LIVRO COMO NASCEM OS MONSTROS PDF
dovolena-na-lodi.info-Como Nascem Os Monstros - Rodrigo dovolena-na-lodi.info (2). Uploaded by Rafael Fonseca. livro. Copyright: © All Rights Reserved. Download as PDF or. Board index Free Unlimited PDF Downloads Free Downloads. Please, help me to find this como nascem os monstros ebook. Thanks!. Buy Como nascem os monstros (Portuguese Edition): Read Kindle Store estreia como romancista, um livro impactante, que faz despertar corações e mentes.
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A presente obra é disponibilizada pela equipe Le Livros e seus diversos parceiros, com o objetivo . estante; logo tomei posse de um livro, assegurando- me que fosse algum que tivesse figuras. Pulei para o vão da nasce dos corações endurecidos e egoístas. . Tive uma viagem medonha, com tal monstro no navio. Aufil υ da AlioÚ du (Da Academia Evangélica de Letras do Brasil) Vinte e quatro estudos proféticos extraídos dos livros de Daniel e Apocalipse. ΘCPAO REIS. o rock dos Grateful Dead e dos Jefferson Airplaine, o livro The Electric Kool-Aid Acid que nascem entre nós instantaneamente, como se de vida selvagem se tratasse. OS MONSTROS DOS MEDIA À PRIMEIRA VISTA, a sabotagem é a .
The modern capitalism, and the war machine, declared the begining of this society of the perverse games, mainly when the shockwaves of the Cold War reached the entire globe under the shape of voracious images and trends.
After a Cold War and a poten- tial Future Shock, we are trascended by a terror of the present. The real military game began. There are rules, players, spaces and enterprises that provide the technologies for the high-level experiences. However, no longer are the engineers or the teachers the owners of the information, for if the information constituted its own environment, who are the most suitable to manage it if not the architects, in an age that the neural tissues of media intersect structures and spaces?
Lets improve the maximum of power with the minimum possible noise, therefore in the new fibrous spaces, under the responsibil- ity of the architects, consumption acquires an hallucinated consistency optimized through geometry, a temperature achieved by the supersonic world of the hyper-real image.
Outside of the high- resolution game, everything lacks of coherence the pathological and nostalgic uni- verse , for it does not exists any thing quite attractive, although everything is full of beauty and even photogenic. Now, all that was established is subject of a ferocious transfiguration in a dialogue of atemporal nostalgies. We all can contribute, at this moment, for the industry of the stars.
It is like as if media embrace us and would treat humans as a second fauna, making use of effects special, we must underline , predators, victims and baffling spectres. Media have a life of parasite, and the price is to accept that parasitism, the agreee- ment with the virtual, the bizarre contract between produced domains of desire and those left to produce, the dimension of the supersonic existence, a virtuality so acceptable that does not allows be aware of the optimization. In addition, in an epi- demic blow, high-quality and high-definition images proliferate, so viral and spectral that contaminate everything, just like the socially adored images described in Idoru, a William GIBSON novel, in which computer made rock stars or holographic top models were gods.
To be seductive stars forever — that is the question, indeed! Imponent as the religion of other times, pop culture segregates games so inno- vative as violent, inciting to trance and threatning the society with its own sexual architecture, its own game of trends and semipublic narratives, of the kind of the Big Brother TV show. One achieves a point of mediatic excitment of such a degree that one takes a chance to respond to media, to the excess of mediatization, of violent glamour created by the means of communication.
It is in our reach perimeter, being almost an obligation to respond to the arrogance and to the vaccum of the mediaimages. The violent glamour is totally legitimate, but it requires an equally legitimate response, saboteur, as a consequence of the saturation of the porn products of media. Knowing that this glamour results from the new fascism of fashion, one intends that the same social violence should be returned to it, in a mediatic and stylized way. Let it be clear: In Idoru, GIBSON demonstrated, in the fiction genre, that the future generations would inevitably be devoted of the images exhibited among media: To create games, to seduce, to sexualize, to sell and to adore are the goals of a society in which all beings and objects exist under the supervision of a high-definition seduc- tion protocol.
This implies, automatically, that all the environments look like clubs, raves, videogames, American movies, videoclips like those of MTV and parades of fast fashion through the supersonic haute couture. Nothing sells so much nor it propagates so much as the inaccessible statute, the image borrowed at the speed of sound.
It is the fashion machines and those of media acting at the pace of the dance music BPMs Even the street changes itself according to these new violent discourses, being identified each time more with a videoclip on the fast pleasures shot in live.
