. It was a joke among those seafarers who were lucky enough to have sailed with him and survived that this was because he had never
drunk starboard, but had drunk practically everything else.
Such of his papers that survive give a tantalising hint that in failing to discover the Americas, he may
never theless have discovered practically everywhere else. What can we make of the hint of a land
of giant jumping rats, found in the southern oceans, but, owing to Sir Joshua’s recordkeeping, lost the
following day?
Never theless, quite late in the reign of Elizabeth I, he succeeded not only in finding the Americas
but also in finding England again. He then, with much ceremony, presented to Good Queen Bess a
marvellous and intriguing animal from that far-off country whose black-and-white fur he deemed very
attractive and fit for a queen.
It was at this point that the cour t really understood that in addition to only a nodding acquaintance
with the concept of direction, Sir Joshua had no sense of smell whatsoever. This led to the queen,
despite her growing infirmities, going on progress again at quite a high speed. When frantic cour tiers
asked about the destination she said: “Anywhere away from that bloodyee man.”
Never theless, even as relays of servants were scrubbing the palace floors and the female skunk was
giving bir th in the cellars, the Queen gave Sir Joshua the office of Captain of the Gongfermours or,
in other words, in charge of the latrines, a post for which he was clearly well suited. Oblivious to the
sniggers of the other cour tiers, he took this position extremely seriously and even adopted on his
coat of arms the motto Quod Init Exire Opor tet (What Goes in Must Come Out). John Dee said of
him: “He is a man born under the wrong stars, and has never learnt which ones they are.”
Dogged to the end, and oblivious to the noxious gasses that only he could not smell, he spent the last
years of his life in the following century trying to find a way to harness their igniferous nature, achieving an overwhelming success which led to his hat being found in Kingswinford and his head being
found in a bear pit in Dudley.
A Hand on my Shoulder
Tracy Chevalier
I am not sure why I agreed to let William draw me. I cer tainly did not want a painting of me, not now.
“A drawing, then,” he said. “That is all. One I can keep in my studio as a model for a dignified lady.”
Of course William was good friends with my husband, and has been so kind to me since his death,
and my son’s. But I could have put him off longer, said I was too full of grief, and too weak from my
own illness. Perhaps I simply wanted the companionship of a man again, to sit with him and talk to him
while he drew.
He let me see the drawing today. Though he has done his best, William is too honest. He did not hide
how thin I look, the flesh melted from my cheeks, my brow so bony. And something has happened to
my eyes. The fever has made them lighter, if that is possible. I cannot seem to hide my thoughts —
sadness and fear brim in my eyes like tears. The hand of Death has been heavy on my shoulder, and
left its mark. I still feel its weight, though it is now only a ghost — a ghost waiting to return one day.
To distract others from my ravaged looks I have worn my widest collar and the topaz necklace Henry
gave me after Harry’s bir th. “Good girl,” he’d whispered as he hung it around my neck. “Well done.”
Now he and Harry are gone, leaving my daughter and me alone — a household of women in a world
of men, waiting to see what will happen to us.
Yesterday, Henry’s brother appeared, narrowing his eyes at William and insisting that my daughter and
I were expected at his home for dinner. He fears any man who comes close to me, thinking they are
sniffing my late husband’s estate. He would not have me marry again if it means his family is to lose
Henry’s wealth to another. Better instead to march us across the cold fields, to dine with him and his
wife in a draughty hall before an indifferent fire.
His little plan has had its effect. Already I feel a familiar pain behind my eyes and a hand scratching
in my throat. It is just as well William has almost finished the drawing, for Death is impatient to visit
again.
At least my daughter is healthy.
From the Diary of Paxton Whitfield
Joanna Trollope
This day was my likeness completed. I am at last well satisfied. I had much argument with the painter,
who would not have me stand with my left hand towards my breast, saying that such a gesture was
reserved for ar tists alone, when por traying themselves. But I held my ground in the matter. Indeed, I
am known for holding my ground.
I am painted in my new black damask. It was exceeding costly, having to be thrice dyed to gain the
depth of blackness that would satisfy me. I have also a falling collar in fine linen, but no other adornment, no sword belt, no seal upon my finger. I wish to stand as myself, for myself. I have no need of
symbols.
