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 Dewar in the riding of Ottawa Centre. <mask> said that she knocked on 100,000 doors during her 522 days as a candidate. <mask> was elected with 43% of the votes compared to Dewar's 38%. <mask> had campaigned on issues such as reforming the National Capital Commission, funding for a new main branch of the Ottawa Public Library, and opposing the proposed Memorial to the Victims of Communism. <mask> was one of 50 women elected to the Liberal caucus in the 2015 election. In late June of 2021, <mask> announced she would not seek re-election to her seat in Parliament. Following the 2021 federal election, she was succeeded as MP by Yasir Naqvi, a Liberal who served as the attorney general of Ontario in the provincial government of Kathleen Wynne.Minister of Environment and Climate Change
<mask> was appointed Minister of Environment and Climate Change in Justin Trudeau's first cabinet on November 4, 2015. One of her first appearances as Minister of Environment and Climate Change was at the 2015 United Nations Climate Change Conference in Paris. In this position, she played a significant role in implementing Trudeau's Environmental policy. In December 2016, <mask> led a clean-technology sector business delegation with Canadian and Chinese companies in China. Additionally, she served as the international executive vice-chair of the China Council for International Cooperation on Environment and Development and co-chaired the council's annual general meeting with China's Minister of Environmental Protection, Minister Chen Jining. Some of <mask>'s critics have derisively nicknamed her "Climate Barbie", a label <mask> considers a sexist insult. Conservative MP Gerry Ritz caused controversy in September 2017 when he tweeted a link to a news story stating no industrialized nations were on pace to meet Paris Agreement carbon emission targets with the comment "Has anyone told our climate Barbie! "(referring to <mask>). Ritz eventually deleted the original post, afterward posted another

masks: McKenna McKenna McKenna McKenna McKenna McKenna McKenna McKenna McKenna McKenna


type: original

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 message stating: "I apologize for the use of Barbie, it is not reflective of the role the Minister plays". Conservative leader Andrew Scheer condemned Ritz's comment later in the day and stated he would reach out to <mask> personally to "assure the minister that this type of behavior has no place in the Conservative caucus". In November 2018, in response to the Government of Ontario's decision to cancel all climate action projects supported through the federal Low Carbon Economy Fund, <mask> announced that the Government of Canada would work directly with businesses to re-invest the $200-million remaining in the province's Low Carbon Economy Fund. Minister of Infrastructure and Communities
In November 2019, <mask> was appointed as the minister of infrastructure and communities after serving as Canada's second-longest environment minister. Personal life
Born and raised in Hamilton, Ontario, she is the eldest of four children of Dr. <mask>, an Irish dentist and his Quebec-born wife <mask>, who lived in the southwest part of Hamilton. On August 14, 1999, <mask> married entrepreneur and writer Scott Gilmore, with whom she has lived since 2002 in The Glebe, Ottawa.They have one daughter and two sons. The actor Patrick Gilmore is <mask>'s brother-in-law. Electoral record

References

External links

 Official Website
 Bio & mandate from the Prime Minister

1971 births
Living people
Liberal Party of Canada MPs
Canadian civil servants
Canadian Ministers of the Environment
Women government ministers of Canada
Women members of the House of Commons of Canada
Canadian people of Irish descent
Members of the 29th Canadian Ministry
Members of the House of Commons of Canada from Ontario
Members of the Queen's Privy Council for Canada
Politicians from Hamilton, Ontario
Politicians from Ottawa
Alumni of the London School of Economics
McGill University Faculty of Law alumni
University of Toronto alumni
University of Toronto faculty
Women in Ontario politics
21st-century Canadian women

masks:
McKenna
McKenna
McKenna
John McKenna
Pat McKenna
McKenna
McKenna


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<mask><mask> (born 3 April 1940 in Sydney) is an Australian anthropologist and professor at Columbia University. Although he has published on medical anthropology, he is best known for his engagement with Marx's idea of commodity fetishism, especially in terms of the work of Walter Benjamin. He was awarded a Guggenheim Fellowship in 1998, and a Berlin Prize in 2007 from the American Academy in Berlin. Early life
<mask> was born in Sydney to parents of German and Czech-Jewish ancestry. He completed secondary education in 1958 at North Sydney Boys High School and then earned a medical degree from the University of Sydney before completing a PhD in anthropology at the London School of Economics. The Devil and Commodity Fetishism (1980)
The Devil and Commodity Fetishism in South America is both a polemic about anthropology and an analysis of a set of seemingly magical beliefs held by rural and urban workers in Colombia and Bolivia. His polemic is that the principal concern of anthropology should be to critique Western (specifically, capitalist) culture.He further argues that people living in the periphery of the world capitalist economy have a critical vantage point on capitalism, and articulate their critiques of capitalism in terms of their own cultural idioms. He thus concludes that anthropologists should study peoples living on the periphery of the world capitalist economy as a way of gaining critical insight into the anthropologists' own culture. In short, this polemic shifts the anthropologists' object of study from that of other cultures to that of their own, and repositions the former objects of anthropological study (e.g. indigenous peoples) as valued critical thinkers. Taussig applies this approach to two beliefs, one based on both his own field research and that of anthropologist June Nash, the second based on his own research. The first is the belief held by semi-proletarianized peasants in Colombia (with an analogous case

masks:
Michael T
. Taussig
Taussig


texts:
 among Bolivian tin miners) that proletarianized sugar-cane cutters can make a contract with the devil that will cause them to make a good deal of money, but that this money can be spent only on frivolous consumer goods, and that the cutter will die an early miserable death. Taussig suggests that earlier anthropologists might have argued that this belief is a hold-over from pre-capitalist culture, or serves as a leveling mechanism (ensuring that no individual become significantly wealthier than any of his or her fellows).Taussig, however, argues that through the devil, peasants express their recognition that capitalism is based on the magic belief that capital is productive, when in fact capitalism breeds poverty, disease, and death. The second belief provides another example of peasants representing their own understanding of capitalism's claim that capital is productive: the belief that some people engineer a switch that results in a peso, rather than a baby, being baptized. The consequence is that the money, alive, will return to its original owner no matter how it is spent, and bring more money back with it. Shamanism, Colonialism, and the Wild Man (1987)

Taussig's seminal work, Shamanism, Colonialism and the Wild Man: A Study in Terror and Healing, examines the project of colonialism as it was carried out in South America. He works to create a space of all-too-real, present terror, followed by a process of healing that readers themselves are supposed to follow. In weaving literature, firsthand accounts, and his own ethnographic work, Taussig strives to create "a mode of perception—a way of seeing through a way of talking--figuring the world through dialogue that comes alive with sudden transformative force in the crannies of everyday life’s pauses and juxtapositions. ...It is an irregular, quavering image of hope, this inscription on the edge of official history" (209). As author, Taussig works to assume the role of the shaman


texts: and assigns the reader, in allowing themselves to be absorbed, the role of the patient. Taussig introduces his subject matter in his author's note, stating that the purpose of his text is to examine, "the politics of epistemic murk and the fiction of the real, in the creation of Indians, in the role of the myth and magic in colonial violence as much as in its healing, and in the way that healing can mobilize terror in order to subvert it ... through the tripping up of power in its own disorderliness. That is why my subject is not the truth of being but the social being of truth, not whether facts are real but what the politics of their interpretation and representation are" (xiii, italics added). As stated above the author begins this discussion first by looking at acts of terror and the "space of death" created there. His case of terror is that of the rubber trade in the Putumayo river area of Colombia of the late 19th and early 20th century. Much of these acts of terror stemmed from British rubber barons of the time trying to impose a capitalist mode of production on an indigenous, "wild", population still living under an economy based upon a gift exchange system.In the eyes of the British, who violently pressured the natives to extract rubber from the rubber trees of the area, the Indians "would not work appropriately". The barons' reaction to indigenous resistance was to carry out horrific acts of terror on the minds and bodies of the local population, which Taussig thoroughly documents through providing firsthand accounts from the time. Within the "space of death" created in the Putumayo area came also the death of communal memory and objectivity. Terror resulted in a, "society shrouded in an order so orderly that its chaos was far more intense than anything that had preceded it—a death-space in the land of the living where torture's certain uncertainty fed the great machinery of the arbitrariness of power" (4). The powerful


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 force of healing develops from the same space created by the other powerful force of terror: "Shamanic healing... like the culture of terror, also develops its force from the colonially generated wildness of the epistemic murk of the space of death" (127). In his section on healing Taussig relates his ethnographic work with José García, an Indian shaman of the Putumayo, during the 1970s. Taussig is particularly compelled by the fact that many peasant colonists seek out José García to be healed.He notes that to the magic already possessed by shamans like García, "colonialism fused its own magic, the magic of primitivism" (216). Here Taussig is speaking of how the shaman has been able to harness the "mystery" and "wildness" projected onto him by Western "civilization" in his practice as a shaman. He goes on to write that this, "folding of the underworld of the conquering society into the culture of the conquered [is] not as an organic synthesis or 'syncretism'... but as a chamber of mirrors reflecting each stream's perception of the other" (218). In what does the healing power of wildness lie? Taussig answers this question:

Wildness challenges the unity of the symbol, the transcendent totalization binding the image to that which it represents. Wildness pries open this unity and in its place creates slippage. ... Wildness is the death space of signification" (219).So it has been through the sweep of colonial history where the colonizers provided the colonized with the left-handed gift of the image of the wild man--a gift whose powers the colonizers would be blind to, were it not for the reciprocation of the colonized, bringing together in the dialogical imagination of colonization an image that wrests from civilization its demonic power (467). The Nervous System (1992)

Published in 1992, The Nervous System comprises nine essays. <mask>g sets out on a journey to explore and describe various forces that shape and mold our present


texts:
 society. He tries to explore the process through which we commodify the state and in that way transfer the power to it. Taussig attempts to show how the state uses forces such as violence or media control to consolidate its power over the people. He argues that we live in a state of emergency, citing Walter Benjamin, that is not 'an exception but the rule.' To show the universality of the nervous system he takes his reader through the heights of Machu Picchu, the world of Cuna shamans, and the pale world of New York's hospital system.Mimesis and Alterity (1993)