There are few public spaces expecting the individual that do not resemble shopping malls made by Sony or Emporio Armani. Reality makes sense only if it exists in high-production and in high-quality, entering design in the equation to brighten up the distance between the technology and the art and to create something new: That is also elegantly violent The high-style appears from the necessity that media had of a face.
Like dancing capital moving itself, this new breed generally stylized, impregnated of violent glamour, is as supersonic as it is elegant. One has to respond to it! History dies without style, the present time is organized by design, and it is quite acceptable that media want to be in, that they want to have more inputs. Even the omnipresent neobourgeosie requires already worked data, ready-made products and haute couture. Everything becomes a question of interaction through textures, as it is for a stylist, wether its about fashion or information.
Responding to media implies to share the agressive curiosity provoked by the obligatory seduction. It is the fashion war left by media that takes us to the battle for the desire. The fast pleasures architecture makes, therefore, fashion victims, which is a fact, between the overload, the excessive speed, provocation, emptiness and abundance: Surprisingly it is the design, by replacing the grand style, that constitutes its own fetichistic culture and that is in charge of the reality, shaping it with functions that are more than stylized, that is to say, de-realized.
Byt taking to the reality the aesthetics of the virtual, design leaves in its poverty the objects that only dispose of function and nothing more of extraordinary, destining hyper-real objects for the fashions.
As the individual becomes more vulnerable to the images, he depends each time more of tops, data improvement statistics and of the behaviour monitoring consoles. One aspires to the generalized hacking, to the connection, but as by response, no more as adhesion.
Say hello to the hommo conexus, even though the connections are the major problem, given that not only they isolate the vices, as well as they irrevers- ibly increase them too. Having the optimization in sight, the individual tends to live intense, hypermediatic experiences, knowing, apprehending and acessing to everything, therefore he has the conscience that in this society one acts out and not acts in an entertainment economy.
This is not about avoiding the social noise anymore, the offline universe that is left for all that are unplugged of the seduction. Now, the goal is to runaway from the annoyance. The absence of optimization means to be excluded from the core of media replete of design and credibility, the annoying reality.
To contemplate an un- optimized reality is to be in the social polyhedral territory, in the ambit of the schizo- zones of the excluded individuals. Far from the beloved optimization, the social noise defines all that is known as nostalgic trash.
The question is that most of the society is already contaminated by the policopy and the porn virus. The neobourgeosie spirit of fashion and of the information general- ized itself and crosses all classes; hence, the non-optimization challenges the inter- vention of the aesthetician of media to recyicle it in something porn and attractive. If things are not provocative they just do not make sense, they must place the individual out of the range of the invented annoyance.
Since society accepts this reality, it appeals to its economical and informative powers to constitute its own scenery. And, if the fashions underline the mechanics of all messages, in this moment it is evident that to be well it implies to be in.
The perfect and fine tuned, completely clean reality, submited to surgical inter- ventions, does not represent all that happens.
The fascinating high-resolution and high-definition of the urban universe is a subtle and violent epidemic, which reveals the mission of terminating the social noise led by the figures of the optimization. All is worth it in matter of searching virgin soil for the high-consumption and the high- style. We have before us the backstage of the new architecture and the new compu- tation: These attitudes owe a lot to the spaces where they are noticed, because by having media dominating us, it is comprehensible that we perform roles that are more con- nivent with those of the celebrities of the communication.
The utopian, glamorous, sexy reality leads the way amidst the new environments of communication, with the single goal of eradicating the annoyance in favor of an optimum desinhibition. A horror reaction to the emptiness and a fear of the annoyance appeared, at the same time that catalogues of ornaments and luxurious goods are consumed in panic, under the terror of the negative critic of media.
The optimization does not gives hypotheses, it gives chances of payment, showing off violent models of consumption to exert control on all that it borrows to the individual. The optimum environment that embraces us is thought for cosmetics, media by-products, representations of fashion and novelty.
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The reality of the individual is an inevitable consequence of film paradigms and of special effects computation. All and any style of life, either produced or bought, transforms us in something strange and schizoid.
Thus, in order to one comprehend this phenomenon of the life style created by media, it is necessary to consider that the relationship of man with the consumption is a homage to engineer- ing, fashion, style, the circular effects of drugs, the ellipses of the desire and to the perfect dance beat. A nothing, museumified, soft, cool, futuristic, pop, milky white impels us to look for a substance. A substance that media propose with their styles, sceneries and figures, where only the nothing awaits us so it can never clarify us, either it is in a shopping store or a near you design gallery, a luxurious vehicles stand or inside a supersonic jet full of provocative holograms.
