I stayed outside of Alghero, in a tiny town named Fertilia. There, I was first greeted by its stark minimal appearance.

After a scorching and beautiful day at the beach, the next I traveled by bus to nearby Alghero. There, I and a friend stumbled upon a french tourist boat heading to Neptune’s Grotto.

After a rather bumpy and exhilerating boatride, we docked rather precariously and scuttled into the 70 million year old cave.

Once inside, I was stunned, both by its pristine enormity as well as its peaceful self-awareness that it projected. Whenever I feel humbled by nature, it brings me a sense of such intense grounding in both the particular and the general that I can only laugh outloud. Which I did.

And the laughter resonated off of growing walls in a most remarkable way.

Last night, in the backstage room at Le Poisson Rouge in New York, I was talking with Raz Mensai (Badawi), and he mentioned a project he will do in Oporto, Portugal’s catacombs.

It triggered a memory of a film I once saw, where Hermeto Pascoal played a cave as an instrument. Little did I know, it was a grotto.

Hermeto Pascoal Grotto song

Hope to see you soon…

AC [ Institute Direct Chapel ]

Presents A New Group Exhibition:

Tone and Temperament

Curated by Sophie Landres
June 18 – July 18, 2009 / Opening: Thursday, June 18, 6-8pm

AC [Institute Direct Chapel] is pleased to present Tone and Temperament, a group-exhibition that considers the temporal and expandable material of sound. Curated by Sophie Landres and in collaboration with the eight participating artists, this exhibition concentrates on sound as a condition for personal, social, political and metaphysical experience. In addition to the permanent fixtures in the gallery, performances will be scheduled to occur throughout the duration of the exhibition.

Tone and Temperament was conceived as an opportunity to explore literal and conceptual ideas of harmony versus discordance and innocence versus criminality that subsist within the framework of conflicting social norms and art historical precedents. The exhibition was regarded as a conduit for inconclusive experiments in redistricting discursive boundaries and expanding aesthetic properties. Despite sound’s reflexive predilection for interference, the participants created pieces either in response to the exhibition site or with the ambition that their work could co-exist within spatial proximity, without jeopardizing individual content. Though many of the pieces violate prevailing notions of harmony and composition, the refusal to abide is a victimless crime, motivated by a congenial faith in plurality. Allowing sound to flow without bleeding or hemorrhaging, we hope to maintain numerous elements in a constellate connection, free to generate their own alliance of possible meanings.

Chris Bors complicates the act of listening by juxtaposing pop-psychology relaxation techniques with a pop-cultural response to trauma. Jennie C. Jones stretches notes and manipulates tones to reconfigure musical history and exhume emotional content. In a sculpture that references both the harmony of the spheres and the politics of knowledge, Zach Layton uses looping phase structures to create an internally conflicting “chamber music” of the self. Audio recordings and corresponding images by Terry Nauheim describe imagined and site-specific geographies and measure the physical form of sounds against their content, examining how memory and objects are equally subject to decay. Exploring the theory of electronic voice phenomena Daniel Perlin utilizes Thomas Edison’s lost schemata to build a telephone that can speak with the dead. Through the visualization and sonification of Arctic data and electromagnetic lightening transmissions, Andrea Polli and Joe Gilmore express the fragility and interconnectedness of the global ecosystem. Mike Skinner enlists the viewer’s body in acts of compositional terrorism, working with mirrors and parabolic reverberating sine waves to demonstrate how the occupation of space can be an oppositional force.

_________________________

Please join us for the opening of the Listening Studio, a video installation permanently installed in the Center for Hearing and Communication in Manhattan, New York.

The Studio is a collaboration between POD DESIGN+MEDIA and Perlin Studios in conjunction with the Center for Hearing and Communication, New York.

14 May Thursday
6:00-6:30 Press Preview
6:30-8:30 Cocktails and hors d’oeuvres

The Listening Studio is an audio and video installation used as an audio test within a custom designed laboratory space. The Studio is permanently installed in the Center for Hearing and Communication in lower Manhattan, New York.

The installation/test consists of immersive video and audio environments. These environments contain a series of conversations that switch backgrounds and ambient audio in real time. These environments challenge the spectator/patient to listen closely and try to understand the conversations.

The test, run by a trained laboratory technician, is intended first as therapy for those who have hearing aids or cochlear implants, so that they may test their hearing in varying situations. They may choose to have their hearing adjusted based upon their results.