Mimesis and Alterity looks primarily at the way people from different cultures experience the two themes of the book – how we come to adopt or assimilate another's nature or culture (mimesis), and also how we come to identify/distance ourselves with/from it (alterity). Taussig studies this phenomenon through ethnographical accounts of the Cuna, and through the ideas of Walter Benjamin. The Cuna have adopted a set of wooden figurines for magical ritual that look remarkably like white colonists, to the point of sometimes being recognizable as figures from history that traveled through those parts. If you asked one of the Cuna about the figurines, he would likely deny all connection between the two, creating an epistemic dilemma where something that may appear obvious to anthropologists is anything but obvious to those they study. Another noteworthy peculiarity of Cuna culture that Taussig mentions is the way in which the Cuna have adopted, in their traditional molas, images from western pop culture, including a distorted reflection of the Jack Daniel's bottle, and also a popular iconic image from the early twentieth century, The Talking Dog, used in advertising gramophones. Taussig criticizes anthropology for reducing the Cuna culture to one in which the Cuna had simply come across the white colonists in the past, were impressed by their large ships and exotic technologies,


texts:
 and mistook them for Gods. For Taussig, this very reduction of the Other is suspect in itself, and through Mimesis and Alterity, he argues from both sides, demonstrating why exactly anthropologists have come to reduce the Cuna culture in this way, and the value of this perspective, at the same time as defending the independence of lived culture from Anthropological reductionism.Other publications
The Devil and Commodity Fetishism in South America, 1980, . Shamanism, Colonialism, and the Wild Man: A Study in Terror and Healing, 1987, . The Nervous System, 1992, . Mimesis and Alterity: A Particular History of the Senses, 1993, . The Magic of the State, 1997, . Defacement: Public Secrecy and the Labor of the Negative, 1999, . Law in a Lawless Land: Diary of a Limpieza in Colombia, 2003, .My Cocaine Museum, 2004, . See an excerpt. Walter Benjamin's Grave, 2006, . See an excerpt. What Color Is the Sacred?, 2009, . See an excerpt. I Swear I Saw This: Drawings in Fieldwork Notebooks, Namely My Own, 2011,
Beauty and the Beast, 2012,
The Corn Wolf, 2015,
Mastery of Non-Mastery in the Age of Meltdown, 2020
 Speak the Wind (2021) Photographs by Hoda Afshar; essay by <mask>g.The photographs document the landscapes and people of the islands of Hormuz, Qeshm, and Hengam, in the Persian Gulf off the south coast of Iran, in which Afshar explores "the idea of being possessed by history". Taussig's essay, entitled Winds of History adds context to the photographs. References

External links
Taussig Bio page at Columbia University

1940 births
Living people
People educated at North Sydney Boys High School
University of Sydney alumni
Alumni of the London School of Economics
Australian anthropologists
Australian people of Czech-Jewish descent
Australian people of German-Jewish descent
Anthropologists of religion
Jewish anthropologists
Latin Americanists
Columbia University faculty
Australian expatriates in the United Kingdom
Australian expatriates in


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<mask> a.k.a. Know Hope (1986) is a contemporary artist whose work consists of social practice projects, immersive installations, and public artworks. He first became known for his work in the streets of Tel Aviv under the pseudonym Know Hope. He is best known as one of the first Israeli street artists to gain international recognition. <mask> facilitates community and long-term projects that deal with ideas of re-contextualization and dialogue through public space. His work revolves around cross cultural encounters, examining issues such as borders, collective memory, and the nexus between the personal and the political. <mask> is a prominent figure in Israeli street-art culture.He also exhibits in galleries and museums internationally using ready-made materials, mixed media pieces, photographs, videos and text. According to Complex, Yekutieli is considered one of the world's leading contemporary street artists. Though a visual artist, text is a prominent element in <mask>'s work, known for its "poetry and lyricism." His work revolves around the human condition and around finding "unity in a fragmented world." Early life
<mask> grew up in a mixed heritage home, with roots in Japan, USA, and Israel. In his teens, he found inspiration in punk subculture and skateboarding. This heavily influenced the aesthetics in his early work.In his late teens he began creating art in streets of Tel Aviv. Although his art was categorized as street art, Yekutieli did not use traditional aerosol spray paint, but rather acrylic paint, markers, paper and cardboard. Many of his early works were of the ephemeral nature, not intended to remain on the street permanently, Yekutieli intentionally using materials such as wheatpaste, installations, found materials, etc. Know Hope
Shortly after beginning to work on the street, Yekutieli began writing the

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Addam Yekutieli
Yekutieli
Yekutieli
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 phrase “Know Hope” on walls around the city. Due to its obvious word-play and the difference between reading the text and hearing it possibly as 'no hope,' the phrase was referring to the chasm between hope and despair. Yekutieli enjoyed the ambiguity of the phrase and the subjective perception on behalf of the viewers. The dualism and symbiosis between the multiple meanings of the phrase would continue to inform Yekutieli's work later on.<mask> "never intended on [it] becoming an artist name." It was only after being referred to as Know Hope by a local newspaper that Yekutieli understood that the public referred to the creator of the art as such. Early work

<mask> started exhibiting his work in the streets of Tel Aviv in early 2005. His pseudonym Know Hope began appearing next to his most common long-arms and long-legged unisex character. A couple of years after the INSIDE JOB, a street-art group show in the Helena Rubenstein Pavilion for Contemporary Art, Yekutieli began exhibiting in early 2013 in one of Israel's most prominent galleries Gordon Gallery. That same year, <mask> also started working with Steve Lazarides and his London-based gallery Lazarides Rathbone. In 2014 <mask> took part in a group exhibit in the Roskilde Museum of Contemporary Art.In 2014, parallel to his iconography work that by now has developed to include a repetitive use of white-flags, birds, wood, and fences, Yekutieli began working on long term ongoing projects. Truth and Method (2014–present)

In late 2014 <mask> sent out an open call for participants in Tel Aviv and NYC to take part in his art and allow him to tattoo them. <mask>'s websites describes the project as:

"Truth and Method is firmly based on real human situations, continuing a process of extensive observations of context and appropriation whilst providing greater insight into a

masks: Yekutieli Yekutieli Yekutieli Yekutieli Yekutieli Yekutieli


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 reflective practice.Images of site-specific street pieces form the basis of the exhibition, with a series of poignant, text-based messages creating open-ended narratives reinforced by their context. This initial starting point allows each urban environment to take an active part in the dialogue and determine how the audience may perceive them.Following this, the same texts are tattooed on volunteer participants, extending the work away from the ethereal nature of outdoor work and instead taking on a more permanent quality. By translating the initial text-based artwork onto active participants the work manifests itself in a new shape with a far more intimate meaning." The Truth and Method project was first exhibited in the Tel Aviv Gordon Gallery. Later on in 2015 <mask> exhibited another section of the project, in which he tattooed about 50 participants, in the NYC-based gallery Catinca Tabacaru.Taking Sides (2015–present)

During a residency in Cologne (Germany) Yekutieli began a series of public interventions in which a white thin line is drawn in the street to create s supposed border. On both sides of the line opposing sentences are written to enhance the idea of space as difference and otherness. "Creating juxtapositions between the personal and the political, Taking Sides is an observation on how sometimes sides are chosen and larger ideologies and allegiances are adopted- at times consciously, but most commonly in a hereditary and automatic way, or in a manner dictated by circumstance." During 2016 Yekutieli undertook another series of interventions this time in the city of Lyon for a group exhibit in the Musée d'art contemporain de Lyon. This time adding video-art as another medium in this project, Yekutieli juxtaposed videos documenting intervention in public space around the city of Lyon with videos that exhibit


texts:
 notions of territory and borders such as the Israeli Separation Wall, the Lesvos Shoreline, and the Calais Eurotunnel. Vicariously Speaking (2016–present)

In 2016 working with OZ Arts in Nashville (U.S.A) for a community-based project, Addam began corresponding with prisoner who are currently on death row in a Nashville prison. <mask> describes the project in his website: "Following this correspondence, fragments of sentences from the inmates’ letters were extracted and placed on a series of billboards around the city.By taking these phrases out of their original context and placing them in a new one, a newfound presence for the inmates takes place in public space and a dialogue within an interactive environment is created between two separate realities.This dynamic process allows a reflection on notions such as ones origin and permits an intuitive and empathetic understanding of a commonly complex issue."This project was shown in OZ Arts during 2016 but did not yet receive a comprehensive gallery day-view due to its ongoing nature that requires a longer period of correspondence and documentation. : Exploring the New Contemporary Art Movement, Honolulu Museum of Art School, Honolulu, Hawaii, USA
2014: Black Milk- Holocaust in Contemporary Art, Museum of Contemporary Art in Roskilde, Denmark
2015: Invisible College, Fort Wayne Museum of Art in association with Thinkspace Gallery, Fort Wayne, Indiana, USA
2015: La Familia, Thinkspace Gallery, Culver City, CA
2016: WordsWordsWords, Spring Break Art Fair
2016: Still Here, Lazarides Gallery, London
2016: Jameco Exchange, in association with No Longer Empty
2016: Wall Drawings – Urban Icons, Musée d'art contemporain de Lyon, Lyon, France

References

External links

A video interview by BBC Fresh
Interview with Uproxx

Israeli contemporary artists
Living people
Pseudonymous


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<mask> (9 November 1863 – 17 April 1933) was an English actor and theatrical manager. After establishing his reputation in London and in the provinces for a decade, he joined the company of Herbert Beerbohm Tree where he remained for four years, meeting his future wife, Julia Neilson. With Neilson, he played in London and on tour for 27 further years, becoming famous in sword and cape roles, such as the title role in The Scarlet Pimpernel. Biography
<mask> was born in London into a theatrical family. His parents, Benjamin (1817–1896) of Irish descent, and Sarah (née Ballard) (1819–1892), of Scottish ancestry, were comic actors in a touring company based in Portsmouth, where Sarah's father was a Wesleyan minister, and had eleven children of which <mask> was the youngest son. At least five of these became actors: Kate, Ellen, Marion, Florence and <mask>. Two other children, George and Charles, were connected with theatre management.<mask>'s sister Kate was a very successful actress until her marriage and retirement from the stage in 1867, and his sister Ellen became the greatest Shakespearean actress of her time. His great-nephew (Kate's grandson), John Gielgud, became one of the twentieth century's most respected actors. <mask> was educated in London, France and Switzerland. During his career, <mask> toured extensively, playing in all the principal cities of the United Kingdom and North America. His first stage appearance was at the Haymarket Theatre in 1880 at the age of 16, in a revival of Bulwer-Lytton's Money, with the Bancrofts. After appearances on tour, he was engaged at the Lyceum Theatre in 1884 in Henry Irving's production of Twelfth Night, as Sebastian to the Viola of his sister Ellen. In

