ao novo ano!
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| foto do filme, Asas do Desejo, de Wim Wenders |
"A nova perspectiva fez-me pensar sobre o nosso propósito de vida, se a reencarnação e o próprio tempo seriam mesmo como aquilo que nos ensinaram. O que aconteceria se todos os nossos objectivos estivessem trocados? E se o Céu ou o nirvana, na verdade, existissem na 'Terra', através da forma física, e não 'além', na vida depois da morte?
Sinto que optamos por reencarnar sobre a forma física a fim de podermos exprimir o amor, a paixão e toda a gama de emoções humanas que não nos são facultadas no estado de consciência pura e de União. Imagine o que aconteceria se a vida que vivemos neste planeta representasse o espectáculo principal, onde decorre a acção, e onde queremos estar?"
Anita Moorjani, Nascer de Novo
Da intensidade
"Trata-se sempre de concretizar o sentimento ou a ideia em formas tornadas em si mesmas preciosas (o termo é, por si, revelador), como essas gemas que devem a densidade e o brilho às pressões e temperaturas quase insuportáveis por que passaram; ou ainda de obter da linguagem as volutas perfeitas dos trabalhos renascentistas em ferro forjado, cujos complicados entrelaçados foram primeiro de ferro ao rubro. O que se pode dizer de pior sobre essas audácias verbais é que aquele que a elas se dedica corre o perpétuo risco do abuso e do excesso, tal como o escritor votado aos litotes clássicos roça constantemente o perigo da seca elegância e da hipocrisia.
Se o leitor não vê, muitas vezes, mais do que preciosismo (no mau sentido da palavra) naquilo a que chamo de bom grado expressionismo barroco, é, nove em cada dez vezes, porque o poeta cedeu efectivamente ao desejo de espantar, de agradar ou desagradar a qualquer preço; acontece por vezes também que esse mesmo leitor é incapaz de ir até ao fim de uma ideia ou emoção que o poeta lhe oferece, onde erradamente, só vê metáforas forçadas e frios conceitos."
Marguerite Yourcenar, in Fogos
Song lines
Aqui
Material Words: Language as Physicality
"Suppose I have an autistic spectrum disorder and severe learning disabilities. I cannot make sense of the kaleidoscopic world I live in. My environment swirls round me and noises boom in my ears. Sometimes I'm swept by painful surges from my own nervous system. When these are more than I can bear, I try banging my head or lashing out at the people or things that overload my senses, to stop the over stimulation. I retreat to my own world and focus on a particular sensory stimulation."
Phoebe Caldwell
Tópicos:
— What is uttered is received and followed
— What is fed back is not chaotic and threatening, but recognizable
— Mirror neurons
— Our conversational practice rests on a closely woven scheme of physical interaction
— Understanding autism is a powerful key to understanding language itself, and about ourselves as language users. One of these things is that, once again, contrary to any simple stimulus and response model of how language works, our communicative activity normally selects and organizes stimuli, and when overloaded, as in autistic conditions, narrows and focusses that activity in self defensive ways, and further, this communicative activity also normally functions by a process of reinforcing its own workings in relation to the reflections it perceives in others. A potentially overwhelming environment is made manageable through these two strategies. We select what to attend to and we're encouraged to depend on the viability of our selection by seeing it in some measure reflected in the selective agency of others. [min 8:00]
— The beginnings of language are simply in learning in how not to bump into things
— Language manifests a link between human agents and between agents and the world
—Speech has its origins in articulating and testing mutual recognition, inviting response of an evermore differentiated kind
— Language is something we do with our bodies
— Bruce Chatwin
— Pier Luigi Luisi
— We look to language to tell us what matter is
— The notion of the genetic code and the immensely sophisticated concept of the genome
— Song lines (the song becomes the landscape in the singer)
— The form that the object takes, in human experience
— Intelligence is literally the only phenomenon in the Universe that makes sense of the overall direction of material existence towards coherent, sustainable, innovative, adaptable forms. If, the story of the material world is one of negotiation, systems finding their way and interacting with one another and constantly refining and elaborating this, rather than settling in an eternal equilibrium, conscious life, the knowing subject, is a development entirely consistent with this story. Indeed we could not conceive of the story without the model provided by consciousness itself. The awareness of negotiation.