The test is open to the public as well, and will be available for anyone to experience as a spectator/patient. The room contains a 5.1 surround-sound system, 16 HD videos on a flat screen monitor and a custom musical keyboard which serves as the testing interface.

The Listening Studio is located in the Center for Hearing and Communication on 50 Broadway, 6th floor, in lower Manhattan, New York.

As the Listening Studio contained within a medical practice within an office building, If you wish to take the test after the opening event, it is by appointment only. Please call +1 917-305-7700 or email appointments@chchearing.org to schedule a visit.

RSVP required. Please RSVP on Facebook or to appointments@chchearing.org

CENTER FOR HEARING AND COMMUNICATION
50 BROADWAY 6TH FLOOR NEW YORK, NY 10004
http://www.chchearing.org

despite appearances, this ship of fools is still sailing. and I still blog. to the ether with this!

I don’t like violence much, but do like Peter Lamborn Wilson’s (aka Hakim Bey) Pirate Utopias

—-

lots to report, but first let me try to catch up…
what I have been up to:

0. Completing the listening lab at the LHH, with Pod architecture. More on that in the next post. But stay tuned for the opening invite in May.

1. Possible. this is the name of my band. my myspace is myspace.com/possiblebandname
this record should be finished in May, after a year of travel, collecting new sounds and putting them together. Possible has teamed up with
Tunde Oyewole on upright bass, Alex Posell and Ismail Lawal on drums here in Perlin Studios in Brooklyn to complete the recordings. 14 golden new songs headed your way on the forthcoming debut album Anything Is…

2. New Crew, new Party: Pure Capital: dj n-ron and reganomics: new mixtape coming up: global capital. stay tuned

3. I twitter therefore etc…

4. This month: DJ N-RON at Que Bajo?!?, 30th of April…APT (419 west 13th, manhattan). Alongside Gecko, Uproot Andy and the masses…

yes, that’s it for the second…
except for this song
which might be by changorama. or not. but it is certainly La Cumbia del Reggaeton.

bad subject heading for a even more curt blog entry, but my aplogies for lack of detail…

this weekend I will be performing live video with dj/Rupture’s band NETTLE at Brandeis, in BOSTON, MASS.

Nettle will be joined by Grey Filastine, as well as others, in a series of workshops and events at Brandeis

Organized by the one and only Wayne and Wax.

For some moments sometimes it looks a little like this. But without the flash.

Photo: Marco Microbi > www.photophunk.de

On Monday, March 23rd, I will be back in New York, presenting 3 new works at Pecha Kucha New York.

PKNY 6 - MONDAY MARCH 23RD, 2009

At Le Poisson Rouge

Doors 6:30 - Speakers 8:30

$5 in advance $10 at the door

Live music by the Sam Barsh Band

Followed by DJ Jon Santos of Common Space

Brought to you by PKNY in partnership with Performa

In Case you haven’t attended before, Pecha Kucha is a format where presenters are have 20 slides, 20 seconds per slide.

So each presenter gets 6 mintues to talk about his/her work, ideas and projects.Pecha Kucha originated in Japan, and is held regularly in 13 cities around the world.

I have presented once before, in Mexico City, and it was a lot of fun and a great way to learn and see.

Ok, hope to see you all there and everywhere.

It has been quite an accumulation of new experiences that would no doubt take more than a day or 2 to tell.

So instead of doing that, I am going to try to let pictures do much of the talking. I can only begin to begin to say thank you to the people and places that have been so generous with their time, spaces, ideas and feelings.

This year has been really transformative: A linear map would be  6 months in Mexico City (with 2 weekend trips to New York for Alex and Jessica’s wedding), to 1 week in Italy, 1 week in France, 5 days in Germany,  1 more week in Italy, then 2 weeks on the west coast of the US, back to Mexico for 2 weeks, then to New York for 2 1/2 months subletting while shooting and mixing the upcoming Listening Lab (more on that in a bit), to 2 1/2 months in Rio, São Paulo and Belo Horizonte Brazil. But it has not felt linear, probably due to constant flow of friends visiting, chance encounters and the small overlapping worlds within which I seem to travel.

All in all, it has been an amazing time, and I feel lucky to have been able to have had such a wonderful year of travel. As this is a blog, I can only hope that the few readers I do have are aware of how thankful I am that we were able to spend time together over this last year. It has been a lot of hellos and goodbyes (for now). In a strange way, it seems like a year of new beginnings…

Below are some photo sets selected from the many now on my flickr

Brazil

West coast!

