consider

A place-specific film-excavation of Bixiga neighborhood-São Paulo. Choreography of forces that cross present time. Filmancy, clairvoyance is the vision of what is taking shape. Allegory: lobby-color, speculates. Hollow in the heart of the city, a rock. A bird ‘rappina’ lands. Novelty: Quilombo, alley, dealers: step. Vai-Vai samba school’s black and white banner. Pictograms from Benjamin’s “The Arcades project”. Progress: pluging the river while it’s possible. Commodity: Matarazzo & Metro. The real state of things, real estate: banning organic. Ground- quotation, avocados, blue taroes, water tanks, oxum: (cosmo) political reaction. Rheme maining sources: life asking for passage.

“Earth” (that is any something) “has no escape from heaven (that is nothing)” (Eckhart von Hochheim) Revém Natura, formed part of a larger research called CI.NE (Natural Expanded Cinema) – an attempt to produce a bio-centered, bio-rhythmic cinema, in contact with the non-human. A practical experience of incorporation of Amerindian perspectivism in the cinema-system. The experience of situating this system – from the Super 8 film (thrown and recovered from the sea) and its devices (screen, projectors) - in a sympoiesis (doing with) with the living system, with the water, the sea, the “environment”. A simple attempt to demolish the false split nature/culture, a suggestion of anthropophagic cinema, “anthropophagy: swallowing the environment” (H. Oiticica).

A tiny part of our (homonymous) homage for the minors master.

World Cup 2014 in Brazil. All television channels were showing virtual landscapes before the football matches. Landscape as a chance to meet life in it’s discontinuous mutation.

Mr. Biu (Seu Biu) was the last native resident of Tatuoca Island in Pernambuco (Northeast Brazil), a place now considered part of the territory controlled by the Suape Port Industrial Complex. The Suape Complex controls the region and through its #miliciasuape it has been intimidating, expelling and removing the local populations. A carpenter, Mr. Biu has fabricated tables for years; in her project made for “Convocatória para um Mobiliário Brasileiro” (“Open Call for a Brazilian Furniture”) an installation at the MASP (Art Museu of São Paulo), the artist Carla Lombardo dubbed these tables as “Gentrificada” (“Gentrified”). The movie builds a regime of visualization with technical images that invite us to think about representation and orientation in a world of data.

"In ancient China the tiger skin represented 'continuous change'. In the Maya’s world, Bolom Chon’s (jaguar) hide, allowed the constellations to be read: the cosmos’ dance." Ж In 7FF on¢idia Rio de Janeiro FIFA World Cup mascot Fuleco becomes a cipher for the mutation of indigenous people's symbols through public art and commerce, becoming viral. Other fluxes alluded to are the surplus value of code through a world of commodities, bit coins and mountains of data. 7FF on¢idia ushers us into encounters which are fleeting and leave questions unanswered—all the more reason to watch again.