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  Encontros Raciais, Tran...  
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, parte autobiografia, parte ficção, mostra bem como as ideologias imperiais britânicas determinam a perspectiva de um sujeito pós(neo)colonial. A criança-narrador de Godwin comenta as opiniões de seu pai sobre os senhores coloniais portugueses que na sua visão davam mau nome ao homem branco.
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of such a formulation was the view that ‘Britain had a dual obligation towards its colonies: first, to help the colonial peoples to advance, and second, to develop the resources of the colonies for the benefit of mankind generally’ (Busia, 1962:54). In
  100 Cidades Africanas D...  
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Um africano que vá a um departamento de administração pública francês, com uma postura inteligente e afluente passará um mau bocado, porque a reação instintiva dos funcionários será “Quer mostrar a sua inteligência, você vai ver!”.
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In this way, the Soninke often get most of the things they want from the public servants. They represent over 50% of the sub-sahararian africans living in France. An African who will go to the French administration with the posture of a person who is smart and affluent will face lots of hurdles, because the instinctive reaction of the servants would be “You want to show us that you are intelligent, we will show you!”.
  A Foto Saiu Tremida  
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Uma velha amiga dos meus anos na Califórnia, graduou-se em artes visuais na UC de San Diego e completou um mestrado em belas artes na Bauhaus Universität Weimar na Alemanha. Nada mau! De volta a Lima, Nakamura agora ensina arte e é uma reconhecida artista conceitual.
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Sandra Nakamura is a talented Peruvian artist who does interventions in the public space. An old friend from my California years, she has since been busy getting her BA in visual arts at UC San Diego and MFA at the Bauhaus Universität Weimar in Germany. Well done! Back to Lima, she is now a teacher and established conceptual artist. Part of her work has addressed the role of the monument in the historical memory of people.
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O que para uns é interpretado como o ‘temperamento tropical’ que fez dos portugueses ‘colonizadores cordiais’,  para Conrad é razão para alarme, pois na sua visão a tendência dos portugueses para a miscigenação com os nativos significa a admissão da igualdade racial, um mau augúrio para o sonho da supremacia branca intrínseco às suas obras
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, in a ‘final communion’ of minds and bodies undertaken in the spirit of ‘simply doing business’, that outsiders often explicate the notion of a ‘kinder, gentler colonialism’ as a quality unique to the Portuguese model. At the risk of overstating the obvious, the point is that sex-sexual violation-became intrinsic to the Portuguese colonial enterprise; and as such as effective a weapon of disempowerment as the sword.[17]
  “Matando um Povo Pouco ...  
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De fato, apesar do BNDES ter recebido várias notificações extrajudiciais e cartas sobre as violações de direitos humanos e os impactos ambientais causados pela barragem de Belo Monte, assim como relatórios financeiros denunciando o mau investimento, foi mantida a decisão de empréstimo ignorando totalmente as queixas da sociedade civil.
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Belo Monte will cost over US$16 billion (R$30 billion) with 80% of the project being financed by the Brazilian National Economic and Social Development Bank, BNDES. It is the biggest financed project in the history of the bank using mostly taxpayer money without transparency, no socio-environmental safeguards, and lack of a monitoring program upon which to base their decision. In fact, even though BNDES received a number of extra-judicial notifications and letters about the violations of human rights and environmental impacts to be caused by the Belo Monte Dam, as well as finance reports stating that it was not a good investment, they moved ahead with the loan, completely ignoring civil society’s claims.
  Fela Ransome-Kuti: Ativ...  
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Sua família participou ativamente nas lutas pan africanas e anti coloniais pela independência, e pela dignidade humana e libertação da Nigéria[iv]. Fela Kuti usou a sua música para transmitir ao público em geral a sua oposição ao mau governo e corrupção no seu país.
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Olufela Olusegun Oludotun Ransome-Kuti was born into an upper-middle-class Nigerian family in Abeokuta, Ogun State. His family was an active participant in the Pan-African and anti-colonial struggles for independence, human dignity and liberation in Nigeria[iv]. Fela used his music to voice to the general population his opposition to political mal-governance and corruption in Nigeria. As a wide-travelled, foreign-educated individual, living abroad, his international experience was pivotal in the formation of his personal and political consciousness, manifested in a type of music that was highly influenced by jazz and the highlife. Particularly, in the 1960’s, when Fela travelled to North America and discovered the Black Power and Black Panther movements, his music and political views were transformed, radicalised, and his understanding of African music and roots was naturalised. In other words, African music became a tool that expressed and validated African ancient civilisation, its history and its monuments.
  Da Cristianização do Ka...  
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V. Perniola. O autor considera que minimizam a violência inerente às repetidas queixas de nativos do Ceilão relativamente ao mau tratamento que sofreram nas mãos dos religiosos, e particularmente dos jesuítas.
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(2009), in which he takes potshots at the 17th century Jesuit historian of Ceylon, Fr. Fernão de Queirós and his more recent Jesuit defendants, Fr. S.G. Perera and Fr. V. Perniola. He sees them as downplaying the implications of violence in repeated complaints of the natives of Ceylon against the ill-treatment they suffered at the hands of the Religious, and particularly the Jesuits. These historians seem to see the accusations levelled against the Religious as stage-managed by the Portuguese officials whom the Religious, posing as protectors of the natives, denounced for their high-handed behaviour in the villages controlled by them. Gaston Perera takes objection to the ecclesiastical historians, and Fr. Perniola in particular, for minimizing the missionary responsibility for violence as limited to a few cases. Gaston Perera is certainly not amused by Fr. Perniola’s logic of distinguishing temples from idols in the historical references to destruction of «pagodes»[vi], on the basis of his selection of Portuguese documents[vii].
  A Estética da Crise: Ar...  
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Apesar de esta análise focar exclusivamente na arte de rua, a estética da crise inclui potencialmente todas as mudanças materiais e visuais que ocorrem no tecido urbano no contexto da crise: casas abandonadas e em mau estado, polícia de choque, e os desalojados.
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After having laid out the ways in which the crisis impacts urban space and activism in general and having explored the specific case of Athens, the following section will examine what I term aesthetics of crisis, the qualitative transformations of iconography and forms of expression brought about in the context of the crisis. Aesthetics herein denotes not a normative judgment of the visual representation of the city, but the sum of the sensory and symbolic qualities of the artworks and their relationship with the material and mental landscapes of crisis as a whole. While this analysis is exclusively concerned with street art, the aesthetics of crisis potentially include all material and visual changes that occur in the urban fabric within the context of the crisis: abandoned and decaying houses, riot police, homeless. The underlying logic is to approach, explore and come to know the crisis through its manifestations and artifacts. Attempting to clarify the analytical properties of this approach, I will propose and describe the three aesthetic clusters that came to evolve prominently out of my research as ways of representing the crisis: representation through the immediate institutions and personifications of the crisis, the representation of the crisis as a lived reality and quality of everyday life, and the representation of the crisis as a political struggle. All three overlap in multiple ways and are certainly not meant to be fixed or exhaustive. However, they do all exhibit specific symbolic and iconographic vocabularies.