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Privacy Policy


1. INTRODUCTION


The protection of personal data is a priority of Ágora – Cultura e Desporto do Porto, EM., S.A. (hereinafter referred to as Ágora). The adopted privacy and personal data protection policy clarifies which personal data are collected, for what purposes they are used, which principles guide the use of such data and the rights that their holders enjoy.

Ágora is a local company of a municipal nature, endowed with statutory, administrative and financial autonomy, incorporated on September 29, 2006 (then as Porto Lazer E.M.), whose share capital is fully owned by the Municipality of Porto, under the terms of the Legal of Local Business Activity and Local Participations.

Its corporate purpose is the promotion and development of culture, physical activity and sport, other entertainment activities in the City, as well as the promotion and development of brands associated with the City of Porto, in addition to activities determined by the management of the spaces and equipment that are under its management.


2. CONTEXT


This policy applies to all those who, in any way, have a relationship with Ágora.


3. RESPONSIBLE FOR DATA PROCESSING


As the person responsible for processing the data entrusted to it, Ágora:

– Ensures that the processing of personal data is carried out within the scope of the purposes for which they were collected or for purposes compatible with the initial purposes;

– Assumes the commitment to implement a data minimization culture in which it only collects, uses and conserves necessary personal data;

– Does not disclose or share personal data for commercial or advertising purposes.


4. HOW PERSONAL DATA ARE USED


Ágora uses the personal data provided in an application, communication, complaint, participation or on the website, to respond to requests received, as well as for statistical purposes, continuity of service and participation in events.

In addition, it collects the information provided by its interlocutors, such as comments, suggestions and criticisms/complaints, with a view to constant improvement.


5. PERSONAL DATA COLLECTED


The personal data collected depends on the context of interactions with Ágora, within the scope of its activity.

The data collected may include the following items:


Identification:


– Name

– Age

– Tax identification number

– Citizen Card/Identity Card Number

– Social Security number


Financial/Payment Data:


– Bank identification number


Institutional data:


– Institutional email


Contacts:


– Household

– Email address

– Phone/mobile number


Image:


– Image of security cameras


6. PERSONAL DATA OF MINORS


The personal data of minors, the collection and processing of which does not result from a legal basis or from the exercise of public interest/public authority functions, will only be collected and processed with the express consent of the holders of parental responsibilities or guardians. Holders of parental responsibilities or guardians have the prerogative to exercise their rights over the personal data of minors under similar conditions to those of data subjects.


7. COLLECTION AND PROCESSING OF SPECIAL DATA


Personal data may be of a more sensitive nature in certain situations, classified by the General Data Protection Regulation (GDPR) as "special categories of data", which include, among others, health data.

The processing associated with special categories of data deserves increased protection in the GDPR and is subject to specific technical and organizational safeguards. In this sense, the addition of documentation that incorporates special categories of data should only be carried out when such data appear as instructive or optional documents in the forms made available and advertised by Ágora.


8. REASONS WHY DATA IS SHARED


Ágora only shares personal data with third parties in the exercise of public interest/public authority functions, in strict compliance with legal obligations, or with the prior consent of the holder.


9. SECURITY OF PERSONAL DATA


Ágora uses a set of technologies, tools and security procedures, making the best efforts to protect personal data from unauthorized access, use or disclosure.


10. HOW TO ACCESS AND CONTROL PERSONAL DATA


Ágora allows, at the request of its holder, access, rectification, limitation of treatment and erasure of personal data. The data subject also has the right to object to the processing of his/her personal data.


If the use of personal data is based on consent, the data subject has the right to withdraw it, without compromising the validity of the data processing carried out until that moment.


Ágora's Data Protection Officer (dpo@agoraporto.pt) can always be contacted to clarify all questions related to the processing of personal data and exercise of rights as a holder of personal data.


11. RIGHTS OF THE DATA HOLDER


The data subject has the following rights:


Right to be informed – right to be informed, in a clear, simple and transparent way, about the processing of your personal data by Ágora.


Right of access – right to access personal data concerning you and which are processed by Ágora.


Right of rectification – if you find that Ágora has incorrect, incomplete or inaccurate personal data that you own, you have the right to request its correction or rectification.


Right of opposition – right to oppose the processing of data by Ágora. However, legal or public interest grounds may prevail over the right of opposition.


Right of limitation – right to request the limitation of the processing of your personal data by Ágora, to certain categories of data or purposes of treatment. However, legal or public interest grounds may prevail over this right.


Right to erasure of personal data or "right to be forgotten" – right to request the erasure of your personal data, if there are no legal grounds or public interest that justify the conservation of that personal data.


