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Item A poética da mulher prendada: prática artística como estratégia de agência feminina no espaço doméstico(Universidade Federal de Goiás, 2023-03-30) Alves, Debora Taiane Oliveira; Rodrigues, Manoela dos Anjos Afonso; http://lattes.cnpq.br/7111235725963338; Rodrigues, Manoela dos Anjos Afonso; Cavalcante, Denise Moraes; Berardo, Rosa MariaThis research emerges from the confluence of the fields of art, autobiography and feminism, with the aim of transforming individual experiences lived at home into dissident artistic practices, which in turn create poetic places of political enunciation and stimulate female agency in the domestic sphere. It is through an artistic practice capable of subverting the idea of an “housewife” that I present the process of a series of works carried out between 2018 and 2022, exploring different aspects of the feminine private experience and bringing reflections with a feminist bias on family, housework, marriage, body and race.Item Venho das águas: uma travessia autobiográfica nas culturas indígenas e formação docente(Universidade Federal de Goiás, 2022-11-23) Anaquiri, Mirna Kambeba Omágua - Yetê; Silva Filho, Raimundo Martins da; http://lattes.cnpq.br/1270126774554014; Martins, Raimundo; Somma, Fernando Nelson Miranda; Almeida, Lígia Marina de; Abreu, Carla Luzia de; Ferreira, Glauco BatistaThis research is organized in the form of narratives through which I describe my experiences as an indigenous woman, feminist, teacher, researcher, artist, and activist of the indigenous movement, belonging to the original Kambeba Omágua people, in the state of Amazonas (Amazon). The investigation intertwines, through autobiographical and narrative approaches, experiences that involve indigenous and quilombola women. The data produced in the field research was collected from the project Indigenous culture: A seed on the school floor. The project focuses on the challenge of thinking how my experiences can contribute to my practice as a teacher, as well as tothe training of other teachers. The project Indigenous culture: A seed on the school floor was carried out at the Benedito Soares de Castro Municipal School of Integral Time (Goiania, GO, Brazil) with ten professionals from basic education, eight women and two men. Dialogical problematizations and reflections grounded discussions and analyses anchored in the principles of visual culture education, questioning how information about indigenous culture reaches the school space, which images and visualities are present or absent and how they are utilized. In collaboration with the teachers that participated of the field research, the study investigated ways of thinking and pedagogically working on indigenous culture, identifying stereotypes, avoiding distortions and prejudices but, above all, recognizing the rights and respect for indigenous peoplesItem Decolonialidade e uma educação antirracista no ensino de artes: escrevivências e resistências(Universidade Federal de Goiás, 2023-07-25) Andrade, Vanessa Silva; Dering, Renato de Oliveira; http://lattes.cnpq.br/7891833942208165; Ferreira, Glauco Batista; http://lattes.cnpq.br/2193871294419921; Ferreira, Glauco Batista; Abreu, Carla Luzia de; Santos, Noeli Batista dos; Dering, Renato de OliveiraThe relationship between art teaching and the importance of visual culture is intrinsic, since thinking about visual culture is thinking about the constitution of society and the individuals who are part of it. However, throughout the history of education, the teaching of Arts has been anchored in a perspective, sometimes historiographical, sometimes to enumerate and punctuate characteristics about certain aspects or avant-gardes, reducing another type of proposal: reflection and criticism about this language. Therefore, there is, in this context, a trivialization of this curricular component at school, which, in turn, promoted - and still promotes - various forms of social prejudice, such as racism, which occurs through reproductions that come from a view of a given cultural and economic elite. When we understand this proposal, we notice that education has principles that dialogue with coloniality, discussed by Quijano (1992), Mignolo (2017) and other decolonials. In summary, a form of domination of bodies through massified knowledge imposed on all subjects, contributing to a racist education. The purpose of this work, written anchored in “escrevivência”, a concept by Conceição Evaristo (2020) and speech place by Djamila