Professor (Full) of Humanities and Arts at the Institute of Humanities, Arts and Sciences Professor Milton Santos he has his doctorate in scenic arts. Leonardo Vincenzo Boccia is an instrumentalist, composer, and a research professor in the Multi-disciplinary Graduate Program in Culture and Society and in the Graduate Program in Scenic Arts at the Federal University of Bahia (UFBA) in Brazil. He teaches in the Institute of Humanities, Arts and Science at UFBA and since 2006 has led the interdisciplinary research group ECUS-UFBA/CNPq. In December 2010 he became a Mercator Visiting Professor at Jacobs University Bremen. His research interests include sound and music in screen media; sound studies; sonorous media manipulations; culture-specific, transnational and global mass-screen-media strategies; audiosphere and aesthetics, musical dramaturgy, musical theater, hearing and listening cultures, neuromusic. https://leovboccia.art.blog/
Em quase duas décadas do novo milênio, a velocidade com a qual se processam conexões na rede mund... more Em quase duas décadas do novo milênio, a velocidade com a qual se processam conexões na rede mundial de computadores tem aumentado intensamente. O fluxo contínuo de informações e a áudio-visão dos eventos mundiais, considerados proeminentes por influentes conglomerados de mídia, traz a sensação de simultaneidade dos fatos. O mundo físico é transposto em dados digitais (imagens e sonidos) é formatado para as diversas plataformas de mídia e é lançado como reverberação dos acontecimentos contemporâneos. Com isso, a sensação de proximidade com fatos marcantes de muitas regiões do planeta, especialmente das mais divulgadas pela mídia dominante é uma constante. A arte de massa — esta da qual tentarei neste ensaio delinear um esboço — distribuída por múltiplas plataformas digitais sustenta um discurso sedutor sobre a audiência mundial não tutorada cuja reação crítica é improvável. A dimensão estética dessas produções de arte massiva e seus discursos são simplificados para seduzir consumidores e vender-lhes mais produtos. Esta, que eu considero uma análise preliminar das múltiplas conexões entre macropoder digital, arte de massa e Bildung digital no espetaculoso mundo da tecnologia eletrônica conectada à rede mundial de computadores junta-se a mais revelações captadas em territórios da arte popular, onde é notável a resistência cultural das pessoas que ocupam o espaço físico. Abstract In almost two decades of the new millennium, the speed with which connections in the worldwide web are processed has increased intensely. The continuous flow of information and the audio-vision of world events, considered prominent by influential media conglomerates, brings the sensation of simultaneity of facts.The physical world is transposed into digital data (images and sounds) is formatted for the various media platforms and is launched as reverberation of contemporary events. Thereby, the feeling of closeness to the striking facts of many regions of the planet, especially of the most publicized by the dominant media is a constant. Mass art — the one I will attempt in this essay to trace an outline — distributed across multiple digital platforms supports a seductive discourse on untotured world audiences whose critical reaction is inprobable. The aesthetic dimension of these massive art productions and its discourse is simplified to seduce consumers and sell them more products. This, which I consider a preliminary analisys of the multiple connections between digital macropower, mass art, and digital Bildung in the spectaculous world of electronic technology connected to the worldwide web joins more revelations captured in territories of popular art, where cultural resistance of people occupying the physical space is remarkable.
Hoje é o último dia. O povo chega por todos os lados e toma conta das ruas, anda em cada direção ... more Hoje é o último dia. O povo chega por todos os lados e toma conta das ruas, anda em cada direção puxado-empurrado por gigantes armados com potente sistema de reprodução sonora. Espessas ondas estrondosa partem dos alto-falantes como lanças de fogo, batem nas paredes e retornam com mais intensidade, reverberam e retroalimentam o caos acústico.
Today is the last day. People come from everywhere and fill venues all over town; they walk in ea... more Today is the last day. People come from everywhere and fill venues all over town; they walk in each direction pulled-pushed by giants armed with powerful sound reproducing systems. Thick thundering waves break from the speakers like firing spears, hitting the walls and returning more intensely, reverberate and feeding back the acoustic chaos.