Right to withdraw consent – whenever the processing of your personal data is carried out on the basis of your consent, you have the right to ask Ágora to stop carrying out this treatment.


Right to portability – right to receive personal data concerning you, in a commonly used and machine-readable digital format, or to request the direct transmission of your data to another entity, but in this case only if technically possible.


12. PERSONAL DATA RETENTION


Ágora retains personal data for the necessary and reasonable period and within the scope of the purpose(s) for which they are collected.


Conservation periods may change significantly when archival purposes of public interest or historical, scientific or statistical reasons justify it, and Ágora is committed to adopting appropriate conservation and security measures.


In order to determine the appropriate retention period, Ágora takes into account the various deliberations of the European data protection control authorities, namely the CNPD, and the Archival Regulation for Local Authorities (Portaria nº 412/2001, of 17 April and 1253/2009, of October 14).

The data will be deleted as soon as they are no longer necessary for the defined purpose(s) or when consent is withdrawn.


13. COOKIES AND SIMILAR TECHNOLOGIES


Ágora uses cookies (small text files that a website, when visited by the user, places on their computer or mobile device through the internet browser) to provide online services, assist in data collection and save settings, taking into account to improve performance and user experience.



14. SOCIAL NETWORKS


Facebook

Instagram

Youtube

Linkedin


15. CONTACT INFORMATION


For more information about Ágora's privacy practices and personal data protection, you can send an email to: dpo@agoraporto.pt.


16. CHANGES TO THIS PRIVACY POLICY


This privacy and personal data protection policy will be updated regularly, whenever justified.


When changes to this policy are published, the respective update date will be changed at the same time.


It is recommended to periodically consult the privacy policy and protection of personal data to obtain information on how Ágora protects personal data and to update the information and rights of data subjects.


Suggestions for improvement can be made via email dpo@agoraporto.pt.


Last update date: May 11, 2022

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AUTOINTITULADO
Fri

 

12

.

05


2017

PARTILHAR:

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News
AUTOINTITULADO

Fátima Lambert

— Professora coordenadora ESE / IPP, curadora. Foi membro da Companhia de Bailado do Porto dirigida por Pirmin Treku —

Ils ont nourri nos yeux […eles alimentaram os nossos olhos]*


[too much forewords]
Dance is maybe one of the most ephemeral art though visual arts (both 2 and 3 D) have being presenting us with several projects of a kind – where longing or/and surpassing, the present time is no more an order of recognition for Art as a dominant value.
Ephemeral – the concept – in different Arts is a huge discussion, which has been uniting and dissociating researchers, but mainly the very own authors and artists, when they [themselves] are telling us about this subject and their ideas are expressed in their own works. Using other words, this main goal for some creations that not necessarily will last – as a material stuff - reunite and dissociate different protagonists on a certain “conceptual stage in our mind”, when reading, seeing, listening or crossing these feelings around. And for some ones being mad about it, I mean spectators at a theater as well as those who visit an exhibition.
Maybe not so many people enjoy knowing and seeing Dance – and remark, I write “enjoy”, not “like” or “appreciate” dance – so much as they like and want to see an exhibition, a video screening or a performance sequence. For sure, performance is a tricky word when confronting the meaning it grabs, considering we are connected the arguments concerning the visual arts or the performing arts.
Fortunately if you attend to a review of the audience for dance in Portugal, from the nineties (last century) towards nowadays, there is a remarkable difference. Namely, before the Museum was built, I recall the performing arts program held by and at Fundação de Serralves since those years. We got used to see dance pieces at the House, commissions were addressed to Portuguese young choreographers and many debates, workshops and thematic cinema cycles took place. One of the responsible for it is Cristina Grande (sometimes working with António Pinto Ribeiro, in other projects with Rita Castro Neves, for instance). By then, Dance was not very widespread as we well know, most of the people connected it and mistaken it with the single implication of ballet. Maybe because we are not acquainted with the History of Dance or the critic thought (and writing) about it during the our Education – from primary school until we finish High School how many time have any teacher showed us any dance piece – image or video registration – or talked about it? I believe that few or none at all. Concerning visual arts there is a huge difference: the highlights of paintings, sculpture or icons from the architectural heritage are translated into images and transmission of some references, knowledges. There is no tradition in approaching, towards dance in any syllabus I can recall. But let us overcome this issue.

