quarta-feira, 7 de outubro de 2020

28ª Quinzena de Dança de Almada – International Dance Festival











 

É com muito prazer que informo que, o video :: DON'T LOOK :: foi seleccionado para a mostra de videodança do Festival de Dança em Almada, previsto para Setembro deste ano :  
" 28ª Quinzena de Dança de Almada – International Dance Festival, gostaríamos de informar que o trabalho Don't Look foi selecionado para ser incluído na Mostra de videodança deste ano. A(s) apresentação(ões) do vídeo será fixada durante o Festival, entre os dias 18 de setembro e 11 de outubro de 2020. "

https://www.instagram.com/p/CBN4c88lK2k/?igshid=1s4wlmlekkfep

Don´t Look :: Paulo Henrique & PlayBleu  

"Repetition changes nothing in the object repeated, but does change something in the mind which contemplates it." Gilles Delleuze

Conceived in partnership with Play Bleu, photography and graphic designer, the film focuses on a character in a specific period / period of time. The use of a classic frontal photographic angle with two distances, accumulating the gestures of the character of movement observed behind a translucent broken glass, filmed from the internal and external space (broken glass). This frontier functions as a new canvas for the viewer, also evoking political and social association with the current world, where the repetition of media images echoes the fluidity of their distribution, in contrast to the static space and the enclosure that the body is. observed in their bodies. real nature. In this visual environment and sound created, the film suggests other images that correspond to the individual experience of each viewer and the way they may seem or not to resonances through the repetitions of body image in the visual space created as the real body has no place of their own when it becomes an image (even repeated as a prayer or poem ..!? ...).

Direction Paulo Henrique & Play Bleu
Coreography | Performance Paulo Henrique
Image | Camera | Edition Play Bleu
Photography | Graphic Video Design Play Bleu
Music Fischerspooner Re-edit by Play Bleu
Producer | Executive Producer Paulo Henrique | Arte Total
Production Company Play Bleu | Arte Total

Photography Gallery : https://stampsy.com/stamp/17313

 


 


domingo, 28 de junho de 2020

28ª Quinzena de Dança de Almada – International Dance Festival


.
É com muito prazer que informo que, o video :: DON'T LOOK :: foi seleccionado para a mostra de videodança do Festival de Dança em Almada, previsto para Setembro deste ano :  
" 28ª Quinzena de Dança de Almada – International Dance Festival, gostaríamos de informar que o trabalho Don't Look foi selecionado para ser incluído na Mostra de videodança deste ano. A(s) apresentação(ões) do vídeo será fixada durante o Festival, entre os dias 18 de setembro e 11 de outubro de 2020. "

https://www.instagram.com/p/CBN4c88lK2k/?igshid=1s4wlmlekkfep

Don´t Look :: Paulo Henrique & PlayBleu  

"Repetition changes nothing in the object repeated, but does change something in the mind which contemplates it." Gilles Delleuze

Conceived in partnership with Play Bleu, photography and graphic designer, the film focuses on a character in a specific period / period of time. The use of a classic frontal photographic angle with two distances, accumulating the gestures of the character of movement observed behind a translucent broken glass, filmed from the internal and external space (broken glass). This frontier functions as a new canvas for the viewer, also evoking political and social association with the current world, where the repetition of media images echoes the fluidity of their distribution, in contrast to the static space and the enclosure that the body is. observed in their bodies. real nature. In this visual environment and sound created, the film suggests other images that correspond to the individual experience of each viewer and the way they may seem or not to resonances through the repetitions of body image in the visual space created as the real body has no place of their own when it becomes an image (even repeated as a prayer or poem ..!? ...).

Direction Paulo Henrique & Play Bleu
Coreography | Performance Paulo Henrique
Image | Camera | Edition Play Bleu
Photography | Graphic Video Design Play Bleu
Music Fischerspooner Re-edit by Play Bleu
Producer | Executive Producer Paulo Henrique | Arte Total
Production Company Play Bleu | Arte Total

Photography Gallery : https://stampsy.com/stamp/17313

The Topography of Tears / Rose-Lynn

A Topografia das Lágrimas 
(original: The Topography of Tears). 

O projeto de Rose-Lynn passou a chamar-se A Topografia das Lágrimas, através dele, ela estudou 100 lágrimas diferentes e descobriu que existem muitas diferenças nas lágrimas de acordo com o nosso sentimento. Cada gota de lágrima carrega um microcosmo de experiência humana. Com a ajuda de Joseph Stromberg, da Faculdade de Artes e Ciência de Smithsonian, Fisher tomou conhecimento de que existem três tipos principais de lágrimas: basais (aquelas que o corpo produz para lubrificar os olhos), 
reflexivas e psíquicas (desencadeada por emoções). 

