Design e Comunicação Multissensorial: Lygia Clark – A Casa é o Corpo: Labirinto

Lygia Clark – A Casa é o Corpo: Labirinto

Em seu trabalho, Lygia sempre busca a interação do espectador por objetos sensorias, como sacos plásticos, pedras, conchas, luvas, despertando assim as sensações e fantasias.

Uma exposição que me chamou atenção foi a “A Casa é o Corpo: Labirinto” de 1968. Foi instalada no MAM – RJ e posteriormente na Bienal de Veneza. A obra tem 8 metros de comprimento e simula um imenso útero a ser penetrado pelo visitante, que reproduz as sensações de um parto, pois é levado a experimentar sensações táteis ao passar por compartimentos denominados “penetração”, “ovulação”, “germinação” e “expulsão” do ser vivo. O homem, se torna um organizmo vivo, inverte os conceitos casa e corpo. Agora o corpo é a casa.
Design e Comunicação Multissensorial: Lygia Clark – A Casa é o Corpo: Labirinto

Apparitional experience

Apparitional experience

In psychology[1] and parapsychology, an apparitional experience is an anomalous, quasi-perceptual experience.It is characterized by the apparent perception of either a living being or an inanimate object without there being any material stimulus for such a perception. The person experiencing the apparition is awake, excluding dream visions from consideration.In scientific or academic discussion, the term apparitional experience is to be preferred to the term ghost in respect of the following points: The term ghost implies that some element of the human being survives death and, at least under certain circumstances, can make itself perceptible to living human beings. There are other competing explanations of apparitional experiences. Firsthand accounts of apparitional experiences differ in many respects from their fictional counterparts in literary or traditional ghost stories see below. The content of apparitional experiences includes living beings, both human and animal, and even inanimate objects.[2]
Apparitional experience – Wikipedia, the free encyclopedia

Quotations | Ask MetaFilter

The first condition, therefore, that any mythology must fulfill if it is to render life to modern lives is that of cleansing the doors of perception to the wonder, at once terrible and fascinating, of ourselves and of the universe of which we are the ears and eyes and the mind.

-Joseph Campbell, Myths to Live By (1972)
posted by Brian B. at 6:42 PM on March 12, 2009

We are a way for the universe to know itself.

– Carl Sagan
posted by benzenedream at 11:22 PM on December 12, 2009

beautiful (114.detailspiegelung.jpg)


stone soup

Some travellers come to a village, carrying nothing more than an empty cooking pot. Upon their arrival, the villagers are unwilling to share any of their food stores with the hungry travellers. So the travellers go to the neck of the stream and fill the pot with water, drop a large stone in it, and place it over a fire . One of the villagers becomes curious and asks what they are doing. The travellers answer that they are making “stone soup”, which tastes wonderful, although it still needs a little bit of garnish to improve the flavor, which they are missing. The villager does not mind parting with just a little bit of carrot to help them out, so it gets added to the soup. Another villager walks by, inquiring about the pot, and the travellers again mention their stone soup which has not reached its full potential yet. The villager hands them a little bit of seasoning to help them out. More and more villagers walk by, each adding another ingredient. Finally, a delicious and nourishing pot of soup is enjoyed by all.


science as excluding process

We can compare lock-in to scientific method. The philosopher Karl Popper was correct when he claimed that science is a process that disqualifies thoughts as it proceeds – one can, for example, no longer reasonably believe in a flat Earth that sprang into being some thousands years ago. Science removes ideas from play empirically, for good reason.

Lanier, Jaron: Your Are Not a Gadget. p. 9

Big Data and Borges | The Story of Information

Big Data and Borges
Posted on May 29, 2011 by gp

“Jorge Luis Borges described an empire in which cartographers became so obsessive that they produced a map as big as the empire itself. This was so cumbersome that future generations left it to disintegrate. (‘[I]n the western deserts, tattered fragments of the map are still to be found, sheltering some occasional beast or beggar.’)

From the May 26 issue of the Economist:
Big Data and Borges | The Story of Information

importance of NOT saying in art

Paul Auster about Pinocchio:

The superiority of the Collodi original do Disney adaptation lies in its reluctance to make the inner motivations of the story explicit. They remain intact, in a pre-conscious, dream-like form, whereas in Disney these things are expressed–which sentimentalizes them, and therefore trivializes them.

in The Invention of Solitude, p. 131

adaptation, book, myth, father, son


the conversion of something from one form or medium into another : the translation of research findings into clinical practice.

formal or technical the process of moving something from one place to another : the translation of the relics of St. Thomas of Canterbury.

