Alone, alone, all, all Alone1 or together? Ana da Palma

Sapato 43, Portugal Jorge Delmar

Sapato 43, Portugal Abstract As social spaces diminish in the political architecture of the no-man’s-land, as television and computer screen numb our natural ability of social beings, as the web provides a large, meanwhile possibly «endangered», number of film material, cinema in the community emerges as a possible tool to rethink social spaces, relations and learning. In Porto (Portugal), a certain number of groups and associations reinvent lost social spaces through providing the sharing of films, thoughts and ideas. We will review the actual «work» of several of those groups/associations in different locations with broad oriented or not proposals, in order to actualize the thinking on learning theories concerning non formal and informal learning. Keywords: Cinema, Social Spaces, Learning Theory, Multidialogism, Citizen Literacy Introduction: Where we’re at

A época que começa é a que consagra a cinevisão sem fronteiras, a cinemania democrática de todos para todos. Longe da morte proclamada do cinema, é o nascimento de um espírito do cinema que anima o mundo. (Lipovetsky & Serroy, 2010: 24-25) Celui à qui je parle se tient derrière le concept que je lui communique. (Levinas, 1991 : 43)

Images are present in abundance in most of our environments confirming a meaningful sense

or triggering imagination. Words seem to lose common grounds in main public communication channels since the great abundance of legitimizing discourses of deceitful wordiness, organized prolixity and cliché tend to perpetuate disbelieve and exhaustion. Meanwhile language, as it is property of its speakers, seems to be undergoing a quite creative evolution and/or transformation. In this context, cinema seems to be the perfect topos2 for triggering dialogue and sharing knowledge. That’s the reason why our main field of research has been pursuing this fascinating path and focusing on cinema as an instrument which participates in the construction of knowledge.

Last year in Avanca, we presented what we identified as two key principles involved in the construction of knowledge contemplating cinema as the topos for a dialogue between arts, literature, history, philosophy and for the construct of citizen literacy. These principles were the result of an experiment that took place in a formal educational context, in an ideal place such as an artistic public school. They emerged from practice and theory, as well as multiple readings of the essays on complex thinking and education by Edgar Morin, as well as the writings on education by Paulo Freire, recent learning theories and reports on artistic teaching in Portugal. These principles were described as Dialogism and Citizen Literacy3. Recently we were confronted with the necessity to transform the first principle. We found it urgent to use a word that would keep the necessary distances with the concept explained and founded by Mikhail Bakhtin in the literary context, but that would reflect all possible dialogues between knowledge as a complex interwoven material coming from cinema and communication/language bringing forward literature, history and philosophy as well as other artistic representation or creations. Therefore, we replaced it by multidialogism. At the time, in that formal educational context, we identified indicators resulting from the application of the two principles to be: memory and expression.

Continuing our work on that field but in a non-formal and informal context, based on Hannah Arendt thoughts and writings, with a special attention to public spaces, social spaces, freedom and education, we will present some examples of cinema in the community in the city of Porto. Then we will outline the contemporaneous social space. Finally we will consider the learning processes in one particular dimension pointing out the indicators identified as we pursue the application of the two key principles above.

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Screening the world in the community Porto, considered the second most important city of Portugal, suffers from the

contemporaneous social, political, cultural and economical context. All these unfortunate circumstances, which are not completely new or directly related to recent crisis, since they are a construct of society and its organization, have led to a progressive disappearance of public and social spaces. Recently, as we are getting closer to local elections, debates and conversations on public issues are being scheduled throughout the city. A recent association («Fora da Porta») which was created as a legal tool to formalize the project of the old public library (Biblioteca Popular do Marquês4), which has been deserted by the municipality since 2002, organized a cycle of conversations («Olhos na rua5») centred on public space in a broad acceptation: since it contemplated not only the public space, that is by definition outdoors, but also the public equipment (like a public library). One of the orators was the Portuguese architect, Alexandre Alves Costa, which indicated that in Porto, the primitive public space was the street, which was at the time a social space. This is long gone since it has been overtaken by the automobile. Architecture has always been the representation of the power installed. Architects labour mainly at the orders of these powers. Which makes it difficult to people to identify with public spaces and sometimes with some equipment, as well as to «occupy» those spaces that are so frequently inhospitable. Mobility seems to be the motto for a life where velocity became comfort and efficiency. Simultaneously, as the web still provides a worldwide connection as well as a large number of film, music, reading and game material the tendency is to stay in the great comfort of one’s home. And here, curiously, the motto would be something equivalent to the oxymoron «separated together». As the world’s horizon emerges from one’s bedroom paradoxically we are turning into a new type of cavern being, resembling something closer to a cybernetic cavern being. These two mottos foreshadow another kind of tyranny or something close to totalitarianism.