Looking for green projects of the street carnival in Salvador-Bahia, Brazil, in this article we e... more Looking for green projects of the street carnival in Salvador-Bahia, Brazil, in this article we examine the formal strategic planning before, during and after this mega event. Considering the impacts on the environment and urban space both seriously affected during the festivities, three main aspects of carnival in Salvador reveal the lack of sustainable projects. Firstly, we analyze strategies aimed at increasing tourism during this festive period and what the target audience. Then we observe the commitment of government to the street party and to the preservation and restoration of the city. The third aspect involves problems with the carnival circuit unequal expanding to favor sponsors, which brings the lack of an adequate space to the health of people in the streets. In the final part of this article we examine possible qualitative shifts through preservation projects and structural improvements for Salvador as historic city and cultural heritage of humanity.
Key Measures and the Virtual Audiosphere By virtual audiosphere we mean here the full technically... more Key Measures and the Virtual Audiosphere By virtual audiosphere we mean here the full technically produced audible dimension for several electronics devices in which multimedia audiovisual creations are produced or transmitted through screens with coupled sound systems, as well as TVs, computers, mobile phones, cinema, mp4, and other equipment. Then we will discuss the use of music in television programs-spectacles from production and post-production editions, in which, in order to attract attention and to entertain a worldwide audience, Key Visuals of world events considered prominent by influential media companies are accompanied by Key Measures of well-known musical motives and genres. 2 Generally, the music used for this purpose consists of parts of pop songs widely publicized over the last 60 years, traditional tunes, national anthems, popularly known motifs of classical music and other successful melodies usually of light and fun character from the hegemonic and transnational music industry. Thus, while the Key Visuals in some cases expose tragic events, mishaps, natural disasters, accidents, and scenes of death and war, the music chosen to accompany these events serves to mitigate and veil the visual dimension. Therefore, a new concept emerges here necessary to understanding the virtual audiosphere of television, a concept we call the de-dramatization of visual narratives, i.e., the action in post-production intended to mask the dramatic expression of Key Visuals. These concepts serve to surround the multimedia environment, specifically television, in an attempt to describe the semantic gaps that arise from such audiovisual compositions of Tele-Weltanschauung, through which are described and shown massive and daily world events considered as outstanding. Here, we intend to detail the key concepts of Key Measures, designed and used since 2005 in close international collaboration with Peter Ludes of Jacobs University Bremen. The productive collaboration between a social scientist; an expert in mass communication with a focus on the production of visual narratives in screen media; and a musician with experience in instrumental performance, musical composition and scenic arts resulted in the adoption of a new inter-and transdisciplinary analysis methodology. In the Biosphere, the image-sound relationship and the experiences of seeing-hearing are a constant that does not know long interruption, because silence does not exist, and complete darkness is seldom possible. However, for screen media, audiovisual productions are composed of moving images and Key Visuals (in some cases, still images) cropped to describe world events, and of sounds which accompany them in varied volume intensity; receding or advancing in the virtual audiosphere at the convenience of those who decide the final products to be released (chief editors and/or directors). In the Biosphere, each acoustic experience depends on the space in which a listener is located. In general, the natural audiosphere is composed of noises of different volume intensity, but it is hardly deafening. Meanwhile, in some urban areas noises above the normal level can be found, which cause irreversible hearing damage. For instance, the noise of a jet aircraft taking off and other noises even more intense, without any hearing protection, can instantly pierce the eardrum membrane. 3 However, the virtual screen media audiosphere is a relatively complex compound formed by various sounds, melodies, rhythms, sounds, special effects, and speech, produced and edited in different ways in post-production, when the levels of image-sound relations are finely selected, designed and tuned for audio or audiovisual final files. In this context, the intensity depends on the volume of the apparatus used for reproduction and the adjustment of the viewer-listener. Music increasingly stands out as the audio component more used for the virtual screen media audiosphere and especially as accompaniment of visual narrative in television programs-spectacles of world news.
