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Girls can plunge right away into technology! The companies in the partnership can host workshops and help by volunteering to be mentors in the program, on any venue. Aligned with the bluffs, between the river and the forest, lie the archives of the Amazonian life. It is a truly school of vision, Pedagogy of contemplation. The education of sight. The vision that experiences the dizzying vertigo of a wandering soul.

In the margins of the river and the forest, a dual life erupts. Between the river and the forest is the reign of ambiguities and the site of the ever-changing fluid contours. This place outlines the development of a science of libido where desire shines, the aesthetic mischievous fluidity is put into evidence, the pleasure of contemplation is dominant and the sharing with the nature is the greatest prize of all. A way of contemplation, which conjures up a real system.

Between the river and the forest, one experiences the feeling of the sublime existing in nature, to such an extent that it is imperious to populate this splendorously elevated reality with beings that live up to it — the divinities who inhabit the submersed Olympus of the rivers and the deepest heart of the forest — the encantarias. The encantarias are the sanctuaries of the gods of the Amazonian theogony in the bottom of the rivers and inside the uncultivated thick woods.

Each enchanted beach is an Island of Circe, of the imaginary dimension, inviting us in. The effect of the sublime is simply a way of feeling.

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It is the representation of the real by means of the unrepresentable. Between the river and the forest, the transcending experience results from what has been lived and felt. The serenity emanates from calm waters, the restlessness presaging stormy nights are trivial experiences, not Romanesque or Philosophic readings. The admiration, the wonderment flourish from the contemplation of things and these peculiarities that bloom from the sensations cause the spirit to reach the essence.

The sublime effect arises from the astonishment in the presence of the storms, and the pororocas. It is generated in the dazzlement before the awe-inspiring phenomena of the nature and the cosmos. The explanation - elucidation for such mysteries is metaphoric, allegoric and takes place under the poetic radiance of the liturgy of the myths. It represents the attempt to explain the unexplainable through the unrepresentable of representation. This primacy of vision does not eliminate the role of the subject as a participant - spectator performing concurrently as an actor and a watcher of himself and of others.

Looking at the immensity of the river and the forest, men, incapable of dominating its vast limits, penetrates this enormity with an attitude that makes him superior to nature: He, then, becomes the first and foremost reason of all. This poetics of the imaginary does not turn the caboclo into a poet, but it keeps him involved in an atmosphere of poiesis, which turns the imaginary into the encantaria of his soul.

The infinite space induces the vision and the spirit to rest. The encantaria ends this compliance and accustomedness of vision with the diversity of imagination.

Whereas the eye calmly contemplates, the spirit works tirelessly in the underlying mines of imagination. The desire to have the supernatural presence around is a response to the inevitable feeling of solitude men experiences before the splendor of nature.

The restless balance of solitude leads the caboclo to search for realities that hide beyond the surfaces, transferring the depths of his soul to nature.

His nurtured belief in the enchanted beings liberates him and isolates him from the triviality of daily life. Perhaps the river dwelling caboclos, resembling the old romantics, have found in the river and amongst the lush greens a privileged place in which to discover themselves.

The encantaria is not a lost paradise. Nor is it an Eden or Hell. It is an Olympus, a space of dreams and chimeras - it is not desired, nor feared. It is a world created by the very abstract poetry of contemplation. The encantaria is a delve into the profoundness of things as seen through appearances, or, the way they are perceived, by the recognition and the creation through the vein of the aesthetic and poeticizing imaginary of the Amazonian culture.

It shows a singular mode of creation and recreation of the cultural life, which has, at all times, evolved, portrayed by this sort of sfumato that hangs in the indecipherable margin between real and the surreal. It is in an environment filled with such peculiar situations that the nocturnal Bachelardian man, from the Amazon, walks.

An everyday surreality, instigator of reverie, in which the senses remain both aware and awake, because it is inherent of this condition to be actively aware. While depending on the river and the forest for almost everything, the caboclo uses the goods of nature, and transfigures them. This same transfiguring dimension presides over the symbolic cultural translations, the exchanges, and over the stimulated imagination impregnated by the sperm and fertility of the aesthetic dimension.

The transfiguration of the reality by means of impregnating the poetic imagination is a reflex of the passage from the quotidian to its aestheticized reality in our culture, which is achieved by valuing the self-expressiveness of appearances, in which the interested observer concentrates.

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It is this interest that leads the pleasing contemplative thoughts to the shape of the ambiguity of the aesthetic dimension. Under this perspective of nature, the region is transformed into a conceptual, mythical, vague, unrepeatable, place meaning that absolutely every part of this environment is unique. A place that is both near and far from those who see it. Be it for those who inhabit the riverbanks that appear to distinguish the borders of the forest and the dream, be it for those who inhabit the forest, or be it for those who inhabit the nearby villages, those small little ones which seem to be much more preserved from the influences of our times.

Walter Benjamin, in his studies of he multiplication of the artwork in our days, emphasizes and characterizes the aura of the original art. For both the ordinary traveler or the student, that is a founder principle, a postulate that establishes that Amazon is conceived as a unique and unrepeatable good, revealing a hic et nunc that is the result of an accumulation of signs of universal imaginary.

The sign of a unique breed of nature, original and unrepeatable. All true humanity should be founded on that which exists beyond scientific advancements, the economy, and all other exclusionary developments. It could be said that the cabolco — the Hesiodic figure of the tropics- in his attempts to live out his daily theogony and to spontaneously value the imaginary world full of representations, seems to believe in primordial realism of the images.

Love is also reflected in the enchanted dolphin, the Boto, the incorrigible seducer, which takes on a human form dressed in white, and then returns to the river as his mammal self. It could even be the appearance of fatal female glare of the deep waters of the Uiara River, the spot which attracts the young adventurers enchanted by the deep waters of love and death. It implies, that indescribable images such as that of love, for example, are being installed in the vast world around us, making the landscape meaningful, sensitive, and visible.

The landscape is nature penetrated by the sight. Through this perspective, nature is created by culture. When confronted with a normal landscape in appearance what changes is the nature of the soul. Through this perspective the landscape will always be new. It is not a continuous line of successive spaces, but of a circle that penetrates superimposed layers in the same space. The river dwelling cabolco is a stationary traveller.

He sails through the abstract in search of some kind of origins. He renews the landscape that lies superimposed before him, similarly to the contemplation of successive landscapes, a typical routine of all travellers. The stagnant traveller- the caboclo- creates the landscape before him, constructing his own plasticized version of his ideal landscape. By creating the myths, this landscape is a represented object, which endows the scene with the theater of culture and the legitimation of beliefs.

With these components, the ideal landscape it construed. The river banks, the legends, bridges, nights, houses, family, life in society, trees, and the rumor of silence in the lips of the wind are the essential components of creation.

While inventing his scenery, the caboclo invents himself as part of the whole. He creates a new world to be lived and himself as a capable being to inhabit this poetized world.

Everything seems to be governed by transcendental forces. Nature becomes part of the holy, an ideal landscape that involves the mythical allegory inside the sacred atmosphere of the encantarias. The imaginary reinforces the freedom of our creation process. In this stage setting, we are equally placed as the mornings are.

These limits are the smoky, blurred area that contours things, making them vague and mysterious.

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The non — real is no longer what is hidden and submerged in real. On the contrary, it reveals itself within the sfumato, through a discovering game played by imagination — a vigorous exercise of our senses in order to reach understanding.

This is the poetics of the imaginary in the Amazon culture. The mythopoetic fictions of the riverside world aim at no ruling of morality; instead, they are created to reveal the beauty, to stimulate the pleasure of feeling and living.