Alternative cinemas hardly survive compared to cinemas in shopping centres (or malls) with an offer exclusively audience and finance oriented. The Cineclube do Porto6 has been struggling its path in its own way. Apart from the «Sabor do Cinema» which has a seasonal program7 proposed by the association Os filhos de Lumière8 on Sundays afternoon at the Fundação Serralves, among many other activities9 little is left to boost learning, thinking and social interaction.

It is quite surprising and invigorating to verify how many spaces have been screening films for and from the community in Porto for the past few years. Most of those spaces have similar, or close enough, social, political and environmental preoccupations and cinema in the community is frequently transverse through out those associations or informal spaces. Therefore the repeating of the cycles in the various spaces of the city enables different public to attend and participate.

As far as spaces are concerned, we may find the following: Casa da Horta10, which is a cultural association and a meeting space to share experiences, knowledge and activities as film cycles. Espaço Musas11 which is a civic and cultural section of «Sport Musas e Benfica», recently also known as Musas, with its vegetable garden extension, where one can play Chess, Go and other games, among other activities which include a library, art exhibitions, talks, films, workshops, but actually in risk of eviction. Terra Viva12 is an association for social ecology, with a broad offer of activities as well as a popular library, self learning circles and film screening. We have to refer the no more existing space called EsColA13 where during the time it was open to the community also had a communitarian film screening among many other activities. And finally two spaces in which took place our experiencing cinema in the community: Gato Vadio/Saco de Gatos14 which is a platform for social action and place for intervention. Gato Vadio has an independent bookstore, a small coffee place and a cosy little backyard almost at the image of Tarkovsky sceneries. It recently turned into an association. Casa Viva15 is a private house, with free entrance by knocking at the door, turned into a project which wants to be open to the city. It welcomes all irreverent activities that boost new ways of thinking through music, painting, theatre, talks, cinema, workshops, literature, dance, etc. It has a library, a free shop, a bike shop, a chorus, a group of Rhythms and Resistance, a vegetable garden and a communitarian kitchen. Every space has its own or conjoint activities.

By cinema in the community, we have been considering only the screening of films, not the making of the films. Even though making films is also an appreciable learning tool, we have been focusing on the social ties and construct through the use of language, inwardness and knowledge connections. The special characteristics of the screening in the community are fundamentally on a base of free sharing and open proposals. This means that there is a non commercial and

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pedagogical use of the films screening, therefore there is no entrance fee and most important every proposal comes from the community, whether an individual or a group. As so, there are no limits or special requirements in terms of genre (fiction, film report, documentary) or any aesthetics specifications.

It may be important to sketch up what we mean by community and how cinema is used in the community to avoid certain legal problems that may emerge form screening in the community. We postulated that cinema is seen as a pedagogical material, so in these terms all the films are used as instrument to learn at the same level as a book may be read together in order to share opinions, theories, teachings and learnings. It is in that context that film screening is considered. As for the term community, it may have different meanings; let’s see the definition of community according to the Compact Edition of the Oxford English Dictionary. We find two main entries: first community as a «quality or state», in which we may find: «the quality of appertaining to, or being held by all in common»; but also «joint or common ownerships, tenure, liability»; second community is defined as «common character; quality in common, commonness, agreement, identity»; third: «social intercourse, fellowship, communion»; fourth: «life in association with others, society, the social sate». The other main entry refers to «a body of individuals, mainly as a body of people organized into a political municipal or social unity; a body of men living in the same locality». The very notion of community as we enunciate it and as we experienced it concerns not only the members of formal association or informal group or collective, but also any person that lives in Porto and its surroundings, as well as people passing by. It is not a limited body of individuals since the sessions are open to everybody. It is not a community in the sense that it is particularly organized into a political municipal unity neither it obeys to a social unity, but we may find a social diversity. These communities do not share life in common like in a sort of Owen’s society, but they do share special moments in common. Therefore, we may say that it is a variable body of individuals that share the world, living in Porto and surroundings or not and that share a certain perception of the world. That perception of the world could be described as interest oriented since it is certainly what drives people to present a proposal to share a film.

