BrazilMax
Candido Portinari. Portrait of João Candido with Horse (1941)Há algum tempo atrás, conheci por puro acaso Bill Hinchberger, jornalista responsável pelo site http://www.brazilmax.com/ que contém informações e reportagens sobre o Brasil para estrangeiros. Batemos papo e tomamos uma bebidas no restaurante Viva México de Ribeirão Preto. Hoje ele me enviou um e-mail que imagino que ele gostaria que eu divulgasse. Aqui vai:
Foi um prazer conhecer você durante minha visita à Riberão Preto em dezembro. Queria reforçar meu convite para visitar o BrazilMax, http://www.BrazilMax.com, “the hip guide to Brazil” (o guia do Brasil para gringos espertos). Ganhador do prêmio “Best of the Web 2006” da revista Transitions Abroad e elogiado nos jornais The Guardian de Londres, SonntagsZeitung de Zurique, e O Dia do Rio de Janeiro, BrazilMax é um ponto de referência para estrangeiros que querem melhor entender o Brasil.
Temos também um programa de radio online: http://www.brazilmax.com/brazilmax.cfm/id/17.
Estou à disposição para conversar sobre possíveis parcerias. (Pretendo acrescentar conteúdo sobre Riberão Preto em breve.) Obrigado pela atenção.
Bill Hinchberger
Editor
BrazilMax
Abaixo coloco uma das reportagens do BrazilMax que une os temas ciência, arte, e minha região (Brodósqui, perto de Ribeirão Preto):
by Bill Hinchberger
Rio de Janeiro - Visiting the celebrated Brazilian artist Candido Portinari on the eve of his death in 1962, the Italian art critic Eugenio Luraghi noted a remarkable shift in the outlook of his distinguished friend. “Portinari told me how much he admired scientific progress and the most recent discoveries in astronomy, physics, robotics, computers,” wrote Luraghi. “He was delighted with the progress of (his son) João in his difficult studies at the Sorbonne and expressed his suspicion that science had supplanted art, given that the most intelligent people were being absorbed by research and scientific discovery. Thus the evolution of painting, where everything had already been done, was coming to an end, without a future.”
As if to confirm that deathbed prophecy, the scientific method permeates the spirit of the non-profit organization dedicated to preserving the Portinari legacy. Founded in 1979 by the painter’s son and former math professor João Candido Portinari, the Portinari Project sits in some deceptively antiquated digs in the basement of an old manor on the campus of the Catholic University of Rio de Janeiro (PUC-Rio). The project can count itself among the frontrunners in international efforts to apply the developments in information technology to the preservation and dissemination of humanity’s artistic and cultural heritage.
Who says so? IBM, for instance. The US multinational tabbed the Portinari Project, along with the Vatican, to showcase its new Digital Library Technology, designed to effectively catalogue and cross-reference images, text, audio and multimedia content. Plus the University of California, Berkeley, and Cambridge University – two among the dozens of institutions that have hosted talks by Prof. Portinari. The Portinari Project uses cutting edge Israeli fine art digital printing technology to produce “replicas” for traveling shows that seem worthy, at a distance, of Hans van Meegeren, the famed Vermeer forger. Speaking of forgeries, the Portinari Project has been co-sponsoring unprecedented research into the use of artificial intelligence to detect forgeries at the PUC-Rio campus in Rio de Janeiro’s southern district Gávea. (Para continuar a ler, clique aqui).
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