Onde vivem os monstros pdf

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where the wild things are theme birthday party baby shower party pdf masks. Ann Sweet .. Camiseta Onde Vivem os Monstros: Um dos mais adorados livros. Wild thing from the movie & book Where The Wild Things Are by Maurice Sendak . Let the wild rumpus start! All 3 of my kids LOVED this book. I don't know a kid. Onde Moram as Histórias. p. 1 / Embed or link this publication. Description. Oficina de Escrita Criativa - / Popular Pages. p. 1. Onde Moram as.

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Depois de 17 mil exemplares vendidos no Brasil, a Cosac Naify reapresenta, em nova edicao, Onde vivem os monstros, do autor norte-americano Maurice. I just wish it came downloaded in a different format than pptx (pdf). 1 year ago Reply Onde vivem os monstros. rosedomax · Caldecott. Maurice Bernard Sendak (Brooklyn, 10 de junho de - Connecticut, 8 de maio de ) foi Além de Onde Vivem os Monstros, Sendak também escreveu obras como In the Night Kitchen e Outside Over There, além do livro ilustrado O Pequeno Urso. .. Criar um livro · Descarregar como PDF · Versão para impressão.

After the sole cult of the image, this supersonic society accepts life clearly confined to spaces where the purpose of the wall is finished, therefore nothing else makes sense if not the trans- parency, to see the Other at the spectral sound speed. Everyone is in position for the social game: The regular orchestra leader on TV's classic live show, Your Hit Parade, was one of the show's star's. Or of privacy, of which Americans themselves were afraid of until some years ago, and that it starts to be something to show fearlessly. Let us take, then, the architecture with us — my space is where I am, and I am in a battlefield.

Full Name Comment goes here. Are you sure you want to Yes No. The study also showed that many women need at least minutes of intercourse to reach "The Big O" - and, worse still Clearly, most men are NOT fulfilling there women's needs in bed. But, not being able to last 20, 30 minutes or more, is definitely a sign that you're not going to "set your woman's world on fire" between the sheets. Question is: In it, you'll discover a detailed guide to an Ancient Taoist Thrusting Technique that can help any man to last much longer in bed.

Show More. No Downloads. Views Total views. Actions Shares. Embeds 0 No embeds. No notes for slide. You just clipped your first slide! Clipping is a handy way to collect important slides you want to go back to later. Now customize the name of a clipboard to store your clips. Visibility Others can see my Clipboard. Cancel Save. Problably, there will remain only the celebrities whose attitude reveals itself more bold.

The stylized rhythm of appearance of the celebrities banalizes all the power insignia, because it integrates an environment where everything is adjectived by principle: In summary, the stars represent an obsession for the standards of the high-production world, as the MTV institution demonstrates, a TV network that shows narratives the most jammed as possible, in the name of the optimization of the mediatic space.

(PDF) A Sociedade Optimizada Pelos Média | Herlander Elias -

The economy of the perfect images, in high-resolution, very hardly allows us to observe critically the behaviors instigated by the videoclip. The behavior of the indi- vidual promoted by the videoclip was accepted. This cocktail, that represents the images of consumption of the media optimized society, materializes the marketing plan that the cyberculture adopted facing an also viral supermodernism. And meanwhile this technological subliming process of technofetishistic marketing works, the social consumption of products is made in panic, under the surveillance of the crypto-languanges, and through the epidemic domain of the imaginary.

The images that the means of communication have became the assassins of the Real, of the very few Real that always existed, untouchable and vulnerable at the mercy of visionaries. The major facade of this social neurosis impregnated of tech- nologies is that everything becomes an incessant representation, a lie withou return, a short circuit in the value improvement sphere, that then is called in a different manner, like upgrade or update.

It is this the socially instituted neo-Real that holds the high-definition of the luxuries and lusts of the annoying star system. Design introduces in this equation the desire to acquire and to handle fetishistic objects.

But it is marketing that becomes a second institution within media, by giving support to the consumption through the demonstration of models built in videoclip style.