The proposals are mostly coming either from a small group, an individual or the collective itself. In any case it has to be submitted to the collective for consensual approval. As soon as the proposal is made to the collective and given the approval, thing are scheduled according to mutual availability between the person(s) that made the proposal and the collective involving other activities and the availability of the projection space and material. Normally, the necessary material (screen, computer, and projector) is provided by the space. Then the individual or the group that made the proposal will have to send a poster and a brief description of the proposed activity. The all thing is published in the blog and social media of each respective space. The screening is frequently preceded by a brief introduction and contextualization by the group or person that made the proposal. After the screening, there is an open discussion.

We will exemplify with some specific moments, simply because they were cycles presenting several films, starting in 2010 up to 2013 of cinema in the community, in the two different but multicultural spaces mentioned above: Gato Vadio and Casa Viva. The examples are slightly different since the first example came from a proposal of a human rights activist informal group on Middle East matters, the second was a proposal of a student of 12th grade made to the cultural association Sapato 4316 for her traineeship as a work experience that had to be evaluated, the third was a proposal by human rights activist on Latin America emancipation movements and two different films and screenings in the community were proposed by individuals.

During 2010-2011, a set of films (fiction, reports and documentaries) on Palestine were shown at Casa Viva and repeated at Gato Vadio. This cycle was related to three main international events: the first Freedom Flotilla and the episode of the boat Mavi Marmara in May 2010; the coming of Professor Norman Finkelstein to Porto in September 2010, and the World Forum on Education in Palestine in October 2010. As Professor Edward W. Said has said, dealing with the theme of Palestine is quite an ungrateful cause, even if it is a noble cause. During the sessions, with irregular participation, in terms of number and types of participants (e.g. person with previous knowledge on the issue and people discovering the issue for the first time) many interrogations along with different perceptions of the all situation were discussed.

Between December 2012 and January 2013 took place the film sessions on «utopia/distopia», with four films chosen and presented by Ana Kennerly (12th grade studying video at the Escola Artística Soares dos Reis), with the orientation, help and support of Sapato 43 and shown at Gato Vadio. These screenings brought together a quite large and diverse amount of persons that

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discussed aesthetical matters, special themes and authors of each screening as well as the main theme that started with the ideal, secret and closed garden inside the city of Metropolis and ended with the mysterious and dangerous natural space of Stalker.

Between March and April, between Casa Viva and Gato Vadio a set of three films were presented about the struggle and social alternative movements in Latin America. These moments were presented by an activist with personal experience. They were screened in a particular international moment with the resurgence of the Zapatista struggle in Mexico, with the silent march in December 201217 and the reopening of the genocide trial of Rios Montt18 in Guatemala in March 2012. As the screening broadens our perception on those matters, the presentation from a personal experienced point of view tightens our natural bounds with humanity and replaces us in the world with huge interrogation marks.

These proposals independently of their theme represent an essential key for another kind of sharing, caring and learning. The kind that opposes to the contemporaneous tendency to isolation. Following the thoughts of Hannah Arendt, the public space is a space of freedom. Since public space is also a social space, we may say that the existence of the above cited spaces constitute spaces of freedom.

Social spaces In 1970, François Truffaut directed the film "L'enfant sauvage" based on true accounts of the

doctor Jean Itard that in the late eighteenth century had the task of studying a 12 years old boy, founded in a forest and living as an animal, alone, unable to speak, write or read, moving like a quadruped and feeding on acorns and roots.

After being welcomed in a home, the doctor began teaching the boy to speak, dress, wash, sleep in a bed and eat with cutlery and other basic general knowledge, but it was not an easy process and not even successful. Often, the boy reacted like a locked animal and tried to escape. Apart from some very basic knowledge, the doctor could not get the boy to reach a level of approximate reasoning to the other boys of his age who have always lived in society.

This example, focusing on an extreme situation, points out that community interaction is essential in the normal process of learning starting at birth. Indeed, the wild boy was deprived of socializing with other people and hadn’t learned more than to survive like an animal, while he lived alone in the forest, because he was only subjected to the stimuli of the forest.

Aristóteles wrote that "(…) uma cidade é uma daquelas coisas que existem por natureza e que o homem é, por natureza, um ser vivo politico. Aquele que por natureza e não por acaso, não tiver cidade, sera um ser decaído ou sobre-humano (…)" (Aristóteles, 2008:7) and, in fact, this impulse to live in the community meant that since the dawn of humanity building up settlements has been a gathering of people, combining the need to learn together, security, mutual support and exchange of products..

