#fabio fernandes

[justalittlesolarpunk]

What I’ve been reading recently

[postkiwi]

Every Pixel Counts at D&AD Next Awards

Every Pixel Counts at @dandad #NextAwards @fnazca Deadline 22 February

F/Nazca Saatchi & Saatchi have released a new series of stop motion animations as the centre-piece of this year’s “Every Pixel Counts” campaign, promoting the D&AD Next Awards. The Every Pixel Counts campaign spotlights the work of previous Next Award winners and the attention to detail of their creative process. Animations will be shared across all social channels over the coming weeks before…

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[postkiwi]

Leica 100 Years of Photography

Leica celebrates 100 Years of Photography with emblematic short film @fnazca @stink @leica_camera @LaVidaLeica

The year 1914 saw the birth of 35 mm Leica photography as we know it today. Oskar Barnack made the Leitz Camera, the very first Leica, 100 years ago. And now, in 2014, Leica Camera AG is celebrating the centenary year of this occasion with numerous events, exhibitions and exciting new products. The slogan for this centennial celebration is ‘100 years of Leica photography’. Leica has celebrated…

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[postkiwi]

Leica Soul Reincarnated

Leica Store in São Paulo promoted the Leica M-Monochrom camera with an integrated advertising…

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[apenascopy]

Mais um texto feito pela agência F/Nazca, desta vez pra Fundação S.O.S Mata Atlântica. A causa assim como a qualidade do copy é grandiosa.

Perceba como a linguagem se assemelha muito com literatura. Tá aí uma dica de referência para ter repertório e escrever um bom copy. Boa leitura.

Daqui a pouco nossas crianças não vão mais precisar ter medo o Lobo Mau. Não existirão mais florestas.

Não se trata de uma campanha pela preservação da mata atlântica. Mas sim pelo que ainda resta dela. A imensa área verde que um dia cobriu o litoral brasileiro de Porto Alegre a Natal, com mais de 1,3 milhões de km2, hoje tem menos de 8% deste total. E o pouco que sobrou corre o risco de desaparecer em menos de 20 anos. Nossas netas e bisnetas podem não conhecer um dos maiores bancos genéticos do mundo. Milhares de espécies de plantas e centenas de animais talvez eles vejam somente em livros. Mais de 100 tribos indígenas eles só vão conhecer nas aulas de História. E 15% de toda a água doce do planeta eles podem acabar conhecendo como um grande deserto. As crianças do futuro vão ouvir histórias onde quem morre no final é a floresta. Não vai mais existir Lobo Mau. Os vilões da mata serão outros, muito mais cruéis e, o que é pior, reais. A ganância, a falta de escrúpulos, o desrespeito, a impunidade. Para acabar com esses absurdos e proteger a mata atlântica, há 17 anos a Fundação S.O.S Mata Atlântica desenvolve projetos de preservação ambiental e denuncia agressões contra a natureza. Atualmente, 5 projetos estão em atividades o “Atlas dos Remanescentes Florestais da Mata Atlântica”, o “Plantando Cidadania, o “Clickárvore”, o “Núcleo Pró-Tiete” e o “Projeto Lagomar”. O “Clickárvore”, por exemplo, é um programa de reflorestamento pela internet, onde qualquer pessoa pode participar. Basta acessar e se cadastrar no site www.clickarvore.com.br, que você está ajudando. Cada click que você dá, uma muda de árvore é doada. E as mudas são todas cultivadas por empresas patrocinadoras do projeto. O “Clickárvore” tem a parceria da S.O.S Mata Atlântica, do Instituto Ambiental Vidaágua e do Grupo Abril, além de muitos outros colaboradores. E tem números muito animadores por dia, são mais de mil hectares reflorestados, quase 2 milhões de árvores e 10 mil pessoas plantando pela internet. A S.O.S, nunca fez, nem nunca vai conseguir fazer coisa alguma sem os membros filiados, sem os colaboradores. Por isso, estamos aqui pedindo a sua ajuda e a sua participação. Para que continuem existindo florestas. Para que continuem existindo histórias de florestas. Para que as crianças continuem sentindo medo do Lobo Mau, de Boitatá, de Mula-sem-Cabeça. E não de serra elétrica, de machado e de queimada.

[racialicious]

JG: In describing Anglophone SF/F as "treat[ing] subjects close to the hearts of straight, white, English-speaking men," you also write of a market that caters greatly to the White Gaze. How do you think writers could challenge themselves to write beyond this Gaze? FF: Quoting from Hamlet (a White Gaze, I know, I know, heh): "To thine own self be true," Polonius's last piece of advice to his son Laertes. But, really, there is no better advice. Write what you want to write, not what you think the majority of readers out there will want to read. That should do the trick. JG: Ah! But "to thine own self be true" is also a murky subject, given how many colonized peoples now identify and agree with colonizer perspectives. Colonialism is so much more than just economic and military domination, no? How do you think writers from colonized peoples can deal with this issue? FF: Now that's an excellent question--and I must confess I'm looking forward to see the responses I'm going to get from writers regarding this particular issue. I'm aware I can get stories from the POV of colonized people who now are completely comfortable with their former colonizer's culture. This, in fact, seem to be the rule, not the exception, at least in Latin America. Take Brazil, for instance. We were colonized by Portugal, and we absorbed all we could from continental Europe culture until 1950s, when we started to absorb US culture. Our 19th-century average writer, from Romance novelist José de Alencar to Realist Machado de Assis (our most revered writer, and--most important of all--a black writer, a fact that was severely downplayed until not so long ago) drank on the sources of French and British authors--Alencar was a reader of Victor Hugo's, and Machado de Assis was an avid reader of Swift and Sterne. In our literary circles, things have changes a lot. Today, the average Brazilian writer usually reads other contemporary Latin American authors, like Roberto Bolaño and Enrique Vila-Matas, so their experience is becoming more and more rich. But in other fields of culture, as in cinema, say, things are still pretty much dominated by Hollywood, for instance. Right now we have an awesome film here about an old soccer star, Heleno de Freitas, starring Rodrigo Santoro (of 300 fame), but everyone is really looking forward to watch The Avengers. This sort of thing happens, I believe, almost everywhere. I would gladly welcome stories both agreeing and disagreeing with colonizer perspectives, as long as they are written by people who have lived in the flesh this experience. JG: We have a similar problem in Malaysia, where local talent is underappreciated, and "global" (i.e., Hollywood-accredited) works have more value. The issue is definitely both one of psychological imperialism and economic power re: distribution, which makes this anthology's aim seem even more ambitious. How do you plan on marketing this anthology after publication? What avenues will you and Djibril pursue? FF: We don't have money--that's why we put this project on Peerbackers for a crowdfunding effort. We're also counting with a great bunch of friends who are helping us, both donating and spreading the word: you, Aliette De Bodard, Ekaterina Sedia, Rose Fox, Karen Burnham, and China Mieville are just a few of them. (Thanks so much to all of you!! WE LOVE YOU!) We'll continue to market the anthology via Twitter, Facebook, blogs, and every which way we can. We are still discussing a couple of other possibilities, but I can't tell you anything yet.

This is a fantastic convo between Jaymee Goh and Fabio Fernandes on editing an anthology, sci-fi/fantasy, and people of color capturing the zeitgeist that may--or may not--have anything to do with the White Gaze. Check it out on the R today!