Cobras, cipós, insetos, entre outros seres da natureza, alguns deles vêm a conter em sua estrutura orgânica, substâncias de alta periculosidade ao contato humano ou animal, podendo até mesmo conduzir à falência da vida.

Entretanto, tais seres habitam em liberdade seus ou outros ecossistemas; podem ser livremente estudados e pesquisados; estão liberados para que seres humanos possam estabelecer contato com eles.

Assim quanto maior a possibilidade de conhecer os mais diferenciados aspectos de uma substância, ser ou produto melhor se pode desenvolver estratégias para a convivência pacífica com o mesmo.

A semente da maconha ou canabis é reconhecida a milhares de anos, através de estudos ainda pouco difundidos no Brasil, como a matriz de uma planta que oferece inúmeras possibilidades de cultivo, utilização, otimização e aproveitamento das substância de sua composição – uso medicinal, uso nutricional, uso cosmético, uso industrial, uso de equilíbrio ambiental, uso educacional, para citar alguns.

Como pode que esta semente, ainda nos dias atuais da era da informação, do progresso tecnológico, de um mundo global interconectado seja considerada um mero agente a serviço do crime organizado?

Sua proibição demonstra, em essência um intenso e continuado exercício de desrespeito à própria natureza.

Um ato de preconceito contra a vida.

O que aconteceria se por motivos quaisquer se iniciasse uma campanha para o extermínio das rosas?

I talk

I search

One leaf falls

Eternal

risk

traveling

in space

and time

Layers

and

mirrors

Gateways

and walls

I search

I walk

I silence

myself

I talk

Eu  sigo

Eu persigo

Eu digo

Uma folha

Cai

Risco

Eterna

Passagem

Espaço

Tempo

Superfícies

e

Reflexos

Portais

e

Murais

Eu persigo

Eu sigo

Eu

silencio a mim

Eu

Digo

Je marche

Je parle

Je cherche

Une feuille tombe

Risque

Éternel

Passage

Dans l’espace

Et le temps

Surfaces et

Miroirs

Portes

Et murs

Je cherche

Je marche

Je me repose

Moi-même

Silencieusement

Je parle

Ich gehe

Ich suche

Ich

sage

ein Blatt

fällt hin

Ewigkeit

Stricht

im Raum

reisen

in die Zeit

Oberfläche

und

Spiegel

Portal

und Mauer

Ich suche

Ich gehe

Ich schweige

Innerlichkeit

Ich

sage

None of the villagers paid any attention to that advice, except for one of the inhabitants of the village who began to build a private reservatoire for collecting water.

Soon that one villager had collected enough water to live for very long, when the day told  by the advisor should come true.

Then, at that day all the inhabitans of the village became mad by drinking of the village’s water source except for that one inhabitant who had a private and safe self-collected water source.

Time passed.

Till one day, not bearing anymore to live in sanity amongst that all-surrounding madness the one still sound inhabitant decided to surrender to drink of the village’s water source.

People from the village remember that day as the day in which a madman came back to sanity.

HOW MANY EYES DO WRITE A STORY?

O artista contemporâneo se encontra diante do desafio de adentrar a mídia, que domina os sistemas de informação e comunicação e se produz por conta do consumismo, sem ser deglutido no cerne do próprio consumo: quero fazer do consumo uma arte?

Este manifesto é um convite a todos para uma reflexão sobre a fragmentação do pensamento corrente. O espaço “mundi” de arte inaugurado pela exposição múltipla MUNDIART em sua 3ª edição na cidade de Niterói, propõe, atravessarmos tempo-espaço-línguas-linguagens em uma troca contínua de palavras-pensamentos-sentimentos-movimentos-experiências na convergência de arte e tecnologia a serviço do exercício do estar-coletivo, do sentido de pertencimento. Agradecemos seu comment

Qual anfitrião de uma celebração a vir a ser, o artista, perseguidor do fazer artístico, aguarda…

…a…guarda … a…chuva…a…passar…

…arte se oficializa cultura, pátria, povo, educação erudição; cultivo de ligações iônicas, anacrônicas, sincrônicas…

….arte atravessa o campo das formas; leis; nomenclaturas…

sustenta

imanta emanações de vibrações silentes

mudas

talvez…

arte

talvez

artista

absorvido pelos altos volumes dos ruídos sociais…

fazer arte é revelar um olhar crítico

fazer arte é propiciar quietude

fazer arte é receber sua doação

Se, ‘o artista tem de ir aonde o povo está’:

o povo está sob marquises, espalhado descalço e sem camisa;

o povo está entre cobras e jargões, por cem anos adormecido -

cem vezes eu chamei

cem vezes eu esperei

cem vezes sem…vês?

o povo está póstumo nas primeiras páginas de jornais;

produto: subproduto de produtores de mercadorias de carne-e-ossos.