The wonderful ambience that it is offered to us by media, disguised as a redeemer form of advertisement is an Olympus of eroticism and information athletes: It is one hundred per cent indicated to an elite of people that covers the several social stratus searching for new interfaces, social experiences and strident sensation games.
If one looks back in time one can notice that the cyber contaminated the society, it was fragmented and it is tunning the individual for the hyper-realities, for the high- resolution experiencies, only with our bodies, our desires. However, the media had been merged and instituted an absolut space of provocative obsessions.
Perhaps that is why the new drug is the social game, techical for its way of seduction and in the way it defines the boundaries of reality. What we know is that there is an arena, a technical mutation that requires our intervention.
We intervene and become agents of the game, but what should one do anyway then?
Either one is in or out! The opti- mized society functions at high-speed, there are no margins, only hyper-sensibilities within a context where the mutation and the accident are the chosen values and the encryption is the axis of the new languages. About the new languages, these offer, indeed, a chance of writing the new games and characters destined to intervene in the video-images or in the social catwalk.
Among this society obsessed with the life styles, all the registers are eroticized along with the characteristics of the city and the game. In every place, turism invites us to have cinematic experiences, marketing sells our image, porn images pretend to give us a mega-orgasm, the advertisement transforms us in an immediate brand and fashion dresses us in order that media can obtain audiences.
This is all a game whose objective is the game itself, but that it is not that healthy as one might think it is, given that, like the war sometimes it becomes the enemy of those it was suppose to defend. To respond to media, given its acceleration, it is to invite the architects to transform the public space into a media cavern, catwalk, hotel, mall or political TV studio. Since everything becomes city, everything accquires the statute of the game and its laws, figures, effects special and defects.
However the defects are what drives the ambitions of the invidual that is infected by media for optimizing his life style, in order that he should seduce, and that all should be artistic, vanguardist, agressive, impressive, powerful, compulsive, erotic and sexy. For the obsessed individual, nothing is more attractive than the immediate, ampli- fied, synthesized artifice that has become the zenith of technology and of our collec- tive imaginary.
At the same time, power is no longer recognizable anywhere, because what has been left us is a sameness.
A sameness that provokes the need to deviate from the errant masses, but with an original signature. Anyway, what matters is to adhere to the virotic consumption, to buy in panic, independently of the reason.
With this attitude, one contributes for that the Past becomes irrelevant and for that the supersonic images and the techno-fetichisitic fashions become the center of all concerns. Through design, the surgical cosmetics, the porn and the information tech- nologies, the poor reality without definition turns to be completely dismantled and amplified in the signals of media equipment.
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It is obligatory to seduce, to sell, to buy, to fornicate, to show and to exhibit. This entire technoculture is fruit of the creation of cyberspace at a time that one thought to be engaged in the Future Shock. And today what has been left to us from that self-sufficient technological culture if not the cyberspace? From that time, the most poetical and symbolic legacy, that it is generalized nowadays through the haute couture and fashion, is the enormous sun glasses; forever associated to the class of speed, of high-performance and of the high-style of pilots, cientists, athletes, engi- neers, DJs, actors, top-models and writers of the new age.
IF TODAY THE Individual is as worth as the economical values that support him, that is noticed mainly in the style in which he invests, in the image that he projects and, perhaps then, in the personality that he cultivates. In detriment of the Self, it is a shame that one leaves, like this, for last place, the personality, being underlined the obsession with the life style.
Due to this obsession with the exterior the only thing shared among the public space are hallucinations. Henceforth the social resumes itself to the share of games, fashions, scenes and attitudes deprived of meaning. In summary, there is not much that matters more than the experience, than the share of surreal within the media, thus space is a consequence of this elements, a concept.
And that is what happened. The culture, the western society, our urban spaces, were entirely redefined according to the vehicles, the people and the structures that play today in this sanitarium, virtual and hyper-real fast utopia. With the conceptual space of the network computer, the society optimized itself in the name of the obligatory seduction, what turned to be possible in a very voracious way for the high-performances, productions and definitions of the new chic.
Above this plataform of accelerated game, of high-competition, the luxuries in terms of social interface are worth a lot. The reason is that the luxuries already are the spaces of this society, they were thought according to the identity of the game. Now it is ours the role of inviting everyone that is capable of becoming a player of the greatest TV show that it is signed down live.
