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Supporter
Regina Pinto
Since 2002
Works in United States of America

- http://www.arteonline.arq.br

ARTBASE (1)

Caleidoscópios - Kaleidoscopes
PORTFOLIO (9)

Camcorder Paintings
Carnaval Carnival 2008
Cell Show
Dancing Tree
Equilibrium
Lapa
People / Gente
Sombra Ação
Twitters for the New Year
BIO

Born in Rio de Janeiro, Regina Pinto lives, loves and believes in net.art. So that all her work
as artist ( http://arteonline.arq.br/library.htm )
or curator ( http://arteonline.arq.br )
is done for the web.
RHIZOME ACTIVITIES

Discussions (225) Opportunities (4) Events (0) Jobs (0)
DISCUSSION
Posted on Tue Feb 10, 2004

## Re: Set 3: The Place Pack

Hi Curt,
Quite beautiful work!
We have differents views, but I think that both are interesting.
I think Art can show beauty or not. City of God, a Brazilian movie, for
example, has some indications (few) to Oscar and shows poverty and
violence all time (mine photos tell nothing about poverty if you see this
movie).
For now my work is only an ethnographic report, but I intend to transform it
in an artistic ebook, perhaps it will become more poetic.
Peace,
Regina
----- Original Message -----
From: "Curt Cloninger" <curt@lab404.com>
To: <list@rhizome.org>
Sent: Tuesday, February 10, 2004 4:48 AM
Subject: RHIZOME_RAW: Set 3: The Place Pack
> The third set of Synesthetic Bubble Gum Cards is now available:
> http://computerfinearts.com/collection/cloninger/bubblegum/place/
>
> Subjectively remixing the following PLACES:
> dutch cove << north carolina << u.s. << earth
> juniper landing << seminole << alabama << u.s. << earth
> lafayette << louisiana << u.s. << earth
> pike place market << seattle << washington << u.s. << earth
> valle de bravo << mexico << earth
> mars
>
> Previous and Forthcoming Sets may be gotten at:
> http://computerfinearts.com/collection/cloninger/bubblegum/
>
> down by the green river where the paradise lay,
> curt
>
> _
> _
> +
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> -> visit: on Fridays the Rhizome.org web site is open to non-members
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>
>