Ribeiro (2017), is to promote a critique of this view through a reflection on an anti-racist education. Thus, the research problem is to understand the importance of working with art in the classroom in order to contribute to a social and cultural reflection of society. That said, the general objective of this research is to question the absence of racial debate in art teaching. To this end, the study outlines the reflection on my trajectory and how I experienced the different forms of racism, as well as presenting possibilities for an anti-racist debate in art teaching through my experiences, understanding that this agenda is essential in teaching practice, since it is a necessary action to think about teaching art from a decolonial perspective. Based on the fact that it is in education that subjects become active agents in their learning process, the teaching of visual arts is an important tool for criticizing these preconceived models. The research, therefore, brings its contributions by proposing a new perspective to think about the teaching of arts in schools and, in this way, erasing coloniality through anti-racist educational “vivências”.Item Jovens cineastas: montagem audiovisual, arte e cotidiano na escola(Universidade Federal de Goiás, 2023-06-30) Anjos, Maykon Rodrigues dos; Martins, Alice Fátima; http://lattes.cnpq.br/2768377569632609; Martins, Alice Fátima; Guimarães, Leda Maria de Barros; Satler, Lara LimaA presente pesquisa propõe a aproximação entre o cinema e a educação no âmbito da realização enquanto experiência de aprendizagens na escola. As discussões trazidas estão inseridas na perspectiva da cultura visual. O eixo das produções estudantis se estabelece na montagem audiovisual como instância articuladora do processo criativo, participando desde a concepção à finalização das obras. Buscamos compreender os desafios e as possibilidades da utilização do telefone celular para a captação de imagens visuais e na montagem dos filmes em sala de aula. Observamos o comportamento do cinema e as discussões da cultura visual em relação às contribuições narrativas de cotidiano, vivências urbanas e experimentações audiovisuais de estudantes. Durante as investigações, o conceito de montagem se ampliou para além do cinema, performando-se uma estratégia de construção de conhecimento. Além disso, durante o trabalho de campo da pesquisa, a pergunta “qual o sentido de aprender cinema?”, surgida em sala de aula, oportunizou a (re)organização das discussões aqui abordadas. Este trabalho orientou-se pela pesquisa-ação enquanto instrumento metodológico empregado, subsidiando a participação coletiva da comunidade escolar durante as atividades, visando alcançar uma cumplicidade com a experiência cinematográfica. As atividades pedagógicas foram desenvolvidas durante um semestre letivo, por meio de disciplinas eletivas, em uma escola pública da rede estadual de educação, o Centro de Ensino em Período Integral Nova Cidade (CEPI Nova Cidade), na cidade de Aparecida de Goiânia, Goiás. Além disso, o campo de investigação se desenvolveu em contexto pandêmico provocado pelo coronavírus SARS-CoV-2. Por outro lado, as aprendizagens com experiências audiovisuais superaram as dificuldades impostas pela pandemia. Ao final, foram produzidas 10 obras audiovisuais utilizando o telefone celular, resultando em sessões públicas de cinema para a comunidade escolar durante o evento da Culminância das Disciplinas Eletivas.Item Ateliê de figurinhas com arte de resistência(Universidade Federal de Goiás, 2023-07-21) Arantes, Daryellen Ramos; Martins, Alice Fátima; http://lattes.cnpq.br/2768377569632609; Martins, Alice Fátima; Abreu, Carla Luzia de; Ospina Álvarez, Juan SebastiánThis research was articulated around the following problem: how do people who make images of resistance see, can they see themselves and make images of resistance be seen? We bring conceptual issues arising from the practices of a studio designed, amid the challenging context of the COVID-19 pandemic, from the perspective of Visual Culture studies, to discuss actions used in the creation and development of a creative environment for editing stickers with frames of films screened at “They make cinema: a showcase for films directed by women”. The research collaborators were invited through posters, posted on informative bulletin boards of the Uniforte network cooperatives, announcing remote meetings to exercise ways of appreciating, capturing and editing stickers. Using a/r/tography as a methodological approach, we dialogue with