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texts: her memoirs, his sister Ellen wrote, "I don't think that I have ever seen any success so unmistakable and instantaneous."He then returned to touring, in Britain and the US. Back in London by July 1887, he appeared in Nina at The Strand. He had a success at the Avenue Theatre, as Dr William Brown in Dr Bill, by Hamilton Aidé, in 1890. He joined the company of Herbert Beerbohm Tree at the Haymarket Theatre, appearing in numerous productions with the company from 1890 to 1894. His roles there included D'Aulnay in W. S. Gilbert's Comedy and Tragedy (1890) and John Christison in Henry Arthur Jones's The Dancing Girl (1891). In the cast of this last, he met Julia Neilson, daughter of Alexander Ritchie Neilson, whom he married later that year. For Tree, he also played Laertes in Hamlet and appeared in Sydney Grundy's translation of the French play A Village Priest, Beau Austin and Peril.<mask> and Neilson's daughter Phyllis was born in 1892. In 1894, <mask> and Neilson appeared together in Shall We Forgive Her? by Frank Harvey at the Adelphi Theatre. Their second child, Dennis, was born in October 1895. Two months later, the family travelled to America to perform with John Hare's company. There they played together in New York in The Notorious Mrs. Ebbsmith by Arthur Wing Pinero. In 1896, they returned to England, where he played at the Lyceum as Charles Surface in a revival of Sheridan's The School for Scandal with Johnston Forbes-Robertson.<mask> and his wife appeared together in The Tree of Knowledge and other plays from October 1897 until the summer of 1898, including Much Ado About Nothing at the St James's Theatre, in which he played Don Pedro. Next, they appeared in The Gipsy Earl. He was Squire

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 Thornhill in William Gorman Wills's Olivia at the Lyceum in 1900. They then toured in As You Like It. Later years

For the next 27 years, <mask> and Neilson played together, mainly in popular romantic historical dramas, with <mask> in swashbuckling roles. At the Haymarket, he was particularly known for his role of King Charles II in the play Sweet Nell of Old Drury by Paul Kester, which became one of his signature roles. They toured extensively in the British provinces, but they had annual six-month London seasons at the New Theatre from 1905 to 1913.During these they premiered several new plays in London, including Baroness Orczy's The Scarlet Pimpernel, which they adapted for the stage with J. M. Barstow (1905), with <mask> creating his other signature part of Sir Percy Blakeney. Despite scathing reviews from the critics, the play was a record-breaking hit and played for more than 2000 performances, then enjoying numerous revivals. <mask> and Neilson also introduced and starred with much success in For Sword or Song by Robert Legge and Louis Calvert (1903), Dorothy o' the Hall by Paul Kester and Charles Major (1906), and Henry of Navarre (1909) by William Devereux. Henry and Sweet Nell became their signature pieces during many tours of the British provinces and during their US tour in 1910. They also produced The Popinjay by Boyle Lawrence, <mask> (1911), and Mistress Wilful by Ernest Hendrie (1915). In 1915, <mask> and Neilson took over the management of the Strand Theatre, reviving and starring in Sweet Nell of Old Drury. Their later productions included The Borderer (1921), The Marlboroughs (1924), and The Wooing of Katherine Parr by William Devereux (1926).They also starred in A Wreath of a

masks:
Terry
Terry
Terry
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Frederick Mouillot
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 Hundred Roses (1922), which was a masque by Louis N. Parker at the Duke's Hall to celebrate the Royal Academy's centenary. <mask> was also well known on tour for his Benedick in Much Ado and his Charles Surface. The couple's son Dennis became an actor, whose career was cut short by his death in 1932, and their daughter Phyllis Neilson-<mask> became a noted actress. In 1918, a group of British theatre managers from 60 of the theatres that he had played in presented to <mask> a portrait, painted by Frank Daniell, of <mask> as Sir Percy Blakeney. <mask> retired from the stage in 1927. A Freemason, he joined the Green Room Lodge No. 2957 on 6 May 1904, an actors' lodge which included Leedham Bantock, George Grossmith Jr. and Gerald du Maurier among its members.He died at his home in St Pancras, London, in 1933 at the age of 69. He, together with his wife and son Dennis, are buried in Hampstead Cemetery. See also

 <mask> family
 Neilson-Terry Guild of Dramatic Art

Notes

References
 <mask>'s memoirs, ed. E. Craig and C. St John (New York, 1932)

<mask>'s memoirs, ed. E. Craig and C. St John (New York, 1932)
 Parker, J. (ed.) Who's Who in the Theatre, 6th edn (1930)
 Pemberton, Thomas Edgar.<mask> and her sisters, London: C. Arthur Pearson, Ltd (1902)
 Steen, M. A pride of <mask>s (1962)
 <mask>, <mask>. "My wife and I", Strand Magazine, issue 49 (1915), pp. 635–42

External links

 Information and photos of <mask> and Neilson

English expatriates in France
English expatriates in Switzerland
English male stage actors
1863 births
1933 deaths
Burials at Hampstead Cemetery
Male actors from London
19th-century English male actors
20th-century English male actors
<mask> family
English

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Ellen Terry
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<mask> was an Ottoman statesman who served as Grand Vizier for four months and twenty days from 4 September 1702 until 24 January 1703. Biography
He was born in Bitola and was of Serbian origin according to Joseph von Hammer (Daltaban = Barefoot). He grew up in the inner mehter of <mask>. When <mask> was the Grand Vizier in 1684, he was a member of the Imperial Council. He was then appointed as djebedji and in 1691 became Agha of the Janissaries. He was promoted to Vizier and appointed to the Babadağ guard. He was appointed to the governorship of the Anatolia Eyalet in 1695, and in 1696, to the Diyarbakır Eyalet.During his campaign in Austria, he was dismissed from his Vizier position in Sofia because of complaints about his atrocities and exiled to Počitelj, Bosnia. Upon the increase of the enemy attack on Bosnia, in 1697, his Vizier status was returned and he was appointed to the Serasker of the Bosnian Front. He repelled the enemy by succeeding in Bosnia. In 1698, he was appointed to the governorship of Raqqa. In 1699, he was assigned to the Baghdad Governorate. He took back Basra and Kurna from the rebel forces and eliminated them. Upon these achievements, he was brought back to the Anatolian Governorship.On 27 September 1702, he replaced Amcazade Köprülü Hüseyin <mask>, who left his job due to his illness. <mask> <mask> was appointed as the Grand Vizier with the advice of Shaykh al-Islām Feyzullah Efendi who was <mask> II's tutor. <mask> <mask> had understood that he should fulfill the demands of Feyzullah Efendi to continue this task. <mask> II already refused to accept his

masks:
Daltaban Mustafa Pasha
Kara Ibrahim Pasha
Kara Ibrahim Pasha
Pasha
Daltaban
Mustafa Pasha
Sultan Mustafa
Daltaban
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texts: presenting Grand Vizier and divan calls and irregularities without being interviewed by the Shaykh al-Islām. He wanted each of the policies of the state and the government to implement Feyzullah Efendi's opinions and ideas for each activity he would demonstrate. Although <mask> <mask> is determined to go on Feyzullah Efendi's path, as he is determined to go; he was not liked by the state officials because he was a countryman and did not understand the movements and behaviors of the Istanbulites and was rough and harsh. Even the Sultan had begun to be uneasy with this rude, harsh attitude.For example, when Fethullah, the son of Feyzullah Efendi, came to the Pasha Gate, which was the workplace of the Grand Vizier, they would have taken him in front of the door; When Feyzullah came to the front of the car in front of the door to the passenger, the car began to go up. Until then, according to the committees of service, Shaykh al-Islām would go on the left side of the Grand Vizier to show that he was at a lower rank; but <mask> <mask> began to go on the left side of Feyzullah Efendi and concluded that the Grand Vizier was at a lower rank. On the other hand, Reis ül-Küttab Rami Mehmet <mask>, who wished to be the Grand Vizier, had been working against Grand Vizier. He spread a rumor that the Grand Vizier wanted to work independently from Shaykh al-Islām and that he was trying to get support from the Janissaries and the Crimeans. Feyzullah Efendi, a control freak, was adversely affected. With the signing of Treaty of Karlowitz; The Crimeans were forbidden to carry out the plundering

masks:
Daltaban
Mustafa Pasha
Daltaban
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Pasha


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 strikes in Russia and the Russians were also prohibited from establishing fortifications in these borders. The Crimeans were observing that the Russians built fortifications; they had sent the news to Istanbul, but the Ottoman state decided not to do anything about this treaty violation.The Crimeans, in turn, wanted to attack the Russian border regions. The previous Grand Vizier had not accepted this, but <mask> <mask> was more open to the demands of the Crimeans. And he was more tolerant of the rebellious attitude of The Khan of Crimea Devlet II Giray. For this reason, he was acting slowly in executing of Sultan's orders through Feyzullah Efendi to suppress the rebellion of Devlet II Giray. This behavior was considered an example of the independent movement of <mask> <mask> for Rami Mehmet <mask> and Feyzullah Efendi. Feyzullah Efendi convinced the Sultan about the dismissal of <mask> <mask>. <mask> <mask> was dismissed from his post on 24 January 1703 for the crime of provoking the Crimean Khan against the Sultan.He was killed three days later. Evaluation
<mask> <mask> had been successful when he was a governor and a military officer. His execution, negatively affected the military class, in particular the kapıkulu soldiers. Daltaban <mask>'s accent was inaccurate and he had special expressions in the language he used. Rami Mehmet <mask> ridiculed it by creating a dictionary and it is reported to have been called "Islahhat-ı Daltaniye". His mouth was broken and his language used was also toxic, rude, and harsh. His treatment of others was often violent and heartbreaking.<mask>

masks:
Daltaban
Mustafa Pasha
Daltaban
Mustafa Pasha
Pasha
Daltaban
Mustafa Pasha
Daltaban
Mustafa Pasha
Daltaban
Mustafa Pasha
Mustafa Pasha
Pasha
Daltaban


texts:
 <mask> started to implement new rules for the clothes worn by the viziers during the days of the divan. To show that the viziers were separate from the other state officials on the divan, a rule was put on them to wear a turban called "kallavi" instead of another style of turban, called "mücevveze" which they had traditionally worn for hundreds of years. "Zubdet Country Vekayı" is generally 500 pouches per year for the special administration, pen, and secretariat of the Grand Vizier; While <mask> <mask> was the Grand Vizier, he stated that the will he gathered for other bureaucratic treatments in reassignment, reassignment, and job change had reached 1,200 bags per year. See also
 List of Ottoman Grand Viziers

References
Özcan, Abdülkadir (1993), Daltabatan <mask>a, İstanbul: TDV İslam Araştırmaları Merkezi, say...
 Uzunçarşılı, İsmail Hakkı (1956), Osmanlı Tarihi IV. Cilt I. Bölüm Karlofça Anlaşmasından XVIII. Yüzyılın Sonuna Kadar, Ankara: Türk Tarih Kurumu Yayınları Say.17-19
 Danişmend, İsmail Hami (1971), Osmanlı Devlet Erkânı, İstanbul: Türkiye Yayınevi, say...

