Revistas Científicas da Universidade Católica Portuguesa
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From Visible to Invisible Spectrums: on Jonathan Crary’s “Tricks of the Light”
Get PDFThe article reviews Tricks of the light: essays on art and spectacle, by Jonathan Crary, published in 2023 by Princeton University Press. The book compiles a myriad of tens of essays – written throughout 40 decades and most of them previously published – aimed at different artworks, artistic practices, books or even concepts, majorly from the XX century
Exceções – derrogação: Spiegel Online v. VolkerBeck
Get PDFA liberdade de informação e a liberdade de imprensa, consagradas no artigo 11.º da Carta, não são suscetíveis de justificar, para além das exceções e limitações previstas nos n.os 2 e 3 do artigo 5.º da Diretiva 2001/29, uma derrogação aos direitos exclusivos de reprodução e de comunicação ao público do autor. No entanto, o juiz deve ter em conta os direitos e liberdades fundamentais, e em particular a CEDH, quando raciocina no contexto de uma exceção, tal como a exceção de atualidade. Esta exceção não requer autorização do autor para a publicação de conteúdos que participem de eventos de atualidade. Finalmente, uma citação pode perfeitamente ser feita por meio de uma ligação de hipertexto
20 anos da revista Propriétés intellectuelles
Get PDFNOTA: Em 2021, a revista-mãe Propriétés intellectuelles festejou os seus vinte anos de existência. Nessa altura foi publicado um número especial que abria com este editorial do Prof. Jean-Christophe Galloux, no qual faz uma desvanecedora alusão à nossa revista lusófona que muito nos honrou
Explorations on Sound and New Media Art
Get PDFThis special issue of the Journal of Science and Technology of the Arts is inspired by the first >>| Explorations on Sound and New Media Art Conference, held at the Universidade Católica Portuguesa, School of Arts in Porto, Portugal. Like the conference, this issue seeks to celebrate the convergence of sound, new media, and artistic expression by exploring a wide range of innovative practices, theories, and approaches. It aims to foster meaningful discussions that critically examine traditional notions of art while pushing the boundaries of creativity. Following the conference, we invited various authors to develop and submit their research, with the hope that their contributions will shed further light on how we perceive and construct the world through sonic and new media art practices
It’s Not Raining. How to Perform the Weather in a Time of Climate Change
Get PDFThis is an essay that reperforms as text a curatorial performance given at the School of Arts of the Catholic University in Porto, Portugal, on the 11th November 2023. In this curatorial performance I played works, read poems, let rice fall into a metal tin at different speeds and with different force; I read excerpts from books and encouraged participatory listening and sound making through text-scores. I did all this in order to generate, from an embodied experience, critical deliberations on how sound performs weather in a time of climate change. Here, this performance of weather is rewritten as a short reflective performance score for the readers’ own re-enactment and further deliberation
Breves notas sobre a proposta de regulamento que estabelece regras harmonizadas em matéria de Inteligência Artificial
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Bob Marley and Sepultura
Get PDFIn 1976, Bob Marley adopted lyrics from Haile Selassie\u27s United Nations Address (1963) in his song “War”, aligning the idea of war with diasporic sentiments, resistance, and postcolonialism. This transformed the song into a Reggae anthem against colonialism, making Marley a rebel symbol. In 1997, the Brazilian band Sepultura recorded a metal music version of Marley’s song, emphasizing the violent aspects of war and framing it as a struggle for subjugation. I aim to understand the nuances in meaning underpinning two versions of the same song to identify the representations of war in different circumstances. Considering Metal and Reggae specificities, I proceed with a music and lyrics analysis to investigate meaning-making processes. Then, to understand Marley’s and Sepultura’s articulations of popular music, politics, and war, I examine each conjuncture as a historical framework where disputes over power and meaning are fought. I compare them for two reasons. First, to demonstrate how popular music can make sense of historical experiences to foster different interpretations of complex concepts. Second, to shed light on ideological struggles that differentiate or equalize Reggae and Metal Music. Though both renditions address war as a consequence of the coloniality of power, Marley\u27s version in the 1970s portrays it as a tool for liberation while Sepultura’s in the 1990s interprets war as a means of the Global North asserting its dominance. I contend that these variations are shaped by the utopian ideals associated with decolonization in Marley’s rendition, juxtaposed with the neoliberal ethos of a “slow cancellation of the future” (Fisher 2022, 19-50) evident in Sepultura\u27s cover