Maurice Sendak

If the Real has desappeared for the generations of individuals and for the general neobourgeoisie, that is because it exists the syndrom that it is more and more nec- essary to film intimacies, problably because it does not exist too much available essence. One appeal very much to synthetic image laboratories and there is a lot of investments in the disappearing of spontaneity. Even that everything might be ajustable to it and reachable as if through remote control, all problems result of the fact that media had become an environment through architecture.

Every effort and pseudo-illuminati projects were simply reduced to the fullfilment of high-performances, high-debits, being privileged the maximum of investiments, the minimum of reality.

The virtual and the absence of nexus in the Real inaugurate, even though, the paradigm of the conexus. We attend to a technological perversion occult within the data networks and in the fashion design, which is creating a new communication domain that functions everywear, all around us, within us, in our clothes, our skin, beneath the skin, even in the DNA — the code of the flesh. In this social Las Vegas, all becomes image, as it testifies the the power of the videoclips, but the speed at which images intervene in society is supersonic, given that there is not much maneuver space left to question them — they are legitimate and accepted.

This is how all things become nor public nor private, but semipublic, thanks to a compression formula that gathers people and goods as if they were images stored in a hard disk. The way the individuals became characters, and not mere spectators, it is due to the fact of the consumption goods have been turned into space. And only media occupy already a very significative portion of the social space!

Judging by the proportions that the social stimulated by the optimization achieves, there is some difficulty in trying to identify the actors, because we are all the actors. It is merely a question of time until we all become actors acting among the ephemeral supersonic, especially now that one exceeds the ridiculous neo-romantic age of the high-tech! It is in question the optimization of the society through the codes of media, in the new fetichistic parade spaces, those of impressive consumption, of elegant violence, of hardcore shopping, that are the spaces of a theatrical nature, appropriate for seductive representations where the actors constitute also the audience that con- sumes in panic.

It did not took so long until the owners of fashion, information and marketing, to copy the concept for themselves, to apply it in the new mediatic economy sponsored by the high-tech and by the haute couture. In addition, it is alleged that the new worlds of the consumption receive the individual by selling to him an intended entity, an entrance in the fascinanting and elegant environment, connivent with all that the celebrities possess to define their statute. It matters to invite the individuals to renew their personality and to show with prominence the ornaments.

It is part of the optimization that the acess to a virtual reality similar to the one of the videogames should be public, so the first person fiction experiencies are quite worth anything. The city, the embassy of the polyester where the society acts out, is an unique battlefield, a court of shockwaves, and an ecosystem full of pop phenomenons.

In this space, there is an emptiness provoked by this rain of stars that demonstrates how exactly society performs, too much obsessed with its improvements, involved in its addictive and hyperbolic rhythms, lost in the ephemeral supersonic.

The entire urban tissue seems to generate traffic in a non-stop way. The Society concentrates its efforts in the promotion of the incessant rhythms, because it moves them away of the immobile History and the perversely updated Law. The problem is that the individual is incapable to fully comprehend the technologi- cal architecture that involves the urban spaces of this society.

Meanwhile, new mobile targets will appear, consumers that have panic attacks in this agressive urban cosmos, where the body is, indeed, a real battlefield for the promotional and techno-scientific sectors. According to the moribund cyberculture, this urban space can only be understood as a game without rules, appearance or depth — a transparent multiverse12 instead of an obvious universe.

A vectorial arena of organic statistics that former were healthy people. There are no doubts that this society cannot be turned off. Every wall is disintegrat- ed, the solid is liquified and the mediations operate as mills, exploring the strenghts of the flows, of what it is passing by, of what does not stay, of the supersonic.

The official game of the society is huge, the networks are its own effects; there is not, there was never nor there will be an end. What is left is a history of movements, ideas and power, leftoverses of representations now retained in instantaneous media flows. Thus, it can make sense to interfere and ridicule the spectrum of media, because media have too much power.