Ao assistir cerimônias de abertura Olímpicas, desde que estas se tornaram mega-espetáculos e entã... more Ao assistir cerimônias de abertura Olímpicas, desde que estas se tornaram mega-espetáculos e então mega-eventos da mídia internacional, torna-se evidente e audível que com as criações artísticas nesse segmento da cerimônia, os países sede dos jogos Olímpicos visam alcançar dimensões estéticas impressionantes. Entretanto, estádios Olímpicos não são anfiteatros antigos ou teatros onde atores podem fazer seu melhor espetáculo; eles são arenas gigantes nas quais as proporções acústicas e visuais precisam ser bem estudadas e calculadas, para que se atinja o impacto estético desejado. Em locais grandes como um estádio Olímpico, as imagens são vistas a partir de diferentes perspectivas, na maioria dos casos muito rapidamente dos assentos, aparecendo pequenas e borradas. Nessas apresentações ao vivo, o cenário acústico encontra-se, geralmente, mais próximo do público do que as imagens, e o contraste entre o que é visto e o que é ouvido pode ser discrepante. Comparando as cerimônias de abertura dos jogos Olímpicos de verão das últimas três décadas, é possível descrever questões relevantes dessas metamorfoses artístico-ideológicas e seus impactos no legado estético da humanidade. Este artigo fornece uma análise de conteúdo e comparações de partes do segmento artístico das cerimônias de abertura Olímpicas a partir de 1980 e esboça tendências estéticas principais e inovações nas representações ao vivo e nas transmissões internacionais. Abstract Watching Olympic opening ceremonies, since they became mega spectacles and then mega events of international media, it is evident and audible that with the artistic creations in this segment of the ceremony, the host nations of the Olympic games aim to achieve stunning aesthetic dimension. However, Olympic stadiums are not ancient amphitheaters or theatrical venues where actors can make the best spectacle; they are gigantic arenas where acoustic and visual proportions need to be well studied and calculated to achieve the desired aesthetic impact. In large venues such an Olympic stadium, the images are seen from different perspectives, in most cases from very fast seats, and appear small and blurry. In that live presentations, sound scenery is generally nearer to the public than images, and the contrast between what is seen and heard can be discrepant. Comparing the opening ceremonies of the summer Olympic games of the past three decades it is possible to describe relevant issues of these artistic-ideological mediamorphosis and their impact in the aesthetic legacy of humanity. This article provides a content analysis and comparisons of parts of the artistic segment of the Olympic opening ceremonies since 1980 and outlines main aesthetical trends and innovations in the live representations and international broadcasts.
Watching Olympic opening ceremonies, since they became mega spectacles and then mega events of in... more Watching Olympic opening ceremonies, since they became mega spectacles and then mega events of international media, it is evident and audible that with the artistic creations in this segment of the ceremony, the host nations of the Olympic games aim to achieve stunning aesthetic dimension. However, Olympic stadiums are not ancient amphitheaters or theatrical venues where actors can make the best spectacle; they are gigantic arenas where acoustic and visual proportions need to be well studied and calculated to achieve the desired aesthetic impact. In large venues such an Olympic stadium, the images are seen from different perspectives, in most cases from very fast seats, and appear small and blurry. In that live presentations, sound scenery is generally nearer to the public than images, and the contrast between what is seen and heard can be discrepant. Comparing the opening ceremonies of the summer Olympic games of the past three decades it is possible to describe relevant issues of these artistic-ideological mediamorphosis and their impact in the aesthetic legacy of humanity. This article provides a content analysis and comparisons of parts of the artistic segment of the Olympic opening ceremonies since 1980 and outlines main aesthetical trends and innovations in the live representations and international broadcasts.
Em quase duas décadas do novo milênio, a velocidade com a qual se processam conexões na rede mund... more Em quase duas décadas do novo milênio, a velocidade com a qual se processam conexões na rede mundial de computadores tem aumentado intensamente. O fluxo contínuo de informações e a áudio-visão dos eventos mundiais, considerados proeminentes por influentes conglomerados de mídia, traz a sensação de simultaneidade dos fatos. O mundo físico é transposto em dados digitais (imagens e sonidos) é formatado para as diversas plataformas de mídia e é lançado como reverberação dos acontecimentos contemporâneos. Com isso, a sensação de proximidade com fatos marcantes de muitas regiões do planeta, especialmente das mais divulgadas pela mídia dominante é uma constante. A arte de massa — esta da qual tentarei neste ensaio delinear um esboço — distribuída por múltiplas plataformas digitais sustenta um discurso sedutor sobre a audiência mundial não tutorada cuja reação crítica é improvável. A dimensão estética dessas produções de arte massiva e seus discursos são simplificados para seduzir consumidores e vender-lhes mais produtos. Esta, que eu considero uma análise preliminar das múltiplas conexões entre macropoder digital, arte de massa e Bildung digital no espetaculoso mundo da tecnologia eletrônica conectada à rede mundial de computadores junta-se a mais revelações captadas em territórios da arte popular, onde é notável a resistência cultural das pessoas que ocupam o espaço físico. Abstract In almost two decades of the new millennium, the speed with which connections in the worldwide web are processed has increased intensely. The continuous flow of information and the audio-vision of world events, considered prominent by influential media conglomerates, brings the sensation of simultaneity of facts.The physical world is transposed into digital data (images and sounds) is formatted for the various media platforms and is launched as reverberation of contemporary events. Thereby, the feeling of closeness to the striking facts of many regions of the planet, especially of the most publicized by the dominant media is a constant. Mass art — the one I will attempt in this essay to trace an outline — distributed across multiple digital platforms supports a seductive discourse on untotured world audiences whose critical reaction is inprobable. The aesthetic dimension of these massive art productions and its discourse is simplified to seduce consumers and sell them more products. This, which I consider a preliminary analisys of the multiple connections between digital macropower, mass art, and digital Bildung in the spectaculous world of electronic technology connected to the worldwide web joins more revelations captured in territories of popular art, where cultural resistance of people occupying the physical space is remarkable.
