1,721,215 research outputs found
Experimenting post-colonial film landscapes: A conversation with Ana Vaz
Get PDFAna Vaz, born in Brasília, Brazil, in 1986, is one of the most notorious Brazilian experimental filmmakers working today. Her films were shown at festivals and institutions such as: Berlinale Forum Expanded, New York Film Festival, TIFF Wavelengths, Cinéma du Réel, Flaherty Seminar, Tate Modern, Palais de Tokyo, Jeu de Paume, etc. Her body of work narrates stories hidden in lost memories of colonial landscapes. By exploring multi-temporalities, her films reflect the borderland experience – be it the borders between Brazil and Europe; art gallery and movie theater; poetry and cinema, or between humans and non-humans. In addition, her movies are the result of meaningful dialogue with the greatest thinkers of our time, such as: Bruno Latour, Donna Haraway, Jacques Derrida, Viveiros de Castro, David Kopenawa, João Guimarães Rosa, and Clarice Lispector. Departing from a pedagogy of "walk and listen”, we invite readers to explore Ana Vaz\u27s counter-cinema
Ana Vaz Milheiro, Nos Trópicos Sem Le Corbusier: Arquitectura Luso-africana no Estado Novo
No full textNos Trópicos Sem Le Corbusier: Arquitectura Luso-africana no Estado Novo examines the circulation of architectural cultures and actors in and between the historically-related contexts of Portugal, Brazil and the former Portuguese colonies in Africa, during the first three quarters of the twentieth century. This generously illustrated, Portuguese-language volume is a collection of ten essays written by Ana Vaz Milheiro between 2006 and 2011, and previously published either in the proceedings o..
Ana Vaz Milheiro, Nos Trópicos Sem Le Corbusier: Arquitectura Luso-africana no Estado Novo
No full textNos Trópicos Sem Le Corbusier: Arquitectura Luso-africana no Estado Novo examines the circulation of architectural cultures and actors in and between the historically-related contexts of Portugal, Brazil and the former Portuguese colonies in Africa, during the first three quarters of the twentieth century. This generously illustrated, Portuguese-language volume is a collection of ten essays written by Ana Vaz Milheiro between 2006 and 2011, and previously published either in the proceedings o..
É Noite Na América (Ana Vaz, 2022): Towards an Integral Politics of Animality
No full textIt is Night in America (2022) is the first feature-length documentary film by Brazilian filmmaker, visual artist and curator Ana Vaz. It follows the steps of fugitive wild animals in the no less wild aeroplane-shaped city of Brasília. Using long takes, a tactile apprehension of space and an immersive approach to sound, the documentary draws on the filmmaker’s ethnographic training to reflect on the consequences of colonialism and the Anthropocene in those endangered animals we see wandering around the city streets. Brasília becomes here the habitat for hundreds of stray animals (not to mention the human refugees who also proliferate in the Brazilian capital). Maned wolves, foxes, anteaters, owls, capybaras, boas, and otters allow us to see with different eyes, more haptic eyes, an environment that is indeed multiple and animistic
Optimistic Suburbia – Large housing complexes for the middle-class
Get PDFThe special dossier Optimistic Suburbia – Large housing complexes for the middle-class brings closure to the cycle initiated with the International Conference Optimistic Suburbia – Large housing complexes for the middle-class beyond Europe, which took place at ISCTE-IUL from 20 to 22 May 2015. This conference integrated the research project “Homes for the biggest number: Lisbon, Luanda, Macau” funded by Fundação para a Ciência e Tecnologia (Principal Investigator: Ana Vaz Milheiro, PTDC/ATP-A..
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
After Nature: The Expanded Landscapes of Ana Mendieta and Ana Vaz
Get PDFThe article explores women’s interventions into landscape through the experimental practices of Cuban American multimedia artist Ana Mendieta and contemporary Brazilian visual artist and filmmaker Ana Vaz. Interested in the material and metaphorical intersections among film, landscape, and geology, I focus on the geological imagination of landscape partaking in Mendieta’s and Vaz’s art while asking what sorts of aesthetic regimes and formal strategies they choose to express it. Mendieta’s comprehension of earth as matter, medium, and a deep surface for inscription of traces comments on the materiality of film as a recording medium from the point of view of geologically oriented art. Vaz’s landscape, inflected with human interventions, emerges as an enormous living medium of memory, linking its exploration to a geological approach and the work of excavation while transforming deep time into what the artist calls ‘cinematographic multiperspectivism’. The article argues that it is the attention to the geological that unites these two artists in their critique of the position of exteriority and of landscape as an object of contemplation. Mendieta and Vaz depart from traditional aesthetics of landscape as a view by moving toward landscape as a network of relations among humans, memories, and times
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