Europe 2008

DF/Mexico Wey

House as Speaking organ

djing

It has been a wonderful year, and as I finish writing this from Rio de Janeiro, I am both happy and a bit nostalgic. Happy to have met so many wonderful people, and sad that I must leave this amazing city. But, as always (it has been 16 years back and forth!), I will return…Meanwhile, it is back to BKLYN at least for now.

Sometimes people ask me what DJ N-RON plays live. Usually, I respond by saying corporate dance parties. But that often seems too vague for many.

What came out in Rio de Janeiro yesterday was inspired in part by the sounds accumulated in travels, and in part by the collapse and contraction of other institutions of Kapital. After some refinement, we now have DJ N-RON’s Corporate Take Over mix here and happily on Blentwell’s Podcast.

As it is a party mix, it is best appreciated standing up or moving, or both.

Tracklist is below.

DJ N-RON CORPORATE TAKEOVER MIX

Believe what you hear, not what you see.

1. Vito Acconci-Under History Lessons (1976)/ 2562-Moog Dub/Charlotte Gainsbourg-5:55
2. Skream-blue eyes/Dead Pres-Hip Hop
3. los palmeras-bombón asesino (daleduro version)/M.I.A.-Bird flu
4. Jeans Team-Oh Bauer/Gui Boratto- Terminal
5. Crunk Tesla-Welcome to the Circus/The Kinks-See My Friend/Bonde Nervoso-Ta Tomado
6. Les Rythmes Digitales-(Hey You) What’s That Sound?/LCD Soundsytem-Yeah (clapapella)
7. Sany Pitbull-Ao Vivo Canta Galo/Franz Ferdinand-The Fallen (justice remix)
8. Digitalism-Idealistic (Hystereo Re-brand)/Funk-Montagem_Baile_Lotadão
9. Bonde Do Role-Marina Gasolina (peaches Remix)/Bass-Techno Bass Ultimate woofer test(1)/Three 6 mafia-Stay fly acca
10. Hot Chip-Over and Over/Grandmaster Flash-Ride the White Horse (laid back remix)/Gorky-The Count
11.Talking Heads-Girlfriend is Better/Bondes-Cachorrão/N-RON-Tamborzão (escuro mix)
12. Justice vs. Simian-We are your friends (n-ron tamborzão mix)
13. Busy Signal-Up in Her belly
14. David Banner and elephant man-Shake that booty remix/bhangra upbeat
15. Elephant Man-Father elephant/Kopa Riddim/Eric B. and Rakim-Follow the leader acca
16. Chicks on Speed-Wordy Rappinghood/Time Zone featuring John Lydon & Afrika Bambaataa-World Destruction/Legend of zelda-Nintendo
17.Buraka Som Sistema-Com Respeito/Elektrons DB (Sinden Final)- Elektrons DB
18. Dolly Parton-Jolene/Rhythm and Sound Si Mi Yah (Basic Reshape)/Boys Noize-Don’t Believe the Hype (original mix)/Corey Hart-Sunglasses at night
19. Gotan Project-Mi Confession (Edu K Drop the Bass Mix)/Afroditas-La Cumbia del Pasconcito
20. Changorama-La Cumbia Del Reggaeton/Noble Society-The Swarm Zuzuku Cumbia Klash Remix
21. Mims-This is why I’m hot (dj Panik Remix)/The Cure-Close to Me/Snoop Dogg-Drop it like it’s hot (Cure Refix)
22. The Very Best (Esau Mwamwaya & Radioclit)-Get it Up
23. DJ N-RON and $mall ¢hange-Boa Tarde Povo (late afternoon mix)

Happy end of the year and holidays to all. I am pleased to say that as promised, the essay for Arch + in Germany on Representation of the Favela is out. As it is only in German, I am reproducing it here for those who would like to read it.

I am also making it available via .pdf.

However, I must do so without most of the images used. So pick up a copy and practice your Deutsch.

O MORRO (THE HILL): Problems in Representation of the Favela 
in Brazilian Cinema
by Daniel Perlin
In recent years, the favela  has come to the fore as a central force in the discourses of film, architecture and urbanism.  The purpose of this essay is to look critically at the plane of representation of the favela within Brazilian cinema to help unpack local specificities and to situate them within larger national and international media and social contexts. The question posed is: “Who is benefitting from the new export economy of the contemporary image of the favela.”

