Maybe I have to take some pages out. Do you have any reservations about this type of intervention?
None. I would take several.
It's the editor's job.
Clear; mine too. It's not self-critical, maybe a minimum of hygiene.
Maybe I'll make a bigger cut than you expect.
I would actually like a reasonable cut.
I have never met writers with this good will.
No goodwill; I'm not a writer. I write. Writers give interviews, autographs, appear on TV. Someone has to just write.
The book may be smaller than you would like.
I wish it were tiny. It will probably get better, or even bearable, but brief.
I like irony.
I must take out many pages on my own. Maybe I'll take different pages than you would.
Perhaps. How would we get this right?
We'll keep the 419 at any price. Other than that, nothing matters.
Because? Is it great?
Not. But I want to have the illusion of control. And maybe the book will really shine.
With editing work?
Yup. See, if we take the same pages, possibly not. But if we disagree and keep taking out pages until only the cover, the index and the 419 are left, and we can never miss this opportunity to keep the 419, maybe then things will get great.
I don't trust what you say.
Me neither. I trust even less what I write.
This is common among authors. I trust what you write.
And yet, without reading, he has already decided to take pages.
Would you like a coffee?
If you can discuss the quality after taking it, always.
Honestly, I need professional help.
Any help. As long as they are professionals.
I believe we should talk. Remotely. We're coming out of a pandemic, and I don't want more guilt than I already have.
I wrote some books, many chronicles. I'm proud, maybe unduly but still proud, of what I still think is good.
I also wrote, and produced, many things that I'm not proud of, from commercials to goodbye letters, from impudent e-mails to SMSs with mistakes in Portuguese, or without mistakes, with the broker on, but with things I wouldn't write if had thought. I sent messages to WhatsApp groups when they were actually meant for a specific person. Perhaps a faulty act, perhaps incompetence, certainly stupidity.
I have awards, a few, but as a designer, art director, and with a work that is starting to have semi-ridiculous visibility as an artist. I have a lot more besides, it's worth reading my CV because it's long and I like to brag about nothing. My family still doesn't know exactly what I do. As I know they are busy, I summarized. You, I imagine, are busy, not my family. Follow the CV at the end of this presentation. I want confetti.
As a writer I have no awards. I have no agents, no editors. Not contracts. Not certainties. I could get all this done before our conversation, but it would take some time, and I'm in a hurry. I'm certainly in a hurry. We are on the 980th of March, and March this year, which is the same year as the year before, looks like it will go on until the end of next year. I won't wait any longer.
I have texts. Good. Best. Some great. Some that I don't think are great but you will find them great. Even if they deny it.
I wrote a children's story that I think will be a worldwide hit, if anyone can translate it. Otherwise it will be a success in two or three neighborhoods of SP, even so, a success. We will not research the opinions of other neighborhoods, and if we do, I will publicly criticize the methodology.
Modesty is useful for weaklings and journalists.
The story, THE FIXER, follows for your enjoyment, along with other excerpts from my work.
I'm looking for a conversation about how we can collaborate.
My intention is to dominate Brazil, Argentina/Uruguay, New York, Mexico, Alaska, Germany, Moscow, Sudan, Madagascar, Aral, Omsk, Vladivostok, all of Oceania, conquer 22 territories and destroy the red army or convince them to wear black .
Also, I want to find a(@) agent who thinks I'm great without questioning their own criteria and an(@) editor(@) who simply enjoys taking the same risks as me,
or at least allow me to break deadlines in peace.
I want many more things, I was born with ambitions much greater and more frequent than my occasional competences,
but I'm sorry, I don't know you, I'm suspicious, let's take it easy, I'm not going to tell you everything easily.
Biggest hug (now that we are vaccinated);
I wish you the best that we have available.
But receive me. We will rule the world.
Maurício Trentin (Presidente Prudente, SP, Brazil, 1973) is an artist, designer, programmer and researcher, based in São Paulo.
