Considerando o catálogo Lumière como experiência inaugural do cinema mundial, este artigo propõe uma leitura anarquívica de algumas de suas imagens. Diferenciando a operação do cinematógrafo como dispositivo cosmotécnico de arquivamento do mundo e aparelho cosmopoético de invenção de mundos, exploro as formas de inscrição da diferença no…[Read more]

Reflections on Trevor Paglen’s (ab)use of the JAFFE dataset

On the project pirate.care

Twenty-five years ago, my colleagues Miyuki Kamachi and Jiro Gyoba and I designed and photographed JAFFE, a set of facial expression images intended for use in a study of face perception. In 2019, without seeking permission or informing us, Kate Crawford and Trevor Paglen exhibited JAFFE in two widely publicized art shows. In addition, they…[Read more]

Reich’s Violin Phase has been mired in questions of time since its inception. In this article I present a theory of time in process music based on the notion of kinesthetic knowledge, and the synthesis of musical temporality through the generative (chronopoietic) and transformational (chronopraxial) acts of the body. I illustrate this theory w…[Read more]

Las videotecas de las televisoras locales son centros de información y socialización de contenidos. Favorecen el procesamiento y conservación de la información audiovisual para su posterior recuperación. El procesamiento de la información audiovisual en la televisión local es un área que ha sido poco abordada desde la producción científi…[Read more]

There seems to be a continuum between Fernando Pessoa’s metadrama of heteronyms and his strict-sense plays, but this is more hypothesis than theory, because Pessoa’s dramas—notwithstanding the editions of Teatro Estático (2017) and Fausto (2018)—are still largely unknown. Written between 1903–1908, the tragedy of Marino is the earliest of Pessoa’…[Read more]

Review of The Bloomsbury Handbook of Popular Music Video Analysis.

Review of The Bloomsbury Handbook of Popular Music Video Analysis.

A number of recent music videos by women subvert the male gaze (Mulvey) through a number of techniques I construe as “resistance gazes.” These videos subvert the hypersexualization, infantilization, objectification, and victimi- zation regularly seen in music videos using imagery that resonates with broader cultural movements such as #metoo and #timesup.

A number of recent music videos by women subvert the male gaze (Mulvey) through a number of techniques I construe as “resistance gazes.” These videos subvert the hypersexualization, infantilization, objectification, and victimi- zation regularly seen in music videos using imagery that resonates with broader cultural movements such as #metoo and #timesup.