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VIEWING AXOLOTLS
… a visual narrative, some reflections and a game
http://arteonline.arq.br/viewing\_axolotls
by Regina Celia Pinto
Based on:
"There was a time when I thought a great deal about the axolotls. I went to=
see them in the aquarium at tbe Jardin des Plantes and stayed for hours wa=
tching them, observing tbeir immobility, their faint movements. Now I am an=
axolotl.
I got to them by chance one spring morning when Paris was spreading its pea=
cock tail after a wintry Lent. I was heading down tbe boulevard Port-Royal,=
then I took Saint-Marcel and L'Hopital and saw green among all that grey a=
nd remembered the lions. I was friend of the lions and panthers, but had ne=
ver gone into the dark, humid building that was the aquarium. I left my bik=
e against tbe gratings and went to look at the tulips. The lions were sad a=
nd ugly and my panther was asleep. I decided on the aquarium, looked obliqu=
ely at banal fish until, unexpectedly, I hit it off with the axolotls. I st=
ayed watching them for an hour and left, unable to think of anything else."=
( from The End of the Game / Axolotl by Julio Cortazar, an argentinean wri=
ter).
and
"After 500 years of printing, 150 years of photography, a century of film a=
nd 50 years of television,
reality programming has reached maturity.
Consumers live scripted lives, while reality-creating machines predict all =
their movements.
This phenomenon is so powerful that everyone actually has two bodies: one r=
eal and another fictitious (shaped by received data)."*
How can we change the bundles of pictures that falsify reality? Is this a d=
esirable "reality"?
*BERNARDO, Gustavo. A duvida de Flusser - filosofia e literatura. Sao P=
aulo, Globo, 2002.
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<DIV> </DIV>
<DIV align=center>VIEWING AXOLOTLS</DIV>
<DIV align=center>… a visual narrative, some reflections and a game</DI=
V>
<DIV align=center><A
href="http://arteonline.arq.br/viewing\_axolotls">http://arteonline.arq.br=
/viewing\_axolotls</A>
</DIV>
<DIV align=center> </DIV>
<DIV align=center>by Regina Celia Pinto</DIV>
<DIV> </DIV>
<DIV>Based on:</DIV>
<DIV><BR>"There was a time when I thought a great deal about the axolotls. =
I
went to see them in the aquarium at tbe Jardin des Plantes and stayed for h=
ours
watching them, observing tbeir immobility, their faint movements. Now I am =
an
axolotl. <BR>I got to them by chance one spring morning when Paris was spre=
ading
its peacock tail after a wintry Lent. I was heading down tbe boulevard
Port‑Royal, then I took Saint-Marcel and L'Hopital and saw green amon=
g all that
grey and remembered the lions. I was friend of the lions and panthers, but =
had
never gone into the dark, humid building that was the aquarium. I left my b=
ike
against tbe gratings and went to look at the tulips. The lions were sad and=
ugly
and my panther was asleep. I decided on the aquarium, looked obliquely at b=
anal
fish until, unexpectedly, I hit it off with the axolotls. I stayed watching=
them
for an hour and left, unable to think of anything else." ( from The End of =
the
Game / Axolotl by Julio Cortazar, an argentinean writer). </DIV>
<DIV> </DIV>
<DIV>and<BR><BR>'After 500 years of printing, 150 years of photography, a=
century of film and 50 years of television, <BR>reality programming has rea=
ched
maturity.<BR>Consumers live scripted lives, while reality-creating machines=
predict all their movements. <BR>This phenomenon is so powerful that everyo=
ne
actually has two bodies: one real and another fictitious (shaped by receive=
d
data).
VIEWING AXOLOTLS ... a visual narrative, some reflections and a game
-
Type: discussion