It is at stake a whole new class of figures able to attack the also predator global popular culture in an aesthetic way. It might sound absurd, but the saboteur and, at last, the terrorist are figures that are associated to precise acts, and not to mediatic simulations. After so much technology, to sabotage seems to be the most obvious counterpoint to the global world of epidemic consumption. It is not in question if it is this the best way of acting, but certainly is as perverse as the network communication of today.

The saboteurs, just as the terrorists, cause the mass panic, as if it existed a new nuclear age, an improved terror provoked by an invisible detonation, an atomic silent bomb, resonant, altough encripted. What is most probable is that this terror increase the optimization, because, under the threat of the economical meltdowns, the individuals have the sensation that it is necessary to obtain the best possible results in the minimum amount of time, as if the world would end tomorrow, because it is not known when there will be an end.

It was this area of the business and of the communication that managed to erase the borders between the Real and the virtual, because it attenuated the bordering zones that formerly separated the social realities.

The only thing one can notice is the reality of media, which is an authentic factory of hyper-real, because it is the natural cause of the existence of the optimized reality, of the universe that shares the plasticity sold through the videoclip. Indeed, it is as if a perfect reality is what would only exist, and outside of it nothing would seem to happen but errance — the non-conscience that the mediatic discourses hurt the architecture and the urban tissue of this society.

As a response to this errance, the sabotage and, unfortunately, terrorism, exhibit facts, acting instead of acting out, going far beyond. The sabotage tends to be more creative, but terrorism reaches the unnecessary sphere of destruction. Terrorism it is the subtle enemy, capable of destroying more than the disatomization. It does not needs to blow because it does not detonates, thus it is detonating itself, as the cyclic movement of waves in the beach.

But why is it that one responds so agres- sively to this seductive and lunatic society? Mainly, because this society resigned itself before representation, forgot the revolutions of ideas, turned itself to the epidemic con- sumption and segregates the vanishment of humilty, in scenery where the control that generates lacks does not controls nothing.

Around us everything is virtual. The violence it is not to be aware of this fact, but in the acceptance of it. The social game is a mediatic duel; hence, after theatre, the fight moved away to the video-screens, and these returned it again to the street. All it matters is to proceed to the next level, it is this the contemporary conscience; it is like to play videogames, even that to acess and score in the game might be needed to simulate.

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.

Relação de Contos Int_iv[1]

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.

Onde Moram as Histórias

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.

Capital required personality, substance; and information needed shape. 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. To respond to this violence of the things that are full of design and that are fashionable, one needs to communicate in the same language, what is obvious because the violent languages of seduction chase the individual, leaving him in vile optimized state.

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. Considering that spaces thought by the postmodernist architects are full of evidences and incite to the exploration as in the multimedia artworks and the avant-garde installations , it is comprehensible that all looks like an enormous videogame whose environments seduce us while we runaway from the annoyance towards the panic.

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. 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.

Os pdf vivem onde monstros

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.

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.

Os pdf monstros vivem onde

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.

After the peak of the cyberculture, we have before us the effects of the new seductive control: Simply, everything that was media became space, a form of soft control capable to exterminate the serenity. Without margin allowed for the reten- tion of whatever might be, the spaces became a luxury, a warranty of the slow con- sumption of images in high-definition. Only that, with the propagation of seductive and supersonic images provided by the media, the walls stopped doing sense in this supersonic State, where to impress means to attack.

The jamming phenom- enon is evident when everything implodes in the same mediatic, compact object of the popular communication. After so much technology that have been created and of the future have been seen as shocking, we have to confront us with the terror of the present, on this era in that the glamour is violent and the lifestyle accuses patholo- gies.

Under so much stimulation, to run away from the annoyance seems to be the solution found for the problem of the emptiness and of the absence of private life. When opting for frequenting the new public spaces, the individual fills the museu- mified emptiness of the walls of the capitalism, without repairing critically that the great consumption surfaces that compose our public space are inviting targets for the networks of saboteurs and the terrorists.