Perhaps I am a little taken aback in the matter of my nose. My mouth is as I would wish, firm and well
shaped, and my brow displays the breadth of a man of education and culture, such as I am. But my
nose has about it a shine and a hint of colour which would indicate a propensity to being fuddled. I
am, in truth, seldom fuddled, and never without severe provocation. I remonstrated with the painter,
but he did merely say, over and over, that he painted what he saw with all the fidelity his skill could
bring to bear. He told me that I had prevailed in the matter of my left hand, and that I should be content with my nose. I fear it must be so, for fear of incurring even greater expense.
I shall hang the painting in my library. I know the exact spot, upon the wall directly opposite the door,
where it will immediately strike all those who enter. In her shrewish way, my wife has suggested that
I might like to place a small table beneath, for candles and offerings, but I feigned not to hear her.
She liked my looks well enough when we were wed, but custom has staled her admiration. And her
cour tesy.
I say again, I am on the whole well satisfied. It is something indeed for a man to possess his own likeness. When I look upon it, I have the sensation that indeed I have my place upon the Ear th, and that
place is manifest for all to see. It would be a joyous thing were my wife to be of like mind, but she
prefers to make spor t of everything that signifies to me. Including, it grieves me to say, this likeness.
The National Por trait Gallery’s Imagined Lives: Mystery Por traits 1520-1640 opens tomorrow at
Montacute House, Somerset. The book of stories is available, priced £6.99, at www.npg.org.uk/shop
More Mystery Sitters
La maja desnuda y la maja vestida, Francisco Goya
Prado, Madrid
The two paintings in this scandalous pair are identical, except that in one the maja is completely bare,
save a small tuft of pubic hair. Thought to be the first inclusion of such hair in Western painting, this
obscenity led to Goya being summoned in front of the Spanish Inquisition. However, if he revealed the
identity of the sitter it has not since resurfaced. Guesses range from the 13th Duchess of Alba, to the
mistress of the then Spanish Prime Minister.
Portrait of a Lady, Dosso Dossi
National Gallery of Victoria
Since 1965, the National Gallery of Victoria has owned this mysterious Renaissance por trait of a
beautiful young woman with a pointy nose and unforgiving eyes. In 2008 they made the happy discovery that she is in fact the infamous Lucrezia Borgia, though not all members of the ar t world were as
willing as the Australian gallery owners to believe this grand claim.
Tank Man, Jeff Widener
The subject of this iconic photo committed the unimaginably brave act of stopping an entire column
of Chinese Type 59 tanks in the middle of Tiananmen Squared. However, the Tank Man has never been
able public receive international adulation as a symbol of freedom, as he disappeared into the crowd
immediately following the incident and is believed to have been arrested, tried and possibly executed
by the Chinese authorities.
Mona Lisa, Leonardo Da Vinci
Louvre, Paris
For such a famously enigmatic painting, it would not be right for the identity of the sitter to go
completely undisputed. Although the common consensus is that the subject is Lisa del Giocondo, a
member of the Renaissance Gherardini family and wife of a cloth merchant, there is no conclusive
evidence. Da Vinci’s mother, Isabella of Naples, Costanza d’Acalos (known as “the merry one”) and da
Vinci himself have all been declared the true sitter.
The Girl with a Pearl Earring, Johannes Vermeer Mauritshuis, The Hague
Known as the Mona Lisa of the nor th, Vermeer’s masterwork has long confounded viewers. The
intimate gaze, the enormous earring and the mysterious turban all lend to the painting’s ambiguity. In
1999, Tracy Chevalier’s eponymous novel, inspired by the painting, gave a twist to the tale, introducing a fictional servant, Griet, into Vermeer’s household along with a convenient undercurrent of sexual
tension between her and the painter, picking up on the girl’s somewhat come-hither expression.
