New country, crossed monopoly, and neo-slavery

Appearing at the same time (dictatorship in 64 and the TV channel in 65), Rede Globo has been loyal to the projects of the elite, substituting authoritarianism for a controlled democracy and regulated citizenship: forming a mass of spectators, not protagonists. But it was during the election of 1989, when the first post-militar president was elected, that everyone could see with their own eyes, that the same Brazil maintained by the slavocrats, transmuted in uniforms and censorships, was then neo-slaved by the sumptuous images of the city life. 

The system called Rede Globo is one of the biggest media conglomerates in the world, the only network with a hegemonic domain of a large society, formally democratic. The Brazilian legislation and the public concessions are still done "by obscure and slant criteria that attend the interest of individuals and groups of power before collective interests" (Teixeira Coelho, Indústria Cultural no Brasil). TV Globo is also the biggest private world producer of programs, forming what is called a “crossed monopoly” (newspaper, radio, online services, tv, cable tv etc). (4)

Conceded by public, state given concessions, commercial media conglomerates operate a social construction and deconstruction of the public space, inter-feeding repressive public politics with abusive and racist content, especially towards children (consumerist) and women (sexist). Substituting the multiple Brazilian identities and possible forming ideologies for stereotypes and specific patterns of consume and entertainment, following the logic of the market, its sponsors. This economic logic was since the beginning of Brazilian history naturalized as external and reinforced nationally by political manipulations that come forward to “protect (familiar/nepotistic) values”.

It is estimated that roughly 30% of our current senators, descendants from our modus politicus, own or are from-a-family-that-owns a communication medium.


::::::::: urban intervention and information correctional machine

part I


A perfect colonization and a TV channel

brazilian background

the soup-opera republic

part II


An alternative to change realities

what is mimoSa

part III


People, technology and machinery involved



prior works


“mimoSa: Urban Intervention and Information Correctional Machine” is a 2005 commission of New Radio and Performing Arts, Inc., (aka Ether-Ore) for its Turbulence web site. It was made possible with funding from the Andy Warhol Foundation for the Visual Arts.”