For films such as City of God (Katia Lund and Fernando Mierelles co-directors (2001)), for theorists such as Mike Davis  and architects like Rem Koolhaas,  the distance between the favela and shantytown, from Lagos to Rio de Janeiro, collapses. This gaze from afar, at times specular, often times exoticizing, appears designed for the international media-spheres. Slums represent both the harsh realities of everyday life reproduced by capitalism’s combined and uneven development in the era of expanding multinational and transnational industries, and as a symbol of the future of the global city. One byproduct of this export economy is the reduction of the spectacle of the favela to the fungible, its products flattening difference between forms and locations. In these cases, the specificities of social and economic conditions of individual Brazilian favelas are glossed in favor of statistics, dramatic headlines, and generalizations.  This tendency towards generality is a pitfall that can only lead to misunderstanding, both between borders and intra-nationally.

Within the tradition of Brazilian cinema, there has been a long and fruitful struggle to find the most effective strategies and tactics in representation of the favela. In Cinco Vezes Favela (Favela Five Times (1962)), produced by the Centers for Popular Culture of the National Students’ Union, we see the narrative perspectives of five of the greatest Cinema Novo filmmakers working collectively to produce at once a populist, and yet simultaneously radical, approach towards the relationships between filmic practice and Brazilian life. Split into five short films, each episode blurs the formal divisions between narrative and documentary film, utilizing hand held camera-work and non-professional actors. All five portray the favela as a central narrative character, suggesting diverse, at times didactic, strategies of representation of the social conditions that create and are created by the favela.

The formal and narrative debate spurred by Cinema Novo and Five Times Favela acted as a catalyst for the director Glauber Rocha’s 1965 manifesto Estetica de Fome (Aesthetic of Hunger). In his seminal text, Rocha called for a radical anti-imperialist Latin American style, as “only a culture of hunger, looking at its own structure, can rise above itself, qualitatively speaking: it’s the noblest manifestation of cultural hunger and violence.” His films such as Antonio das Mortes, Terra em Transe and Deus e o Diabo na Terra do Sol formed an aggressive, violent, yet challenging filmic strategy, one that remained pervasive from the 1960s and through the mid 1970’s in avant-garde Brazilian cinema. Rocha, as well as directors such as Joaquim Pedro de Andrade (Macunaíma (1969)), Ruy Guerra (Os Fuzis (1964)) and others carved out complex spaces for a national discourse focused on poverty, migration, Brazilian messianism and the audio-visual language of struggle.

These films were exemplified by 16mm hand-held camerawork, challenging national subject-matter, Eisensteinian montage, complex dialogue, and a call to fight the “the paternalism of the European against the Third World.” Like Godard and the French New Wave, these directors were at once challenging and refiguring cinematic tropes, turning their gaze inwards towards self-reflexive critique. However, critically, their work was for the creation of a Latin cinema, specifically, serving to question the constitutive features of the nation-state and Brazilian citizen.

From the mid 1970’s to the mid 1990’s Brazil’s film and cultural production was stifled, though by no means destroyed, by 25 years of military dictatorship and 10 years of hyperinflation. In the first half of the 1990’s, feature film production had dropped into the teens. However, between 1995 and 2000, 155 features were produced, partly due to the audiovisual law (lei do audiovisual), a government tax incentive created to stimulate national cultural production. Since the mid 1990’s, Brazilian film has seen a large increase in both production and audience attendance. Many filmmakers and critics have taken advantage of this explosion of attention and have focused works and critiques on the complex social problems of radical inequality of race, class, gender, and geographies within Brazil.

Following this drive towards social transformation, Brazilian documentary has become a powerful force within the national media-sphere. When watching Noticias de Uma Guerra Particular (News From a Personal War) (1999), directed by João Salles and Katia Lund, the resounding themes of corruption, abject poverty and violence overshadow much of the film, and the sensation one is left with is a combination of hopeful hopelessness and shock.  This devastating examination of Rio de Janeiro’s favelas, specifically the narco-traffic economy and the hidden war fought by heavily armed youth with often corrupt police, set off a flurry of debate and nearly landed the directors in jail. Often considered the inspiration for City of God, this documentary pries at the large gaps and fissures between narrative film and documentary within Brazilian cinema. After experiencing the stark and frank nature of this film, one wonders if the pressures and influences of contemporary narrative film budgets beg a certain type of spectacle that documentary can avoid. Noticias represents a watershed in documentary film within Brazil; brazen and sensitive, it’s 54 minutes helped bring the word “war” out from the hills and into popular debate.

But what then, drives this shift, from the self-reflexive, critical gaze of the 1960’s “Aesthetic of hunger” to the spectacle-driven style of City of Gods?