— We look to language to tell us what matter is
— It's not a coincidence that the vocabulary of the natural sciences [...] is littered with language-based metaphors (the notion of the genetic code and the immensely sophisticated concept of the genome)
— David Bohm
— Merleau-Ponty
— Consciousness is not a jigsaw puzzle. It is rather the business of absorbing and responding to the field in which I am located and which is acting in me as much as on me. Feeling my way, resetting my coordinates
— "to catch someone's eye"
— Routinely, we assume that a word or a gesture is automatically received as significant. What is disturbing in any human interaction is when my significant gesture makes no apparent impact on another's gesture, clearly important for them. Or when that gesture can't be deciphered as significant in my world.
— Wittgenstein
— Truthful speech is inevitably committed to metaphor in order to represent what we could call the overflow of significance, that we confront. Each of us, as an intelligent linguistic subject, stands at a unique intersection of symbolic action, simply in virtue of standing where we physically stand as bodies. And if this is so, we should be careful of any scheme of thinking that invites us to measure the acceptability or normalcy of another bodily presence, especially as regarding its communicative capacity. That another does not or cannot speak in ways we can digest, cannot render them ineligible to count as subjects with meaningful points of view.
— The important point is to resist normalizing simply what's easily accessible for us in ways that rule others out from the business of human exchange and engagement
The Human mind frame / Playing God
Diz Rosalind Picard (que afirma ter sido ateia, agnóstica e agora diz ser cristã):
"I build computers, software agents and I collaborate on building robots. If I were to build some robots, that were like my children, and they would go off to another planet and be autonomous and have agency and have a little bit of experience, so that they don't hurt themselves, right? So you would want them to experience pain so that they don't get injured. I think I would want them to know that they were made by humans. I would think I might want to put something inside them so that, even though they maybe didn't need to communicate with us, they might actually want to communicate with us. I think I might put inside them, maybe, some little program that causes them to want to show an acknowledgement toward what we did into bringing them into being. Why would I want that? I don't know, It's just part of the pleasure of making them and, in a sense, we've kind of made them in our image. So there's an interesting role reversal here. And we think as if why we have this in us. Is this a feeling we can't trust? It is not real. Or maybe it's real, actually, maybe there's something there... And just because we can't explain it with material stuff now, it doesn't mean that there isn't going to be a future explanation that is completely satisfactory as is our scientific explanation now."
Make Art
"So write and draw and build and play and dance and live as only you can."
"The moment that you feel that just possibly you're walking down the
street naked, exposing too much of your heart and your mind and what
exists on the inside showing too much of yourself, that's the moment you
may be starting to get it right."
1. People get hired because, somehow, they get hired.
2. There is luck and it helps.
3. Be wise. And if you don't know how to be wise, then just pretend that you are some one wise and just behave like they would.
4. Make glorious and fantastic mistakes.
5. Break rules.
6. Leave the world more interesting for your being here.
Neil Gaiman
Misdiagnosing Gifted Children and Adults
"There is a cultural resistance to acknowledging giftedness, that it's
perceived as bragging or being inflated or being grandiose."
Lisa Erickson
"We
have a very weird relation with intelligence, in this culture. You're
supposed to be smart, but if you act like you're smart or appear smart
or are smart, somehow it gets out, it is seen as bragging or you're
inflating yourself or you're narcissistic."
"[...]
and gifted people are also neuro diverse. Some years ago I wrote an
article that was posted on a gifted website, and people could write
comments about it, and this woman wrote [...] that she was in a
diversity workshop and part of a group task was to identify what
minority groups you are a part of, and she said, 'I felt very
comfortable saying I'm a lesbian and being out about that, but what I
could not say and did not feel comfortable saying is that I'm gifted."
Lisa Erickson
"existential depression is a big concern in giftedland"
Lisa Erickson
"...
not everyone is gifted, not everyone is tall, some people are taller
and some people are shorter, some people have darker skin, some people
have lighter skin, and that's just the way it is, but because we play so
much value on intelligence and because we don't talk about it very
much, if someone were to claim having a high IQ or being gifted...
Gifted has an evil connotation. If you were a gifted athlete you would
have no problem displaying your trophies, but if got straight A's or a
high score on an IQ test you wouldn't frame it and put it on the wall.
That would be bragging. But it's ok to do it if it's an athletic
accomplishment. You can have your medals framed on the wall..."
