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robertogreco : riodejaneiro   18

Escola Aberta
"Escola Aberta1,2 is:

a) autonomous b) reflexive c) temporary

1.The Escola Aberta will be a temporary design school based in Rio de Janeiro. Teachers and students of graphic design from the Gerrit Rietveld Academie (Amsterdam) will conduct a week of workshops, lectures and activities, aiming to ignite a discussion on ways of teaching and learning and to establish an exchange of ideas with Brazil.

2. Directed at students, young professionals and artists, masters and apprentices, the Escola Aberta will be free of charge and take place from the 6th till the 11th of August, at the Carioca Design Center, Tiradentes square.

Escola Aberta1,2 will be:

a) free of charge b) in Rio de Janeiro
c) on August 2012 d) from monday to friday

1.Application deadline is 1st of July 2012. A total of 60 participants will be selected.
2. Please note that the Escola Aberta is unable to provide or organize any accommodation, board or transportation. Attendance is expected for the entire duration of the school, i.e. every day from Monday till Friday.

Escola Aberta1,2 seeks:

a) students e) craftsmen i) Brazilians
b) teachers f) artists j) foreigners
c) masters g) designers k) you
d) apprentices h) philosophers

1.The Gerrit Rietveld Academie is a dutch art and design academy, based in Amsterdam. It has grown to be a uniquely international school, open to applicants from all over the world. As a consequence an increased multicultural exchange of ideas, customs, knowledge and skills is cultivated. Particularly in the graphic design department the gap between teachers and students has become eminently narrow. This closeness ultimately opens up an intensified reciprocal exchange of opinions and ideals.

2.The Escola Aberta is looking for people with open minds, will for exchange, a questioning attitude and love for debate. Participants will be challenged to assume different roles during the week, to act as teachers and students, masters and apprentices, designers and artists. They must be able to switch from theory to practice and from protest to action.

T (true) or F (false):
( ) An art school, simply put, is a representative of the institutionalization of art.
( ) When our view of art is limited, so is our view of society.
( ) If questions aren’t asked in art schools, where then?
From Teaching to Learn by Joseph Kosuth, 1991.

Knowledge is something that:
a) You have to repeat and memorize, in order to get a diploma.
b) When in fact you need it, you can get it anywhere.

In 1971, conceptual artist John Baldessari was asked to exhibit his work at an art school in Nova Scotia. Since the school had no funds to fly him out for the installation, Baldessari sent a piece of paper printed with the words, ‟I will not make any more boring art,” and instructed the school to recruit students to write the sentence repeatedly all over the gallery walls, ‟like punishment.”

Art cannot be taught. However, one can teach _______________. The School is the servant of the _____________. One day the two will merge into one. Therefore, there are no teachers and pupils, but ________________ and ________________.
From the ‟Bauhaus Manifesto”, Walter Gropius, 1919.

“We do not need to consciously learn anything in order to learn something”. Do you agree? Explain. ____________________________________________ ____________________________________________ ____________________________________________
From Robert Fillou’s interview with John Cage in ‟Teaching and Learning as performing arts”.

Schools are:
a) on demand d) museums
b) commodities e) all of them
c) social events
School (from Greek “scholè”) means “free time”, being the time when people don’t have to act economically or politically. Within the domain of the school, neither accumulation and profit-seeking nor power games take center stage, but only the subject matter."