20/04/2010
00.38
Neste ano Europeu de combate à pobreza histórias como esta […] repetem-se por todo lado com
uma ou outra variante. Um país só é verdadeiramente rico se conseguir que os seus cidadãos possam
concretizar os seus sonhos e tenham expectativas sobre a sua vida. Mais que criar infra-estruturas
desnecessárias é impor tante investir verdadeiramente na cultura e na educação. Não é dar Magalhães
a todos os Por tugueses, sem eles não saberem muito bem o que fazer com eles, ou colocar uma
pseudo banda larga nas escolas. É permitir a construção de conteúdos, é criar ofer tas educativas e
culturais verdadeiramente significativas à população, é fazer com que as escolas e universidades sejam
realmente uma por ta aber ta para o mundo, criar expectativas ás populações a vários níveis e abrir
caminho para que essas expectativas se concretizem. Não a farsa das novas opor tunidades que só
criou mais frustrações e falsas expectativas. (http://geometricasnet.wordpress.com/)
20/04/2010
01.59
Visual Thinking Strategies
Segui o conselho de um colega (Ricardo Reis) do grupo de professores de evt para procurar sobre
Visual Thinking Strategies. A ideia é colocar os alunos a observar objectos de ar te e discutir as ideias
e observações em conjunto. As observações dos alunos são muito ricas, não só para os outros alunos,
mas também para o professor. No fundo esta pedagogia par te de um respeito pelo aluno, como pessoa possuidor de um universo próprio e que nos ensina e abre “por tas”. É proposto como estratégias
na observação e discussão: 1. observar com atenção o objecto (pode ser através do desenho); 2. fale
sobre o que observaram; 3. coloca as ideias dos alunos em evidência; 4. oiça bem os alunos e considere todos os pontos de vista; 5. discute todas as interpretações possíveis. (http://www.vtshome.org/)
(http://geometricasnet.wordpress.com/)
22/04/2010
00.18
29/04/2010
23.01
Na selva da informação, seja qual for o tema, o que melhor se pode fazer em nome
das novas gerações é seleccionar e arquivar. Afinal de contas é a este facto que se
resume uma boa escola, ou deveria ser, visto que com “Bolonha” quase tudo ficou
mais resumido.
Uma boa escola começa por concentrar um grupo de bons professores, com ideias
claras e que acima de tudo saibam direccionar da melhor forma cada um dos alunos.
Professores que sabem distinguir as fronteiras entre o vulgar, o extraordinário e
o revolucionário, e que conseguem transformar esse vulgar em algo “belo”.
Não é uma tarefa fácil, mas é com toda a cer teza uma atitude nobre essa de educar
um cérebro para a liberdade, para a curiosidade, para a coragem e consequentemente
para o optimismo. (Matéria Prima, Newsletter 29 de Abril de 2010)
02/05/2010
19.38
04/05/2010
14.00/15.00
[Apontamento dos dois Autores na cadeira de Investigação Educacional]
Bruce Nauman, Human/Need/Desire,
1983
Afterschool, António Campos, 2008,
E.U.A.
04/05/2010
23.08
O Ensino Ideal não Existe
“Expor o meu trabalho é também abdicar do que é um processo de poder : um professor, numa sala
de aula, encontra-se numa situação de poder perante os alunos, e essa é a base do processo formativo. Quando (me) exponho, subver to essa relação de poder – todos os professores que têm obra
feita deveriam ter condições para serem sujeitos a essa prova.” (Aurelindo Ceia, http://grandesarmazensdodesign.wordpress.com/2008/10/29/aurelindo-ceia/)
Ceia não está, por isso, à espera de alunos vir tuosos, que sejam magistrais na criação da forma. Está,
sim, à espera de cidadãos que estejam dispostos a questionar o seu papel na sociedade e dá-lhes ferramentas para o fazer. E fá-lo ensinando num curso que se encontra ele mesmo em fase de transformação: dos cinco anos inicialmente concebidos em 1975, as licenciaturas de Design da FBAUL
passaram recentemente a quatro, e agora a três anos, segundo as orientações europeias traçadas pelo
Tratado de Bolonha. Para ele, essa contingência é mais uma opor tunidade do que uma fatalidade:
“Esta redução de anos nos cursos em toda a Europa não vem responder a necessidades de natureza
científica ou pedagógica, mas sim de competitividade, face ao mercado de acesso ao ensino superior.