The objective of the contemporary terrorism is to put an end to the optimization, that is to say, to establish the inverse than it is intended in this economy of media: By definition, no longer exists public space, because the media conquered it, turning it into a fulfilling or performing exten- sion of their seduction schemes. If it be seen as an arena of mediatic effects, the public space loses its first nature and it is imposed by the new softcore identity, of the responsibility of the media, that operates between the public and private spheres to introduce a tense perversion among the intimacy, the privacy and the publicity.

With the undressed public space, the society is remodeled, un-marginalized, accept, redeemed, for the repression of the media, while the social space is guided for the cultivation of the voyeurism and of the consumption, being abolished all the walls.

It is the communication that undresses the mediatic bodies in public, as it happens in the fashion, in the videoclips and in the TV programs.

The video-screens swallow the Real, and, because the media appropriated of the public space, the individuals have to be in non-stop circulation. Always in multiple and constant seduction, in obligatory provocation, anesthetized in a complete, sharped and obsessive eroticism.

As if it was banal to appeal to the teletransportation, the fun and the pleasure of the trip has finished. What is privileged in the moment is the parade, as the one of top-models. The end of the innocent and family walk in the street originates a more committed behavior, because the ideology of capsule of the shopping malls reserves wandering in the public square just for the dangerous gangs of artists, saboteurs or terrorists. This sabotage answers to the urban social violence and the repressive global popular culture.

By acting violently on the public space, the media deserve an answer equally seductive and tense. The salvation is the high-definition and the high-resolution of the images of the media, the idols generated by the new marketing. In this sense, the architecture of the virtual takes charge of being the new habitation project for the new optimized society, where the technological aestheticization takes preoccupying proportions.

Everything is thought of high-style. Everything is, therefore, hyper-controlled, defined and identified. The social optimization that media carry out inaugurates an irreverent existence in the public space, that privileges the fashion associated to the chic and deluxe techno- logy.

And, to be in public is always something spectacular, the public space becomes more and more softcore, in way of TV program of connivent with the logic of the porn, where the individuals are not only completely undressed because the little that dress it legitimates the aesthetic intervention of the fast fashion.

Though, the most surprising is that was not the virtual that took place, but yes the real that was virtualized, because the virtuality appropriated of our architectures. The media already sign our urban land- scapes. The virtual is a new territory, the domain of the society of the representation and of the optimization, an immense Amazone river of the widespread social fiction practiced by pop users and consumers.

Inside of this territory, the rules are simple and prizes exist for dissimulation, but what prevails it is the simulation that, very quietly, it is going exterminating the stingy and shy reality that closes on itself, when it could be promoted. Outside the optimum space there is only the noise, the low definition left to still optimize.

For the fading of the walls, it opens up field to a new repression form: Now, the eroticism is stimulated with the softcore transparencies of the fashion and the open spaces of the high-tech architecture.

But this no longer it is eroticism.

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Yet to to improve it is this whole new public, humanoid, virtual, desert, that seeks to burst with the space delimitation and to entangle everything in a great global intrigue, so rough as metropolitan. If media extended for all the spheres of the social life, everything has to mean profit and rumor, communication and audiovi- sual optimization.

For this breed, the world is an immense public square left to furnish that, by chance, it comes with relief, spaces and times, private or public, erotic or pornologic, softcore or hardcore.

In fact, the virtual spaces are the collective dimension of the assumed game, but eroticism only exists where there is something for showing, and porn images are everywhere, since all it is to be shown and for sale. Those are the symptoms of the optimization! The marketing created again the nature of the seduction and of the business with the coming of the network technologies, it was infiltrated in the archives of our imaginary, it made us to buy the desire that we already fed and it invented the mutual desire.

For its time, the architecture supports the social game for the video-images and for the omnipresent music popular, contributing to this space of media since it was intended that the urban spaces went locals of game, of marginal representation of the world that the fiction allowed.

In fact, this society of supersonic consumption can be represented as players of videogames , exactly because the theatrical architecture of the computer is identical to the one of the modern social spaces of consumption. The social videogame in that the tecnopolitic invests it is also a way of giving space and movement to the fleshed figures of the video-images, the animated electronic world that it shines and it blinks in the screens.

