O olhar de Medusa e a reparação do mundo: 6 flashes e um álbum aberto

In Thinking about the “salvation of the world” from the vantage point of photography, understood not so much as the product of an optical mechanism or as a form of social communication but as the art of the gaze, has led me to gather a series of reflections which seek to elucidate, on the one hand, the idea of “salvation” as a “reparation” paradigm in contemporary literature and, on the other, some intrinsic and extrinsic conditions, through a more or less protracted process that extends from the rendering of the photographer’s gaze by the camera to its reception by the gaze(s) of different spectators, that allow the photographic image to effectively participate in a leisurely and life-enhancing revelation of reality that all kinds of viewers can enjoy

Falhar melhor: novos apon- tamentos sobre a palavra salvação

Drift on the meanings of the verb to save. Attempt to conceive a paradoxical, noneconomic use of the word – in which saving approaches loss, knowing how to lose, knowing how to accept the ephemerality of the world.

Algumas notas para a salvação do mundo

What world or worlds do we have in mind when we talk about saving the world? And what kind of salvation can we hope for? The dualistic perception of the relationship between humankind and nature as well as the acceptance of an ontological exceptionality of the humankind make more difficult the struggle for an ecological balance. This article aims at articulating some proposals for the recentering of the human species’ place in the world

Manoel de Barros e a poética do rewind

In order to contest the superiority of the colonizer’s language and cosmovision, Manoel de Barros builds, especially starting from Compêndio para Uso dos Pássaros (1960), a series of micro-cosmogonies or micro-universes. The contiguous elaboration of these universes represents, I argue, a direct response to the erasure by European colonization of wild, unextracted, Amerindian universes. Manoel’s timeless poetic word portrays an anarchic vision of humans, animals, vegetal world that exists in an original, untouched, and imaginary space. This space, however, is modeled on an imposed colonial language built or premised on the irrecoverable loss of the past and is manifested through the plurality of mediums of expression (alphabetical, visual, and performative), as well as recourse to humor, and a confrontation with the insufficiency of Latin alphabet. The narration imparted by Manoel of several vestiges of the world not only challenges the Western account of logocentric knowledge, but also invites the reader to understand that no one cosmogonic and cosmologic rendition is truer or more valid than any of the others. The return to this plurality of beginnings materializes itself in Manoel’s interest for drawing as well as in the way Manoel explores and reinvents the use of footnotes on the page.