Mainly with the industrial revolution, from the eighteenth century, cities became large clusters that promoted contact between people and intensified interactions. The city is a place of crossroads of ideas, impulses and tensions between individuals and the collective, favouring actions and reactions. It is the stage of the power of political action but also the stage of the counter-power. To Jordi Borja "a cidade é o lugar da história, da inovação cultural e política ."

These collective interactions have their privileged place on the public space of the city. While occupation of the space, "o espaço público é um vazio estruturado e estruturante, com dimensões e características próprias" (Krier, 1999:143) which traditionally correspond to streets and squares enclosed by buildings but, in turn, it is the people who occupy and use these empty spaces that become alive with political, social and cultural values. This public space, which is inherently a social space, is not limited to open spaces, but also extending into the interior of the public buildings with free access and private spaces with public access. Spaces that privileged relationship, communication and the debate of ideas, are spaces for the construction of citizenship and, above all, spaces of freedom, remembering the concept of Hannah Arendt and also the idealistic aspirations exposed by Jordi: "A cidade, como a democracia, tem por vocação maximizar a liberdade individual, transformando-a num objecto de vida colectiva que minimize as desigualdades."(Jordi, 2009:53)

However, these inclinations and aspirations must constantly be questioned, even in societies where representative democracy is institutionalized: are the social spaces we inhabit spaces of freedom?

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The relevance of this question lies in the fact that there has always been "tendências desagregadoras da cidade e da cidadania" (Jordi, 2009:63), reflecting not only the systems of governance, the pressure of the consumer society, but also the type of citizens posture, taken individually or jointly, because all these elements make the city a living organism, always changing.

Regardless of their meanings, good and bad always co-existed and, besides the idealistic inclination of the city for the construction of modernity based on a full democracy, the cities, as a place of ambitions, are also subject to the dubious impulses of the human nature.

In the current European democracies, everyday, we get to know through the media, and just to name a few examples, cases of public corruption, speculation, abuse of power, manipulation of information and segregation, that, as a whole, promote inequalities and social injustices. In addition, the functionalist city based on consumerism has promoted the use of the automobile, shredding traditional urban spaces and turning some streets into heavy traffic lines, at the expense of pedestrian mobility that promotes the daily and casual meeting between people.

Politically, the excess of partisanship in representative democracies and the overlapping of personal interests over public interests have provoked disbelieve and moved away the citizens from politics, as we can deduce, for example, with the growth in the percentage of abstentions in Portuguese elections, with a registration of abstention rounding 50% in some cases.

On the other hand, there is a sort of institutional rise of fear, implemented especially in the name of security. This imposes a system of surveillance and control in public spaces, which we have to live with as we may wonder if the police and some political institutions are exceeding their limits of action and, in a disguised form, if they are trying to control what happens in social spaces.

Bearing all these facts in mind, we should ponder how social spaces must be like, as places to create knowledge and citizenship, taking into account the changes in society: "A grande questão trazida por estas transformações diz respeito ao modo de pensar a urbanidade à luz das circunstâncias da globalização: de saber até que ponto é hoje possível concretizar, nos novos espaços, essa relação entre cidade e civilização, de onde deriva o nosso conceito de cidadania, bem como as suas práticas"(Innerarity, 2008:18)

It is in this context of transformation, that either tends to isolate people in their homes or to attract them to centres of entertainment and consumerism, that it appears as an emergency to strengthen social spaces in order to promote the contact between people and the flow of ideas. However, we do agree with what Jordi defends on the distance that people must keep in relation to institutional proposals, in order to maintain their independence and maintain a critical awareness in relation to preconceived knowledge:

“Não creio que uma nova cultura política possa ser gerada principalmente nas

instituições de governo ou se possa construir nos laboratórios de investigação e nos seminários académicos. Nos primeiros gere-se ou pensa-se em função das eleições. E no mundo académico a criatividade não é a virtude mais apreciada. Restam-nos os movimentos políticos alternativos (globais), como os que criticam a globalização do mundo real em nome de outro mundo possível, e os movimentos sociais e culturais de resistência (locais), que defendem identidades ou interesses colectivos legítimos mas limitados.” (Jordi, 2009:62) Thus, the questioning and building of alternative solutions must come from citizens will.

