Transmissões Ocultas - A fantasia gnóstico-científica em Philip K. Dick
Autor: Jorge Martins Rosa   
«God was standing over him as he lay on the grass by the waters and the weeping willows. He lay wide-eyed and as weak as a baby just born. God was poking him in the ribs with the end of an iron cane. God was a tall man of middle age. He had a long black forked beard, and He was wearing the Sunday best of an English gentleman of the 53rd year of Queen Victoria’s reign.
“You’re late”, God said. “Long past due for the payment of your debt, you know.”
“What debt?” […]
“You owe for the flesh”, replied God, poking him again with the cane. “Not to mention the spirit. You owe for the flesh and the spirit, which are one and the same thing.”
Darkness fell. God began to dissolve into the darkness. It was then that Burton saw that God resembled himself. […]
“You look like the Devil”, Burton said, but God had become just another shadow in the darkness.»

Philip José Farmer, To your Scattered Bodies go (1971), pp. 11-12.

Diz Erik Davis, em Techgnosis: Myth, Magic and Misticism in the Age of Information, que uma parte não negligenciável da literatura de ficção científica contém elementos (latentes ou declarados) de dualismo e gnosticismo.

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[1]Versão preliminar de uma comunicação apresentada no Colóquio «Gnose e Gnosticismo: Genealogias e Emergências», (Porto, 15 de Novembro de 2008, organização do Instituto São Tomás de Aquino e do Centro de Estudos do Pensamento Português da Universidade Católica Portuguesa). A versão definitiva integrará as actas deste mesmo colóquio, ainda no prelo.

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From Participatory Art Forms to Interactive Culture: Towards a Critique of the Aesthetic Economy
Autor: Maria Teresa Cruz   

[1] Do participatory art forms and relational aesthetics constitute a background for the growingly interactive culture of today? Do they express the same ideals or are they different ideologies? Why is modern and contemporary culture so concerned with the spectator, be it the art lover, TV audiences, or internet users? Why, in spite of their different scopes, are media (art included) so interested in the activation and mobilization of the receiver? Mass media culture secretly dreamed of the full presence and commitment of the spectator, boldly proclaimed as partner by modern and contemporary art and finally given effective participatory tools by digital culture. Are we truly becoming a society of producers and creators? Or rather a different type of consumers? What is the role of art in the era of the new culture economy, where creativity equals capital?

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[1] The International Journal of the Arts in Society, Volume 4, Illinois, USA, Common Ground Publishing LLC, 2009, ISSN 1833-1866,

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Life beyond Violence - Notes on Walter Benjamin’s ‘Zur Kritik die Gewalt’
Autor: Andrew Benjamin   
Just as a man lying sick with fever transformed all the words which he hears into the extravagant images of delirium, so it is that the spirit of the present age seizes on the manifestations of past or distant spiritual worlds, in order to take possession of them and unfeelingly incorporate them into its own self-absorbed fantasizing.

Walter Benjamin, The Origin of German Tragic Drama. Page 53

What does it mean to evoke ‘life’? Life is initially present as a generality, one that is often effaced the moment it is announced, an effacing that occurs once there is the positing of ‘mere life’. And then, in contradistinction to that limitation, though perhaps it is a delimitation of a version of the lived, there is the ‘living’. The latter is a further registration of ‘life’, one allowing for an additional qualification that does itself result in the identification of the ‘soul of the living’.

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