[via: https://walkerart.org/magazine/never-not-learning-summer-specific-part-1-intro-and-identities ]
brasil  brazil  lcproject  openstudioproject  altgdp  design  art  artschools  riodejaneiro  2012  ephemerality  ephemeral  autonomy  reflection  temporary  escolaaberta  bauhaus  bmc  blackmountaincollege  robertfillou  johncage  johnbaldessari  franklloydright  hermannvonbaravalle 
january 2018 by robertogreco
A World Without People - The Atlantic
"For a number of reasons, natural and human, people have evacuated or otherwise abandoned many places around the world—large and small, old and new. Gathering images of deserted areas into a single photo essay, one can get a sense of what the world might look like if humans were to suddenly vanish from the planet. Collected here are recent scenes from abandoned construction projects, industrial disaster zones, blighted urban neighborhoods, towns where residents left to escape violence or natural disasters, derelict Olympic venues, ghost towns, and more."
landscape  photography  apocalypse  worldwithoutus  multispecies  riodejaneiro  brasil  brazil  us  nola  neworleans  alabama  germany  belarus  italy  italia  abandonment  china  bankok  thailand  decay  shengshan  athens  greece  lackawanna  pennsylvania  tianjin  russia  cyprus  nicosia  indonesia  maine  syria  namibia  drc  fukushima  congo  philippines  havana  cuba  vallejo  paris  libya  wales  england 
may 2017 by robertogreco
Martin Roemers - Metropolis | LensCulture
"Dutch photographer Martin Roemers won the 1st prize in the LensCulture Street Photography Awards 2015 for his series, Metropolis, which documents street life in "mega-cities", defined as urban areas that are home to more than 10 million inhabitants. Here we present an extended slideshow of this project, as well as an interview with the photographer."

[via: http://globalvoices.tumblr.com/post/133898896954/archatlas-metropolis-martin-roemers ]
martinroemers  photography  streetphotography  2015  cities  urban  urbanism  global  kolkata  lagos  pakistan  bangladesh  cairo  nigeria  egypt  karachi  dhaka  mumbai  india  guangzhou  china  istanbul  turkey  jakarta  indonesia  buenosaires  argentina  manila  philippines  basil  brazil  riodejaneiro  mexicocity  mexicodf  mexico  nyc  sãopaulo  london  tokyo  japan  df 
november 2015 by robertogreco
How one startup mapped Brazil's confusing favelas | Motherboard
" Pedro, Ramos, and Viera decided to take matters into their own hands, and make some money in the process. The first step was to make a map of the community and create virtual addresses that they could use to create a company to deliver the Post Office mail.

The task was much more complex than they had thought. If you typed 'Rocinha' in Google Maps a few months ago, you would only get the Gavea Road when, in fact, there are hundreds of streets, alleys, back-alleys, and stairs throughout the community.

One of the problems for mapping a slum via satellite is that many buildings create tunnels over the alleys and stairs below. Another problem is that sometimes the concrete slabs used for roofs are used as streets.

They gave up on the idea of a visual map and started a logic map by generating algorithms. Algorithms are a set of instructions for specific operations; a good example of a simple algorithm is a recipe for lasagna.

The algorithms created by Pedro and his partners are way more complicated than a lasagna recipe, of course. Without a visual image, they created a pseudo-code, an informal language of categories to explain each fixed structure, natural or built, which is on each street, stairs, or alley inside the huge Rocinha community. For example, a “condominium” is defined as a blind alley with less than 12 homes.

As there are no official names for most of the streets in Rocinha, the residents make them up. A street usually has at least two to three names. The streets do not start in an arbitrary way; depending on who you are speaking with, a street can begin on the upper side of the slum and come down, or vice versa, or even somewhere in the middle. Pedro and his friends had to create a virtual beginning and end for each street.

The end result is an algorithm for each street, stairs, or alley. Together, these hundreds of handwritten pages turned into a huge map, chock full of lines and codes, impossible for anyone without understanding of its logic to decipher.

A typical sequence goes like this: "Wall, stone, henhouse, store, house, building, condominium," Pedro explains. Each one of these concepts has the same specific definition that makes their work easier. "Rocinha is constantly under construction," he adds. "It is possible that a month from now a henhouse is gone and there is a house there instead. For this reason we need to register everything; it’s easier to make changes when we need to."

When they finished the map, they patented it, and after this, they created a service to deliver Post Office mail called Friendly Mailman. It was a success, and also the first franchise in Brazil’s history born in a slum. Currently, Friendly Mailman acts in eight slums in Rio.