18th-century Grand Viziers of the Ottoman Empire
1703 deaths
Pashas
Ottoman governors of Diyarbekir
Year of birth

masks:
Mustafa Pasha
Daltaban
Mustafa Pasha
Mustafa Paş


texts:
<mask> (June 27, 1914 – January 25, 2015) was an American studio ceramicist, classified as part of the mid-century modern movement who was best known for her innovative glazes upon small porcelain pots called 'feelies' often in the shape of onions and figs, and bowls. She was the oldest known actively practicing pottery artist in the United States. Biography
Cabat was born as <mask> in 1914 in the Bronx, and married Ernest "Erni<mask> in 1936. She began working in ceramics in 1940 after her husband brought home some clay from his job as an assistant to Vally Wiselthier, an art deco ceramicist who was making pieces for General Ceramics in Keasbey, New Jersey. After seeing her preliminary pieces, Erni gave <mask> a membership at Greenwich House, where she learned how to use a potter's wheel. Shortly after their first son George was born, he was found to have intractable asthma. The Cabat's decided to move to Arizona around 1942 in order to alleviate his condition.During World War II <mask> worked as a riveter at the Davis-Monthan Army Air Field repairing war-damaged aircraft. <mask> was able to make primitive ceramics from the extra clay that Erni was able to obtain from brickyards. She made some coil figures until Erni was able to convert a washing machine to a potter's wheel. Eventually, Erni ordered a Randall kickwheel, which <mask> used to the end. She made ceramics in her spare time, as she worked in a munitions plant during World War II. Post WWII
After the war, <mask> continued to make craft ceramics such as wind bells, animal shapes and other commodity pieces to help support the family, while Erni worked in Tucson as a graphic artist and in advertising. Erni wrote several children's books.They became friends with local artists, and helped to start the Art Center, the

masks:
Rose Cabat
Rose Katz
" Cabat
Rose
Rose
Rose
Rose
Rose


texts: forerunner of the Tucson Museum of Art. The Cabats had two more children, Mike and June. In 1956, the Cabats took a glaze calculation class at the University of Hawaii and began the development of glaze formulas which were later applied to the "feelie" forms that become <mask>'s signature pieces. In about 1960, <mask> hit upon the basic form of the vessel which would become the foundation of the "feelies". She created a pot with a delicate closed neck, which could not hold even a single slender stem or stalk. She stated, "A vase can hold weeds or flowers, but can't it just be a spot of beauty?" By 1966, <mask> was beginning to be recognized as a craft artist, with the exhibition at the Los Angeles County Museum, Craftsmen USA, where she exhibited a casserole.In 1973, her feelies were exhibited in Everyday Life in Early America as contemporary counterparts to pioneering American craftspeople. The Tucson Art Museum loaned one of <mask>'s blue-green Feelies to the Mansion of the Vice President, Walter Mondale at the time, to be displayed in the living room along with other works of art. <mask> and Erni continued to produce ceramics, including feelies and bowls with their signature glazes. While <mask> and Erni collaborated on the feelies and other ceramic forms, Erni ran his ad agency in Tucson until the age of 62 when he had felt that the family could be supported with the income from the "feelies" and other ceramics as well as his own artwork. Erni ran the business, weighed out the glaze components, while <mask> did the craft and the art. Each year on their anniversary, Erni would give <mask> a gift of a painting of the two of them or of <mask>. In 1994, <mask> was unnerved by Erni's anniversary painting, and in the following months, he wrote detailed instructions of how to take

masks:
Rose Cabat
Rose
Rose Cabat
Rose Cabat
Rose
Rose
Rose
Rose
Rose
Rose


texts:
 care of the business, and how he did things.On November 9, 1994, Erni died in his sleep, aged 80. Last years
After 1994, <mask> continued to produce feelies and bowls, despite her decreasing mobility, with her daughter June running the business end of things. <mask> Cabat died on January 25, 2015 at the age of 100, survived by her three children and extended family. Feelies
Feelies are described as onion, fig, cucumber and saucer-shaped ceramic vases terminating in an upward closed neck. Bruce Block, an avid collector, has described them as sensual and tactile with a very specific unforgettable texture, spiritual seeming to contain a type of energy. She developed a silky satiny glaze, and it was not until around 1960 that she had hit upon the first of the appropriate forms, svelte and sleek to match the glaze. She exclaimed, "Now this one's a feelie", coining the term.Upon developing the new glazes, she felt that she needed new forms to apply the glazes to, different from what she made before, "craft fair" style coiled heads and wind bells. She was quoted as saying, "The old things did not look good ... I wanted simpler shapes that went with the glazes." They are typically globular in shape, tightening down to a minuscule neck glazed to a satin surface. The tactile experience is most important. Feelie types
Common shapes
Balloon-shaped
Pear-Shaped
Straight-Sided
Common Glazes
Onion Skin
Malachite
Apple green
Fruit skin
Lavender
Mauve and cream

Artistic context and impact
According to leading mid-century modern furniture and ceramics authority David Rago, <mask>t's feelies are the product of an especially refined and personal vision which are ultimately affordable. They are accessible in price as well as being immediately enjoyable by most people, but at the same time, beautiful

masks:
Rose
Rose Katz
Rose Caba


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 and deep."She distinguished herself by bringing beauty and craftsmanship into the realm of the discerning collector with average means." When <mask> began working on feelies in the 1960s, American studio ceramics was still in its infancy. Her work in the development of glazes and delicate thin-walled porcelain has moved American ceramics forward in a quietly profound way in contrast to the Natzlers and Peter Voulkos, whose challenging and daring revolutionary pieces have brought progress in bold strokes. Instead, her work is quietly contemplatively beautiful, "easy on the eye". She is considered an heir to the Arts and Crafts Movement in America who "brought American ceramics from adolescence to adulthood." "While some modern studio pottery is intellectual or even angst-ridden, the work of <mask>t ... expresses pure joy in its design and decoration." Public Collections
 Arizona State University Art Museum, Tempe, Arizona
 Kansas City Art Institute, Kansas City, Kansas
 Metropolitan Museum of Art, New York, New York
 Museum of Arts and Design, New York, New York
 Philadelphia Museum of Art, Philadelphia, Pennsylvania
 Phoenix Art Museum, Phoenix, Arizona
 Phoenix Airport Museum, Phoenix, Arizona
 Smithsonian National Museum of American History ("Everyday Life in America")
 Smithsonian American Art Museum, Renwick Gallery, Washington, D.C.
 Tucson Museum of Art, Tucson, Arizona

References

External links
Cabat Studio webpage

Sources
 Block, Bruce."A Visit with <mask>t", Journal of the American Art Pottery Association. Volume 20, no. 4 (2004)

2015 deaths
1914 births
American ceramists
American centenarians
American potters
People from the Bronx
Artists from New York City
Artists from Tucson, Arizona
Women potters
American women ceramists
Women centenarians
21st-century

masks:
Rose Cabat
Rose Caba
Rose Caba


texts:
<mask> (born March 8, 1953) is a full professor at the Department of Communication Sciences, University of Minho. He is the Director of CECS – the Communication and Society Research Centre, which he founded in 2001, and of the Virtual Museum of Lusophony, which he set up in 2017. He is also the director of the scientific journals Comunicação e Sociedade (Communication and Society), Revista Lusófona de Estudos Culturais/Lusophone Journal of Cultural Studies, and the Vista. He launched the former in 1999, the second in 2013, and the latter in 2020. He is a sociologist and communication theorist, as well as an essayist and regular contributor to the media. Biography

<mask> was born in Vila Cova da Lixa, Felgueiras, on March 8, 1953. He is a sociologist, Communication theorist, essayist and a regular contributor to the media.He is a Full Professor at the University of Minho, and director of the CECS - Communication and Society Research Centre. His strategic project is focused on this research unit, which currently comprises six intervention platforms, which he founded or helped found: the Virtual Museum of Lusophony, an academic cooperation platform in the fields of science, teaching and arts, in Portuguese-speaking countries; the Observatory for Science, Communication and Cultural Policies (POLObs); Passeio, an art and urban culture platform; the Media and Information Literacy Observatory (MILObs); the Communitas Think Tank, a platform that monitors the agenda and debate in public, local, regional and national spaces; and CreateLab, a creative agency, oriented towards innovation and experimentation, that produces audio-visual and multimedia content, at the service of strategic communication. He is the

masks:
Moisés de Lemos Martins
Moisés de Lemos Martins


texts: director of the Virtual Museum of Lusophony, as well as the scientific journals, Comunicação e Sociedade (Communication and Society), Revista Lusófona de Estudos Culturais/Lusophone Journal of Cultural Studies, and the Vista. He is the founder and editor of the CECS book collection, “Comunicação e Sociedade”, as well as the open science community of this research unit in the RepositóriUM of the University of Minho. This activity has helped confirm the thesis that the University of Minho is “champion in the digital disclosure of its works”, as suggested by the physicist and university professor, Carlos Fiolhais, in reference to the work of <mask> <mask> <mask>. He is the Honorary President of Sopcom – the Portuguese Association of Communication Sciences. In 2015, Intercom - Brazilian Society for Interdisciplinary Communication Studies awarded him the academic distinction.In 2016, the University of Minho distinguished him with the Scientific Merit Award. He studied Theology and Philosophy at the Universidade Católica Portuguesa (UCP), in Lisbon, and has a BA Hons. degree in Catholic Theology from the University of Human Sciences in Strasbourg. At this university, he also studied Social Sciences, majoring in Sociology, and completed his master's degree in 1980 and his PhD in 1984. He was awarded a scholarship by the French Government's Ministry of Foreign Affairs (1978/1984). He taught sociology at the Universidade Católica Portuguesa, in Lisbon, and also at the University of Beira Interior (UBI), before moving to the University of Minho, in 1990, where he has been Full Professor since 1998. His academic training was marked by Fr.Bento Domingues, Edgar Morin, Francis Jacques, Friedrich Kittler, Georg

