MANIFESTO21.TV designed three calendars FREE 4U:
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Based on this ideia:
"...Artists on Their Bicycles New York establishes a new connection between artists and mobility, portraying them with their eco-friendly vehicles. ... vibrant everyday scenes. Some artists navigate the Manhattan grid as urban flaneurs, while others take advantage of biking as an effective means of transportation. This limited edition project harnesses the artistic will to operate outside the lanes of constraint."
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eu nao recebi [nem recebo] nada monetario p/ esta divulgação, mas acho q mtos nesta lista se interessariam pelo produto [ou ao menos por esta ideia] de 45 dolares & contato >> Calendar Artists on Their Bicycles New York 2010
Sao Paulo nao eh mto uma cidade tipica de bikers ["plana como santos"], mas fico mto feliz de poder cada vez mais cumprimentar -- pós 20 anos de pedaladas aqui por Sampa -- outros ciclistas tbm cotidianos pelas ruas e caminhos deste urbanismo caótico em que vivemos atualmente.
s e uma otima virada p/ 2010 a tds!
After my last paper entitled "Foucault checkmated inside Elite Squad movie or the mobile telecommunication as a tracking particle inside Salve Geral movie (Brazil and its contemporary society inside cinematographic conversations)", the new one [that includes a writing also based on “audiovisual rhetoric 2008: Batman#01″, July-October 2008] was accepted!!
Towards A Cellphone Cinematography
[a discussion about mobile telecommunication as a tracking particle
or Foucault checkmated inside widespread Movies]
In this article I will focus myself in two different movies: the blockbuster Batman – The Dark Knight (2008) and the recent Brazilian one Salve Geral (2009).
*How has been mobile telecommunication discussed in these recent popular movies?
*How are these everydayness surveillance technologies being discussed inside cinema?
*How did it become a central component of narrative?
This paper is a sequence of my master degree studies focused in Elite Squad film (2007) related to Foucault analyses about a increasing of control in society how it runs in a cinematography – as its digital networking derivated – discussion nowadays.
I'm interested to pointed out how realism depends upon a system of inter-textual and extra-textual codes, i.e. my movies' analyses must include breaking out a range of signification codes, looking at widespread as specific cultural contexts (mobile phones and Foucault studies are “the widespread one” and Brazilian movie and its social reality are “the specific one”). Throwing out of Christian Metz wrote: cinema as a collective production, i.e. how the cinema could be said to signify, or generate, a society common meaning.