In commercial centers or in videogames, in catwalks or outdoors, the obligatory seduction shows itself. Commercial centers and computer games, videoclips and porn films undress all the opacity barriers, on behalf of the ephemeral supersonic.

The commercial center is the new public space; the computer game, the new model of inter action; the video- clip, the new stimulant format audiovisual ; and the porn film, a compact example of rough relationships without dialogues.

After all, there is not time to dialogue when the fallacious communication supplants the understanding. What is going on is that the power is giving maneuver space to images that no longer it is possible to contain inside of the screens and that happen in the archi- tecture under the pretext of the spectacle.

Everyone is in position for the social game: The convincing staging began; we are in the great Truman Show — the widespread social fiction, the control of the microcosms sold as need to the whole galaxy. That nobody is inconvenienced with the fact of there being a new ecstasy: Among the individuals, there are formed new mediatic clots, residues of a select and optimized society for the technological luxury, full of the garbage of a propaganda that awaits for a calm hurricane, as mines in a plain of the Third World.

The new erotic narrative of the public space is studied in the marketing labora- tories and amplified by the powerful discourses of the computation. The computer is everywhere, and this phenomenon it is contemporary of the moment in that the supersonic and hyper-real image the videoclip, the videogame, the virtual and the hologram substitutes the realistic image the photography, the cinema and the TV.

Determining that behavior, the media appeal to the design to control the chaos and to organize the imaginary space for the architecture, in order to increase the artistic spaces, museumified, of consumption and amusement. The architects project the urban, capitalist and mediatic pavement where virgin realities exist ready only to receive the pop.

But why is it that the architecture is so impor- tant? In first place, because the architecture is the responsible one for the creation of the human space, representing, therefore, the urban domain. In second place, because the largest tool of the marketing is the creation of commercial centers, because the social spaces and of consumption that the architecture conceive are attached to the discourses of media.

Figures, promenades, exhibitions, entertainment, leisure, fashion, technology, vaca- tions, decoration, services — one can just notice the waterfall of ready-to-use orna- ments available and in what it is shown in videoclips, magazines, films and in the new reality shows. There is reality in everywhere, when fortified commercial centers swallow the streets already without sky , hiding the new pollution: About the patent visionary elements in these new spaces, the truth is that, of visionary and new, these already have only the form of the invading media.

It is natural that is indifferent we refer to commercial centers, theme parks, videogames or hyper-real films when the hyper-realism is banalized. That is to say the whole Futurama. It is only recently that one entered in the era of the everywear, everything that is media it is in everywhere, no longer there are just software or hardware, just mediatic omnipresence.

In other words, the tendency is so that the computer becomes an abstract entity and acquire a spectral, acoustic, virtual statute — in short, that becomes an omnipresent interface.

This system only makes sense because it is being given the possibility to reconfigurate our universes of. There is just optimization for the individual, because for the mediatic system there is extension, an optimum extension, tentacular, vibrant, resonant, supersonic. The media are no longer inserted in the definitions of soft or hard, because the what is accomplished in the moment is a subtle and ambitious mediatization of the world, that no longer embodies the technicist spirit rival of the Nature, but that intends to be parallel to it or to integrate its caverns.

One invests, according to this logic, in the construction of new worlds of information and desire, that should be in everywhere, under our command. Hence, if media are everywear, it is natural that the computorized machines com- mitted with the discourse of the fashion appear more and more.

Referred this, it is understood how natural it is that the design takes the responsibility for the coalition of the aesthetics with the technology; the main interest stopped being the performance mechanisms, for the that is also interesting to give image and form to the hardware of media.

The question is that that skin is collective and, as a tissue, reaches a very vast amount of individuals4. If the computation assumes the form of our tissues, it is because it started to show anywhere, being at any rate accessible and usable, as a piece of clothes. The new electronic tissue that is represented by the meshes of the wireless informa- tion networks it is a new nomadic collective clothing, invoked whenever to reconfigu- rate the Real is intended, without being precise to be seized to only one?