Não corresponde necessariamente a um processo de normalização do pensamento – há necessidades diferentes em Por tugal e noutros países europeus. Os valores, a identidade, a idiossincrasia
nacionais são de manter e cultivar, pois, se a nossa história é deles feita, são neles que vamos buscar
a capacidade de integrar novos desafios. Assumimos essa normalização como um risco, mas também
como um desafio: conseguir em seis semestres criar a mesma inquietação que dantes criávamos em
cinco anos.” O ensino ar tístico, ou da criatividade, se quisermos, precisa de tempo de concretização,
de maturação, e não é por isso compatível com processos de normalização administrativa ou pedagógica: “Se calhar, precisávamos de ter passado os cursos de cinco anos para seis. Mas estaríamos
a criar um curso perfeito para ninguém.” E cursos, sociedades, ou mundos perfeitos não existem:
“O objectivo final do nosso trabalho é que os alunos saiam com mais dúvidas do que entraram.
Mas também com mais cer tezas.” (Aurelindo Ceia, http://grandesarmazensdodesign.wordpress.
com/2008/10/29/aurelindo-ceia/)
06/05/2010
04.30
http://vimeo.com/9669256
12/05/2010
15.00
Art School (Propositions for the 21st Century)
Edited by Steven Henry Madoff Introduction by Steven Henry Madoff
The last explosive change in ar t education came nearly a century ago, when the German Bauhaus
was formed. Today, dramatic changes in the ar t world—its increasing professionalization, the pervasive power of the ar t market, and fundamental shifts in ar t-making itself in our post-Duchampian
era—combined with a revolution in information technology, raise fundamental questions about the
education of today’s ar tists. Ar t School (Propositions for the 21st Century) brings together more than
thir ty leading international ar tists and ar t educators to reconsider the practices of ar t education in
academic, practical, ethical, and philosophical terms.
The essays in the book range over continents, histories, traditions, experiments, and fantasies of education. Accompanying the essays are conversations with such prominent ar tist/educators as John Baldessari, Michael Craig-Mar tin, Hans Haacke, and Marina Abramovi, as well as questionnaire responses
from a dozen impor tant ar tists—among them Mike Kelley, Ann Hamilton, Guillermo Kuitca, and Shirin
Neshat—about their own experiences as students. A fascinating analysis of the architecture of major
historical ar t schools throughout the world looks at the relationship of the principles of their designs
to the principles of the pedagogy practiced within their halls. And throughout the volume, attention is
paid to new initiatives and proposals about what an ar t school can and should be in the twenty-first
century—and what it shouldn’t be. No other book on the subject covers more of the questions concerning ar t education today or offers more insight into the pressures, challenges, risks, and oppor tuni-
ties for ar tists and ar t educators in the years ahead.
Art School (Propositions for the 21st Century)
Edited by Steven Henry Madoff Introduction by Steven Henry Madoff
Endorsements
“An indispensable source of experienced voices: ar tists, teachers, theorists, ar t historians, critics, administrators, former students, curators. Ar t School is an amazing cross-section of ar t world contributors providing as complete a picture as is imaginable on the needs and possibilities of the ar t school
in the 21st century.”
Garry Kennedy, former President and Professor Emeritus, Nova Scotia College of Ar t and Design
“Steven Henry Madoff ’s anthology appears at a par ticularly apt moment, as the development of social, research-based, and post-studio forms of ar tistic practice raise questions about central tenets of
traditional ar t education. With essays and discussions by impor tant theorists, ar tists, and curators, this
book lays the ground for a critical debate on the future of the ar t school.”
Bruce Altshuler, Director, Program in Museum Studies, New York University
“This book deftly interrogates the paradox between the proliferation of visual ar t programs and the
anxiety around what many perceive as a crisis in ar t education. Ar t School bubbles with the anger of
missed oppor tunity and squandered resources while its viewpoint, however, is overwhelmingly one of
hope and optimistic change. For those who dare to think and act in a utopian mode, this book is an
invaluable instruction manual, manifesto, and blueprint. For entrenched entropic faculty and bureaucratic administrative hacks this book is a brick through their window.”
Mark Dion, Visual Ar tist and Cofounder, Ar tist Residency Program, Mildred’s Lane
“The question of legitimation is central to the discourse of the ar t school: who is qualified to produce
an ar twork, how it is recognized by the public and, ultimately, whether or not authorized forms of
culture may be desirable. For anyone concerned with ar t school education—and the broader issues
surrounding it—this book is essential reading.”
John Miller, Depar tment of Ar t History, Barnard College