Fragmentos de textos e imagens catadas nesta tela, capturadas desta web, varridas de jornais, revistas, livros, sons, filtradas pelos olhos e ouvidos e escorrendo pelos dedos para serem derramadas sobre as teclas... e viverem eterna e instanta neamente num logradouro digital.
Desagua douro de pensa mentos.
As for the 68-year-old Colonel Qaddafi, the cables provide an arresting portrait, describing him as a hypochondriac who fears flying over water and often fasts on Mondays and Thursdays. The cables said he was an avid fan of horse racing and flamenco dancing who once added “King of Culture” to the long list of titles he had awarded himself. The memos also said he was accompanied everywhere by a “voluptuous blonde,” the senior member of his posse of Ukrainian nurses.
O premiado documentário Will Eisner, Profissão Cartunista, produzido pela diretora brasileira Marisa Furtado, já rodou o mundo, e só agora - mais de dez anos depois de seu lançamento oficial - chega ao Brasil. Em função deste feito heróico, o cubo3 foi conversar com Marisa Furtado, esta eterna amante dos quadrinhos que tornou este documentário realidade.
O juiz britânico Howard Riddle decidiu nesta quinta-feira que o fundador do site WikiLeaks, Julian Assange, pode ser extraditado para a Suécia para responder a acusações de ter cometido crimes sexuais.
Filme da noite: Due Date, dir Todd Philips (EUA, 2010)
Plágio descarado de Planes Trains & Automobiles, comedia anos 80 de John Hughes, com o sujeito que tem que atravessar o país forçado à companhia de um chato desastrado. Não tem John Candy, mesmo assim engraçado, do diretor de Hangover, repetindo seu ator grego Galifianakis.
Esse clip é espetacular, explorando branco no preto e preto no branco (Control Joy Division Africano)
Control: Spoek Mathambo & Pieter Hugo team up for wild Joy Division cover/video
the new video explores township cults and teen gangs. Shot on location in a squatted train boarding house in Langa, Cape Town, the video features a cast mostly made up of local neighborhood kids who run their own dance troop, Happy Feet.
Estudo aponta desmatamento e escravidão no rastro de carne, soja e madeira
RIO - Por trás de cadeias produtivas contaminadas por desmatamento ilegal, ocupação irregular de terras e até trabalho escravo estão grupos econômicos que atuam em setores estratégicos, como carne, soja e madeira. Ainda que mais de 70 empresas destes segmentos sejam hoje signatárias de pactos setoriais e estejam empenhadas em monitorar suas cadeias produtivas, os crimes continuam ocorrendo, sobretudo na região da Amazônia, e envolvendo gigantes como JBS Friboi, Cargill, Bunge, Louis Dreyfus, Carrefour e Wal-Mart.
o levantar casos envolvendo fornecedores e varejistas, o estudo mostra que a cidade de São Paulo é a mais importante financiadora da devastação na Amazônia, por ser o principal mercado consumidor do país.
Ao levantar casos envolvendo fornecedores e varejistas, o estudo mostra que a cidade de São Paulo é a mais importante financiadora da devastação na Amazônia, por ser o principal mercado consumidor do país.
Dispatch from "Free Libya": The Right to Laugh at Gaddafi
In "Free Libya," the people are laughing at Muammar Gaddafi as he goes on and on in a speech, dressed in a traditional outfit called a jard. A dozen men gathered in a roadside cafeteria in the town of Tobruk, about 100 miles from the Egyptian border, to watch the spectacle in one of the few buildings lit up on Tuesday night. The towns here are poorer and sparser than their Egyptian counterparts. But the locals now have the luxury of poking fun at the man who once had the power of life-or-death over them. "He has a hole in his shirt," one said. "Now he is a poor man!" another shouted. They all laughed.
Intelectual norte-americano tímido criou manual usado em revolução
A meio mundo de distância da praça Tahrir no Cairo, um intelectual norte-americano de idade anda para cá e para lá em sua bagunçada casa geminada de tijolos num bairro de classe trabalhadora em Boston, nos EUA. Seu nome é Gene Sharp. Corcunda e com cabelos brancos, aos 83 anos, ele planta orquídeas, ainda precisa dominar a internet e dificilmente parece um homem perigoso.
Mas para os déspotas do mundo, suas ideias podem ser fatais.
O protesto pacífico é o melhor, diz ele – não por nenhum motivo moral, mas porque a violência provoca os autocratas e os fazem revidar.
“Se você luta com violência”, diz Sharp, “você está lutando com a melhor arma de seu inimigo, e você pode ser um herói corajoso porém morto.”
The botched April 6 protests, the leaders realized in their aftermath, had been an object lesson in the limits of social networking as a tool of democratic revolution. Facebook could bring together tens of thousands of sympathizers online, but it couldn't organize them once they logged off. It was a useful communication tool to call people to -- well, to what? The April 6 leaders did not know the answer to this question. So they decided to learn from others who did. In the summer of 2009, Mohamed Adel, a 20-year-old blogger and April 6 activist, went to Belgrade, Serbia.
Serbian capital is home to the Center for Applied NonViolent Action and
Strategies, or CANVAS, an organization run by young Serbs who had cut their
teeth in the late 1990s student uprising against Slobodan Milosevic. After
ousting him, they embarked on the ambitious project of figuring out how to
translate their success to other countries.
In one fell swoop, the candor of the cables released by WikiLeaks did more for Arab democracy than decades of backstage U.S. diplomacy.
America's relationship with China did not crumble when Hillary Clinton challenged its government to stop censoring the Internet last year, or when she challenged the country to account for the dissidents it has disappeared over the years just days before last week's summit between presidents Barack Obama and Hu Jintao. America's Arab friends did not walk away from their alliances with the United States after Clinton told them, at a recent public forum in Qatar, that "people have grown tired of [their] corrupt institutions and stagnant political order." Such public candor not only encourages dissidents in repressive societies, but stimulates debate among elites, who often privately admit that the Americans have a point. It can contribute to those magical moments -- unpredictable, infrequent, but in the longer scheme of things inevitable -- when stagnant order gives way to vibrant change.
The people of Tunisia shouldn't have had to wait for WikiLeaks to learn that the U.S. saw their country just as they did. It's time that the gulf between what American diplomats know and what they say got smaller.
Elliott Erwitt's photo sequences leave his subjects multiply exposed, as the mood of one frame is shattered in the next
It's all very well for a photograph to still life and immobilise a moment, but we can't help wondering what comes next, when time resumes and the transfixed bodies stop pretending to be dead.
Elliott Erwitt's sequences reveal the afterlife of photographs, in cinematic jump cuts that show people or animals kinetically recovering from the poses that the camera inflicts on them. Once a tragedy ends, the human comedy is bound to resume.
It's time to stop this obsession with works of art based on real events
Throughout their history, movies have been talked about in terms of dreaming: studios are "dream factories"; Hollywood is "the land of dreams". But scanning the list of contenders for this year's Oscars, such descriptions feels misplaced. The most striking thing about the leading films of the last 12 months is how many draw their inspiration from fact.
What has prompted this flood of fact-based storytelling? The reasons for these kinds of cultural shift are never easy to pinpoint, but this one surely has a lot to do with changing ideas about privacy and truth
This scaling back of the private sphere has coincided with something else: a growing belief that it is in personal relationships and feelings that the important truths about the world are to be found.
For one thing, if interest in a work of art is triggered by a desire to learn about real events, that represents a radical shift in our understanding of art's purpose. Throughout history, people have turned to art for various reasons, but two consistent ones have been a desire to be entertained or transported and a desire to learn more about what might be called (for want of a better term) the human condition.