the demand in order to understand fundamentals and mediation strategies aimed at artistic proposals in exercises related to the construction of the gaze. The research resulted in the production of a collection of film links for the sticker studio. The study also established connections with image makers of resistance from the Uniforte cooperatives. The authors used in the bibliography offer a theoretical framework to deal with the themes of resistance, poetics of solidarity, education for visual culture, visualities, decolonial pedagogies, art research and other cross cutting themes.Item Extraviando imagens em um percurso autoformativo(Universidade Federal de Goiás, 2024-02-02) Araújo, Marcos Felipe Fidelis; Perotto, Lilian Ucker; http://lattes.cnpq.br/1120812742549842; Perotto, Lilian Ucker; Valle, Lutiere Dalla; Rodrigues, Manoela dos Anjos AfonsoThis dissertation sets out to think about how visualities guide the formation of subjects and, consequently, the implications they have for their understanding of themselves. By visuality I mean the constructed ways of looking or the culture of seeing apprehended in its social and historical context, which enables certain ways of seeing ourselves and weaving self-images from these conceptions. I place myself as the subject of this autobiographical investigation, with the aim of reviewing my training process together with the images that represent the authorized ways of seeing that were given to me from my experience as an EXTRAviada child, who understands himself as a young gay man in a homophobic society, based mainly on religious beliefs. The concept of misplacing images arose from the appropriation of the work by artist Bento Ben Leite entitled “Born to ahazar” (2013), which was censored at the exhibition Queer Museum: cartographies of difference in Brazilian art in 2017, which propagated the concept of the queer child. Based on contributions from the field of visual culture studies, I sought to understand the role of images as devices that help in the process of understanding the subject about their life trajectory. I find in artistic practice a self-formative potential that throughout history has enabled various subjects to claim the autonomy of their gaze on themselves, unleashing a self-creative process that is also self-formative, which according to Pineau (2014) consists of "becoming an object of formation for itself" (p.95). Faced with the impossibility of conceiving of myself as a subject based on the identities that have been offered to me, I try to create my own references, going beyond the meanings of the images that have (con)formed me into a distorted and limited perspective of who I could be. Through artistic practice, I reflect on my formative journeys as a subject, returning to the path of creating a character called Mimimon that I developed during the initial years of my undergraduate degree in Visual Arts, which records my formative journey in relation to the images that guided my formation, from which I intend to question my experiences and understand the constitution of the gaze on myself. The image of this character, which is close to the conception of the Devil that I acquired in childhood, is seen as a counter-visuality that authorizes me to claim my formative power to confront the beliefs that have restricted my gaze. In the end, I realize that the dissertation has become a space for formative and methodological experimentation that helps critical reflection on the construction of the subject's own gaze, supported by the images that contributed to his formation, appropriating the Biographical Project Workshop (Delory-Momberger, 2006) to propose the Autobiographical Visual Narratives Workshop, process in which I have immersed myself throughout the research as research method of investigation and the main contribution of this dissertation to the field I’m inserted.Item Mediações entre imagens do corpo e da cidade: reflexões sobre práticas educativas no campo das artes(Universidade Federal de Goiás, 2022-11-18) Araújo, Pedro Simon Gonçalves; Berté, Odailso Sinvaldo; http://lattes.cnpq.br/0846451772067427; Silva Filho, Raimundo Martins da; http://lattes.cnpq.br/1270126774554014; Silva Filho, Raimundo Martins da; Perotto, Lilian Ucker; Ferreira, Glauco Batista; Ferreira, Luiz Carlos Pinheiro; Barboza, Mônica Corrêa de BorbaEsta investigación discute las mediaciones entre las imágenes corporales y su relación con las prácticas educativas en los espacios de educación artística a partir de una experiencia