My Factory of Extravagant Marvels

Melhor do jogo, Michael comemora a vitória e pede a música: ‘I will survive’ | globoesporte.com Que alegria me deu ver essa notícia. A homofobia é um dos problemas brasileiros dos que eu mais reclamo e é com muito orgulho que eu soube da história do Michael. Eu tiro meu chapéu pro meu povo! Esse foi um raro sinal de real solidariedade para com os homosexuais em geral, um passo que eu espero vire moda e contagie toda a população. Nenhuma forma de preconceito deve ter vez. Parabéns torcedores do Vôlei Futuro. Vocês deram um exemplo a ser seguido por toda nossa sociedade.

Melhor do jogo, Michael comemora a vitória e pede a música: ‘I will survive’ | globoesporte.com

Curiosity about the object of knowledge and the willingness and openness to engage theoretical readings and discussions is fundamental. However, I am not suggesting an over-celebration of theory. We must not negate practice for the sake of theory. To do so would reduce theory to a pure verbalism or intellectualism. By the same token, to negate theory for the sake of practice, as in the use of dialogue as conversation, is to run the risk of losing oneself in the disconnectedness of practice. It is for this reason that I never advocate either a theoretic elitism or a practice ungrounded in theory, but the unity between theory and practice. In order to achieve this unity, one must have an epistemological curiosity—a curiosity that is often missing in dialogue as conversation. Paulo Freire "A Dialogue: Culture, Language, and Race" in Harvard Educational Review, vol. 65, no. 3, fall 1995. 

It has often been hard to convince Jon to come out to the theatre in French, but it's getting better. Last night I managed to get him to come with me to watch "L'Institut Benjamenta" at the Theatre Ocean Nord. It's been a while that I have been thinking of going to this theatre, and I don't know why I haven't done it before. In any case, the visual experience of "L'Institut" was a worthy first time. For sure the most impressive thing about the production -- at least for me with my limited grasp of the French language subtleties -- was the super cool light effects they used for the set design. Honestly, I don't know if I am being naïve in my statement, but I don't think I have ever seen such solid-seeming lights in my life. I mean it -- it felt like you could touch it. There was a wall of light on the stage, through which the characters could disappear into infinity. It made me think of my friend Audrey-Anne Bouchard, a director and