The Amazonia Chainsaw Massacre ünd Ugnix

Recordings of the approval of the new brazilian forestal code and a chainsaw. The trees scream turning to flutes. The machinery laughs substances that increase the sell of V masks. Air is expensive, for it's sounds lair.

Palco {Stage}

Metaretroalimentações de um teatro em silêncio. Palco é uma anti-performance cênica em homenagem a Samuel Beckett, Alvim Lucier e William Shakespeare psicodramatizado por Cacilda Becker no teatro que leva seu nome por conta do festival SPectrum de performance organizado por Vanderlei Lucentini. A atriz Adega Olmos observa o público e o teatro em cada um de seus detalhes até que lhe advenha uma palavra "palco", o som só retroalimenta o vazio em no-fi no-input do teatro, o video de Mariana Rizzo é projetado num véu sobre o público, a dança de Juliana Rinaldi surge como a própria aura desta dialatação temporal da atuação, a captura de Danilo Barros é estática à medida do palco aos fundos da sala, a edição leva a um limite a linguagem da documentação teatral, as duas repetições são aceleradas para caber nos tempos sem atenção da internet, este texto é burocrático propositalmente. Favor prestar atenção à sua postura e o ambiente que te envolve ao assistir.

Metafeedback of a silent theater. Stage is an scenic anti-performance in hommage to Samuel Beckett, Alvim Lucier & William Shakespeare psicodramatized by Cacilda Becker in the theater that carries her name at the occurence of the performance festival SPectrum organized by Wanderley Lucentini. The Actress Adega Olmos observes the audience and the theater in each of its details until one word comes to her mouth "stage", the sound only feedbacks in no-fi the theater, the video of Mariana Rizzo is projected in a veil over the audience, the dance of Juliana Rinaldi appears as the own aura of this time lapse of acting, the capture of Danilo barros is static at the measure of the stage in the back of the room, the edition takes to a limit the language of theatrical documentation, both of the repetitions are speeded up in order to fit the non-attention times of the internet, this text is bureaucratic on purpose. Please notice your posture and the environment that surrounds you as you watch this.

{404 303 302 303} We Love Each Alter

 Concerto para dois pianos e fita, gravações de corujas na fazenda de Tereza. Fogo e violão, ábaco, microfone nas alturas, processos de fazer bonsais. Para Satie, Gli, Glerm, Valente, Kairoz.  I dreamt about the tallest man drawing a crystal owl in a silk paper. He woke up soaked in sweat and licked his own left arm. Felt compassion for every single one and desired for a bigger door only. There exists another character of a similar meaning 像 xiàng, in which the sign for “man” stands in front of the elephant. In Chinese this means ‘portrait, statue’ (surely as a result of the compound “man+image”), while in Japanese, writes Komaváry, it is a component of the word 想像力 sōzōryoku, “imagination.” Is it perhaps the blind man, he asks, feeling the elephant? While I imagine how much it could have stimulated the imagination of old Japanese people when, perhaps once in a life, an elephant appeared in the town and a man in front of it: a showman, a juggler, a tender. Someone like the protagonist of the following story.