[take one]
Sometimes people ask me sometimes, after being present at the presentation of a dance piece: what does it mean? The same question is addressed to many of us when visiting an exhibition or even after the screening of a video, for instance. It’s remarkable how the ownership of meaning - confronting the relation to a work of art - is such a thing for people (when an approach to the concept of audience and/or public). And some persons connect this question with a kind of dogma as if feeling/reason/expression of liking or disliking was the main issue. I mean in a sense of empathy, of Einfühlung taken as the only criteria applied and for the evaluation of an art piece. I both like and I find objective, rational and conceptual reasons for considering/saying the piece Autointitulado is a great work. How can the appreciation of dance take place? Is it possible to “grab” an audience for contemporary [nowadays] dance in the early development of a person? Is it important, we might wonder and why. When considering someone that is getting an education at a dance academy (ballet): will that person “love” for dance last? Considering the incorporation of both clichés and expectations about a future in academic dance? All these ideas are subsumed in the piece Autointitulado (Self title).

[take two]
At stage: what happens there with both dancers/choreographers and what are we prepared or allow ourselves to receive from this dance piece? What ideas can we achieve or ensure.
The sound registrations held in the street and public places, take the part of focusing in “reality”, present time. The images registrations held in different cities during a summer holidays travel the clichés around the side and make us laugh or stand still. There is no apparent connection between the sounds (which is not a music score) and the video images.
The two screens are open making na almost square angle and only of the screen show the projection. It is double faced but one of the faces is blank. Aside there it is the hanger [bengaleiro] a remark about M. Duchamp’s ready-made, considering the very own dance piece in itself is a sort of reply to that concept subverting “ready-made” ideas about dance in occidental society.

[take three]
I suppose it is different to perform at a Museum of Contemporary Art Auditorium comparing to other cultural locations. I thought of the dance piece as developed in a “comparaison”, in confrontation with the concept of an expographic subject – I mean the layout of the works at an exhibition or even the very own installation and so on. I saw the dance piece as a hole, a global image of the stage nourished by the two dancers as a sort of figures at a landscape (the stage as landscape, seen a bit from afar, because they appear sometimes as though overcoming their condition of dance-persons, representing the citizens of a breaking/broken world. They are so much involved with the dance itself that it contains anonymous tradition of dance surmounted in this double dialogue. In their dialogue figures the dance tradition falling and at the same connected by their invisible (and recognizable) quotations from dance history as well as references from literature, visual arts or cinema. Thankfully, dance is indeed an urgent cultural matter, either some person might agree, like it or not…

[take four]
Dance can mean [for the audience in general] the building of meaningless development, sorted by “rational percepts”; the configuration of different personal vocabularies (by choreographers and creators)…Indeed it might shape so many syllabus which are broad enough to make us flow over, reject, come back over and over again, recognize or land in the areas of psychosocial commitment towards the society. [« De même le somnambule accepte les fantaisies que l’on voudra. Il se souvient et n’imagine pas, n’a que des sensations quand il croit penser. » [In Flaubert, Bouvard et Pécuchet (1880). In http://flaubert.univ-rouen.fr/oeuvres/bouvard_et_pecuchet.php?imp=1p.78] Memories, remembrances might display an important role when connecting the fragments that compose this dance piece, allowing us to project in it our own.

[take five and final (…thanks God you might think…)]
In a text where both authors narrate their main ideas concerning this Autointitulado we can read, they compare themselves with the aims, the project held, developed by literary characters “Bouvard et Pécuchet, created bt the french nineteen century writer Gustave Flaubert: “…De forma semelhante, a compreensão das danças que pensamos ter reconhecido e os híbridos que criamos acoplando-as umas as outras, produzem monstros coreográficos. (…) A espécie de dueto tragicamente cómico que podemos por vezes incorporar presta homenagem aos personagens do romance de Flaubert.”**
[“Quelle bassesse que de penser toujours au prolongement de son existence ! La vie n’est bonne qu’à la condition d’en jouir. — « Encore un morceau ? » — « Je veux bien. » — « Moi de même ! » — « À ta santé ! » — « À la tienne ! » — « Et fichons-nous du reste ! » Ils s’exaltaient.” Flaubert, Bouvard et Pécuchet. In http://flaubert.univ-rouen.fr/oeuvres/bouvard_et_pecuchet.php?imp=1, p. 29 ]
And I can also recall another two characters, created by Samuel Beckett…Mercier et Camier (1970)***. Them too/two… also that invite us towards a journey into nameless places, unknown locations, going forward always and again.


*Texto escrito em inglês, atendendo a que foi baseado nas minhas anotações, quando da “conversa pós-espectáculo” que se desenvolveu em inglês, atendendo à nacionalidade de Cyriaque Vilemaux.
** I respect the Portuguese writing, not translating it. We can read the whole text in the flyer produced at CCB/Lisboa.
*** See Samuel Beckett, Mercier et Camier, Paris, Éd. Minuit, 2006.

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