Arte fala

Arte cala

Arte passado ao futuro

Arte passado a limbo

A extrema automação da era da informação-incertezas-individualismo aponta desenhos-desígnios de realidades absurdamente detalhadas.

Imagens geram imagens num gigantesco quebra-cabeças.

Seres humanos e meio-ambiente parecem se perder em massas multifacetadas.

Máquinas, pseudo-criadoras, são aprisionadas por suas criaturas.

Impulsos instigantes produzem intrincadas seqüências de palavras: expressões; repressões; pulsões; expulsões; espasmos; excomunhões; exercícios de construção literária – passo contra passo – a seguir o tempo nosso passivamente repassado vai obliterar num sopro o sopro d’alma fustigada de fronte ao girar dos eixos e amortecedores…

Poderes entorpecem

Valores entorpecem

Prazeres entorpecem

A observação do cotidiano urbano aponta atos de gentileza que passam despercebidos, como os pilares escritos pelo profeta parecem desaparecer aos nossos olhares que sobrevivem imersos em suas rotinas delusórias; até que um ato outro venha ferir, interferir, desmanchar o colorido habitual da mesmice dos cenários, circos de asfalto nos quais estamos todos inseridos.

A claridade forte demais faz doer as vistas.

Se, em cada ser uma dor habita:

pensamos corretamente que morremos de fome, de miséria, de pobreza, de doenças, de dor.

Pensamos corretamente que educar é dar qualquer coisa para quem qualquer coisa abasta.

Esquecemos pra quem somos; por quê somos; aos que, sumos.

Vivemos um caos a clamar por calmaria.

Arte, educação e cultura: uma tríade para verter…plenitude.

Arte sempre

Arte pressente

Arte ausente

O galo canta para despertar os animais ao alvorecer do dia.

Ao romperem-se os códigos do rito do tempo-espaço da arte parece que o viver e o fazer artístico se mesclam em uma solução híbrida, uniformizada.

Assim seria como se o canto do galo perpassasse a linha da aurora e penetrasse na noite dos sonhos. Seu canto soaria como um canto sonhado e por isso a noite se prolongaria dia a dentro.

Qual viria a ser o sonho para o despertar?

Arte transeunte

Arte cama – mesa & banho

Arte rebanho

Se, o ser que é humano é artista:

ele aprende com sua natureza; a ela se dedica e como resposta faz arte por toda parte.

Arte sorvente

Arte rente

Arte transforma ação

Arte percorre múltiplas direções

Arte chama

Arte usa

Arte refaz

Se instantes de beleza puderem ressoar: sutis seres gentis, no trabalho, no dia-a-dia, nas massas, nas multidões; sutis seres gentis nas ruas, nos campos, nos cantos dos universos que se atravessam, que se interconectam; sutis seres gentis todos somos? Pensamos?Queremos ver? Podemos ser?

Se, o pilar de concreto é constituído por uma porção significante de água:

arte é como o tubo de uma onda prestes a estourar e tornar-se espuma e areia brancas

Arte flui

Arte ama

Arte inflama

Arte, aqui, vem se manifestar como a expressão sensível da consciência — consciência sensível.

A proposta deste manifesto é uma reflexão sobre a fragmentação do pensamento corrente.

Pensamento contemporâneo: paradigmático; paradoxal; paramétrico; para-poético.

Para-vida

Para-arte

Arte para quê?

Silvia Prado dos Anjos – NYLAIA  para MUNDIART – 3ª edição

Niterói, 14 – 22 de dezembro de 2009

The 21^st century world connected through webs of communication and information sets new challenges before marketing products to a global market place, that requires innovative strategies to build up and preserve successful businesses.

Al Ries and Jack Trout (1993) compare the changes in the consumer society to the image of “a wave in the ocean of time”

An ever-changing world demands a reflective attitude regarding questions about system of values, beliefs and power leaderships in various sectors of this new hard-to-predict global market. All-inclusive mechanisms imprison creators within their creations. A repetition of unperceived reactions burns out a chaotic broken-harmony.