Hoje é o último dia. O povo chega por todos os lados e toma conta das ruas, anda em cada direção ... more Hoje é o último dia. O povo chega por todos os lados e toma conta das ruas, anda em cada direção puxado-empurrado por gigantes armados com potente sistema de reprodução sonora. Espessas ondas estrondosa partem dos alto-falantes como lanças de fogo, batem nas paredes e retornam com mais intensidade, reverberam e retroalimentam o caos acústico.
Today is the last day. People come from everywhere and fill venues all over town; they walk in ea... more Today is the last day. People come from everywhere and fill venues all over town; they walk in each direction pulled-pushed by giants armed with powerful sound reproducing systems. Thick thundering waves break from the speakers like firing spears, hitting the walls and returning more intensely, reverberate and feeding back the acoustic chaos.
Looking for green projects of the street carnival in Salvador-Bahia, Brazil, in this article we e... more Looking for green projects of the street carnival in Salvador-Bahia, Brazil, in this article we examine the formal strategic planning before, during and after this mega event. Considering the impacts on the environment and urban space both seriously affected during the festivities, three main aspects of carnival in Salvador reveal the lack of sustainable projects. Firstly, we analyze strategies aimed at increasing tourism during this festive period and what the target audience. Then we observe the commitment of government to the street party and to the preservation and restoration of the city. The third aspect involves problems with the carnival circuit unequal expanding to favor sponsors, which brings the lack of an adequate space to the health of people in the streets. In the final part of this article we examine possible qualitative shifts through preservation projects and structural improvements for Salvador as historic city and cultural heritage of humanity.
Key Measures and the Virtual Audiosphere By virtual audiosphere we mean here the full technically... more Key Measures and the Virtual Audiosphere By virtual audiosphere we mean here the full technically produced audible dimension for several electronics devices in which multimedia audiovisual creations are produced or transmitted through screens with coupled sound systems, as well as TVs, computers, mobile phones, cinema, mp4, and other equipment. Then we will discuss the use of music in television programs-spectacles from production and post-production editions, in which, in order to attract attention and to entertain a worldwide audience, Key Visuals of world events considered prominent by influential media companies are accompanied by Key Measures of well-known musical motives and genres. 2 Generally, the music used for this purpose consists of parts of pop songs widely publicized over the last 60 years, traditional tunes, national anthems, popularly known motifs of classical music and other successful melodies usually of light and fun character from the hegemonic and transnational music industry. Thus, while the Key Visuals in some cases expose tragic events, mishaps, natural disasters, accidents, and scenes of death and war, the music chosen to accompany these events serves to mitigate and veil the visual dimension. Therefore, a new concept emerges here necessary to understanding the virtual audiosphere of television, a concept we call the de-dramatization of visual narratives, i.e., the action in post-production intended to mask the dramatic expression of Key Visuals. These concepts serve to surround the multimedia environment, specifically television, in an attempt to describe the semantic gaps that arise from such audiovisual compositions of Tele-Weltanschauung, through which are described and shown massive and daily world events considered as outstanding. Here, we intend to detail the key concepts of Key Measures, designed and used since 2005 in close international collaboration with Peter Ludes of Jacobs University Bremen. The productive collaboration between a social scientist; an expert in mass communication with a focus on the production of visual narratives in screen media; and a musician with experience in instrumental performance, musical composition and scenic arts resulted in the adoption of a new inter-and transdisciplinary analysis methodology. In the Biosphere, the image-sound relationship and the experiences of seeing-hearing are a constant that does not know long interruption, because