Each residence using the service pays a monthly fee—currently R$16 in Rocinha, or $6.64 USD. Their houses get an address, a number based on the order the service was hired. Every day the Post Office van stops by the Friendly Mailman office and leaves all mail for the community. The employees sort out those for their thousands of customers. Later, the Post Office van stops by to get whatever was left and then they park on top of the hill and allow people to look in the boxes to check if they have any mail.

Back on the trail at the Vila Verde community, we snake through a hole in the middle of two buildings and up a long stairway.

"What is this?" Pedro asks. "Is it a street? Where does it start?" He shows the page on the map that refers to this part of the stairway. "Look at this. Is it a building or a house? And this here, is it a street or a condominium? The map tells you all."

Pedro indicates the doors on the houses. "This one here is a customer of the Friendly Mailman," he says, pointing to a sticker with the Friendly Mailman’s logo and the number 1166.

"You’ll notice that the numbers do not appear in order," he goes on. "Look at this house here: 8044. This is because they get their addresses according to the date when they hire the service. No one can locate these houses without our map. And no one will understand the map unless we explain how to use it."

Pedro explained the map in a general way, but there are certain elements that are secret. It also changes every day.

"Each time one of our mailmen go on duty, he will update it," he explains. "It could be that there was a wall the week before, and now something else is being built. We have made our map digital and we want to create an app so that our mailmen can do the updating in their smart phones."

"Are there problems with drug trafficking?" I asked.

"None," he said. "Do you think the drug lords don’t want to get their mail? Do you think they don’t want to buy tennis shoes over the internet? Everybody likes it. After the Friendly Mailman, sales bursted all over in Rocinha. And as you can see, there is a lot of money in this community, a lot of trade, most people living here are middle class. This is a characteristic of Rocinha. If you go to the Juramento hill, for instance, you won’t see trade. It’s a poorer community, and for that reason we charge less over there. If you look over the world, it is full of slums, and everybody needs mail service. So we are making money, which is good, but also supplying a service for the betterment of the community.”

We went back to the Friendly Mailman’s headquarters for coffee. There is a large traditional map on the wall, showing all the alleys in the community. "Look at this," Pedro says. "We made this based on all our mapping. Google came by here last month. They asked if they could take a photo of our map. I said: 'No way.' Let them do their own.""
brasil  brazil  maps  mapping  favelas  brianmier  2014  rocinha  riodejaneiro  deliveries  postalservice  addressess  algorithms 
october 2014 by robertogreco
Se eu fosse eu - Blog do IMS
"O Instituto Moreira Salles convidou a fotógrafa e educadora Tatiana Altberg, coordenadora do projeto Mão na Lata, para ministrar aulas de fotografia pinhole para adolescentes que vivem na Rocinha.

O resultado dessa atividade é a exposição Se eu fosse eu, com imagens e textos produzidos pelos alunos, que abre no Rio de Janeiro em 21 de dezembro, às 15h, na Biblioteca Parque da Rocinha/C4 (Estrada da Gávea, 454).

A oficina, com vinte alunos, foi ministrada ao longo de três meses e teve como proposta trabalhar a fotografia de maneira integrada com a literatura. Durante o curso, os alunos leram A mulher que matou os peixes, de Clarice Lispector, além de uma série de crônicas da mesma autora sobre a infância. Foi a partir dessas leituras que desenvolveram seus textos e fotografias, algumas das quais ilustram este post.

