re-mounting my flag // Puerto Rico USA ParáBRZL

How my experience in three difference countries just show me more similarities

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American-Flag-Wallpaper

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September, 2017 | Categories: Blog |

~ ** Magic Nights ** ~

~`/Magic Nights Part I: Featuring- The Holy Mountain\"~

~`/Magic Nights Part I: Featuring- The Holy Mountain\”~ at GoGo Collective

For some fiction of our reality, my friend Jeff and I organized four magical nights inspired by the films of Alejandro Jodorowsky (Filmaker, visionary writer, and psychotherapist). We were intending to transform the typical passive viewing experience into an interactive exploration into the mental, physical, emotional, and spiritual themes of four movies: The Holy Mountain, El Topo, Santa Sangre, and The Dance of Reality. To each session we invited all group for improv-action exploring some games of teather of the oppressed and therapeutic practice of psycomagic including psychodrama, puppeteer, tarot readings, meditation and performance.

We asked people to come sober. We offered delicious food, fresh water, tea and coffee. And we got together deeply sometimes. The events were hosted at Collective Go-Go, Good Orneing collective and The Shop,

here is the facebook invitations:

~`/Magic Nights Part I: Featuring- The Holy Mountain\”~

~ ** Magic Nights Part II: Featuring- The Dance of Reality ** ~

}[}})()(Magic Nights Pt. III: Santa Sangre)()({}{}}{

“”‘;];:[;}Magic Night Pt. IIII : El Topo{;}”:”:””

 

and a few pictures

 

January, 2015 | Categories: Blog | Tags: , , ,

Silêncio é um Commons, por Ivan Illich

Este artigo disponibilizado em inglês no website http://www.preservenet.com/theory/Illich.html – foi originalmente publicado na revista CoEvolution Quarterly, em sua edição no inverno de 1983.  Numa fala vigorosa e em narrativa pessoal, Ivan Illich detalha o sentido do commons clamando por uma ecologia política que atente para a influência dos meios eletrônicos subvertendo o commons do discurso, assim como a motorizacão do tráfego subverteu o commons de espaço.

Fiz a tradução onde incluí algumas notas a fim de elucidar e contextualizar algumas expressões, termos e referências utilizados pelo autor. Disponibilizo versão em português do artigo aqui: Silence is a commons[pt]_Ivan Illich.

md-winter-1983-cover

December, 2014 | Categories: Ensaios | Tags: ,

How to make movie JODOROWSKY //English version

~ ** Magic Nights Part II: Featuring- The Dance of Reality

~ ** Magic Nights Part II: Featuring- The Dance of Reality at Good Orneing Collective

 

From original version, Como Hacer Cine

FIRST LESSON
S
it down from sunrise to sunset in front of a tree, and feel the light. Come back for the next seven days and do the same.

SECOND LESSON
Come back at night with a flashlight and illuminate the tree from infinite points.

THIRD LESSON
Place yourself one kilometer from the tree. Stare at the tree and move towards it inch by inch until after a few hours your bump the bark with your nose.
(The first two lessons are used to develop a sense of light. The third is to develop the sense of distance.)

FOURTH LESSON
Place yourself inside, or in a landscape, and move around thinking that you were filming with your very own breast, then filming with your face, then with your sex, then with your hands.

FIFTH LESSON
Put yourself in a place feel that you are the center of it. Then you feel that you are always on the surface surrounding the place. Finally, break the idea of center and surface. You are there, everything is inside of your self and outside of your self at the same time. You are far from the place. The place exists. You have disappeared!

SIXTH LESSON
Search for the color in that which has no color. Pick up a white piece of paper and see its colors. Pick up a black piece of paper and see their colors. See the colors of transparent glass. Discover the rainbow in a piece of dirt, in spit on a dry leaf. Expresses color with colorless materials. Verily I ask you, do you know how many colors the skin on your face has?

SEVENTH LESSON
Feel the tips of your fingers as if they were the tip of your tongue. Rest your fingertips in the objects of the world thinking that they are fragile, and that the slightest pressure can break them. Ask their permission before you touch them. Before putting your fingers in their surface, feel as if you were penetrating their atmosphere. Learn to feel and to caress with respect. Any action you do in the world with your hands or your body can be a caress.

EIGHTH LESSON
Think that the actors are living inside a body as if they were living inside the center of a cave. Ask them not to shout with their mouth, but inside their mouth. Ask them not to express with their face, but to feel beneath their face. When I despair, from deep inside, I punch inside my chest, which is still facing the camera. I don’t express myself with movements but with vibrations. I live below the surface. The surface of the river does not move, but you know it has deep currents.