The social spaces that we want, as spaces of freedom, relies on us and it is with this meaning that the communitarian cinema appears in city, as an action of sharing and an action of collective construction of knowledge.

Brief aspects to rethink learning theories. After seeing some characteristics of the contemporaneous context and the outline of social

spaces, it seems evident that we are undergoing a tremendous crisis which touches every aspect of our lives. In an enthusiastic and optimistically way, we would like to believe, that we will find other ways to live and learn together in this world, since, as H. Arendt (2006: 184) referred on her article on crisis in education, crisis may allow us to formulate the right questions and foreshadows the possibility to look for entirely new answers: «Ora, a crise força-nos a regressar às próprias questões e exige de nós respostas, novas ou antigas, mas, em qualquer caso, respostas sob a forma de juízos directos. Uma crise só se torna desastrosa quando lhe pretendemos responder com ideias feitas, quer dizer com preconceitos». We considered social spaces as spaces of

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freedom in which we pointed out the film screening for the community, as one part of the solution regarding education and strengthening of social bounds and social spaces, as a topos to exercise our humanity, i.e, meeting, talking, sharing, discussing possible solutions, questioning, formulate possible answers and acting together.

Nowadays, in this cybernetic ages, to learn, in a broad acceptation, it is indubitably to be in contact with almost anything that comes across our multiple screens but also with oneself, or someone else (in ideal situations where we still could have the time to do so), or all three above. There are various degrees of contact but all of them may be considered as a possible base to learning depending on natural interest or simple curiosity. Learning, as Knud Illeris (2009:7) puts it «can broadly be defined as any process that in living organism leads to permanent capacity change and which is not solely due to biological maturation or ageing». As we understand the «permanent capacity change», we conceive it in all possible manners or degrees, from a slight to a radical change and during the all existence.

In the late years, as the school system has been undergoing continuous changes, as the fracture between teachers and parents has been deepened, as people have been nurturing a devastating distance, or meddling with an empty space, between each other, as their feelings seem to express a growing disbelieve in their institutions and government representatives, we have been seeing the emerging of other ways of learning mostly linked to social movements. As Illeris (2009: 8) tells us, learning deeply concerns the individual and takes place in a context: «(…) all learning implies the integration of two different processes, namely an external interaction process between the learner and his or her social, cultural or material environment, and an internal psychological process of elaboration and acquisition.» By nature the context is not always the same, since it depends on many variables and it stamps its nature on the individual that eventually and progressively will adapt, change or shape herself/himself to the context.

It is undeniable that several aspects of contemporaneous life separate us. This process of separation has been in place for quite a while now, but the consequences of the lost of credibility in democratic representatives, the unfair justice, and unfair economical system is bringing people together in an old, but somehow different, way. The possible learning, in the screening in the community, is mostly based on a constructivist nature since the person that makes the proposal, as well as the viewers, construct their own learning and share it. The type of learning concerned, among the four types19 enunciated by Illeris (2009:14) is the transformative learning:

Finally, over the last few decades it has been pointed out that in special situations

there is also a far-reaching type of learning that has been variously described as significant (Rogers 1951, 1969), expansive (Engeström 1987), transitional (Alheit 1994) or transformative learning (Mezirow 1991). This learning implies what could be termed personality changes, or changes in the organisation of the self, and is characterized by simultaneous restructuring of a whole cluster of schemes and patterns in all of the three learning dimensions – a break of orientation that typically occurs as the result of a crisis-like situation caused by challenges experienced as urgent and unavoidable, making it necessary to change oneself in order to get further. Transformative learning is thus both profound and extensive, it demands a lot of mental energy and when accomplished it can often be experienced physically, typically as a feeling of relief or relaxation. One of the most vigorous steps in autonomous and constructive learning is precisely the

moment when there is the urge to share. As we consider this type of learning and the application of the two principles, during the screening sessions in the community, we identified four indicators: memory, expression, resemblance and horizontality. These indicators are mainly the operational processes that we can identify as we participated in the sessions and organized some of them in/for and with the community. Memory is a constant for the organization of the thoughts and capability to connect data, to retain it, to establish the various possible connections between it. Expression involves memory in the performance act and capability to communicate with words and body language but it also commands the capability to interact with other data. The learning process engaged here also implies resemblance. Not in the way of identification or unconditional agreement with the film presented, or the opinion of the person that presented it, but mainly as a concept that makes the connection, a kind of recognition, among things that matter to us in a broad manner, things we care about, or we may be curious about and are willing to do some research about in order to share and talk about it. The basis of agreement with the chosen material is not at stake here, it is mainly and purely a question mark that stands to be discussed, discovered or even

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forgotten to give rise to other important matters. The other indicator may be called horizontality, in the sense that no one commands or directs the main contents. It is mainly a construct of the all community, that is, the individuals present during the sessions.