masks:
Moisés
de Lemos
Martins


texts: Simmel, Gilbert Durand, Gilles Deleuze, Jacques Derrida, Jacques Lacan, Jean-François Lyotard, Jürgen Habermas, Karl-Otto Apel, Karl Marx, Max Weber, <mask> Certeau, Michel Foucault, Michel Maffesoli, Pierre Bourdieu, Roland Barthes and Walter Benjamin, which is why he is predominantly identified with the comprehensive method of the Human and social Sciences, that is founded on discourse and thought, and, on a secondary basis, with the explanatory method, that is founded on number and measure, to paraphrase a classic categorisation by the German philosopher Wilhelm Dilthey. His areas of teaching and research are Sociology of Culture and Communication, Social Semiotics, Theory and Discourse Analysis, Visual Studies, Media Arts, Scientific Policy, Cultural Studies, Intercultural Communication, Lusophone Studies and Salazarism. He has served as visiting professor at the following universities: Autonomous University of Barcelona; Autonomous University of Madrid; Pontifical Catholic University of Minas Gerais (Belo Horizonte); Pontifical Catholic University of São Paulo; Pontifical University of Salamanca; Pontifical Catholic University of Rio Grande do Sul (at Porto Alegre); University of Cape Verde; University of Santiago de Compostela; Université catholique de Louvain; Federal University of Bahia; Federal University of Minas Gerais (Belo Horizonte); Université Paris-Descartes (Sorbonne); Université Paul Valéry, Montpellier; Universidade Politécnica (of Mozambique)in Maputo; Mackenzie Presbyterian University (São Paulo); Universidade Zambeze (Beira, Mozambique). In 2002, when interviewed by academic, Virgínia Moreira and editor and academic, José Manuel Paquete de Oliveira, they pointed out that it was


texts:
 "just and correct" to include Moisés de Lemos Martins among the most distinguished "Portuguese researchers" "in the exchange process", not only Luso-Brazilian, but more extensively throughout Portuguese-speaking countries. In 2016, the Portal Mutirão, of the Methodist University of São Paulo, identified Moisés de Lemos Martins’ academic profile, highlighting his pedagogical, scientific and associative work. The Portal Mutirão was created in 2016 by José Marques de Melo, journalist, university professor and pioneer of Communication Science studies in Brazil, to distinguish not only the uniqueness of the research work pursued in Brazil in this scientific field, but also of academics from all over the world who have helped develop and consolidate the academic community of Communication Sciences in Brazil. In 2013, with the Brazilian academics Antônio Hohlfeldt and Cicilia Peruzzo, from Intercom (the Brazilian Society for Interdisciplinary Communication Studies), Moisés de Lemos Martins helped Tomás José Jane, Professor at the Higher School of Journalism, in Maputo, Mozambique, to found Acicom – the Mozambican Association of Information and Communication Sciences.Later that year, with Margarita Ledo, Professor at the University of Santiago de Compostela, <mask> <mask> <mask> helped Silvino Lopes Évora, Professor at the University of Cape Verde, in Praia, Cape Verde, to found Mediacom – the Cape Verdean Association of Communication Sciences. <mask> <mask> <mask> is an honorary member of Mediacom. Management functions
<mask> <mask> <mask> directed the Department of Social Sciences at the University of Beira Interior between 1988/1990, and in 1989 created the BA Hons. degree in Social Communication and in

masks:
Moisés
de Lemos
Martins
Moisés
de Lemos
Martins
Moisés
de Lemos
Martins


texts: 1990, the magazine Anais Universitarios, of which he was the first editor. He was director of the BA Hons. degree course in Sociology at this university. Between 1988 and 1990, he taught History of Sociology.In conjunction with Aníbal Alves, emeritus professor at the University of Minho, he helped set up the BA Hons. degree in Media Studies (Comunicação Social) at this university. In 1991, he began teaching Semiotics, Theory and Analysis of Discourse and Sociology of Communication. At the University of Minho, from 1990 to 1993, he directed the BA Hons. course in Sociology of Organizations, founded by Manuel da Silva Costa in 1989, in which he taught the discipline, Sociology of Power. With Albertino Gonçalves, Professor of Sociology at the University of Minho, he created the master's degree in Sociology of Culture and Lifestyles (1996-2011), in which he taught Sociology of Culture, and the master's degree in communication, Art and Culture, in 2011, in which he taught Sociology of Communication. For ten years, he was the director of the Institute of Social Sciences at the University of Minho (1996/2000 and 2004/2010).In 2006, he was one of the candidates to be elected Rector of this university. He was the first Director of the PhD course in Communication Sciences at the University of Minho (2009/2011), in which he taught, Social Semiotics. He promoted the teaching and research project in Cultural Studies, at the University of Minho's Institute of Social Sciences, and was the director of the PhD programme in Cultural Studies (2010/2015), a joint initiative of the University of Minho and the University of Aveiro. He teaches Sociology of Culture in the PhD programme in Cultural Studies. He was the promoter


texts:
 and director of the PhD programme in “Communication Studies: Technology, Culture and Society” (2013/2015), funded by the Foundation for Science and Technology (FCT), which involved six Portuguese research centres in five universities. He taught the discipline, Intercultural Communication, in this PhD. In 2018, he helped found a PhD course in Language, Culture and Society, at the Faculty of Human and Social Sciences, of Zambezi University, in the city of Beira, Mozambique, where he taught Intercultural Communication.He was the co-founder of Sopcom – Portuguese Association of Communication Sciences, and its President (2005/2015). He was also the president of Lusocom – the Lusophone Federation of Communication Sciences (2011/2015). He was editor of the Anuário Internacional de Comunicação Lusófona (International Yearbook of Lusophone Communication), a scientific journal published by Lusocom (2007/2011). He also presided over Confibercom – the Ibero-American Confederation of Scientific and Academic Communication Associations (2012/2015). Since 2019, he has been the Secretary General of Assibercom – the Ibero-American Association of Communication Researchers. A comprehensive and transcultural social theory
Right after the publication of A Linguagem, a Verdade e o Poder – Ensaio de Semiótica Social (Language, Truth and Power – a Essay on Social Semiotics), in 2002, <mask> <mask> <mask> was described by Eduardo Prado Coelho, university professor, essayist and literary critic, as “a cornerstone of communication studies in Portugal”. He said that this is because his work makes it possible “not only to retrace an entire fundamental theoretical path, but also places us at the centre of the major issues of


texts:
 analysis of contemporary reality (in this point - where linguistics, rhetoric, critical theory, sociology, anthropology and psychoanalysis become intertwined and blurred, and sometimes even redistribute themselves)”.Luís Carmelo, a writer and university professor, after reading A Linguagem, a Verdade e o Poder, in 2003, wrote: "The role of <mask> <mask> <mask> has been rich, stimulating and productive, as a healthy polemicist within the scientific and academic community. It is this desire to dispute ideas and encourage lifelong learning that perhaps best defines what the author tries to describe, at the end of his essay, as 'the passion of the university'”. Techné and Bios
Discussion of the fusion of technique (techné) with life (bios) - the debate par excellence in relation to contemporary experience - was begun by <mask> <mask> <mask> in A Linguagem, a Verdade e a Poder. A decade later, he published, Crise no Castelo da Cultura – Das Estrelas para os Ecrãs (Crisis in the Castle of Culture – From the Stars to the Screens), published in 2011 (2nd ed. 2017), in which he began by exploring the ideas of Deleuze and Guattari, in terms of their invocation of biotechnology and genetic engineering, and discussion of implants, prostheses, hybridity, the transhuman and the post-organic and of Lyotard, in relation to his discussion of “logotechnics”. <mask> <mask> <mask> argues that as Deleuze and Guattari point out, the machine is desiring and desire is machined, which means that there are “as many living beings in the machine as machines in living beings”. In relation to “logotechnics”, as pointed out by Lyotard, we are talking about information technologies.But this movement, in which technique merges in a


texts: hybrid form with life, leads to miniaturisation of technique and the immaterialisation of the digital world. As Maria da Luz Correia mentions, in Crise no Castelo da Cultura. Das Estrelas para os Ecrãs, 2011, <mask> <mask> <mask> "combines the work of more than ten years in communication studies and the theory of culture". She argues that in this essay about the movement of total immersion of technique in people's and bodies, “the sociologist focuses on the crisis of human existence, the contemporary mal de vivre, which results from technological experience – from network communication to biotechnologies – and from the conversion of our lives into the logic of the global market”. She adds that in the wake of that which he describes as “thinking about difference” – by Bataille, Klossovski, Blanchot, Foucault, Lyotard, Deleuze, Derrida and Baudrillard – <mask> <mask> <mask> “recognizes the condition of someone, who crosses a night of times, is precarious, given that history is stored in gigs, emotions are processed in bits, and bodies are composed of pixels. At times bored by highly-regulated daily life, at times stunned by unruly screens, we accept, but not without a certain spleen, the retreat of the word in the face of the torrent of technological images, the bankruptcy of identity in the face of the labyrinthine 'flow' of passions, or the failure of citizenship in the face of imperatives of efficiency in the global economy". Using Foucault's concept of the apparatus/dispositif, and following the ideas of F. Kittler, Moisés de Lemos Martins was always interested in posing “theoretical-cultural questions to technology”.Indeed, as Deleuze remarks, “we belong to social apparatuses (dispositifs) and act

masks:
Moisés
de Lemos
Martins
Moisés
de Lemos
Martins


texts: within them. We call the innovation of a device in relation to its predecessors actuality, our actuality. The new is the actual, not what we are, but rather what we are becoming, what we are in the process of becoming, that is, the Other, our becoming-other", or in Ricoeur's expression “the self as another”. The various cultural-theoretical questions that <mask> <mask> <mask> poses in relation to technology include the questioning of the “total” (Ernst Jünger, 1930) and “infinite” (Sloterdijk, 2000) movement of mobilisation, from the human to competition, as well as Kittler's idea about the questioning of hardware, programming, automation and regulation. In short, following in the footsteps of <mask>, <mask> <mask> <mask> questions what he calls “technical autotelism”, which translates into a form of “messianism without telos”. In his analysis of the contemporary challenges posed by Communication, <mask> <mask> <mask> focuses above all on intersubjective and contextual relationships, given that his sociological theory is comprehensive. But, together with <mask> and Deleuze, he also questions the reality of technique (techné).And the reality that is being questioned is its hybrid form, it is technique as an animal (a “kind of animal”, in the words of Giorgio Agamben), “it is the alloy that mixes the organic and non-organic, it is the hybrid of the human and non-human, the hybrid of sensitivity and organic matter”. <mask> <mask> <mask>' proposal for a sociology of technique marks what Perniola (1990) calls the Egyptian version of our culture, attention paid to the inorganic within the organic. It is the idea that the mineral world can be fuelled by the excitement of an inversion, which is summed up by