Kirk
Honda, Lisa Erickson
Some characteristics of gifted people in the classroom:
[min 48:35]
— They ask a lot of questions
— They're very curious
— They're mentally and physically involved (so you can imagine a child as up and about)
— They can have wild and silly ideas
— They can play around and not pay attention but test well
— They can discuss in great detail
— They're beyond their peers
— They have strong feelings and opinions
— They already know what you are talking about
— They're good at abstractions
— They draw inferences
— They initiate things
— They're intense
— They love learning
— They invent things
— They are good guessers (it takes some creativity to be a good guesser)
— They like complexity
— They are very observant
— They are highly self critical
Sobre Lisa Erickson
Livro recomendado: Misdiagnosis and Dual Diagnoses of Gifted Children and Adults: ADHD, Bipolar, Ocd, Asperger's, Depression, and Other Disorders
Argumentos a favor da importância das artes na educação
1)
The arts are a way of understanding the world just like the sciences
are. They are two very different ways of understanding the world, and if
we only teach the scientific way of understanding the world, we are
leaving out half of what humans have done for centuries [Ellen Winner]
2) Look at all the kids that have some kind of artistic talent that
could be put to use in the economy. Think of all the visual spatial things
going on in the digital world now. And if these kids never discover
they have visual spatial talents because they never have visual arts
education, then they won't grow in that area. This is a very pragmatic
kind of argument [Ellen Winner]
3) Where people with talent want to be now, are in interesting places.
And if there isn't tolerance there and if there aren't art museums
there, they don't want to be there [Howard Gardner, citando Richard
Florida]
4) What kind of planet do we want to have, what kind of workers do we want to have, what kind of citizens do we want to have, what kind of persons do we want to have? And when we say 'competition', why don't we compete in terms of good workers and citizens and good persons, rather than some kind of will-o'-the-wisps of test scores. We should compete on things that are not zero sum. E [Howrd Gardner] refere o exemplo de Reggio Emilia.
4) What kind of planet do we want to have, what kind of workers do we want to have, what kind of citizens do we want to have, what kind of persons do we want to have? And when we say 'competition', why don't we compete in terms of good workers and citizens and good persons, rather than some kind of will-o'-the-wisps of test scores. We should compete on things that are not zero sum. E [Howrd Gardner] refere o exemplo de Reggio Emilia.
da arte
"Art, like love, simultaneously disorganizes and nurtures the self
toward a creative reordering. There can be no better metaphor than a
Calder mobile which perpetually seeks to regain equilibrium in the
constantly unpredictable currents of air."
Jonathan Fineberg
The texture of the process / Linguagem visual
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| Juan Miró / Alexander Calder |
Sigmund Freud pointed out that the first ego is the body ego, derived from early bodily sensations. [...] D. W. Winnicott, wrote that "the spontaneous gesture is the true self in action. Only the true self can be creative and only the true self can feel real. The true self comes from the aliveness of the body tissues and the working of body functions including the heart's action and breathing. It is closely linked to the idea of primary process, at the beginning essentially not reactive to external stimuli, but primary. The true self appears as soon as there is any mental organization of the individual at all, and it means little more than the summation of sensory motor aliveness. [...] Works of art give immediately recognizable form to experiences for which we do not have words. They create a discourse on these experiences through multiple simultaneously overlays of time and materiality, transparencies, other formal devices in a metonymic construction that is an underlined principle of what Freud called the dreamwork. It's commonly visible in children's art and it is also a percevering remnant of early thought processes present in the way in which adults organize and interpret their experience. [...] One of the outstandin features of visual thinking is that it fosters the reordering of experience in a way that reveals connections hidden or dismissed by verbal logic. Visual and verbal thinking coexist in interacting works of art as they do in dreams. We pass fluidly back and forth in our thoughts from the metonymic, to the metaphoric, to the logical. [...] Visual thinking has the ability to bypass the conscious control of language in articulating experience and to tap directly into the language of primary process. That uncensored caldron of repressed memory body experience and metonymic logic. It's also a well of conflict, and in bringing this imagery to consciousness in visual form and in manipulating the juxtaposition of the images which are used to represent it, works of art have both the dialectic and the internal strive which Heidegger alludes in his famous essay in the origin of the work of art."
Jonathan Fineberg
sobre Jonathan Fineberg