[from mac os dictionary]


Translators always risk inappropriate spill-over of source-language idiom and usage into the target-language translation. On the other hand, spill-overs have imported useful source-language calques and loanwords that have enriched the target languages.

The word translation derives from the Latin translatio (which itself comes from trans- and fero, together meaning “to carry across” or “to bring across”). The Germanic (except Dutch) and Slavic languages likewise use calques based on these Latin sources.

the translation of the Bible into English: rendition, rendering, conversion; transcription, transliteration.

[thesaurus mac os]

david rokeby and computers and language

by David Rokeby

In his diaries, Austrian writer Peter Handke at one points talks about “formulation” as the beginning of forgetting. This aligned very nicely with my experience of the tradeoffs that occur when language is applied to phenomena. What is gained is the ability to externalize the experience as a token that can be stored (writing), manipulated (reasoning) and shared (communication). “Coining” a term is an act of power. Adam in the bible is “the giver of names”, charged with the responsibility to bring nature under his dominion through the act of naming. But at the same time, something precious and harder to define is lost. What started as a live, multi-dimensional, organic, and complex interrelation is crystallized into a symbol disjunct from context and experience. It loses its conceptual suppleness. It becomes a ‘stereotype’ of the thing that it is intended to represent.

But language remains a powerful tool for communication, and it often seems to attain levels of richness that seem to belie the above-mentioned dangers. But the trick is that language has a layered expressive power only in the context of its synergistic relationship with the human brain. The human brain is a very fluid and subjective language decoder. Reception of a human language term by the brain involves activating a complex set of relations. The language tokens are generally interpreted back into a living dialog of disparate and often contradictory associations derived from personal experience. The crystallized concept dissolves back into what I might call a ‘wet concept’. The Computer as a Prosthetic Organ of Philosophy

Google Afbeeldingen resultaat voor



father and son in the shark’s belly

– Oh, Father, dear Father! Have I found you at last? Now I shall
never, never leave you again!

– The sea was rough and the whitecaps overturned the boat. Then a
Terrible Shark came up out of the sea and, as soon as he saw me in the
water, swam quickly toward me, put out his tongue, and swallowed me as
easily as if I had been a chocolate peppermint.

– And how long have you been shut away in here?

– From that day to this, two long weary years – two years, my P….

– And then?

– And then, my dear, we’ll find ourselves in darkness.

– Then, my dear Father, there is no time to lose. We must escape.

– Escape! How?

– We can run out of the Shark’s mouth and dive into the sea.

– You speak well, but I cannot swim, my dear P.

– Why should that matter? You can climb on my shoulders and I, who am
a fine swimmer, will carry you safely to shore.

– Dreams, my boy! [shakes his head and smiles sadly] Do you think it
possible for a Marionette, to have the strength to carry me on his
shoulders and swim?

– Try it and see! And in any case, if it is written that we must die,
we shall at least die together. [takes the candle and goes ahead
lighting the way]. Follow me and have no fear.


in ‘the invention of solitude’, paul auster


Recursion is the process of repeating items in a self-similar way. For instance, when the surfaces of two mirrors are exactly parallel with each other the nested images that occur are a form of infinite recursion. The term has a variety of meanings specific to a variety of disciplines ranging from linguistics to logic. The most common application of recursion is in mathematics and computer science, in which it refers to a method of defining functions in which the function being defined is applied within its own definition; specifically it is defining an infinite statement using finite components. The term is also used more generally to describe a process of repeating objects in a self-similar way.


about tools

leap frog: stick to one tool or set of tools for 3 years. because now there are too much money and resources and these make you keep changing tools and therefore solving technical problems instead of creative ones. stick to tools, create your own libraries and keep using them, as a language or toolbox.

tools are biased. to know a couple of different ones you become aware of these differences.

poeme numerique, baltan laboratories, david rokeby

smiling and enjoying your work as an artist

when you doesn’t smile after an artistic performance, you deprive the right of the audience to enjoy it. it is the responsibility of the artist to allow people to enjoy the work. avantagarde/edgy work can possibly make people feel they don’t quite understand it. by smiling, you help them. also often the artist doesn’t really know what is his work, so he should open it to people.

poeme numerique, baltan laboratories, david rokeby