silence does not exist, and complete darkness is seldom possible. However, for screen media, audiovisual productions are composed of moving images and Key Visuals (in some cases, still images) cropped to describe world events, and of sounds which accompany them in varied volume intensity; receding or advancing in the virtual audiosphere at the convenience of those who decide the final products to be released (chief editors and/or directors). In the Biosphere, each acoustic experience depends on the space in which a listener is located. In general, the natural audiosphere is composed of noises of different volume intensity, but it is hardly deafening. Meanwhile, in some urban areas noises above the normal level can be found, which cause irreversible hearing damage. For instance, the noise of a jet aircraft taking off and other noises even more intense, without any hearing protection, can instantly pierce the eardrum membrane. 3 However, the virtual screen media audiosphere is a relatively complex compound formed by various sounds, melodies, rhythms, sounds, special effects, and speech, produced and edited in different ways in post-production, when the levels of image-sound relations are finely selected, designed and tuned for audio or audiovisual final files. In this context, the intensity depends on the volume of the apparatus used for reproduction and the adjustment of the viewer-listener. Music increasingly stands out as the audio component more used for the virtual screen media audiosphere and especially as accompaniment of visual narrative in television programs-spectacles of world news.
Ao assistir cerimônias de abertura Olímpicas, desde que estas se tornaram mega-espetáculos e entã... more Ao assistir cerimônias de abertura Olímpicas, desde que estas se tornaram mega-espetáculos e então mega-eventos da mídia internacional, torna-se evidente e audível que com as criações artísticas nesse segmento da cerimônia, os países sede dos jogos Olímpicos visam alcançar dimensões estéticas impressionantes. Entretanto, estádios Olímpicos não são anfiteatros antigos ou teatros onde atores podem fazer seu melhor espetáculo; eles são arenas gigantes nas quais as proporções acústicas e visuais precisam ser bem estudadas e calculadas, para que se atinja o impacto estético desejado. Em locais grandes como um estádio Olímpico, as imagens são vistas a partir de diferentes perspectivas, na maioria dos casos muito rapidamente dos assentos, aparecendo pequenas e borradas. Nessas apresentações ao vivo, o cenário acústico encontra-se, geralmente, mais próximo do público do que as imagens, e o contraste entre o que é visto e o que é ouvido pode ser discrepante. Comparando as cerimônias de abertura dos jogos Olímpicos de verão das últimas três décadas, é possível descrever questões relevantes dessas metamorfoses artístico-ideológicas e seus impactos no legado estético da humanidade. Este artigo fornece uma análise de conteúdo e comparações de partes do segmento artístico das cerimônias de abertura Olímpicas a partir de 1980 e esboça tendências estéticas principais e inovações nas representações ao vivo e nas transmissões internacionais. Abstract Watching Olympic opening ceremonies, since they became mega spectacles and then mega events of international media, it is evident and audible that with the artistic creations in this segment of the ceremony, the host nations of the Olympic games aim to achieve stunning aesthetic dimension. However, Olympic stadiums are not ancient amphitheaters or theatrical venues where actors can make the best spectacle; they are gigantic arenas where acoustic and visual proportions need to be well studied and calculated to achieve the desired aesthetic impact. In large venues such an Olympic stadium, the images are seen from different perspectives, in most cases from very fast seats, and appear small and blurry. In that live presentations, sound scenery is generally nearer to the public than images, and the contrast between what is seen and heard can be discrepant. Comparing the opening ceremonies of the summer Olympic games of the past three decades it is possible to describe relevant issues of these artistic-ideological mediamorphosis and their impact in the aesthetic legacy of humanity. This article provides a content analysis and comparisons of parts of the artistic segment of the Olympic opening ceremonies since 1980 and outlines main aesthetical trends and innovations in the live representations and international broadcasts.