Clemente Nóbrega (2002) affirms that the study of the human nature is the basis for successful marketing strategies in this new digital era. “To be good in marketing you need to understand about two “futures” – desire and destiny… Being human means destiny and desire. And further on, Nóbrega emphasizes the importance of creativity in the process of communication in marketing:

Marketing has to synthesize data of distinct areas (demography, life-style, technology…) into meaningful concepts. This is done by the use of competent languages to generate answers; engage people in dialogues.  (NÓBREGA, 2002)

It could be infered from the first idea that the human being is the one who desires transformation by being at the same time the one who transforms and is transformed by the surrounding environment – destiny; and from the second that the effectiveness of marketing is directly linked to the ability of promoting multi-disciplinaries dialogues.

The jeans pants have a peculiar characteristic: in despite of the fact that the pants were first designed to dress gold mine workers, their use broke up all general established dressing standards. They kept long living in the market place as a product that can be universal and selective, leading to brands such as Diesel. Nowadays, jeans mean the uniform and the luxury of the 21^thcentury.

The art of dancing reveals the body as a product of a subtle harmonization of conflicts – the muscular tension needed to produce movement – that turns images into thoughts; into shapes; into feelings; into a freely expressed movement of dance that is consumed (accomplished) in the very moment of its liberation. In other words the dance conveys an experience of resolving conflicts through the expression of a re-unifying sensory, imagery and sensitized creative movement.

Images move into ideas…feelings…motions.

What does weave images in motion?

In order to investigate this question the following section will begin to sketch a parallel between some facts of the origins of dance in different cultures and facts in the history of jeans in the consumer’s market that could intertwine threads of body movements with a designed product (jeans) in the search of an actual communication process.

Time-space

Through time, the body has served as an instrument for perpetuating through dance human impressions about universal cycles; beauty, harmony, the force of nature, facts, symbols and myths as well as linking people and culture; even manifesting a communion amongst obscure, sacred or profane dimensions.

Austin (1975) observes, “In Greek vases and friezes the dances of that civilization are immortally preserved; they are full of movement…this sense of movement caught in stillness”

The Japanese culture connected the origins of dance with the seasons. The nature’s metamorphosis is represented in the Dance of the Butterfly.

Ancient Chinese dances utilized garments with extra-long sleeves. This fact could represent an expression of transcendence of body limits.

In Hindu mythology, the supreme god Brahma gifted the legendary Bharata (mythical creator of performing arts) with traditional dances to promote joy, wisdom, discipline and respect amidst humanity. The name Bharata is an acronym formed by the three first syllables of the three vital aspects of Indian performing arts: Bhavam – expression of emotion; Ragam –melody; Talam – rhythm.

The image of the Dance of Shiva conveys the complexity of perpetual motion; the process of creation, maintenance, manifestation, consumption and transformation of universal cycles. It represents, “the ongoing flow of energy that permeates an infinite variety of patterns” (CAPRA, 1983)

Thillai or Chidambaram is the temple or theater where Shiva Nataraja, Lord of Dance and the Universe, in this context performs the Cosmic Dance. Shiva dances to manifest the universe within the body; unity within diversity.

The European Renaissance Classical Dance, also known as Court Dance was derived from movements of the folk dances of the region.

According to the Brazilian indigenous people, body, music and dance are unboundedly inscribed in the magical ritualistic life of the tribe. They are one unique organism that by being broken apart loses its sense of unity.

Dance is song; is chant. Dance is body. Dance is in the song of the body.

By analogy, the body would be: a rhythmic unity of a musical compass – the value of the note and yet a rhythmic absolute value – the compass; in which the external movement (pressure on a string) and the intrinsic movement (vibration of the string) would merge in a third movement: that is the sound – the dancing body.

Body-product

In 19^th century, Oscar Levi Strauss, born in Germany arrived in the United States of America. He had the idea of manufacturing pants for workers using denim – thick durable cotton similar to the fabric that was used to manufacture mariner’s uniforms in Gene, Italy.

Levi Strauss and his partner Jacob Davis received, in 1873 the patent for their close-fitting pants. Those pants later on became known as blue jeans, denims or simply, jeans.

Through the ages, jeans became a must in all fashion sections.

In 1950, the pants got zippers and were allied to the revolutionary hip movements of Elvis Presley; to the sensuality of movie stars.

During the sixties the jeans became ‘hippie’.

The denim indigo blue, changes in color and texture with use, exposure to light and washings.

Industrial-washed jeans were available in the consumer market, in 1974.

In 1975, the Italian born Renzo Rosso, started to manufacture clothes and jeans. He gathered a group called the “Genius Group” and they created in 1978 successful brands. Amongst them was “Diesel”.

Diesel design does not follow established trends. It is largely unaffected by fads occurring within the fashion circles; it is innovative and at times a bit radical, but always shows a careful attention to detail and a focus on quality in the selection of materials and production techniques” (ROSSO, 2004).