“Emotions are not just the fuel that powers the psychological mechanism of a reasoning creature, they are parts, highly complex and messy parts, of this creature’s reasoning itself,” philosopher Martha Nussbaum wrote in her incisive treatise on the intelligence of emotions, titled after Proust’s powerful poetic image depicting the emotions as “geologic upheavals of thought.” But much of the messiness of our emotions comes from the inverse: Our thoughts, in a sense, are geologic upheavals of feeling — an immensity of our reasoning is devoted to making sense of, or rationalizing, the emotional patterns that underpin our intuitive responses to the world and therefore shape our very reality. Our interior lives unfold across landscapes that seem to belong to an alien world whose terrain is as difficult to map as it is to navigate — a world against which the young Dostoyevsky roiled in a frustrated letter on reason and emotion, and one which Antoine de Saint-Exupéry embraced so lyrically in one of the most memorable lines from The Little Prince: “It is such a secret place, the land of tears.”
The geologic complexity of that secret place is what photographer Rose-Lynn Fisher explores in The Topography of Tears (public library) — a striking series of duotone photographs of tears shed for a kaleidoscope of reasons, dried on glass slides and captured in a hundredfold magnification through a high-resolution optical microscope. What emerges is an enthralling aerial tour of the landscape of human emotion and its the most stirring eruptions — joy, grief, gladness, remorse, hope — reminding us that the terra incognita of our interiority is better trekked with an explorer’s benevolent curiosity about the varied beauty of the landscape than with a conquistador’s forceful intent to control and sublimate. (Artist Maira Kalman affirmed this notion with great simplicity and poignancy in a page from her marvelous philosophical children’s book“If you need to cry you should cry.”)





Tears of grief
Tears of change
Tears of possibility / hope

Building on her previous mesmerizing photomicrographs of bees, Fisher uses the technological tools of science to probe the poetic, immaterial dimensions of a universal human behavior radiating infinite emotional hues. Most of the tears she photographed are her own, but she also looked at those of men, women, and children from different backgrounds, crying for a variety of reasons. Accompanying each photograph is a caption ranging from the descriptive to the lyrically abstract — tears of compassion, tears of grief, tears of remorse, “tears for those who yearn for liberation,” “tears of elation at a liminal moment.”





Tears of compassion
Tears of redemption

In the introduction, Fisher reflects on the symbolic undertones of this inquiry into “the intangible poetry of life,” a project nearly a decade in the making:
Though the empirical nature of tears is a composition of water, proteins, minerals, hormones, and enzymes, the topography of tears is a momentary landscape, transient as the fingerprint of someone in a dream. The accumulation of these images is like an ephemeral atlas.
[…]
Tears are the medium of our most primal language in moments as unrelenting as death, as basic as hunger, and as complex as rites of passage. They are the evidence of our inner life overflowing its boundaries, spilling over into consciousness. Tears spontaneously release us to the possibility of realignment, reunion, catharsis, intractable resistance short-circuited… It’s as though each one of our tears carries a microcosm of the collective human experience, like one drop of an ocean.





Tears of remorse
Onion tears
Tears for what couldn’t be fixed

Fittingly, the book features a short essay on tears by the poet Ann Lauterbach, who observed in another beautiful meditation on why we make art that “the crucial job of artists is to find a way to release materials into the animated middle ground between subjects, and so to initiate the difficult but joyful process of human connection” — a perfect articulation of the heart of Fisher’s project. In her essay for the book, Lauterbach writes:
“For a tear is an intellectual thing,” the great subversive 19th-century poet William Blake wrote, railing against the Deists, classical and contemporary; he believed they had stripped religion of its signal call for forgiveness, assigning too much authority to a single God and making human life untenable in its guilty abrasions. Tears are intellectual because they come from thoughts that spill over the body’s containing well; they are the secretion of excess we assign to emotion; perhaps emotion itself is simply caused by a surfeit of thought. One tries to unbind these durable dualities, to allow for the morphological shift that might allow the human creature to be complex but integrated, not divided into anatomical parts, all nouns and no transitive verb. We are not yet mechanical, technological things, we are intellectual — thinking — beings, and we cry when stirred beyond the capture of signifying Logos, which relents into flows of passionate silence. Perhaps this flow is the very proof that we cannot put our feelings in one place and our thoughts in another, the bleak result of a certain rationalism that threatens to overtake our civility — our capacity to forgive — and wants to make all ideas into abstractions, rigid and blunt, free of secretions.





Overwhelmed tears
Tears after goodbye