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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.

bombs like fireworks, the artifice of televised war in a soft, black sky, perforations of light in the film’s velvet for any serious reflection the sidereal Consider in memory of the fallen in Gaza, the stars.

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

“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).

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.

plexiglas(s) part of Pantalla Global CCCB (Barcelona)