observai o observador observado*: Aporias ou uma poética da comunicação (I)

domingo, junho 29, 2003

Aporias ou uma poética da comunicação (I)

Não desejo um segmento de realidade bem sucedido. Aliás, o desejo de um incompleto sucesso do meu acto comunicativo forçará o interlocutor ao código estético que, com ele, voluntariamente, partilho.

Estático, [ana]fórico, dinâmico. Linha de expectativa que nada espera. Pura virtualidade.

Eu devia densificar o momento saliente do meu acto comunicativo. Mas antes me apetece vogar e pronunciar a existência de um objecto-eu.

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«Está escuro, diz Elvira, acenda o texto, respondo-lhe». [Maria Gabriela Llansol]

Jorge Tiago Martins

jorgetiagomartins@gmail.com

PhD Candidate, University of Sheffield, Researcher. Citizen of the world.

Interests: Information Studies, Elearning Policies, Digital & Information Literacies, Learning Environments.

MMVIII

"O lavrador de café", by Cândido Portinari (1939). When a new year begins with the sense of a new journey and happy discovery, all one has to do is grab that feeling and carry it joyfully along the days. I will always want to remember that once in Brazil, I almost saw this painting in loco, if it wasn't for the fact that it was stolen a few days before I arrived. Fortunately it was recovered. But my personal discovery was that I have learnt to read and admire this painting during its temporary absence. Actually, in those days, what became overwhelmingly present in my mind was the strong presence and visual heavyness (so conceptually centred in the man as workforce), which to me are this painting's most relevant and deep utterance.

MMVII

"Flat Time I-IO", by John Lathan (2004). What immedietely drew my attention in this artpiece was how it explores the non linearity of time, its textual, page-like texture, folding and unfolding. That's why I myself remember when IÂ´ve lost and expanded my time. Time flows, it bounces back and forth. To me.

MMIII - MMVI

Como é estimulante a descontinuidade que podemos observar no estatuto das imagens. Com esta negação Magritte ironiza a alteração da percepção. É a nossa ontologia de observador que muda.