PhD in Visual Poetics (2017) at the post graduate program in Visual Arts of the School of Communications and Arts at the University of Sao Paulo (Universidade de São Paulo - ECA/USP).
Master’s degree in Communications and Semiotics (2010) from Sao Paulo Catholic University (Universidade Católica de São Paulo COS – PUCSP).
Bachelor’s degree in Industrial Design/Visual Communications (1994) from Mackenzie University with specializations at SVA NY, NYFA and Parsons New York (1998).
Story Seminar/Storynomics Seminar with Robert Mckee (NY_2014/2018).
Virtual Spatial Systems Design _UDK, Germany (Berlin_2018).
Clients served directly or via agencies / consultancies: The Coca Cola Company, Sprite, Ajinomoto, Daewoo Motors, Daihatsu Corporation, Cadbury (Schweppes), Colgate-Palmolive, Barilla, Brahma, Faber-Castell, Itaú Seguros, Peugeot, Intel, Citibank, Guys, Ades, Sony Music, TriFil, Avon, Eurofarma, Bradesco, Nestlé, Embraer, Mackenzie, Embratel, Brasil Telecom, Sumus, Mobilit, CraftDesign, FreitasLeite, Empire Financial Services, Demeter Films, Vipal, Brunner Intellectual Property, Guadalupe Foto, Sérgio Motta Institute, Concrete Architecture, Brunner Inova, Lexique, Clarice Kunsch, Parklink and Editora Sesc, Dr. Gabriela Couto | Sobrevidas, TruTools.
Worked as art director and designer for FCB, LOWE Loducca, DM9DDB, Newcomm Bates (today Young & Rubican), Euro RSCG and Publicis.
Currently works on the interfaces of his new projects IN/FLOW CONTENT and IN/FUSE BRANDING and on the development
of a series of startups in areas such as innovation, branding, design (MT/FORM + MONOPÓLIO), digital interfaces, applied semiotics and technology (INCODE + TIMESAFE). Develops original projects in visual arts, design and literature.
Researcher in semiotics and applied semiotics. Presented at SEMIOFEST 2016 a research instrument on methodologies applied in INNOVATION _ INFUSE, in Tallinn, Estonia.
Member of CCSP (São Paulo Creative Club), ADP (Industrial Designers Guild) and ADG (Brazilian Graphic Designers Association). Past experiences at FAAP (multimedia, ec, 2007) and Atelier Mundo Novo (Origin and Property, 2010), creating images, devices and reframing systems since 2005, works as art director and designer, in commissioned projects ATL, BTL and industrial design since 1994.
Visual design and art direction works published by the Archive, Publicis Worldwide Review magazines, the ADG Yearbook of Brazilian Digital Sources and the São Paulo Creation Club Yearbook. Industrial design works published by the magazines Arquitetura e Urbanismo, ArqDesign, KAZA, Casa Vogue, Viver Bem and the Folha de S.Paulo newspaper.
Research artist @ Poéticas Digitais_ECA / USP. Group exhibitions in Brazil and Mexico. Creator of multimedia projection CUBO BRANCO, original multimedia artwork shown at the Visualidade Nascente exhibition at the Maria Antônia cultural center, São Paulo.
ORDER > textimage
Series _Territory Invasions/Basic Transducers
Text “Order” is changed by software (Processing) transforming into image as it is reorganized in alphabetical order according to mouse position
Original text, software implementation, code editing, projection.
Copyright © 2022 TRENTIN, MAURÍCIO & Maurício Trentin. All rights reserved. The TRENTIN, MAURÍCIO brand, O CONSERTOR brand, all projects and individual texts, codes, titles, images, design and trademarks, this website and its contents are protected by copyright and distributed under licenses that restrict copying, distribution and decompilation. All rights reserved. Other companies brands that appear in partnerships or tech choices are either registered trademarks or trademarks of those various companies in the United States, Brazil and/or other countries. All rights reserved. Copyright © 2022 Maurício Trentin. All rights reserved.