But, still more important in this time, it is the marriage of the architecture with these networks of information, that is, with media, with the computorization. A phenomenon of this nature means that the spaces can be converted to communication campaigns thought in the digital world. A tense and perverse communication world waits for us, much beyond the explo- ration of the outer Space. In the next years, when we refer to the computorized world or to the media, we will be looking for space.

Or, more concretely, for the true cyber- space that the visonaries imagined two decades ago, when it was necessary to pave the future after the Cold War. One should understand this phenomenon in the following way: In this encounter of media with the architecture, there is, on one side, a passage of the acoustic to the visible, because media, in its supersonic spectrality, take refuge in the visibility provided by the architecture. On the other hand, the architecture, that for the Ancient Greeks showed under the way of illuminated sculptural forms, it was absorbed by the media, because these are the ones that dominate the cult spaces now, on behalf of the globalization.

There are a lot of modifications visible, among which the fact of the architecture stopped having as purpose to confine and manage people and objects in spaces, once the optimization practiced by the media raises the mobility.

Let us take, then, the architecture with us — my space is where I am, and I am in a battlefield. It is this the attitude to adopt and to consider, in a present time in that the panic, the sabotage and the terror chase the urban individual.

We are, unavoidably, located in the media, through the architecture and the technology. Therefore, the technological architecture tends to be liquid, such it is its level of supersonic definition. We looked for new ways of taking our real with us Our space is mobile and stays temporarily where we want. We do not inhabit, we are inhabiting. We are not, we are going to be. The attitude is totally radical, the media allow that we make everything, without other limits that are not the one of the own media.

The law is the one of the desire. Architecture has been too slow to to keep up with that desire. So media represents the speed at which we want to go, while architecture represents the concepts we need to ground it properly. That is to say, the architecture is signign a contract with the media, supplying them space in change of speed, because it is that its largest lack. The mediatic spaces are acquiring the qualities of the supersonic information and they become dynamic, fast, provoca- tive of flow.

This is the marriage picture of the media with the architecture, and be noticed that is so or more important than the marriage of the computer with the telephone.

In an urban tissue as ours, the individual inhabits more and more in an aviary of pulses, Artificial Intelligence, interactivity, optimization of experiences, instantaneity, high-definition and mobile networks of intimacies, privacies and publicities. The architectures have interiorized the landscape without other possible effect, exteriorizing the nervous machine electrically abstract, just as the Centro Pompidou show its own metabolic activity, its flows, its inner parts.

These architectures and the space of media — the cyberspace —walk shaking hands. The computer needed real architecture. The architecture needed to process information, of seducing, of thinking. The cybernetics already had its characters and its atmosphere, they lacked it the seasonal cycles translated in the fashions.

Thus, the virtuality acquired solid- ity, attributing fluidity to the reality. The new architectures are those symbols of the moment in that the spaces become supersonic, they demonstrate that the speeds stopped being spectral and they became physical, consistent, concretely vertiginous. That is to say, the speeds, the movements, the fashions, that nothing are more than times, conquered their spaces.

Thus, it was created a perfect instance for that happy accident — a type of video- game, in which the figures of the speed, the authors of the trips and the heroes of the moment are the kings. The present time is just in charge of testifying the acceptance of this more powerful, agile and nomadic, mnemonic and seductive, supersonic environment, stylized as a being made of liquid mercury taken from the pages of science fiction.

In its quality of new environments, the mediatic spaces have the purpose of disappear- ing, of transforming and of, as megaprojects, to stretch out elasticly its surfaces to the infinite, integrating without expelling and associating without isolating.

It is with pleasure that we notice in this contemporary ephemeral, impregnated of media design, from the figures to the aestheticized public spaces. These new spaces are also resultants of the perception that the information of the spaces is as crucial as the spaces itself destined to the information. Thus it is permitted like this that the design takes charge of converting all the great spaces of information in tecno-fetich- istic environments.