Conclusion As George Siemens told us that the internet changed our way of thinking, we might as well say

that it also changed our way of looking and seeing. As we adapt to always new technologies, we also learn how to use them for what we really want to do with them. All spaces of freedom are the ideal precondition for autonomous and constructive learning. Some moments of learning require the loneliness of a gender free «room of one’s own» and other moments turn into «special party learning», that is, the sharing of what we learnt in other spaces of freedom with other people and where another learning session takes place.

Simultaneously, as people are sharing in multiple manners and eventually get together to think about their lives, share interests, inwardness and knowledge, some important decisions on internet’s contents are being discussed and in a recent article of Le Monde Diplomatic20, we are told of the experiment on the benefits of big data treatment to prevent social movements in Latino America. Simultaneously, a stronger awareness of «minorities» which recognize themselves in the great 99% majority is growing in all directions through different means and with different priorities which involve not only solidarity with the oppressed of the world as well as local convivial, ecological, survival, political concerns. In this context the terms of self management and joint worker management control are reappearing without a real political connotation even though it has always been the position of two main orientations of libertarian political though: communitarian base and anarcho-syndicalism. Bibliography Books ARENDT Hannah (1998). The human condition, 2nd ed., Chicago, University of Chicago Press, ISBN 0-226-02598-5, 350 pp. ARENDT Hannah (1962). The origins of Totalitarianism, 7th ed., Cleveland, The World Publishing Company, no ISBN, 528 pp. LÉVINAS, Emmanuel (1991). Entre nous. Essais sur le penser à l’autre, Paris, Editions Grasset & Fasquelle, ISBN 2-253-06345-2, 256 pp. Various Authors (1986[1968]). English Romantic Verse, London, Penguin Classics, ISBN - 0-14-042102-5, 354 pp. (1976).Compact Edition of the Oxford English Dictionary. Vol. 1 A-O, USA, Oxford University Press, LCCCN – 76-188038, 2048 pp. Translated books ARENDT Hannah. Entre o Passado e o Futuro. Oito Exercícios sobre o Pensamento Político. Translated from English by José Miguel silva. Santa Maria da Feira: Relógio d’Água Editores, 2006, 316 pp. – ISBN 972-708-870-8. ARISTÓTELES. Política. Translated from French by António Capelo Amaral, Carlos de Carvalho Gomes e Vega. Madrid:Prisa Innova S.L., 2008, 524 pp.- ISBN 978-84-92482-01-6. BARSAMIAN David (entrevista Edward W. Said). Cultura e Resistência. Translated by Miguel Serras Pereira/Susana Serras Pereira. Porto: Campo das Letras, 2004, 200 pp. – ISBN 972-610-779-2. FREITAG Michel. Arquitectura e sociedade. Translated from French by Miguel Serras Pereira. Lisboa: Publicações Dom Quixote, 2010, 80 pp. – ISBN 972-20-2746-8. GIRARDET Herbert. Criar Cidades Sustentáveis. Translated from English by Gabinete de tradução das Edições Sempre-em-Pé. Águas Santas: Edições Sempre-em-Pé, 2007, 88 pp. – ISBN 978-972-8870-08-9. HABERMAS Jürgen. Teoria da Racionalidade e teoria da linguagem. Vol.II. Translated from German by Lumir Nahodil. Lisboa: Edições 70,336 pp. – ISBN 978-972-44-1581-9. KRIER Léon. Arquitectura. Escolha ou fatalidade. Translated from French by António Sérgio Rosa de Carvalho. Lisboa: Estar-Editora LDA, 1999, 208 pp. – ISBN 972-8095-64-3. LIPOVETSKY Gilles, SERROY Jean (2010[2007]] O ecrã global. Cultura mediática e cinema na era hipermoderna. Translated from French by Luís Filipe Sarmento. Lisboa: Edições 70, 2010, 310 pp. – ISBN 978-972-44-1555-0. Review articles BOLLON, Patrice - «La pensée prise dans la toile»: Le Magazine Littéraire, Avril (2013) 8-16, ISSN : 0024-9807.