Watching Olympic opening ceremonies, since they became mega spectacles and then mega events of in... more Watching Olympic opening ceremonies, since they became mega spectacles and then mega events of international media, it is evident and audible that with the artistic creations in this segment of the ceremony, the host nations of the Olympic games aim to achieve stunning aesthetic dimension. However, Olympic stadiums are not ancient amphitheaters or theatrical venues where actors can make the best spectacle; they are gigantic arenas where acoustic and visual proportions need to be well studied and calculated to achieve the desired aesthetic impact. In large venues such an Olympic stadium, the images are seen from different perspectives, in most cases from very fast seats, and appear small and blurry. In that live presentations, sound scenery is generally nearer to the public than images, and the contrast between what is seen and heard can be discrepant. Comparing the opening ceremonies of the summer Olympic games of the past three decades it is possible to describe relevant issues of these artistic-ideological mediamorphosis and their impact in the aesthetic legacy of humanity. This article provides a content analysis and comparisons of parts of the artistic segment of the Olympic opening ceremonies since 1980 and outlines main aesthetical trends and innovations in the live representations and international broadcasts.
Dialogue between the primary world and the fragmented contemporary universe based itself in legen... more Dialogue between the primary world and the fragmented contemporary universe based itself in legends and myths still alive in collective imaginary. These, in turn, for fanciful combinations, passions and its ab origine conflicts of characters, transmit the essential energy to form and develop musical-dramaturgical ideas (Leonardo V. Boccia, 2003).
O diálogo entre o mundo primordial e o fragmentado universo contemporâneo se funda em lendas e mitos ainda vivos no imaginário coletivo. Estes, por sua vez, pelas fantasiosas combinações, paixões e conflitos ab origine de seus personagens, transmitem a energia essencial para formar e desenvolver ideias dramatúrgico-musicais (Leonardo V. Boccia, 2003).
Desafios intermodais: leituras da composição analógico-digital — culturas, memórias e sonoridades, 2012
Este livro reúne ensaios de pesquisadores atuantes em áreas distintas do
conhecimento. O presente... more Este livro reúne ensaios de pesquisadores atuantes em áreas distintas do conhecimento. O presente volume volta-se para as atuais mudanças culturais provocadas por inovações tecnológicas e as consequentes revisões de padrões e formas de produzir e organizar o conhecimento humano. É também o terceiro volume de uma série de cadernos do grupo de pesquisa ECUS (Espetáculos Culturais e Sociedade) que, desde 2009, seleciona e organiza os diversos ensaios por uma perspectiva interdisciplinar e ao mesmo tempo experimental. O presente experimento surge do diálogo entre os grupos de pesquisa ECUS e GREC (Grupo de Estudos sobre Cibermuseus), cujos membros se concentram em decifrar a complexidade simbólica de criações e produções na sociedade e no ciberespaço — sua codificação e decodificação no mundo contemporâneo.
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Papers by Leonardo V. Boccia
Then we observe the commitment of government to the street party and to the preservation and restoration of the city. The third aspect involves problems with the carnival circuit unequal expanding to favor sponsors, which brings the lack of an adequate space to the health of people in the streets. In the final part of this article we examine possible qualitative shifts through preservation projects and structural improvements for Salvador as historic city and cultural heritage of humanity.
Then we observe the commitment of government to the street party and to the preservation and restoration of the city. The third aspect involves problems with the carnival circuit unequal expanding to favor sponsors, which brings the lack of an adequate space to the health of people in the streets. In the final part of this article we examine possible qualitative shifts through preservation projects and structural improvements for Salvador as historic city and cultural heritage of humanity.
O diálogo entre o mundo primordial e o fragmentado universo contemporâneo se funda em lendas e mitos ainda vivos no imaginário coletivo. Estes, por sua vez, pelas fantasiosas combinações, paixões e conflitos ab origine de seus personagens, transmitem a energia essencial para formar e desenvolver ideias dramatúrgico-musicais (Leonardo V. Boccia, 2003).
conhecimento. O presente volume volta-se para as atuais mudanças culturais provocadas por inovações tecnológicas e as consequentes revisões de padrões e formas de produzir e organizar o conhecimento humano. É também o terceiro volume de uma série de cadernos do grupo de pesquisa ECUS (Espetáculos Culturais e Sociedade) que, desde 2009, seleciona e organiza os diversos ensaios por uma perspectiva interdisciplinar e ao mesmo tempo experimental. O presente experimento surge do diálogo entre os grupos de pesquisa ECUS e GREC (Grupo de Estudos sobre Cibermuseus), cujos membros se concentram em decifrar a complexidade simbólica de criações e produções na sociedade e no ciberespaço — sua codificação e decodificação no mundo contemporâneo.