Having been planned for the high-performances, the great spaces of information are appropriate for pop spectacles and for porn experiences, a mixture of art facilities, with design and sexy marketing. It is a social directive, this of preparing the social spaces for receiving the operation of the high-perfomances.

It is the task of the architecture to favor the manipulation of all the social and collective spaces, relative or public, of cult or of consumption, when the media design intends to aestheticize the individual. There are no limits for the optimized or designed society for the media. Besides, also because the revolutions stopped doing sense, any attempts of modification of the regime of the optimized society end in the contempo- rary laboratories of definition and seduction improvement.

The great social optimization is in the top, leave your fantasies, buy a collective fantasy, communicate, consummate, be happy, but in high-style and definition.

There is no escape from the optimization; one has to adhere to the immateriality, to buy the transparency, to enter in the sleuth absence, to obtain high-performances and excellent visual resolution. There is nothing else to add, just to improve.

And, in fact, it this is the perspective in an urban space that shows, defines and accen- tuates everything. The media environment already surpassed the fixed infrastructures of the cities, with its supersonic flows carriers of pop in regime of high-style. Such a phenomenon is due to the way links have increased, the relationships among the spaces, the activities and the functions in a society based on the flows, when many of these are immaterial.

One of the consequences of this technopolitics organization of the public space is the fact of not being possible to distinguish the commercial centers, the catwalks, the video- clips and the videogames one of each other. Spaces, figures, supports and objects of communication implode in the same mixed and supersonic language. Considering that the audiovisual stimulation spread the virus of the image at the speed of the sound and that the architecture enjoys a pro-consumption interactiv- ity taken from video-image, not much is left except to undress the figures and the environments.

There is nothing else to sell when the essences were forgotten. Our public spaces are essentially pornologic and transmit us the virus of the speed, not of the ecstatic speed, but of the speed as weapon. The paradigm of being social is to be impressive, being aggressive and fast. The violence is not just directly associated to the spaces and the discourses; it is lubricated in fact in the ostentation, in the silence, in walking, to see, to feel and to think.

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The actual violence is as elegant as subcutaneous, and it was grafted for the media. It is an atrocious mediation intro- jected in the individual so that this buys what the lifestyles would, considerably, solve without the individual had to appeal to the psychology. We are in the space of the madness.

The Oedipus complex is a long hall of a thrilling architecture. It is in our hands the possibility to open or to close certain doors. To adhere to the mediatic war, it is enough to visit the spaces, to show off, to consume, to achieve high-speeds, to dress images, to impress, to be aggressive. The marginal is the model. The most sold and better succeed style is that of the marginal-hero, because it desre- spects the laws. What one intends is to try spaces and to obtain results that are, under the point of view of the narratives, extremely gratifying.

As a personal sexual experience, the Other, now, it does precede the Other, it is the space, the maternal space and of supersonic consumption that attracts us and it welcomes in its artificial breasts.

If there are toxins, or not, that is irrelevant when the universe by the media abolishes God and the Father on behalf of the Mother of all the Promotions7. As an infection of the media, the public spaces become more and more fascinating, being positioned as its own product, when the products ready-to-consume in panic no longer provide the necessary escape.

In the path of the unachievable happiness, the consumer, obsessed by the invented lifestyles, lets himself to go with fascinating, resonant marketing games, unable to answer them.

The inability of answer to the media, to the public space of this fascinating ephem- eral, is due, mainly, to the fact of everything have acquired the characteristics of the music from the point of view of the spectrality. Anything in this pop world of com- mercial center does not makes sense if it is not virtual, supersonic, curved, feminine, limpid, sexual, atrocious, aggressive and in. It is the music that it is the secret actress of the contagious communication, the invisible lady of the rhythm of the fashions and of the spectrality of the media that turns the space atmospheric and inviting.