The film critic Ivana Bentes has coined a phrase that may apply to the new condition of the favela within popular discourse: she has stated that City of Gods transformed the “Aesthetic of Hunger” to a “Cosmetic of Hunger.” This shift, it seems to me, can be seen in new generation of films, such as City of Gods, Amores Perros, Favela Rising and others, and are typified by hyperviolence, MTV-style edits and colorization, Hollywood sound design, and a paternalist approach towards both race and poverty. Furthermore, City of God in particular takes an isolated view of the location of the favela within the socio-geography of the city, cutting off the resident from the “asphalt”, relegating the action of the film almost exclusively to the favela itself. For Bentes, the formal moves towards high production values and a fetishization of the exotic dweller has shifted the plane of representation of the favela from the national “aesthetic of hunger” towards this glossy, international steady-cam driven “cosmetic of hunger.” The results are films and media produced not only for a specific national debate, but also for an international market.  And the product is selling.

The question again arises: Who is benefitting from this new national-cultural product? Is the favela-as-product yet another example of an export economy destined for exploitation by the multinational corporate interests of the media oligopolies?

Partially in response to these questions, and to the spectacular nature of City of God, the Brazlian media giant Globo created the 4 season television program Cidade dos Homens (City of Men)(2002-5). By focusing on the specifics of one favela, the morro do Cabuçu in Rio de Janeiro, the popular television series scratched and dug at the superfice of the general. This series, viewed by more than 35 million Brazilians, formally and narratively challenged simplistic readings of favelas as inherently violent, corrupt and the home of the “Other,” wielding instead the weapons of the camera and sound recorder to capture pieces of the everyday struggles of individuals within the favelas and on the “asphalt” of Rio and São Paulo.  City of Men was directed by numerous directors including Lund, Mierelles, and the writer Paulo Lins from City of Gods, and approaches diverse narratives within Rio’s favelas such as race, crime, poverty, pregnancy, baile funk, drug traffic, sex, corruption, humor and love from curious and at times problematic angles, consistently emphasizing the struggle of the two individual protagonists who often face insurmountable odds.

We see this tendency towards representation of the individual narrative as a trend within the field of documentary as well.  Ônibus 174 (Bus 174 (2002)) follows and unpacks the life of Sandro do Nascimento, a former street child, as he holds a bus hostage in the wealthy southern zone of Rio. This film’s strength stems from the story of the individual, Sandro, who, out of frustration and desperation, tries to attack head-on the corrupt hegemonies that overdetermine everyday politics in the police, government and media within Rio and Brazil.  In a sense, the true power of the film resides in the relentless and responsible investigative force of its directors José Padilha and Felipe Lacerda, who simultaneously articulate the radical specificity of the life of Sandro, while situating his case within the class, race and power struggles in Rio de Janeiro and Brazil. Ultimately, it attempts to demystify the media spectacle that surrounds is character, and produces a touching and poignant portrait of the marginalized individual in Rio.

Bus 174 forms part of a new constellation of production that has arisen since 2001. Partly as a response to the spectacular style of City of Gods, recent tactics for such productions have focused on the specific local challenges of the individual in relation to the complex webs of relations that constituted urban cultures in Rio, São Paulo and other Brazilian cities.

One such approach I will call the “positive tactic”. One example is the work of Hermano Vianna and Regina Casé, whose television program Central de Periferia (Center of the Periphery) was produced by Globo in 2007. This globe trotting program features reports on local, progressive approaches towards the global slum, dedicating each episode to a new city. The show is humorous and warm, traveling from Haiti to Mexico to Brazil and beyond, looking to practical, local solutions to global issues. One episode begins with Mike Davis being interviewed for an overview of the status of the global slum. It then features a community in Niteroi where all the children know the names of the police that patrol and live in the Favela. There, violent crime has been nearly eliminated, and the show claims that the residents are considered “normal citizens” like those who live on the asphalt streets.

This particular and positive approach towards reportage can also be seen in the work of the documentarian Eduardo Coutinho, who’s Santo Forte can be regarded as one of the most significant documents of favela life in Rio produced in the past 20 years. This feature film focuses not on the popular subjects of corruption, violence and drug dealing, but on the religious views of the residents of the favela. We are given a unique, personalized and self-reflexive view of residents’ pride in their homes, in their communities and their beliefs.