masks:
Moisés
de Lemos
Martins
Martin Heidegger
Moisés
de Lemos
Martins
Moisés
de Lemos
Martins
Heidegger
Moisés
de Lemos
Martins


texts: the figure of “technical individuality”, as proposed by Gilbert Simondon, Gilles Deleuze, Norbert Elias, Bruno Latour and Bernard Stiegler. But the proposal of <mask> <mask> <mask> opens up to the theory of materiality, above all linked to the ideas of <mask>, Kittler e Simondon. He also uses the concepts of actor/network and mediation, by Latour (2005); of apparatus (dispositif) by Foucault (2000); of agency, by Deleuze and Guattari (1980); and of erotic objects, by Perniola (1994/2004). These ideas are also articulated with the “materialist turn”, identified by Bennett and Joyce (2010), and also with the “non-human turn”, referred to by Richard Grusin, which accentuate both the agency of objects and their materiality. In line with the ideas proposed by Grusin, <mask> <mask> <mask> recognises that the media and media technology have operated and continue to operate epistemologically, as knowledge producers.But he also recognises within them a technical, bodily and material functioning of producers and shapers of individual and collective affections, and of producers of feelings in human and non-human agency relations. In this respect, <mask> <mask> <mask>' viewpoint on digital culture draws close to <mask>' understanding of “Epistemology of communication, neo-materialism and digital culture”. It is not possible to limit the analysis of social networks, fake news, the practice of selfies, the issue of design and the privacy of the Internet of Things, as well as the culture of platforms, to "a macro-social analysis of the economic structure of data capitalism", nor to a communication relationship between individuals in a specific situation. The current communication challenge requires taking into

masks:
Moisés
de Lemos
Martins
Heidegger
Moisés
de Lemos
Martins
Moisés
de Lemos
Martins
André Lemos


texts:
 account, for example, the materiality and agency of the objects involved in them: interfaces; algorithmic logic, database construction; the principles hidden in technical documents and patents. Techné and Aesthesis
Moisés <mask> <mask> considers that technique (techné) is the condition of time, which is why, in the current world, the shift from the realm of words and ideas to the realm of images, sounds and emotions has been accentuated, involving a shift from “ideology to the imagination”. This question runs throughout his work, especially from the early 21st century onwards. The final chapter of A Linguagem, a Verdade e a Poder, that he published in 2002, was already a forerunner to his subsequent works.Society has definitively converted itself to image and sound, both of which are technologically-produced. Society has gained an audio-visual dimension, signalling a process of translation from argumentative rationality to emotional rationality, from the realm of logos and ethos, to the realm of pathos, from ideology to “sensology”, as Mário Perniola remarks. A new reality now occupies the social scene. The look (the image, appearance, visual); the brand or mark (that which the classics called the “example”); timing (opportune timing, or kairos); marketing (the art of persuasion) are already the messengers of this new reality. In Perniola's words, technical objects have sex appeal. In the meantime, Crise no Castelo da Cultura - Das Estrelas para os Ecrãs (Crisis in the Castle of Culture - From the Stars to the Screens), which <mask> <mask> <mask> published in 2011, constituted a proposal that not only accounts for this shift from logos and ethos to pathos, but also the shift from propositions to

masks:
de Lemos
Martins
Moisés
de Lemos
Martins


texts: images, and from “sun/bolé”, an image that unites, to “dia/bolé”, an image that separates. As Madalena Oliveira points out, invoking the figure of “crisis of the existent”, <mask> <mask> <mask> considers that “culture will tend to be more a space of 'dia-bolic' divergence, than of symbolic confluence, since one no longer expects that it will gather that which has been fragmented, unless it permits the confrontation with things”.Summarising, <mask> <mask> <mask>’ thesis about the contemporary era, characterised by a “spirit of alienation”, which “satisfies itself through melancholy”, Madalena Oliveira adds: “the crisis of the existent is not resolved through the control of knowledge, proper to culture, but rather through a political response, that is necessarily free, of the domain of action and not of the word, of the domain of dia-bolé and not the domain of sim-bolé”. Crisis in the Castle of Culture - From the Stars to the Screens signals, on the other hand, a shift from reasoning to memes; from the conscious to the unconscious; from rhetoric to the figurative path; from persuasion to seduction and fascination; from a dramatic, classic and sublime imagery to a tragic, baroque and grotesque imagery; from the media as discursive devices, in a rhetorical sense, to the media as image-based devices, with sensory, affective and bodily memory; from an informational process with information producers and consumers, to socio-technical networks with tribes and audiences, who are content producers. In the opinion of <mask> <mask> <mask>, western culture has shifted from the realm of thought, which is governed by the logic of identity, stability and autonomy, to the paradigm of sound, resonance, vibration,


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 modulation, rhythm, tension, duration and memory. As audiovisual and digital media, the new technical media will enact a spectacle, which is simultaneously a simulation and a simulacrum, as Baudrillard has argued,

In other words, in effect, <mask> <mask> <mask>’ analysis builds on the ideas of Walter Benjamin. But this does not mean that, for <mask> <mask> <mask>, or for Benjamin, that the only effect of the advent of new technical media is disarticulation of the masses, through problematisation of human experience and its progressive “impoverishment”, or what Guy Debord calls the “dissimilated freezing of the world”. On the contrary, the new technical media also support the entry of the masses into history, reinforcing their right to assert themselves as subjects. The new technological media allow us to deal with dreams, i.e., with the figurative paths of the image, with the collective unconscious (Lacan) and with archetypes (Carl Jung e Gilbert Durand), in short, with the imaginary, or that which Derrida termed “mythopoetics”, resuming the “bricolage” figure of the myth, which Lévi-Strauss used in the first chapter of La Pensée Sauvage.This line of thought, with references to Benjamin, Durand, Debord, Deleuze, Derrida, Baudrillard, Kittler and Perniola, led <mask> <mask> <mask> to coin the figure of “technological circumnavigation”. In fact, new technological media, through digital content, make it possible to expand human experience. <mask> <mask> <mask> considers that websites, portals, blogs, video games, applications, digital repositories, virtual museums, and even installation of virtual realities in immersive environments, constitute the new territories, landscapes, atmospheres and

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 environments of the “technological circumnavigation”, which even comprises a new art of storytelling - "transmedia narratives". With regard to transmedia narratives, which Gunther Kress and Theo van Leeuwen call multimodal, <mask> <mask> <mask> draws references, above all, from Henry Jenkins, Lev Manovich and Carlos Alberto Scolari. <mask> <mask> <mask> considers that with transmedia narratives it is not just a question of imitating, reproducing, retelling, remedying, adapting, extending and indefinitely reinventing known stories. Transmedia narratives also allow us to fictionalise new stories, with the installation of virtual realities in immersive environments, such as videogames and interactive narratives on the Internet, in cinema, on television, and via DVDs. A New Theory of the Image
Another central issue in contemporaneity questions the place occupied by the image in the contemporary world.In A Linguagem, a Verdade e o Poder, <mask> <mask> <mask> moves within the framework of a theory of the image, typical of Barthes, wherein the image is analysed through an analogy with language. But there is already a new theory of the image that is dealt with in the work, Imagem e Pensamento (Image and Thought), published in 2011 (2nd edition in 2017). In the words of <mask> <mask> <mask>, so- called information and communication technologies work within us as prostheses for the production of emotions, as “machines that can mould a cranked-up sensitivity within us”. <mask> <mask> <mask> specifically considers that information and communication technologies, correspond to photography, cinema, radio, video, television, and above all digital technologies, Internet, electronic games, graphic design, cybernetic

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 networks and virtual environments, with the “convergence” of media, content and platforms, according to the expression used by Henry Jenkins. Transcultural identities
<mask> <mask> <mask> also highlights the contemporary importance of the question of identity. Globalisation and the resulting multi- and trans-cultural societies, which go hand in hand with the massive phenomena of migration and refugees, have become the new world order. And society has become fragmented, constituting itself as a “body without organs”, in the view of Deleuze and Guattari, a body in crisis, where nationalism, populism and various extremisms thrive on a widespread basis.In the opinion of José Bragança <mask>, analysing the work, Para uma Inversa Navegação – O Discurso da Identidade (Towards an Inverse Navigation – The Discourse of Identity), that <mask> <mask> <mask> published in 1996, in a body without organs, in which differences “wander throughout experience”, what we encounter above all in <mask> <mask> <mask> is “the critique of cultural substantialism, as well as its effects on strategies to impose identities”. Because “no one figure can link them together”, whether “national identity” or regional, local, group or individual identity. Bragança <mask> also concludes, “the truth of the differences lies in the fact that they are the effect of relationships, which constitute networks”. Practically two decades since the publication of Para uma Inversa Navegação (Towards an Inverse Navigation) (1996), <mask> <mask> <mask> once again questioned the discourses of identity, by analysing what he calls "transcultural and transnational identities", in particular Portuguese-speaking identity. <mask> <mask> <mask> continues his

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texts: critique of cultural substantialism, referred to by Bragança <mask>, as well as its effects on strategies to impose identities, which are power strategies. Eduardo Prado Coelho, on the other hand, did not ignore the fact that <mask> <mask> <mask>’ principal theoretical inspiration was Michel Foucault. In fact, for Prado Coelho this is what led <mask> <mask> <mask> to consider power as “the most important and accentuated dimension in the social space” - the panoptic power, or disciplinary power; and biopower, as for example in the case of biopolitics.Prado Coelho suggests that, marked by a "passion of hope", <mask> <mask> <mask> provides "a critique of power" and conceives "the demand for something beyond power", beyond "this microscopic reality of countless reversible filaments, to establish secret and unbreakable bonds between people”. In turn, the writer, essayist and philosophy professor Miguel Real also talked about this passion of hope that is linked to <mask> <mask> <mask>’ “communicational avant-garde”, which, on the one hand, values the differences and diversity of peoples, and on the other hinders the necessary fight in defence of the Portuguese language as a language of cultures, thought and knowledge. He describes this journey as a “crossing”, using the term that <mask> <mask> <mask> himself borrowed from the Brazilian writer and diplomat, João Guimarães Rosa - a crossing as an uncertain, risky and dangerous journey. The “crossing” to which <mask> <mask> <mask> refers is a journey of “technological circumnavigation”, carried out through Portuguese-speaking countries and their diasporas. In a post-colonial context, <mask> <mask> <mask> reviews colonisation, taking into account the weight that