DISCUSSION
Posted on Wed Feb 04, 2004

## VIEWING AXOLOTLS ... a visual narrative, some reflections and a game

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VIEWING AXOLOTLS
... a visual narrative, some reflections and a game
http://arteonline.arq.br/viewing\_axolotls
by Regina Celia Pinto
Based on:
"There was a time when I thought a great deal about the axolotls. I went to=
see them in the aquarium at tbe Jardin des Plantes and stayed for hours wa=
tching them, observing tbeir immobility, their faint movements. Now I am an=
axolotl.
I got to them by chance one spring morning when Paris was spreading its pea=
cock tail after a wintry Lent. I was heading down tbe boulevard Port-Royal,=
then I took Saint-Marcel and L'Hopital and saw green among all that grey a=
nd remembered the lions. I was friend of the lions and panthers, but had ne=
ver gone into the dark, humid building that was the aquarium. I left my bik=
e against tbe gratings and went to look at the tulips. The lions were sad a=
nd ugly and my panther was asleep. I decided on the aquarium, looked obliqu=
ely at banal fish until, unexpectedly, I hit it off with the axolotls. I st=
ayed watching them for an hour and left, unable to think of anything else."=
( from The End of the Game / Axolotl by Julio Cortazar, an argentinean wri=
ter).
and
"After 500 years of printing, 150 years of photography, a century of film a=
nd 50 years of television,
reality programming has reached maturity.
Consumers live scripted lives, while reality-creating machines predict all =
their movements.
This phenomenon is so powerful that everyone actually has two bodies: one r=
eal and another fictitious (shaped by received data)."*
How can we change the bundles of pictures that falsify reality? Is this a d=
esirable "reality"?
*BERNARDO, Gustavo. A duvida de Flusser - filosofia e literatura. Sao P=
aulo, Globo, 2002.
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<HTML><HEAD>
<META http-equiv=Content-Type content="text/html; charset=iso-8859-1">
<META content="MSHTML 6.00.2737.800" name=GENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=#ffffff>
<DIV><FONT face=Arial size=2>
<DIV align=center><IMG alt="" hspace=0
src="cid:001501c3eb47$fbe96c10$c462cac8@NOMEAmigotec" align=baseline
border=0></DIV>
<DIV>&nbsp;</DIV>
<DIV align=center>VIEWING AXOLOTLS</DIV>
<DIV align=center>... a visual narrative, some reflections and a game</DI=
V>
<DIV align=center><A
href="http://arteonline.arq.br/viewing\_axolotls">http://arteonline.arq.br=
/viewing\_axolotls</A>
</DIV>
<DIV align=center>&nbsp;</DIV>
<DIV align=center>by Regina Celia Pinto</DIV>
<DIV>&nbsp;</DIV>
<DIV>Based on:</DIV>
<DIV><BR>"There was a time when I thought a great deal about the axolotls. =
I
went to see them in the aquarium at tbe Jardin des Plantes and stayed for h=
ours
watching them, observing tbeir immobility, their faint movements. Now I am =
an
axolotl. <BR>I got to them by chance one spring morning when Paris was spre=
ading
its peacock tail after a wintry Lent. I was heading down tbe boulevard
Port&#8209;Royal, then I took Saint-Marcel and L'Hopital and saw green amon=
g all that
grey and remembered the lions. I was friend of the lions and panthers, but =
had
never gone into the dark, humid building that was the aquarium. I left my b=
ike
against tbe gratings and went to look at the tulips. The lions were sad and=
ugly
and my panther was asleep. I decided on the aquarium, looked obliquely at b=
anal
fish until, unexpectedly, I hit it off with the axolotls. I stayed watching=
them
for an hour and left, unable to think of anything else." ( from The End of =
the
Game / Axolotl by Julio Cortazar, an argentinean writer). </DIV>
<DIV>&nbsp;</DIV>
<DIV>and<BR><BR>'After 500 years of printing, 150 years of photography, a=
century of film and 50 years of television, <BR>reality programming has rea=
ched
maturity.<BR>Consumers live scripted lives, while reality-creating machines=
predict all their movements. <BR>This phenomenon is so powerful that everyo=
ne
actually has two bodies: one real and another fictitious (shaped by receive=
d
data).

DISCUSSION
Posted on Mon Feb 02, 2004

## Faces of Rio: Walking downtown / visible city

http://www.arteonline.arq.br/cara_do_rio/downtown.htm
RIO
"You are my way
my wine, my vice
Safe harbor where I was born
my tobacco and my yoga
you are my drug
Passion and carnival"
Today, walking downtown, sunny day, blue sky I felt like the song.
Took lots of photos, selected some of them to show you:
1- Popular stores ready to Carnival
2- Cultural / Art Centers
3- Municipal Theater
4- National Library
and a surprise (to myself too) the Afoxe Filhos de Gandi (Afoxe Sons of Gan=
di) was just parading
to celebrate February 2nd, Yemanja Day....
You will see that the city is really the space of Art: the architecture of =
the old buildings, the colours, the joy of the parade!
Today I am showing the Visible City!
but I love both of them : Visible and Invisible...It is my way!
I decided to invite you this Monday to comemorate Yemanja!!! So that no rep=
ort next friday... ;-(
http://www.arteonline.arq.br/cara_do_rio/downtown.htm
Warmest regards,
Regina