NINTH LESSON
Never mind the movements of the camera. It must only move when it cannot stay still. You have food in your hand. The camera is a dog. Make it hungry, to follow the food. Hunger makes the animal disappear. There is no dog, no hunger, no camera. There are events. You can never eat the whole apple in the very same moment. You have to keep biting. While you eat, you have a piece of it. You should know that the piece that you chew on is not the entire apple. You can never have the entire apple in your mouth no matter how big your mouth is. The fruit which is a part of the tree, and the tree which is the part of the earth, can never fit in your mouth. The screen is your mouth. Pieces go into it. Pieces of the accident. Do not try to work with absolute takes. Don’t think that there exists a best take. You can bite an apple anywhere. If the apple is sweet, it doesn’t matter where you start eating. Worry about the apple, not your mouth. Filmmaker! Anthology of fragments, you are also a fragment; your move is unfinished, you are a piece, a continuation. There are no endings. Kill the word end. You will start a movie the day you realize that you are simply continuing. Don’t look for prestige. Disdain effects. Do not adorn. Do not think about what the image will produce. Do not look for it. Receive images. Hunting is prohibited. Fishing, permitted.

TENTH LESSON
Never work out your camera movements on paper. Arrive places thinking that you will not move the camera, that you won’t use lights, that you won’t invent. Arrive empty, with no intention whatsoever. Start the engine of the camera and live. Don’t create scenes, create accidents. Don’t create accidents for the camera. You are not making a movie, you are in an accident. Part of the accident is movement of your camera.

ELEVENTH LESSON
And suddenly the great pleasure. A take imagined, with a camera having opinions with artificial light,  with performances (a real treat!)

Verily I tell you, that this way you can one day make the Hollywood movies of the 40s. If you want to be a great avant gard filmmaker, make “Gone with the Wind”, exactly the same, with actors whose bodies are twins to those of Clark Gable and Vivien Leigh. If you succeed, and your movies can’t be distinguished from the original, you have made history.

Translation by Belen Atienza & Holmes Wilson
Piece performed by Belen Atienza at Good Orneing Collective

October, 2014 | Categories: Blog | Tags: , , ,

de//nude at Firehaus

Firehaus

 

 

August, 2014 | Categories: Blog |

de//nude at Distant Castle

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August, 2014 | Categories: Blog |

n’aruanda só se pisa devagar

Conversa entre arthur leandro e giseli vasconcelos (pdf)


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originalmente publicado na revista Fórum Permanente#5

A primeira vez em que me deparei com homem-forte, Etetuba, foi no meio do festival Mídia Tática Brasil, em meados de 2003. Ele fazia parte da sala dos Rejeitados, que por sua vez era organizada por Graziela Kunsch. Veio em seu Gurgel de Macapá até São Paulo. Veio de longe, do meu lugar que eu não reconhecia mais em mim. E me lembro que fomos apresentados, ele me olhou friamente, e eu respondi apressadamente, agoniada entre muitas tarefas dispersas e urgentes daquele evento (…)

May, 2014 | Categories: Ensaios | Tags: , ,

Encore, core, cité…silence is a commons

encore…core, city from Giseli Vasconcelos on Vimeo.

Pensando o corpo na tentativa de se condicionar numa cidade, fiz um exercício dum corpo sensitivo interpretando a cidade a partir de sinais  – para além da compreensão da língua.  Um corpo em estado de dança, andança, a sugerir um estado de reflexão. Esse era o momento quando importantes referências se misturavam à minha memória, 1. Um admirável mundo novo, de Huxley – do qual debruça sobre o crer em coisas no qual somos condicionados a crer; 2. O eco oralizado das cidades num poema que pede performance, na poesia concreta de Augusto de Campos; e ainda 3. Silence is a Commons do filósofo Ivan Illich apresentado há 30 anos atrás, sintetizando minha percepção migrante e biológica em terra estrangeira fria, entre corpos distantes e gadgets frequentes por uma socialização – simulando a proximidade.

Ao fim, decidi traduzir o artigo do Illich por se tratar de uma visão certeira e esclarecida para orientar nossas reflexões sobre as tecnologias e meio ambiente no Brasil de agora. Deleite-se na leitura – Silêncio é um commons, por Ivan Illich.

December, 2013 | Categories: Ensaios | Tags: , , , ,

O espírito da América

Sunday, May19th from Giseli Vasconcelos on Vimeo.

Não faz muito tempo que cheguei aqui para me acomodar numa terra gelada de New England, o pontão nordeste onde a história branca americana se inicia. A região é formada por seis estados – Massachusetts, Maine, Connecticut, New Hampshire, Vermont, Rhode Island. A região, vizinha do estado de Nova Iorque, é considerada o principal centro de educação, tecnologia de informação e biotecnologia do país, além de turisticamente ser conhecida pela precisão e exuberância das quatro estações do ano.

 Moro numa cidade que fica no coração de Massachusetts. O coração da res publica (Heart of the Commonwealth). Worcester tem um fluxo diário de gente indo e voltando todos os dias de Boston, que é a principal capital cultural e financeira da região. Nesse vai e vêm entre highways hipnóticas, enxergo gigantescos aglomerados da indústria farmacêutica e internética. Parece progresso, insistem em dizer que é desenvolvimento – mas o que sinto é letargia. As placas dos carros anunciam o que é Massachusetts – The Spirit of America. Carro e frio e gente com mais cérebro pensante do que corpo sentido. More →

October, 2013 | Categories: Ensaios | Tags: , ,

New York sitiada

Cercanias das liberdades individuais e marcação na memória diária – a via de pedestres entre duas quadras em Manhattan só se lê mensagens de NÃO.

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October, 2013 | Categories: Blog | Tags: ,

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