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 it has today, with regard to the narratives, social memory and identities of Portuguese-speaking peoples, rereading the figure of “circumnavigation”, which Stéphane Hugon used to characterise the journey that we are now all simultaneously invited to make - an online circumnavigation. Towards a cybercultural circumnavigation
The figure of "technological circumnavigation", proposed by <mask> <mask> <mask>, convening all Portuguese-speaking peoples to embark upon this journey, in effect is also open to new landscapes, including websites, portals, blogs, digital repositories, virtual museums. It is a culture in a nascendi status, as he points out in a study he conducted with Michel Maffesoli - a culture that encompasses new atmospheres, which materialise the practices of professionals in the new digital context, in particular web designers, online curators, managers of virtual museums, bloggers, web activists, youtubers.The approach pursued by <mask> <mask> <mask> in relation to “image environments, between the artistic and the media”, an expression by Norval Baitello which he used as a subtitle in A Carta, o Abismo e o Beijo (The Letter, the Abyss and the Kiss), brings him closer to this Communication theorist. Baitello classifies him as one of his “current interlocutors” and cites two of his works: Crise no Castelo da Cultura (2011/2017) and Do Post ao Postal (From the Post to the Postcard) (2014). On the other hand, <mask> <mask> <mask>, considers that the formation of new audiences for cultures and the arts are also central to this idea of cyberculture circumnavigation, as well as specific policies for digital repositories, which always aim to foster open access to knowledge. However, this is a journey


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 enmeshed in dangers and misunderstandings, including misunderstandings about the exceptionality of Portuguese colonisation, as well as nostalgia for the empire. Given that the technological circumnavigation of Portuguese-speaking peoples is always a “ crossing”, it is also presented as a place of promise – the promise that these peoples can have a voice and that they can speak, based on their subordination as countries in the semi-periphery of the global system. Lusophony and intercultural communication
The Portuguese journalist and art critic, Alexandre Pomar, considers <mask> <mask> <mask>’ work, “Lusofonia e Luso-tropicalismo: equívocos e possibilidades de dois conceitos hiper-identitários” (Lusophony and Luso-tropicalism: misunderstandings and possibilities of two hyper-identity concepts), to be “the most interesting approach to questions of an identity and mythology around the concept and strategic scope of Lusophony”. He highlights the fact that Moisés de Lemos <mask> makes “an analysis that proposes to think about Lusophony as a 'culture space' and questions the “mythological, symbolic and imaginary character” of 'Lusophone culture', starting by placing himself in a "Bourdieusian point of view", from which he “sees the figure of Lusophony as a practical classification, i.e.as a division of the social world. Alexandre Pomar wrote in January 2013 that as a practical classification, Lusophony is subordinated to practical functions and oriented towards the production of social effects”. But even then he was able to conclude that “although less widely known than the academic production from the universities of Lisbon, the research into the concept and practices of Lusophony seems to be more fruitful

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texts: in the University of Minho”. However, <mask> <mask> <mask> recognises that mistakes have been made in the use of the figure of Lusophony. Carlos Reis, Full Professor of Literature, at the University of Coimbra, recognised that “it is possible and perhaps even wise to speak about a risk with an eventual Eurocentric marking”, and invited <mask> <mask> <mask>, in this regard, and resumed his warning that the dream of Lusophony for the Portuguese can fill “a space of imaginary refuge, the space of an imperial nostalgia, which helps them today to feel less alone and more visible in the seven matches of the world, now that the cycle of the country’s effective imperial epic is definitively closed.". It is above all because of this line of research, developed in the field of intercultural communication, which focuses on transcultural and transnational identities, and particularly in the Portuguese-speaking identity, that led the Brazilian researcher Sónia Cunha to state that "<mask> Adão <mask> <mask> is a living part of contemporary historical memory, in the structuring and development of the intercultural scientific movement – Lusophony, Afro, Asian, Galician, Brazilian and Ibero-American – in the opposite direction of the north-south axis, in the field of communication". Anabela Gradim, Paulo Serra and Valeriano Pinheiro-Naval, researchers from the University of Beira Interior, when analysing “The presence of Lusophony in the epistemic space of Communication Sciences”, in a decade of thematic studies (2007-2017), also concluded that the CECS – Communication and Society Research Centre, of the University of Minho, has an undisputed centrality “for Lusophone Studies in the field of Communication


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 Sciences”.This conclusion is also reached when looking at the list of the "most productive authors" in the field of Lusophony studies in the epistemic space of Communication - that all pertain to <mask> <mask> <mask>' team, primarily PhD or post-doctoral students whose theses he supervised. The Virtual Museum of Lusophony
It was the idea of Lusophony as a “culture space” and “Lusophone culture” that inspired <mask> <mask> <mask> to create the Virtual Museum of Lusophony in 2017, as a web museum and a living museum, a transcultural and transnational space, open to active participation by citizens. In 2020, the Virtual Museum of Lusophony was installed on the Google Arts & Culture platform. Augusto Santos Silva, Portugal's Minister of Foreign Affairs, who attended the Museum's launch session on this platform stated that “instruments such as this one are very important, both as a dynamic product and as a process, since they foster cooperation at an academic level, between universities, and also involve digital companies, companies operating in the cultural area, individual or collective participants from civil society, and above all explore issues related to the Portuguese language”. As <mask> <mask> <mask> pointed out to journalist Luís Caetano, on February 8, 2019, in the programme, “No Interior da Cultura”, of Antena 2 of RDP,  the Virtual Museum of Lusophony proposes to disseminate artistic and cultural materials from the Portuguese-speaking countries, its diasporas, and from regions such as Galicia, Goa and Macau. Aiming to contribute to "knowledge of the other", it serves to foster "reconciliation between nations and tolerance”. On the other hand, it expresses the diversity of cultures in this space


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 and shapes the collective memory of these communities and their plural identity.The Virtual Museum of Lusophony also aims to develop dynamics of interaction and cooperation, cultural, artistic, civic and scientific, in the vast Portuguese-speaking space, without forgetting the importance of the colonial past in the gestation of the contemporary realities of the Portuguese-speaking countries. The idea of developing cooperation dynamics within the space of Portuguese-speaking communities was confirmed by the university professor and researcher Carlos Alberto Carvalho, in an interview he conducted with <mask> <mask> <mask>, in 2019, published in MATRIZes, a magazine of the Postgraduate Programme in Communication Sciences at the University of São Paulo. This Brazilian academic considers that “throughout his entire life, professor [<mask> <mask> <mask>] has fought for a concerted strategy of scientific cooperation between the Portuguese-speaking countries, inspired by a critical and post-colonial vision of Lusophony, which respects the differences and autonomy of all the countries and fosters mutual understanding between the peoples and nations of the space that shares the Portuguese language as a common symbolic heritage, thereby contributing to making Portuguese a language of science". In RTP Play’s programme, Palavra aos Directores, episode 12, broadcast on September 23, 2020, after installation of the Virtual Museum of Lusophony on Google Arts & Culture, <mask> <mask> <mask> underlined that the Virtual Museum is "an instrument of mediation for Portuguese-speaking citizens", which encourages the "exchange of cultural diversity and the exchange of artistic diversity". The University and thought
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texts: <mask> <mask> raises his most radical line of enquiry in relation to thinking and institution that has been created in the West to preserve and promote it - the university. He wrote: “For a long time, the University in Portugal, where the main research laboratories are located, has ceased to harbour thought, and instead only understands numbers. Managed as a company, the University is now being driven by technology, to the point where it now seems that the only world of academic performance is that of market needs, financial injunctions, rankings of media visibility and respectability, and also rating agencies, which establish the criterion that values scientific production”.The importance of the book has now been surpassed by the importance of articles published in scientific journals. And yet, in <mask> <mask> <mask>’ opinion the book is the main means available to the Human and Social Sciences to explore ideas related to what it means to be human, ensuring that science is an idea with memory and thought. But <mask> <mask> <mask>’ defence of the importance of thought is not restricted solely to his academic work. He has also pursued this line of enquiry in the public space, in regular chronicles, which he publishes in the press. This activity was underlined by Carlos Fiolhais, physicist and full professor at the University of Coimbra, director of the university's research centre, Rómulo - Centro Ciência Viva, and author and principal editor of the blog De Rerum Natura dedicated to scientific policy, who said that he became acquainted with <mask> <mask> <mask> “through his powerful incisive articles”, written in the press against the scientific policies that harmed the “human and social sciences”.

