Turismo em Espaço Rural

O turismo é uma das principais atividades geradoras de emprego e riqueza em todo o mundo, Portugal não é exceção à regra, este setor de atividade é o que mais contribui para a revitalização do espaço rural, consistindo em oportunidades de empreendedorismo, numa vertente de recuperação de espaços que tradicionalmente eram agrícolas, numa ótica de novo negócio, para um segmento de mercado específico. O Turismo em Espaço Rural em Portugal surge no final da década de 70 do século passado, consistindo no aproveitamento e na adaptação de património construído para fins de alojamento em zonas rurais envolvendo, principalmente, casas rústicas, quintas com atividades agrícolas e hotéis rurais. Na sua essência o Turismo em Espaço Rural satisfaz as necessidades de um grupo crescente de consumidores citadinos que procura romper com o quotidiano e obter uma experiência revigorante, através da procura do "autêntico", a nostalgia pelo passado, em perfeita integração com a natureza, atividades ao ar livre em contextos naturais, relaxamento num ambiente calmo e tranquilo, atributos que não encontram no meio urbano ao mesmo tempo que constituem um fator de valorização do meio rural e de reequilíbrio económico-social.

Dos riscos e miasmas : os apelos de um texto-pensamento em Crônica da casa assassinada, de Lúcio Cardoso

Tese (doutorado)—Universidade de Brasília, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2016.

Displaced metaphors: collaborative poetic responses to language in a post-physical world

This paper discusses an ongoing creative and conceptual collaboration between three authors, in which poetry has been approached as a way of exploring how lived experience and language are being transformed by the rapid evolution of virtual reality and its lexicon. We recognise, via Bakhtin, that language is always shared, in-use and redolent with multiple meanings. We acknowledge that we have written within a metaphorical space where we, as avatars of ourselves, use word processing software loaded with its own metaphors of page and print. The poems we have collaborated on have interrupted the increasing invisibility of metaphors such as ‘cloud’ and ‘screen’ as applied to technology, by working in the disjunction between metaphor and what it describes. We now reflect on the collaborative process and on the influence of technology on our practice, whilst maintaining a collaborative strategy. The paper explores the poetics of longing (Stewart) and Baudrillard’s simulacra and argues that concerns over remembering the real and the effects of nostalgia are offset by the generative potential of collaborative writing and its surprising forms of heteroglossia, which have exciting possibilities for creative practice.

Chamber music in painting photography film

This exhibition expands upon the history, approaches of experimental film and image making. Through speculative and abstract approaches the artists appropriate images to deal with trauma, confusion and nostalgia. The artists in this exhibition use personal imagery to demonstrate abstract ideals and idiosyncratic perspectives. Work in the show will be made up of photographic prints, collage, 16mm film and video work. Through physical manipulations of the image surface, retrenching of forgotten archives and poetic layerings of time and place, this exhibition aims to examine the de-linear and personal ways artists can experiment with the image.Through incorporating work of long standing artists Dirk De Bruyn and Luigi Fusinato in contrast with the work of young artists Anna Higgins and Beth Caird, the exhibition will examine the relationship between experimental film from a pre-digital context and how it influences, echoes and evolves in a post-digital environment.

Oscuridad y exilio interior en la obra de Rafael Alberti

Rafael Alberti, miembro de la Generación del 27, es autor de una dilatada obra en la que la luz y su opuesto, la sombra, juegan un papel determinante. La oscuridad es, precisamente, el eje que sostiene toda su poética, junto a una esperanza constante de escapar hacia la luz. Dicha oscuridad se combina con un sempiterno sentimiento de desarraigo hacia el presente que el propio autor definió como “la nostalgia inseparable”. Alberti fue uno de los muchos intelectuales españoles que sufrieron el exilio tras la derrota de la II República en la Guerra Civil. Desde que salió de España, la patria abandonada se convirtió en el Paraíso perdido que evocaba constantemente. Pero el sentimiento de exilio ya existía antes de abandonar España, cuando ese Paraíso se identificaba con su pueblo natal, que dejó en la adolescencia para trasladarse a Madrid. Y cuando regresó a España al morir Franco, serían las tierras de su exilio las que adquirirían tintes paradisíacos. Porque, en realidad, los sucesivos paraísos perdidos y añorados no son espaciales, sino temporales. Alberti es incapaz de arraigarse a su presente, en el cual no encuentra su identidad. Esta tesis constituye una revisión de su obra poética y teatral desde el enfoque de la oscuridad y del sentimiento de exilio interior, llegando a demostrarse que los momentos álgidos de ésta coinciden con las crisis personales que experimentó a lo largo de su vida. Es decir, que la obra parte de la oscuridad y se sostiene en la nostalgia. Es la respuesta a la imposibilidad de regresar a un pasado definitivamente perdido.

Design of products to honor people post mortem

The cemeterial units, are places of social practices of everyday life and worship and the tomb where nostalgia can be externalized and the memory of the deceased revered. In Western societies we can find a category of artifacts meant to evoke the memory or honor the dead. In this paper we we mention three examples of products that enabled a reflection on the concepts that gave rise to their ways, and that risks to fit them into a new "material culture", in that it may have created a break with the traditional system codes and standards shared by companies, and its manifestations in relation to the physical creation of this category of products. This work offers a reflection on the Design Products.What probably makes it special is the field where it is located: the design of products in one post mortem memory. Usually made of granite rock or marble, have the form of plate or tablet, open book or rolled sheet. On one side have a photograph of the person who intend to honor and inscriptions. The thought of inherent design of this work put on one side the intricate set of emotions that this type of product can generate, and other components more affordable, and concerning the form, function and object interactions with users and with use environments. In the definition of the problem it was regarded as mandatory requirements: differentiation, added value and durability as key objectives.The first two should be manifested in the various components / product attributes. The aesthetic and material/structural durability of product necessarily imply the introduction of qualifying terms and quantitative weights, which positively influence the generation and evaluation of concepts based on the set of 10 principles for the project that originated a matrix as a tool to aid designing products. The concrete definition of a target audience was equally important. At this stage, the collaboration of other experts in the fields of psychology and sociology as disciplines with particular ability to understand individuals and social phenomena respectively was crucial. It was concluded that a product design to honor someone post mortem, should abandon the more traditional habits and customs to focus on identifying new audiences. Although at present it can be considered a niche market, it is believed that in the future may grow as well as their interest in this type of products.

Homesick for the unheimlich: back to the uncanny future in Alien: Isolation

In 2014 Sega released Creative Assembly’s Alien: Isolation, a video game sequel to the 1979 film Alien. As an attempt to create both an authentic homage to the Alien franchise and a credible successor to Ridley Scott’s original film, Alien: Isolation was received as both a work of remediated nostalgia and as a deeply uncanny survival horror. This article discusses Alien: Isolation framed by theories of the uncanny (the unhomely) and of nostalgia (the homely), with the aim of revealing how the production design of the game reconciled these seemingly contradictory but nonetheless overlapping aesthetic qualities. By drawing on examples from Alien: Isolation’s visual and level design, this article discusses how the integration of nostalgic and uncanny qualities could be of value to horror and sci-fi game design, in particular to the development of sequels within existing franchises, and to remediations, remakes and reboots.

Nijinsky review: Passion meets frailty in triumphant performance

His story is one of the most famous of the 20th century. As a dancer, he was a beacon of modernism, an icon of androgynous sensuality, and a performer with spectacular athletic prowess. As a choreographer, his experiments with movement – often harsh, primitive and contextualised within a nostalgia for Russia's pagan past – ended with a deconstruction of ballet as an art form, severed from its links to classical technique in favour of a movement seen as revolutionary.