The fact of the music to adorn the new architectures, as it happens with the jazz or with the dance music, it is related with the way as the domain of the sound became communicating music, and not only. Say goodbye to the social organization based on the fixation, notice in the seductions disseminated as marketing diseases in shock waves. There are no signs of traffic for the spectral stimulation of the media that transpierces all walls and prejudices.

The consuming individual is vulnerable, but that is not only pejorative, it is also interesting! In our age, the urbanization and the technology create multiple zones of seduc- tive and optimized information. For this reason, what it privileges is not just an architecture with its ceilings, halls, walls and rooms, but above all its open, styl- ized and unreal spaces — that is to say, virtual. The idea is to point out the form as the space suggests the passages, as derivations of music genres or as networking ramifications.

What can only be done is to play the game. We are always inside. The space frames the reality, being based, not in immobile contemplation structures, but in percussions and courses, in rhythms and fashions, in spontaneous seductions and in instantaneous attractions. The fascination developed in this ephemeral supersonic provokes us the desire to try consumption novelties, pleasure, concepts, narratives and goods.

Just that. But how we try just that it is, unavoidably, seductive and violent. It is optimum!. A new way of facing the urban landscape is being adopted, for to keep up with the plasticization of the urban space as space of obvious, aggressive and sexy promotion.

In a way less and less subtle, the images of high-definition and the sounds of high-fidelity climb up the surfaces of the buildings, being imposed to them as second skin. Suddenly, the indi- vidual is forced to enter voluntarily in buildings that more resemble screens, in zones where there are seductive means for an endless mediatization, and the impact of this process provokes the extinction of the sky and of the horizon as we defined them up to now, that is to say, free from the stimulation and of the pop artifice.

As they acquire the semiotic clothe of the media, the buildings turn into screens of capitalism, in pure pictures of the incitement to the inevitable epidemico consump- tion, proficient and imminent, repressive and wanted.

From building to building, the audiovisual empire that fit to television spreads out virally for the urban tissue of our downtowns, contaminating the spaces with sex, fashion and popular technology.

As if it was not enough, in the need to cast and to diffuse images in all the spaces and at all the moment, the marketing chooses the sky as the last mean of casting, as it happens in the multimedia spectacles, in the public festivities, in the millenary concerts and in another occasions in that the night is sister of the neon and of the propaganda laser. One should understand, then, that the advertisement that promotes the epidemic consumption is responsible for the clothe of data that is borrowed to the buildings.

Knowing that the night points out the vigor of the propaganda, it is comprehensible that model of Las Vegas expands to everything that is metropolitan and unavoidably mediatic landscape. Through the registration of words and images in the surfaces of the buildings, the themes that said respect to the private life became publics.

In the private sphere, they get ready the images to show in public, because the public space is the war space, the battlefield of the media, the podium of comparison of images and performances par excellence.

The rules for public use decreed by the high-tech fashion and by the design over- stimulate the blind individuals for the high-definitions and for the high-performances. There are giant Jumbotron type screens that are in charge of allowing that the seduc- tion of high-production invades the glass tissues of the most important buildings of the metropolises and grant them an electronic clothe based in the video-image.

Thanks to these new urban panoramics that affect the public space, today publics and audiences are infected at an unprecedented level.

What is in question is the struc- tures of information as the sound that discharge messages in a sinister way, mes- sages that are, easily, more virtual and fast than the TV-image. Also in this sense it is that the buildings will stop being fixed structures and they will take a mobile skin, of colors, sounds and mediatic flows stylized in high-fidelity, giving to any products a treatment of high-quality, wether they are virtual weapons, hallucinogens, politi- cal parties, vehicles, DNA ensurances, cosmetic surgery or biodegradable detergents.

The buildings absorbed the nature of the audiovisual that beautifies them. The only problem is that the new screens will allow to see the new hyper-reality much more easily, consolidating the reception of the marketing, and they will be, on the other hand, understood as perfect investment platforms for the terrorism.

On one side, the marketing intends stability to sell products in the screens of these buildings; on the other, there are saboteurs that need these screens to promote the instability, the real panic in the ambit of the neurotic consumerism.