The Diesel Company was created to be a macro-culture composed of personalities of diverse nationalities that work out their differences with dynamism, innovation and transparency. Rosso understands that clothing can express personality as well as originality. “Diesel is a state of mind: it means being open to new things, listening to one’s intuition and being honest with oneself. We would like to offer consumers a total look which reflects this attitude”. (ROSSO, 2004)

Rosso assisted by his multi-cultural and creative team designed, the Diesel Denim Collection, perfect to consumers who wish for authenticity, versatility, innovation and high quality in clothing. Each fashion season (Fall-Winter/ Spring-Summer), a new collection is presented to the public in the “Diesel Guide for Successful Living”. These thematic guides available online at the Diesel’s site or distributed at Diesel’s stores promote an allied relationship between the brand and the consumers, who intertwine the themes of each collection to intrinsic values for the product (jeans). The product begins to be perceived with multiple valuable functions; it forms – to dress; it informs – to communicate; it transforms – to seduce.

From 1990 on, stylists included jeans in haute-couture fashion assuring its niche in the market.

This process of strategically transforming of a mass-consumption product into a personal luxury, in fact brings forth another question of what kind of value could be added to a product that would not interfere with its originality?

Body-image-product

According to McCracken (2003, p.120) “publicity and the fashion system move the significance from the cultural world to the consumer’s goods, while the rites of consuming transfer it to the consumer”

Thereby the act of consuming Diesel jeans indicates that the value given by consumers to the product returns to themselves as way of acknowledging one’s individuality. The garment, then dresses its consumers with self-recognition.

Moreover, it becomes the missing-link for the consumer to being recognized (literally) in entering the unbounded universe of quality, originality, versatility and authenticity promoted by the product.

The consumers buy a product that means much more than the materiality of it. What they buy, then, it is the concept, this new-born self-image that becomes a reality in the usage of the product. This promotes a direct link between the concrete quality of the garment, its fabric, finishing, etc. and the consumer’s personal creative expression of wearing it. Image merges into body that merges into product, in the experience of this process of self-‘re-creation’.

Silvia Sangirardi (1946-1999) well-known Brazilian stylist illustrates the ideas formulated by the investigation of the questions that were the guidelines of this section in the poem bellow:

panning the stars

for gold

the garment’s

command

(SANGIRARDI, 1996, p.60)

BIBLIOGRAPHY

AUSTIN, R. (1975) IMAGES OF DANCE. London: Vision..

BAKER, G. and NEEDLEMAN, J. (Eds.)(1997). Gurdjieff. New York: Continuum.

capra, f. (1983). O Tao da Física. São Paulo :Cultrix.

LABAN, R. (1978). DOMÍNIO DO MOVIMENTO. São Paulo: Summus.

LANGER, S. K. (1953). SENTIMENTO E FORMA. São Paulo: Perspectiva.

McCRACKEN, G. (2003). CULTURA E CONSUMO: novas abordagens ao caráter simbólico dos bens e das atividades de consumo. Rio de Janeiro: MAUAD.

MISRA, S. (1989). Invitation to Indian Dances. United Kindom: Lucas Books.

NÓBREGA, C. (2002). ANTROPOMARKETING. Dos Flintistones à Era Digital: Marketing e a Natureza Humana. Rio de Janeiro: Senac.

PORTINARI, M. (1989). História da Dança. Rio de Janeiro: Nova Fronteira.

RIES, A. & TROUT, J.(1992). POSICIONAMENTO: como a mídia faz sua cabeça. São Paulo: Pioneira.

ROSSO, R. (2004). Company Information. www.diesel.com. 1-4 p..

SANGIRARDI, S. (1996). CURVA DO TEMPO. Rio de Janeiro: Relume Dumará.

www.levis.com. (2004). Levi Strauss & Co., History, 1 -6 p..

rapaz

palavra

meu dizer

palavra difícil

me lavra

me lava

me leva

suada

na garganta

palavra me faz

vontade

a gostos

a notas

a mares

sonora

palavra de si apraz

palavra aventa

palavra soma

palavra avoa

palavras trama

alenta

palavras

consigo

palavra atentadamente vai

palavra fala

palavra boca

palavra sorriso

palavra afaga palavra

palavra

abraça

e

beija

à toa

assopra

palavras falo

palavras

dai

palavra solo contudo plenitude à noite

nós

à sós

palavras

vão

palavras são

palavra

comigo

formiga

palavra desliza

fácil

a mor parte do tempo

feito céu

feito sopro

feito pele

feito

pelo

alvorecer

palavras

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ver