pedagógica-afectiva realizada con estudiantes de la carrera de Licenciatura en Danza del Instituto Federal de Goiás - Campus Aparecida de Goiânia. El trabajo de campo se realizó con cuatro estudiantes mujeres y tres hombres de esa institución a través de reuniones semanales durante cuatro meses en 2019. Los instrumentos utilizados para la producción de datos fueron entrevistas en profundidad, anotaciones en el diario de campo y registros audiovisuales. La investigación cualitativa utiliza el enfoque narrativo-autobiográfico para articular los conceptos de cuerpo, imagen, memoria y ciudad en consonancia con los estudios del cuerpo y de la cultura visual. Aspectos y episodios de mi trayectoria, que involucran vivencias y aprendizajes con el cuerpo en las ciudades de Goiânia y Río de Janeiro, enfatizan experiencias personales que toman como referencia los conceptos de "corpomedia", "corpografia" y performance. Anclado en los principios de la educación de la cultura visual, el marco teórico establece relaciones dialógicas con imágenes y conocimientos estético-afectivos vinculados a la danza, poniendo en perspectiva subjetividades y poderes del cuerpo en los espacios de enseñanza. La forma en que el cuerpo puede verse afectado por las imágenes de la ciudad es una discusión que busca entender cómo estos cruces impactan la formación de los individuos y generan aprendizajes a través del movimiento y la actuación, intensificando las percepciones de uno mismos y las apropiaciones pedagógicas de los espacios dentro y fuera de las escuelas. Los resultados de la investigación demuestran una construcción del conocimiento sensible de los individuos sobre sí mismos a partir del cuerpo en movimiento y conexiones con sus recuerdos y momentos/episodios de sus historias de vida. También revelan el potencial del uso de las imágenes en la relación entre los cuerpos y las ciudades a través de la danza y la performance, proyectando posibilidades de uso y apropiación del espacio público. El énfasis en el cuerpo en las prácticas pedagógicas se hace evidente al caracterizarlo como agente en la construcción de concepciones y procedimientos metodológicos humanos, críticos y dialógicos.Item A poesia slam e suas des-margens(Universidade Federal de Goiás, 2023-11-17) Boleão, Jossier Sales; Martins, Alice Fátima; http://lattes.cnpq.br/2768377569632609; Martins, Alice Fátima; Andrade, Emile Cardoso; Santos, Michelle dos; Guimarães, Leda Maria de Barros; Meira, Elinaldo da SilvaThis thesis is an exercise in looking at slam poetry, focusing on the movement in Brazil and making some reflections from the field of Visual Culture. Slam poetry emerged in the early 1980s in the United States and since then has spread to several countries. In Brazil, slam poetry arrived in 2008, the country being one of the references for the quantity and diversity of slam groups spread, in addition to other elements that make up many particularities of each group. The notes made in this text follow the trajectory that begins in the autobiographical path and expands in avenues when finding slam poetry, and understanding it as a poetic act, transfiguring itself into energy of resistance and occupation of seeing, hearing and feeling. The direction in which the thesis is constituted arose from the following questions: what visualities and countervisualities do slammers promote, summon and provoke, from the poems that overflow their bodies? Which narratives mobilize and want to propose? The consequences resulting from these inquiries originate in the investigative work that began in 2019, from the participation in poetic slam battles, in the city of Goiânia, in Goiás and, with the arrival of the covid19 pandemic, the research moved to the competitions that took place in the environment of digital platforms. Given this context, the material that drives the reflections presented here is diverse and comprises various nuances of what already exists in the systematization of slam poetry. That being said, the perspective addressed supported by visual culture covers the dimensions of the poetic act from a pedagogy of slam poetry, from its understanding as cirandas of knowledge anchored in popular education and in the politics of the word, in which the need becomes a voice and the poem becomes the terrain of revolution, since the event in the format of popular assemblies, adding the competitive element between artist poets. In addition, this thesis follows the paths of slam poetry as an insurgency through counterpoetry, in its decolonial exercise, since