Além disso, os adolescentes tiveram a oportunidade de produzir suas próprias câmeras através da técnica de pinhole – construídas a partir de latas recicladas, revestidas internamente com material fotossensível e com um pequeno orifício para a entrada de luz."
brasil  brazil  photography  institutomoreirasalles  tatianaaltberg  mãonalata  seeufosseeu  riodejaneiro  2013  claricelispector  education  teaching  selfportaits  projectideas  classideas  pinholecameras  literature 
january 2014 by robertogreco
Daros Latinamerica - Casa Daros Rio
"Casa Daros es una institución de Daros Latinamerica, una de las más amplias colecciones dedicadas al arte contemporáneo latinoamericano, con sede en Zúrich, Suiza. Daros Latinamerica cuenta con casi 1.200 obras, entre pinturas, fotografías, vídeos, esculturas e instalaciones, de más de 117 artistas, y sigue en expansión.

Casa Daros es un espacio de arte, educación y comunicación, que ocupa un edificio neoclásico del siglo XIX, preservado por el Patrimonio de la ciudad de Río de Janeiro. Proyectado por el arquitecto Francisco Joaquim Bethencourt da Silva (1831-1912), ocupa un terreno de más de 12 mil metros cuadrados, en Botafogo, Río de Janeiro.

El espacio presenta exposiciones de la Colección Daros Latinamerica y está enfocada en arte y educación, a través de diversas actividades para el público. También ofrece una agenda de seminarios y encuentros con artistas en el auditorio, además de la biblioteca especializada en arte latinoamericano contemporáneo, el Espacio de Documentación, el Espacio de Lectura con catálogos de exposiciones de la colección, restaurante/café y tienda.

Lea acerca de las actividades desarrolladas por Casa Daros desde 2007 hasta 2011."
art  brasil  riodejaneiro  casadaros  education  latinamerica  zurich  brazil 
may 2013 by robertogreco
Roberto Burle Marx. The Modernity of Landscape
"This new publication focuses on Burle Marx's (São Paulo, 1909-Rio de Janeiro, 1994) scientific interest in the landscape and his relationship with the environment. He is known as a landscape architect, but also as a painter, plantsman, gardener, jewellery designer and tapestry designer, in short, a multitalented artist."
architecture  design  brazil  brasil  riodejaneiro  sãopaulo  landscapearchitecture  landscape  robertoburlemarx 
september 2012 by robertogreco
Meu Rio
"A realização da Copa e das Olimpíadas nos próximos anos está criando uma enorme oportunidade de desenvolvimento da cidade, e nós acreditamos que uma maior participação dos cariocas nas questões de políticas públicas é essencial para aproveitarmos esse momento da melhor forma. Nós cariocas podemos sim, juntos, construir uma cidade melhor para todos e mostrar que nossa força pode trazer resultados surpreendentes."

[via: http://www.purpose.com/our-movements/meu-rio/ ]
brasil  riodejaneiro  cities  livability  urban  urbanism  activism  grassroots  politics  democracy  brazil 
july 2012 by robertogreco
Nokia: Teddy Bears and Talking Drums -- A Connecting People film - YouTube
"From Rio to Nairobi, Berlin to Mumbai, and everywhere in between, mobile technology continues to change our world in exciting and unpredictable ways. People all over are embracing the possibilities that are emerging from this ongoing revolution, shaping -- and being shaped -- by it in the process. At Nokia, this is what gets us out of bed in the morning."
nokia  technology  mobile  communication  2011  riodejaneiro  brasil  berlin  mumbai  smartphones  personaldevices  change  adaptation  instabiity  identity  socialnetworking  global  local  socialmedia  africa  self  instability  brazil 
november 2011 by robertogreco
WASTE LAND
"Filmed over nearly three years, WASTE LAND follows renowned artist Vik Muniz as he journeys from his home base in Brooklyn to his native Brazil and the world's largest garbage dump, Jardim Gramacho, located on the outskirts of Rio de Janeiro. There he photographs an eclectic band of “catadores”—self-designated pickers of recyclable materials. Muniz’s initial objective was to “paint” the catadores with garbage. However, his collaboration with these inspiring characters as they recreate photographic images of themselves out of garbage reveals both the dignity and despair of the catadores as they begin to re-imagine their lives. Director Lucy Walker (DEVIL’S PLAYGROUND, BLINDSIGHT and COUNTDOWN TO ZERO) and co-directors João Jardim and Karen Harley have great access to the entire process and, in the end, offer stirring evidence of the transformative power of art and the alchemy of the human spirit."
art  urban  video  environment  film  documentary  vikmuniz  artists  ncmsd  glvo  towatch  riodejaneiro  brasil  brazil 
july 2011 by robertogreco
KNOTS: the architecture of problems « LEBBEUS WOODS
"we should not let the lack of a ready answer be a reason to avoid asking a question. Indeed, the only questions worth asking are those for which we do not already have an answer. In this seminar we will not shy away from looking at the most daunting problems.

