o advento do hipertexto

(fotografia de sophie calle, "Jean Yves le Grave, vingt-troisième dormeur", 1978"


"The human mind does not work that way (i.e. linearly). It operates by association. With one item in its grasp, it snaps instantly to the next that is suggested by the association of thoughts, in accordance with some intricate web of trails carried by the cells of the brain. It has other characteristics, of course; trails that are not frequently followed are prone to fade, items are not fully permanent, memory is transistory" (1)

vannevar bush

interessante vannevar bush dizer isso em 1945, muitos anos antes do advento do hipertexto e da internet. interessante o sistema que ele desenvolveu, o memex, que foi a inspiração para muitos dos futuros criadores do hipertexto e da net: Douglas Englebart, Tim Berners-Lee, etc.



(1) BUSH, Vannevar apud SIMPSON, Rosemary, e outros - 50 years after «As we may think» : the Brown/MIT Vannevar Bush Symposium [Em Linha]. Providence: Brown University, 1996. [Consult. 11 Fev. 2010 23.50]. Disponível em http://www.cs.brown.edu/memex/Bush_Symposium_Interact_2.html#As%20We%20May%20Think

crítica ao meu livro

"Se no primeiro livro, Ascensão do Fogo, o poeta Jorge Vicente escrevia de forma a que a pele dos poemas deixasse antever o ritmo da criação das palavras, o binário a quaternário, e a sua tatuagem em nós era sem dor apesar das impressões em profundidade que libertava na língua neste segundo livro, Hierofania dos Dedos, que é de desvendamento e de ocultação do poema, este é personagem inteiro da casa-poesia, oculto ou manifesto, orgânico. O mais que se pode dizer é que há um som de alaúde, redondo, que percorre este livro página a página em que «uma montanha é um corpo e uma mulher o vaso que alimenta as neves - o saber iniciático da mãe» (poema 18). O espaço de intervalo dos poemas é o caminho do poeta, por descobrir, e o nosso"

Cristina Veora

(in Público, dia 5 de Fevereiro de 2010, suplemento Ípsilon

liberdade de expressão

(fotografia de diane arbus, "hermaphrodite and dog in carnival", 1970)


"The public aspect of Free-Net brings its own challenges to the university. With the current debate about freedom of speech and political correctness on campuses and the heavy use of Free-Net by all age groups in the community as well as by university undergraduates, the free-spirited adult exchanges on some of the Free-Net chat groups became something on a problem. As a community system, Free-Net is like any public space and is subject to a degree of misuse. The solution has been the establishment of some obscenity standards for most of Free-Net and the establishment of «Adult only 18 or older» areas for those who wish to exercise complete freedom of expression in Free-Net communications." (1)

t. m. grundner


(1) GRUNDNER, T. M. apud SIEVERS, Arlene Moore in SMITH, Linda, ed. ; DALRYMPLE, Prudence W., ed. - Designing information: new roles for librarians [Em Linha]. Urbana-Champaign: University of Illinois at Urbana-Champaign, 1992. [Consult. 25 Jan. 2010 23.59]. Disponível em: http://www.archive.org/details/designinginforma29clin. ISBN 0-87845-088-2. p. 192.

a diferença entre a arte chinesa e a renascentista no que diz respeito à imagem

(fotografia de chan-hyo bae, "existing in costume swan lake", 2009)


"The great difference between the Chinese scholar-artist and Renaissance scholar-artist is this: if the Chinese scholar-artist had a garden... he would want to walk in it, so he would make his path so that he'd have a longer walk. So he walks up the path of his garden and then goes and makes a picture of that garden, or the experience of walking in it. But the Renaissance scholar sits in a room and looks out of a window, and then makes his picture.

He is fixed with the window picture, and therefore he thinks of perspective. The chinese wouldn't because their experience is moving, flowing, as time is flowing. And so they both start off with very different locations; one is seated and the other is not" (1)

david hockney


(1) HOCKNEY, David apud PETERS, Ronnie - Designing for the computer screen. in SMITH, Linda, ed. ; DALRYMPLE, Prudence W., ed. - Designing information: new roles for librarians [Em Linha]. Urbana-Champaign: University of Illinois at Urbana-Champaign, 1992. [Consult. 25 Jan. 2010 23.59]. Disponível em: http://www.archive.org/details/designinginforma29clin. ISBN 0-87845-088-2. p. 154.

vamos acabar com os professores!

(filme de hannah collins, "a future history", 2006)

"A second problem with technology in education is that producers generally have made outlandish claims for the contribution of their particular technology to learning. The 16-mm film was going to replace teachers. So was educational television. So were teaching machines. Research projects by the thousands documented the power of these media to teach. Sometimes research results were positive in favor of the particular technology; most of the time, research results showed «no significant difference.» Students learned equally well no matter the medium. It seems logical to assume that a fact can be learned from a book or a film or a microcomputer screen with equal ease" (2)

david e. loertscher


(2) LOERTSCHER, David V. - idem. p. 104.

educação e tecnologia

(desenho de keith haring, "barking dog", 1982)


"The major drawback with technology is that none has been developed specifically for education. Generally, a technology has been created for a business or scientific purpose, then education try to figure out how students can benefit. The cart has always been ahead of the horse. After a technology is created, a company will try to market that technology to schools. Modifications to suit students' needs are often made after some period of adoption in the education market. Such modification is expensive and time-consuming thus limiting the spread of the technology" (1)

david v. loertscher

(1) LOERTSCHER, David V. - Electronic information in school libraries. in SMITH, Linda, ed. ; DALRYMPLE, Prudence W., ed. - Designing information: new roles for librarians [Em Linha]. Urbana-Champaign: University of Illinois at Urbana-Champaign, 1992. [Consult. 14 Jan. 2010 01.44]. Disponível em: http://www.archive.org/details/designinginforma29clin. ISBN 0-87845-088-2. p. 103.

"time after time" (cahn / styne)

(quadro de will barnet, "meditation and minou", 1980)


"Time after time
I tell myself that I’m
so lucky to be loving you
so lucky to be
the one you run to see
in the evening when the day is through

I only know what I know
the passing years will show
you’ve kept my love so young, so new

And time after time
You’ll hear me say that I’m
so lucky to be loving you.

I only know what I know
the passing years will show
you’ve kept my love so young, so new

And time after time
You’ll hear me say that I’m
so lucky to be loving you." (1)

chet baker


(1) retirado do cd de chet baker, the best of chet baker sings (1989) e daqui