its aesthetics goes towards the sanación of colonial wounds, having as its power the poetic fabrication of the visual city, without losing the reflections of a pandemic poetics in a regime of denial in Brazil governed by the extreme rightwing, until the year 2022. It finally enters the conditions of this poetic work during longdistance connections by populating digital platforms with poetry and other sensitive exercises. The systematized elements are not intended to show fixed answers, but to point to other perspectives of looking at the slam poetry movement and at artists who reconfigure the scene in everyday life.Item O livro dos meus dias: histórias de uma travessia cartográfica para corpo, desejo e divergência contadas em dança, poesia e imagem(Universidade Federal de Goiás, 2023-07-04) Brito, Alessandra Araújo de; Ferreira, Glauco Batista; http://lattes.cnpq.br/2193871294419921; Ferreira, Glauco Batista; Krischke, Ana Maria Alonso; Nascimento, Ana Reis; Rodrigues, Manoela dos Anjos Afonso; Martins, Alice FátimaThe Book of My Days is an autobiographical research that presents a cartographic route of self-production, accomplished by a neurodivergent person, in processes of seeing and moving oneself from experimentations with dance in image devices, involving photography, video and poetic writing. It approaches visual culture questioning the imperative conditioning of the images in the gaze regime, acting in the processing of subjectivation, in the construction of identities and social practices. In counterpoint, proposes active agencies of productions from other corporeities, founded on difference and singularity. Exploring relations between body, image and move, as an expression plan of a self writing, the research weaves lines of strength in becomings, dreams, shadows, memoirs and affections.Item Professora podemos dançar sobre isso? Experiências de uma artista-docente no Projeto Orlandança (2015-2020)(Universidade Federal de Goiás, 2022-03-29) Calixto, Janaina Pimenta; Silva, Thiago Fernando Sant 'Anna e; http://lattes.cnpq.br/973568299664754; Guimarães, Leda Maria de Barros; http://lattes.cnpq.br/1491866271915819; Ribeiro, Luciana Gomes; Perotto, Lilian Ucker; Silva, Rosana Gonçalves da; Figueiredo, Valéria Maria Chaves de; Guimarães, Leda Maria de BarrosThis research deals with the power of critical teaching of art in public schools, based on the experiences of an artist-teacher for five years with the Orlandança Project at the Orlando de Morais Municipal School in Goiânia-GO. Thus, we bring, through the images and memories of the researcher archived through them, the paths of a teaching experience, critical/reflective in art at school, through dance from a critical perspective. In this way, we intend, through these experiences, to understand the power of teaching art at school? How does this teaching experience answer the question? Starting from an affective writing, we seek in this narrative to bring elements that validate the importance of strengthening the teaching of art in public schools, especially dance, which is increasingly removed from this place as an area of knowledge. We approach concepts from the field of Visual Culture, Semiotics, Archive, Memory, Body, Education, Art and Dance. We established as a general objective of this research: to investigate the importance of critical educational practices in dance at school, and as specific objectives: to understand how my teaching experience in the Orlandança Project can contribute to a transformative teaching, potent in art at school; to analyze the mediation processes and the construction of meanings that the classes, presentations and sensitization in dance aroused in the students of the Orlandança Project; to analyze the possible relations between dance and the critical formation of the subjects in the Orlandança Project.Item Corpo, doença e política na obra de Félix González-Torres(Universidade Federal de Goiás, 2023-02-20) Cardoso, Anna Beatryz Ribeiro; Jesus, Samuel José Gilbert de; http://lattes.cnpq.br/3589952430806659; Jesus, Samuel José Gilbert de; Sá, Rubens Pilegi da Silva; Anjos Neto, João Dantas dosThis research aims to analyze some works by the American artist Félix González-Torres through three different thematic axes: body, disease and politics. It is shown how the artist related to each of these axes and also how they appeared in his artistic production. In order to talk about how he saw and thought about the body, a historical summary of western ways of perceiving it is made and, then, examples