Another tactic, extending as counterpoint from the spectacular style, can be called “the individual tactic.” Like Sandro, from Bus 174, narrative films such as Jose Padilha’s Tropa de Elite (Elite Troop (2007)) focus on an individual’s struggle to rise above his current socio-economic condition. Taking cues from the quasi-apocalyptic tone that predominates in the “cosmetic of hunger,” this film offers a close, often intimate, portraits of the unique challenges of the contemporary Brazilian urban resident. Tropa de Elite illuminates and humanizes the special police force in Rio dedicated to the favela, BOPE. Formally, Lula Carvalho’s camerawork refigures many of the hyperstylized techniques found in City of Gods, with frank, handheld work leaning more towards documentary than a color-treated fast MTV edit. Driven by testimonials of an ex-BOPE officer, we can see flickers of hope provided by speaking truth to power.

In a sense, the two tactics, the positive and the individual, attempt to address the statistics that seem to overshadow even remote glimmers of hope. Instead, these tactics emphasize contemporary conditions of possibility to rise above the nearly impossible racial and economic odds that predominate Brazilian society. They unpack these generalizations by maintaining a direct and local approach in tackling the forces that reproduce such combined and uneven development. These tactics may be seen in part as an attempt to humanize and articulate the local complexities in specific favelas, disabling many of the reductive tendencies found in such texts as City of Slums. In this sense, they add greater urgency to the following national census data:

• 80% of Brazil’s 186 million residents live in urban areas. 28.5% of the urban population (41.8 million people nationwide) lacks full access to public water, sewage, and garbage collection.
• The top 10% of the population earns 50 percent of the national income. 34% live below the poverty line. It is estimated that 20% of Brazilians currently live in favelas,
• According to a 2007 United Nations Report on drugs and crime, narco-traffic in Brazil is responsible for employing at least 20,000 people. Most are minors between the ages of 10 and 16 making between US$ 300 and US$ 500 dollars monthly.
• Rio de Janeiro is one of the wealthiest states of Brazil. It’s main income from oil represents billions of dollars yearly. Les than 1% of this money is invested in social programs.

With these numbers in mind, the material benefits of the favela-as-product takes on a new light. The global fascination has produced a number of new export products: Favela-as-product has paved the way for a fetishization of its “informal” architecture, favela-tourism, the international craze of baile funk music, favela filmmaking industries and the creation of countless books, magazines and websites. How, then, can this favela-as-product avoid the pitfalls of multinational exploitation? It seems to me that to avoid the reproduction of a “cosmetic of hunger”, a case-by-case critical examination of each future product is needed, perhaps looking towards the new positive and individual tactics as constitutive features of a new national strategy of representation.

Clearly, as Brazilian cinema continues to grow its narratives continue to directly negotiate the sweeping and generalizing statistics of the UN and the North. Working against the grain of the overwhelming power of this data, some contemporary Brazilian films are focusing their lenses upon the struggles and triumphs of the individual and local communities of the ever-expanding favelas. There is a long road ahead towards transforming the extreme social and economic disparity between the wealthy and poor both within Brazil around the world. However, it seems  clear that we can expect new and fresh approaches of representation of the favela to come from Brazil.

While supporting this trajectory of representation, I wonder, who is actually benefitting from each of these works? While there certainly is no simple answer to this question, it seems that a critical inquiry could help shift production from a “cosmetic of hunger” to a new critical aesthetic of the particular as the favelas expand both their influence and size.

1. The favela is often called o morro, which means hill. One popular claim is that favela is a leaf that grows on a mountainside, and early residents in Rio used it as a geographic marker.

2.  Planet of Slums, Mike Davis Verso, 2006

3.“See Harvard Project on the City” in Mutations , Actar, 2001 and Content, Taschen, 2004, both by Koolhaas et. alReport on

4.Cinema Latino-Americano in Geneva, Switzerland, 1965.  His post-colonial critiques led him to state of his own work that ´The feast of metaphors, allegories and symbols is no carnival of subjectivity; it is the refusal to analyze rationally a reality that has been stifled by European culture and American imperialism. I am making films that resist the classification of colonial anthropology…´ Neue Zürcher Zeitung (NZZ) 08/27/1981

5. “Interseções: Revista de Estudos interdisciplinares” Programa de Pós-Graduação em Ciências Sociais –UERJ ANO 5 número 1 – 2003 pg. 217-237. Rio de Janeiro. 2003

6. Brazil’s Institute of Applied Economic Research (Ipea), from agencia brazil report, http://www.brazzilmag.com/content/view/2641/49/

7.  See ReVista, Harvard Review of Latin America: Tourism in the Americas Development Culture and Identity, Winter 2002