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 Specifically in reference to the book Crise no Castelo da Cultura, Carlos Fiolhais stated that <mask> <mask> <mask> “resolutely addresses the current state of the University, not only in Portugal but worldwide. In the section entitled 'University in the corruption of news' he states that universities, which should be the place for reflection, which requires time, have become marketing sites, that aim to achieve media visibility at all costs simply to survive or even to increase their 'business'.Classes have begun to imitate advertising. Everything has started to be quantified as if it were a business plan, where professors and researchers are 'human resources'". Portugal and the “eye of God” of Salazar
There are other lines of research stand out in the extensive intellectual career of this university professor of the University of Minho before <mask> <mask> <mask> established a critical relationship with the contemporary academic world, a relationship that justifies, in the words of Eduardo Prado Coelho, “ruthless dismantling of the bear hug of liberal reason”, or, according to the writer and university professor José Manuel <mask>, denunciation of the “poisoning of the gaze in the human sciences”, One is analysis of the dominant discourse that prevailed in Portugal during the Estado Novo regime. One of his most notable achievements is the work, O Olho de Deus no Discurso Salazarista (The Eye of God in the Salazarian Discourse), that he published in 1990 (2nd edition in 2016). Based on reformulation of his PhD thesis, the work focuses on the 1930s and 1940s. <mask> <mask> <mask> questions the general politics of Salazarian meaning, i.e. the regime of truth.It was precisely because he posed the question

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texts: of Salazar's regime of truth that he viewed discourse as a disciplinary political practice, exercised on historical memory, the gaze, desire and the will. In O Olho de Deus no Discurso Salazarista, <mask> <mask>mos Martins provides a socio-semiotic analysis of Salazar's speeches, questioning the longevity of the corporate, political regime that the dictator founded. Starting from the idea that corporate, authoritarian and clerical ideology, as well as antidemocratic practices were not, by themselves, a sufficient explanation for Salazarism, <mask> <mask> <mask> decided to analyse the “Salazarist imaginary”, that is, “the dream that Salazarism had for Portugal”. The point of view adopted in O Olho de Deus no Discurso Salazarista is, above all, that of power, or more properly that of biopower, in line with the thinking of Michel Foucault, a panoptic and disciplinary power, which is exercised over bodies as living organisms. However, as José Augusto Mourão, Dominican friar, writer and university professor of Literature and Communication points out, rereading the work of <mask> <mask> <mask>, Foucault's definition of power “is not limited to watching, spying, surprising, prohibiting and punishing, but incites, arouses and produces; it's not just the eye and ear; it makes people act and speak”. While recognising “the shadow of Foucault” in O Olho de Deus no Discurso Salazarista, José Augusto Mourão concluded that this book is “a unique work in the panorama of Portuguese history and sociology”. Summarising the path taken by Moisés de Lemos <mask> up until that date, José Augusto Mourão states: “the author has chosen social Catholicism and the corporatist Estado Novo regime as the object of his analysis, in

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 the period between May 28, 1926 and 1940.The methodology is clearly defined and there is no misunderstanding about the distance it maintains, either with the historical perspective or with the dialectical perspective. His field of work is that of the Salazarist discourse, dividing the text into three parts: the first, theoretical, which exposes religion as a panoptic view of society; a second, still with a strong theoretical bias, on the value systems or devices of Salazarist standardisation, which contemplates the ethical, eugenic and alethic apparatus; and a third part, on the application of the regime’s strategy to heal the nation, through technologies aimed to discipline the national body, illustrated here by the figures of healing and conversion through parables”. As <mask> <mask> <mask> himself pointed out in his preface to the 2nd edition of the book, “feeding countless journeys of knowledge, The Eye of God in the Salazarist Discourse has come into contact, over the past twenty-five years, with many different ways of looking. Journeys of knowledge are, however, never-ending journeys. Today, reading or rereading this book on Salazarism continues to be a work of knowledge, although it is already another experience”. Semiotics as a human and social science and as a “problematological science”
Referring to Crime e Castigo – Práticas e Discursos (Crime and Punishment – Practices and Discourses), a book that <mask> <mask> <mask> edited in 2000 in which, in conjunction with other authors, he reflected on criminality in Portugal, the writer and university professor, José Manuel <mask>, praised the “problematological” point of view, which characterises his science, a point of view that “above all raises

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texts: questions, as many as you can put and with the maximum rigour you are able to establish”. He points out: “hearing in the background the death knell that is fine-tuned by the so-called philosophies of totality (Adorno: “totality is untruth”), by the grand narratives, I am here citing Jan Patočka in a reticular assertion: “becoming is problematised and will remain that way forever”.In an in-depth analysis of A Linguagem, a Verdade e o Poder, José Augusto Mourão also succumbed to the power of the semiotics of <mask> <mask> <mask>, that is simultaneously social and problematological. José Augusto Mourão stated: <mask> <mask> <mask>’ writing “shares something similar with the sociologist who does not disconnect language from truth and power. His stilus scribendi is not due to the spectacle of his self-satisfied monologue. Instead, it provokes thinking about the war of paradigms that is fuelled by the libido dominandi. I agree. It is necessary to maintain a conception that is neither merely rhetorical nor merely consensual. […] In semiotics, the relationship of forces and the relationship of meaning are inextricably linked.The shadow of Foucault is a powerful presence in this book: the discursive construction of knowledge involves the use of 'disciplinary technologies' or forms of interaction that are used to create bodies that reinforce the 'positive power' on which the social order depends. ‘[discourse] is what we fight for, the very power we seek to seize”, writes Michel Foucault, which the author cites in relation to discourse”. It is, in fact, with A Linguagem, a Verdade e o Poder. Ensaio de Semiótica Social (2002/2017) that <mask> <mask> <mask>’ semiotic theory asserts itself as social semiotics.


texts: Bernardo Pinto <mask>, Full Professor at the Faculty of Fine Arts of the University of Porto, points out that “the author outlines a critical history of semiotics, questioning its concept and limits, its relevance and validity in the sociological approach that he never strays from”. He also adds that in the writing of <mask> <mask> <mask> one feels “the experience of the accustomed professor and the restless thinker who does not bow down to concepts and discourses, but rather questions them in the light of his own ability to incarnate them in a living thought”. On the other hand, his training as a sociologist “pervades the entire volume, under the rigorous applications that he develops in this attempt to semiotise sociology and sociologise the semiotics from which his entire enterprise emerges”.In summary, Bernardo Pinto <mask> concludes that it is this effort, “with its open character of transdisciplinarity, that gives the volume a particular strength and vivacity, making certain aspects of contemporaneity legible, in particular some of the paradoxes that underlie the formation of so-called 'post-modernity'”. Viewing semiotics as a social theory of the production of meaning, <mask> <mask> <mask> distances it from theories of consciousness and subjectivity, because meaning is not centred on the individual. Nor is it centred on the message that circulates between a sender and a receiver, as is the case of information theory. In the idea of semiotics that he proposes, <mask> <mask> <mask> is inspired by the transcendental conditions of the possibility of meaning and communication, which constitute the central axis of the theories, of Francis Jacques, on the one hand, and of Karl-Otto Apel and Jürgen

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texts: Habermas, on the other. In so doing, <mask> <mask> <mask> opens signification to intersubjectivity and interaction, i.e. to communicative action. Starting from the a priori conditions of meaning, of Kantian inspiration, both Francis Jacques, com o with the primum relationis, and Karl-Otto Apel and Jürgen Habermas, with the “ethics of communicative action”, had established the transcendental conditions of communication.<mask> <mask> <mask>’ perspective in semiotics consists, however, in inverting the transcendental conditions of the possibility of meaning and communication, in conditions of the historical and social possibility of production of meaning. In all three cases - Jacques, Apel and Habermas - the primacy of the interlocutive relationship prevails, which is a relationship of communication. But in <mask> <mask> <mask>, the transcendental relationship, which underpins the dialogism of the three philosophers, becomes a socio-historical relationship, which is why his understanding of semiotics is social. This conclusion is reiterated by António Fidalgo, full professor of Semiotics, at the University of Beira Interior: "the indication of its object is a very important element for its understanding as a science. Traditionally, semiotics was understood as the science of signs, but today new schools are appearing and authors are defending semiotics as a science of meaning as opposed to semiotics as a science of signs. One of these authors is <mask> <mask>". And the reason why <mask> <mask> <mask> proposes a semiotics of discourse, rather than a semiotics of the sign, is that both the logic of communication and the theory of information, which constitute the dual tradition of the semiotics of the sign,

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 have both ended up being mobilised at the service of the all-powerful technological, cybernetic and cyberspatial system for the circulation of verbal, sound and visual messages.There is, in fact, no doubt about the operative capacity of signs, given the fact that they bring together the logic of communication and the theory of information in the sense of their technological mobilisation. A "Distinguished Portuguese citizen”
<mask> <mask> <mask> was interviewed, on February 6, 2014, for Fernando Alves' programme, "Portugueses excelentíssimos" (Distinguished Portuguese citizens), on TSF Rádio Notícias. The journalist who has interviewed dozens of illustrious Portuguese citizens for this programme introduced his guest as follows: "there are already many places where this man [<mask> <mask> <mask>] has left his footprint and the marks of his restless and disturbing knowledge, which justify his presence in this gallery of distinguished Portuguese citizens". List of Works (selection)

 A Internacionalização das comunidades lusófonas e ibero-americanas de Ciências Sociais e Humanas. O Caso das Ciências da Comunicação (The Internationalisation of the Lusophone and Ibero-American Communities of Human and Social Sciences. The case of the Communications Sciences). Famalicão, Húmus, 2017.Available at http://hdl.handle.net/1822/49365

 A Lusofonia e a interculturalidade – Promessa e travessia                             (Lusophony and interculturality – Promise and crossing). Famalicão, Húmus, 2015. Available at http://hdl.handle.net/1822/39693
 Crise no Castelo da Cultura. Das Estrelas para os Ecrãs (Crisis in the Castle of Culture. From the Stars to the Screens). Coimbra: Grácio Editor, 2011 (2nd edition Húmus,


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 2017; Brazilian edition: Anneblume, 2011). Available at http://hdl.handle.net/1822/29167
 A Linguagem, a Verdade e o Poder.Ensaio de Semiótica Social (Language, Truth and Power. An Essay of Social Semiotics). Lisbon: Calouste Gulbenkian Foundation and the Foundation for Science and Technology (FCT), 2002 (2nd edition, Húmus, 2017). Available at http://hdl.handle.net/1822/48230. Ensino Superior e Melancolia. Oração de Sapiência (Higher Education and Melancholy. Prayer of Wisdom).Instituto Politécnico de Viana do Castelo, 2002. Available at http://hdl.handle.net/1822/1288
 Caminhos nas Ciências Sociais: memória, mudança social e razão. Estudos em homenagem a Manuel da Silva Costa (Paths in the Social Sciences: memory, social change and reason. Studies in honour of Manuel da Silva Costa). Coimbra: Grácio, 2010. Available at http://hdl.handle.net/1822/29762
 Para uma inversa navegação - O discurso da identidade (Towards an inverse navigation - The discourse of identity). Porto, Afrontamento, 1996.O olho de Deus no discurso salazarista (The eye of God in the Salazarist discourse), Porto, Afrontamento, 1990 (2nd edition 2016). Available at http://hdl.handle.net/1822/49972
 Políticas da Língua, da Comunicação e da Cultura no espaço Lusófono (Language, Communication and Culture Policies in the Lusophone space) (M. L. <mask> & I. Macedo). Famalicão, Húmus, 2019. Available at http://hdl.handle.net/1822/62825
 Sentidos da Morte na vida da mídia (Meanings of Death in the life of the media). (M. L. <mask>; M. Correia, P. Vaz & E. Antunes). Curitiba, Appris Editora, 2017. Do Post ao Postal (From the post to the postcard) (M. L. <mask> & M. L. Correia).Famalicão, Húmus, 2014. Available at licão, Húmus, 2014.

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