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BORJA, Jordi – «A Democracia em Busca da Verdade» : Jornal Arquitectos, 234 (2009) 52-63, ISSN : 0870-1504 INNERARITY, Daniel – «A Nova Urbanidade» : Jornal Arquitectos, 231 (2008) 18-21, ISSN : 0870-1504 News-paper articles JENSEN, Pablo - «Simulation numérique des conflits sociaux» : Le Monde Diplomatique nº 709 – 60º année (Avril 2013) 27. Films Divine intervention (2002), Dir. Elia Suleiman, France, Morocco, Germany, Palestine. Death in Gaza (2004), Dir. James Miller, UK. To shoot an Elephant (2009), Dir. Alberto Arce, Mohammad Rujailah, Spain. Cinema Mudo (2003), Dir. João Sousa Cardoso, Israel, Italy. Bil’in my love (2006), Dir. Shai Carmeli Pollak, Israel. American Radical. The trials of Norman Finkelstein (2009), Dir. David Ridgen & Nicolas Rossier, USA. Metropolis (1929), Dir. Fritz Lang, Germany. Alphaville (1965), Dir. Jean-Luc Godard, USA. Fahrenheit 451 (1966), Dir. Truffaut, UK. Stalker (1979), Dir. Tarkovsky, USSR, East Germany. Hidden in plain sight (2003), Dir. John H. Smihula, USA. Zapatista (1999), Dir. Benjamin Eichert, Rick Rowley, Staale Sandberg, USA. When the mountains tremble (1983), Dir. Newton Thomas Sigel, Pamela Yates, USA. Land and Freedom (1995), Dir. Ken Loach, UK, Spain, Germany, Italy. Χρεοκρατία hreokratía (Debtocracy) (2011), Dir.Katerina Kitidi and Aris Hatzistefanou, Greece. Notes 1 Words from the poem: «The rime of the ancient mariner», part IV : Alone, alone, all, all alone, Alone on a wide wide sea! And never a saint took pity on My soul in agony. Samuel Taylor Coleridge in English Romantic Verse (1986 [1968]) London: Penguin Classics, 163. 2 Here topos, from the greek: τόπος, meaning: place, refers to cinema as a place or a space. 3 «O trevo teórico aplicado ao cinema como instrumento de construção de conhecimento», in Avanca. Cinema. 2012, p 1031. 4 «Fora da Porta quer pôr o Porto a discutir espaço e serviço públicos»: http://porto24.pt/porto/02042013/fora-da-porta-quer-por-o-porto-a-discutir-espaco-e-servico-publicos/#.UYgiHUrlp2q 5 «Conversas com “Olhos na Rua” para debater o espaço público no Porto»: http://porto24.pt/porto/29042013/conversas-com-olhos-na-rua-para-debater-o-espaco-publico-no-porto/#.UYgiAkrlp2p 6 Cineclube do Porto: http://cineclubedoporto.wordpress.com/ 7 Sabor do cinema: http://www.serralves.pt/pt/actividades/o-sabor-do-cinema-momento-xxiii/ 8 Blog: Os filhos de Lumière: http://osfilhosdelumiere.blogspot.pt/ 9 Website: Os filhos de Lumière: http://osfilhosdelumiere.com/home/ 10 Casa da Horta: http://casadahorta.pegada.net/entrada/category/cinema-na-horta/ 11 Espaço Musas: http://musas.pegada.net 12 Terra Viva: http://terravivaporto.blogspot.com 13 EsColA stands for Espaço Colectivo Autogestionado: http://escoladafontinha.blogspot.pt/ 14 Gato Vadio: http://gatovadiolivraria.blogspot.pt/15 Casa Viva: http://casa-viva.blogspot.pt/ 16 Sapato 43 (Associação Cultural para a Construção do Conhecimento pela Arte): http://sapato43.zxq.net/ 17 Zapatista silent march: http://www.counterpunch.org/2012/12/27/zapatista-march/ 18 Genocide trial of Rios Montt: http://www.opendemocracy.net/matthew-kennis/genocide-trial-of-rios-montt 19 The four types of learning are: cumulative learning that occurs mostly during childhood , assimilation and accommodation described by Piaget as normal everyday learning, and transformative learning which is very demanding and causes deep changes in the person. 20 Le Monde Diplomatique : Simulation numérique des conflits sociaux.

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