DISCUSSION
Posted on Mon Feb 02, 2004

## Re: Bridges

Hi Joao,
Reading Calvino I have not thought about this yet, but I liked a lot your
contribution. So we must look the bridge, the arc, the stones and the space
among them to a complete ethnographical analysis. Do you agree? I think it
agrees much more better with the "Interpretation of Cultures" by Clifford
Geertz. Good to find someone speaking Portuguese in Rhizome.
Muito obrigada, thank you, tchau,
Regina
What do you think about this part of Calvino's text? O que voce pensa dessa
parte do texto de Calvino?
"From now on, I'll describe the cities to you," the Khan had said, "in your
journeys you will see if they exist."
But the cities visited by Marco Polo were always different from those
thought of by the emperor.
"And yet I have constructed in my mind a model city from which all
possible cities can be deduced," Kublai said. "It contains everything
corresponding to the norm. Since the cities that exist diverge in varying
degree from the norm, I need only foresee the exceptions to the norm and
calculate the most probable combinations."
I have also thought of a model city from which I deduce all others,"
Marco answered. "It is a city made only of exceptions, exclusions,
incongruities, contradictions. If such a city is the most improbable, by
reducing the number of abnormal elements, we increase the probability that
the city really exists. So I have only to subtract exceptions from my model,
and in whatever direction I proceed, I will arrive at one of the cities
which, always as an exception, exists. But I cannot force my operation
beyond a certain limit: I would achieve cities too probable to be real."
Oi Joao,
Eu nao havia pensado nisso, mas gostei muito da sua contribuicao. Nesse caso
devemos olhar a ponte, o arco, as pedras e o espaco entre elas para que uma
analise etnografica seja completa. Concorda? Tem mais a ver com a
Interpretacao das Culturas do Clifford Geertz. Bom encontrar alguem falando
Portugues no Rhizome.
Ate a vista!
Regina
----- Original Message -----
From: Joao Pedro
To: list@rhizome.org
Cc: Oliveira Pereira
Sent: Monday, February 02, 2004 1:53 PM
Subject: Re: RHIZOME_RAW: Bridges
I don't agree. Each stone is nothing, each one of them is like a empty
concept. It's the interstice between two stones that's the essential: if
here wouldn't existing that empty space between them, wouldn't have stones,
but only a petrified and uniform mass without sense! Also, is this fractal
space that do possible the separation and the interaction, an integration of
disparate elements in order to organize a form, for exemple, making a arch
that gives to each stone a final sense: being a bridge stone!
Joao
oliveirapereira1@sapo.pt
Com efeito, conta-se que existem lacunas que nunca foram preenchidas, uma
afirmacao, contudo, que provavelmente nao passara de uma das muitas lendas a
que a construcao da muralha deu origem.
In: "A Grande Muralha da China", Kafka
----- Original Message -----
From: Regina Celia Pinto
To: List@Rhizome. Org
Sent: Monday, February 02, 2004 10:26 AM
Subject: RHIZOME_RAW: Bridges
Marco Polo describes a bridge, stone by stone. "But which is the stone that
supports the bridge?"
Kublai Khan asks.
"_The bridge is not supported by one stone or another," Marco answers,
"but by the line of the arch that they form."
Kublai Khan remains silent, reflecting. Then he adds:
"Why do you speak to me of the stones?
It is only the arch that matters to me."
Polo answers:
"Without stones there is no arch."
(Fragments of Invisible Cities, by Italo Calvino)
http://www.emory.edu/EDUCATION/mfp/cal.html

DISCUSSION
Posted on Mon Feb 02, 2004

## Bridges

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charset="iso-8859-1"
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Marco Polo describes a bridge, stone by stone. "But which is the stone that
supports the bridge?"
Kublai Khan asks.
"_The bridge is not supported by one stone or another," Marco answers,
"but by the line of the arch that they form."
Kublai Khan remains silent, reflecting. Then he adds:
"Why do you speak to me of the stones?
It is only the arch that matters to me."
Polo answers:
"Without stones there is no arch."
(Fragments of Invisible Cities, by Italo Calvino)
http://www.emory.edu/EDUCATION/mfp/cal.html
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Content-Type: text/html;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=Content-Type content="text/html; charset=iso-8859-1">
<META content="MSHTML 6.00.2734.1600" name=GENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=#ffffff>
<DIV align=center><FONT face=Arial size=2><IMG alt="" hspace=0
src="cid:000c01c3e977$158cb9b0$1a63cac8@NOMEAmigotec" align=baseline
border=0></FONT></DIV>
<DIV align=center><FONT face=Arial size=2></FONT>&nbsp;</DIV>
<DIV align=center>Marco Polo describes a bridge, stone by stone. "But whi=
ch is
the stone that<BR>supports the bridge?"<BR>Kublai Khan asks.<BR>&nbsp; "_Th=
e
bridge is not supported by one stone or another," Marco answers,<BR>"but by=
the
line of the arch that they form."<BR>Kublai Khan remains silent, reflecting=
.
Then he adds:<BR>"Why do you speak to me of the stones?<BR>It is only the a=
rch
that matters to me."<BR>Polo answers:<BR>"Without stones there is no
arch."<BR><BR>(Fragments of Invisible Cities, by Italo Calvino)<BR><BR><A=
href="http://www.emory.edu/EDUCATION/mfp/cal.html">http://www.emory.edu/E=
DUCATION/mfp/cal.html</A><BR></DIV></BODY></HTML>
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