The motive force that promotes these games is the advertisement, pratically since the advertisment agencies were dedicated to improve images so that one could consume the maximum of seductive information.
Say goodbye to the substances, the stylization eradicated them from this uni- verse, so there is no essence left to translate in seduction. The seduction is inevi- table, because the advertisement is more and more able to occupy more spaces, buying walls and other kind of surfaces to invite one to adhere to the epidemic consumption. The TV shows and the videogames appear as a hypotheses of redemption in relation to a panic of consumption, when, in fact, the participants of those shows and games just bury themselves more in the advertisement territory.
The marketing wins. However the fascination rose by the social optimization and the will to belong also to fashion opposes itself, by one side, to the reality that has no soundtrack, that is dirty, that has no lightspots, and it is banal and imperfect.
In the other side, we have the cult of perfection and the cult of direct design that intend to favor the new and optimum kind of fashion. Paying attention to the decrees of the optimization, the society adopts this ideology of generalizing the movie-game, the interface-game, the videoclip-game and the fashion-game, trying to transport every individual to some- thing fictitious deprived of the main titles and end titles. There is only context and mediation, but it is not to the nature environment that I reffer, it is the communication environment that sells obsessions to us all.
Having media everywhere, it ceased to exist one solid ground; our universe trans- formed itself in a problem of fractal consumption, a virotic debt to comprehend once and for all. Examples of that are the K. That is the genetic map of the brain, the essence of the supermodernist thought. The real map is no more a bidimensional genealogical tree, but a arterial globe with an amount of information which is a sample of what was already seen and, simultaneously, a promess of what is to come.
And it is the chemistry that drives all the arguments. It remains to us the chance of driving towards the high-defi- nition, the high-fidelity, considering that the reality became a copy of itself multiplied by thousands. Only the climax justifies the new games, the maximized and optimized games full of immense fringes and doors of joy.
Reality derives of these new fractal environments, of these clusters of novelty that are instantly born among us, as if they were wild life. But the optimized, chic individual, obsessed by fashion and design, will continue to live of the abrupt, virotic, intense, predator and tearing model.
Semiotext e ,, p. Brian Massumi, London: Athlone Press, , p. They had to more.
Theme parks, cable networks, radio, consumer products, books and music, all became prospects for their potential emprires. Medialand was gripped by merger mania.
According to the fact that the media are everywhere, the computer began to dis- materialize it and the images and the information became the same type of mediatic object. A passagem do Novo Testamento. Ver Psychologische Typen, Hubert e M. O fator coletivo acentua-se nitidamente. Duas esferas, antes cuidadosamente separadas, foram aproximadas.
Entretanto esta justa- 1. Sente-se o dono de uma chave que abre muitas portas, e talvez todas! O primeiro se infla exageradamente, enquanto o outro se reduz em demasia. Quanto mais se retira e se esconde, tanto maior se torna o desejo secreto de ser compreendido e reconhecido.
Parece grotesco descrever tais estados como "semelhantes a Deus".
como nascem os monstros ebook
Jahrbuch fur psychoanalytische und psychopathologische Forschungen, II, p. Entretanto esta justa- 1. Sente-se o dono de uma chave que abre muitas portas, e talvez todas! O primeiro se infla exageradamente, enquanto o outro se reduz em demasia. Quanto mais se retira e se esconde, tanto maior se torna o desejo secreto de ser compreendido e reconhecido. Parece grotesco descrever tais estados como "semelhantes a Deus".
Jahrbuch fur psychoanalytische und psychopathologische Forschungen, II, p. Desesperado, decidiu afogar-se. Ele acreditou que elas flutuavam, aos pares, rio abaixo. O que lhe sucedera? Ver Psychologiscke typen, Eugen Bleuler, Dementia der Psychiatrie, Medialand was gripped by merger mania. By acting violently on the public space, the media deserve an answer equally seductive and tense.
Tentativas de libertar a individualidade da psique coletiva, 5. What is curious is that the videoclip is just a more studied TV spot that shows prod- ucts out of the product placement obvious logic. Eis o Cordeiro de Deus, que tira o pecado do mundo! Having the optimization in sight, the individual tends to live intense, hypermediatic experiences, knowing, apprehending and acessing to everything, therefore he has the conscience that in this society one acts out and not acts in an entertainment economy.
Olhei, e vi um cavalo amarelo.
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