The approach we will take is based on a way of breaking down—analyzing—problems in terms of three components of every problem we as architects confront: the spatial, the social, and the philosophical. Certainly there are other possible categories we could employ, but I have chosen these based on my experiences and also to work well within the structure of our seminar and its time-frame. The following presentation is an example of how the three chosen categories work in attempting to formulate a particularly intractable ‘knot’ confronting us today: the problem of slums:"
architecture  problemsolving  slums  lebbeuswoods  philosophy  theory  infrastructure  knots  mcescher  stanleykubrick  theshining  cities  poverty  riodejaneiro  sãopaulo  social  society  mumbai  nyc  singapore  manila  design  community  gatedcommunities  wealth  disparity  thomashobbes  human  johnlocke  magnacarta  history  declarationofindependence  capitalism  socialism  adamsmith  socialmobility  communism  karlmarx  marxism  friedrichengels  aynrand  objectivism 
october 2010 by robertogreco
Charles Leadbeater: Education innovation in the slums | Video on TED.com
"Charles Leadbeater went looking for radical new forms of education -- and found them in the slums of Rio and Kibera, where some of the world's poorest kids are finding transformative new ways to learn. And this informal, disruptive new kind of school, he says, is what all schools need to become."
charlesleadbeater  demos  education  future  innovation  pedagogy  poverty  learning  ted  technology  slums  unschooling  deschooling  tcsnmy  riodejaneiro  brasil  kibera  kenya  informal  informallearning  disruptive  lcproject  futureoflearning  finland  leapfrogging  compulsory  india  development  transformation  newdelhi  sugatamitra  holeinthewall  socialentrepreneurship  literacy  pull  push  engagement  belohorizonte  sãopaulo  mobile  phones  cities  urban  hightechhigh  outdoctrination  brazil 
july 2010 by robertogreco
BBC NEWS | Special Reports | Walls around the world
"Two decades since the Berlin Wall came down, BBC Mundo looks at walls and barriers around the world which are still standing - or have been put up - since 1989."
walls  borders  us  mexico  israel  korea  geography  urbanism  photography  politics  architecture  migration  landscape  botswana  zimbabwe  india  pakistan  iran  saudiarabia  ireland  westbank  ceuta  melilla  spain  riodejaneiro  cyprus  sahara  españa 
november 2009 by robertogreco
harvard design magazine • Resisting Representation: The Informal Geographies of Rio de Janiero
"A map of Rio de Janiero can be drawn showing its favelas, and this map will resemble a sea filled with islands large and small, a city with many smaller cities and overlapping sovereignties. This map could render the favelas not as blind spots in the psychological and epistemic charting of the city but as places of spatial and urban consequence.
brazil  mapping  brasil  favelas  maps  informal  cities  geography  culture  riodejaneiro  design  postmodernism  spatial  charting  urban  cartography  economics  politics 
november 2009 by robertogreco
The Emptying of Brazil’s Mega-Cities
"Brazilian metropolises like Rio de Janeiro and Sao Paulo are seeing their population density -- and their quality of life -- decline"
cities  demographics  population  brasil  urban  urbanism  future  decline  cars  riodejaneiro  sãopaulo  megacities  brazil 
march 2007 by robertogreco

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