are given of how González-Torres approached issues of corporeality in his works. In relation to the disease aspect, some etiological models used to understand it are shown and, later, the influence that the medical system has on the way patients deal with and understand their own disease is pointed out, as well as works by other artists who also talked about similar topics. It is emphasized how González-Torres used his artistic production to better relate to AIDS, disease from which he died, as well as his relationship with death, pain and the loss of family and friends. Finally, the theme of politics is approached and, for that, the context of the AIDS crisis in the United States, during which González-Torres lived and produced most of his works, is brought. The research tries to show how his work and that of other artists of the time were able to contain very strong political and activist capacities, mobilizing for better awareness and reducing prejudice against people infected with the HIV virus.Item Cozer bolos/coser livros - autopublicação de livros: ação pedagógica e artística na cidade de Goiás (GO)(Universidade Federal de Goiás, 2022-02-04) Carlos, Wagner Falcão; Perotto, Lilian Ucker; http://lattes.cnpq.br/1120812742549842; Perotto, Lilian Ucker; Andrade, Émile Cardoso; Guimarães, Leda Maria de BarrosHistory has shown that access to the book as a reader and, especially, as an author faces significant restrictions since its development. It is proposed to reflect on the relevance of other subjects having access to the book as authors, minimizing the distance between people to this object by seeking ways to, on the one hand, question the right artificially constructed by visuality to access exclusively the book as authorship; on the other hand, providing opportunities for other subjects to access it as authors, valuing their perspectives through these objects. It is methodologically supported by action research (LEWIN; GREENWOOD, 2006); in Arts-Based Research (HERNÁNDEZ, 2008) and a/r/tography (IRWIN, 2013); and in Visual Culture (MIRZOEFF, 2003). As complementary techniques and procedures, bibliographic research are used (MARCONI; LAKATOS, 2017), cross images (SAMAIN, 2012), grounded theory (STRAUSS; CORBIN, 2008) and writing under the typology of Evocative Texts ( BARONE; EISNER 2006 apud HERNÁNDEZ, 2008). The option for such methodological paths and for such methods are given to meet the idea of trivialize the access to the book as an author, something that has strong support in the propositions of Mirzoeff (2011) about visuality complexes, generating the perception that the book system is also organized through a complex, the book complex. The reflections on memory had as a starting point the thought of Candau (2011) and Halbwachs (1990). Exist an emphasis on the relation with the book Memory and Society, by Ecléa Bosi (1994), which, in addition to debating the issue of memory, brings reflections relevant to the methodology for promoting self-publishing due to the way in which the book is organized. From Almeida (2009), Gohn (2015) and Freire (2011,2013), he raised a reflection on the pedagogical and artistic action, “Cozer bolos/ Coser Livros”, which was mediated by a visual arts teacher. The results of the experiment were shared through a significant number of images and text-images. Then the promotion of self-publishing is a relevant action for the access of more subjects to the book as authorship; that the training process involved in the action must have as a principle the search for the authors' autonomy, in an education for freedom; that public research and teaching institutions play a key role in ensuring the development of similar actions.Item Diaporamas: um estudo crítico de audiovisuais na arte brasileira (1972-1975)(Universidade Federal de Goiás, 2021-07-21) Carvalho, Rosane Andrade de; Monteiro, Rosana Horio; http://lattes.cnpq.br/9262982142956906; Vilela, Ana Lúcia Oliveira; Cruz, Roberto Moreira dos Santos; Jesus, Samuel José Gilbert de; Damião, Carla Milani; Monteiro, Rosana HorioThis investigation the Brazilian audiovisual production of the 1970s, specifically the sli deshows, slides synchronized to children recorded on cassette or roll, from the analysis of the following works: Curriculum Vitae I and Curriculum Vitae II, by Frederico Morais (1936); Ma tadouro, by Beatriz Dantas (1949) and Paulo Lemos; Eu armário de mim, by Letícia Parente (1930-1991); Natureza (Besame Mucho), by Luiz Alphonsus (1948), and Bichomorto, by Paulo Fogaça (1936-2019). The research objectives are to investigate how this production was con figured in Brazil in the 1970s, how these works are related to the set of artistic proposals that use new technologies in the context of the period as a means of expression, and also to iden tify the strategies adopted by the artists under investigation. For that, newspapers, magazi nes, catalogs, folders, participate and consulted in public and private collections, and classify with the artists that are part of the analysis corpus, personal sources of this research. Through a dialogue between the History of Art and the Visual Culture Studies, I try to unders tand the Works inside the culture and artistic production of the timeItem “Égua, não, olha meme...” cultura visual e formação docente na Amazônia amapaense(Universidade Federal de Goiás, 2021-08-05) Coelho, Clícia Tatiana Alberto; Silva Filho, Raimundo Martins da; http://lattes.cnpq.br/1270126774554014; Abreu, Carla Luzia de; Costa, Silvia Carla Marques; Silva Filho, Raimundo Martins da; Ferreira, Glauco BatistaProducts of the participatory media of cyberculture, Internet imagery memes are artifacts capable of triggering, translating, constructing, complexifying and resignifying ways of seeing and being seen that are compatible with the sociocultural practices of the societies that produce and consume them. This research intertwines the fields of study of visual culture and memetics, with the objective of analyzing how they are and what they project/propose the visualities of the Amapense Amazon deflated by internet memes in the Pedagogy degree of the Federal University of Amapá (UNIFAP). The qualitative procedures were constructed according to the methodological principles of bricolage, netnography and visual culture with emphasis on the interactive-interpretative processes of images and visualities mediated by Information and Communication Technologies. For the production of visual, oral and written data, a focus group was conducted in 2018 with nine people, six women and three men, with students of the Pedagogy Career of UNIFAP, Santana campus. In this course, individual interviews and collective conversations were also conducted in the face-to-face and virtual modalities in order to promote interaction among the participants of the group and as a way to stimulate the manifestation of perceptions and subjectivities in depth. The interpretation and analysis of the data produced in the field research, in line with the theoretical framework, made it possible to discuss specific aspects of the sociocultural practices of the Amapaense Amazon and their influence on the training of teachers of Pedagogy. The problematization of the interpretation of images and visualities conveyed by internet memes revealed the inexpressive existence of discussions on the education of visual culture in the graduation of Pedagogy and the need to implement them in a more significant way in this level of teaching, aiming at the formation and educational praxis of future teachers of Basic Education.Item O ensino de desenho no âmbito cultural e profissional na Amazônia amapaense(Universidade Federal de Goiás, 2020-09-09) Dias, Ronne Franklim Carvalho; Silva Filho, Raimundo Martins; http://lattes.cnpq.br/1270126774554014; Silva Filho, Raimundo Martins da; Costa, Sílvia Carla Marques; Somma, Fernando Nelson Miranda; Ferreira, Glauco Batista; Perotto, Lilian ÜckerThis research discusses the teaching of drawing in the field of professional and technological education based on knowledge and teaching practices of teacher’s artists of the Candido Portinari professional school in the city of Macapá, State of Amapá. The field research was conducted through individual interviews and a focus group with eight collaborating subjects, four male and four female teachers. The study focused on topics related to the teaching function, artistic production and engagement in research relating experiences of cultural and environmental daily life in the Amapá Amazon. Guided by a qualitative perspective, the investigation uses an ethnographic and narrative approach that supports the methodological procedures and the analysis of the data produced in the field work. The theoretical framework is based on the principles of visual culture education, establishing a dialogical relationship with studies on everyday life and autobiographical narratives of teachers. Theoretical and methodological intersections open possibilities for examining and problematizing the teaching of drawing with a culturalist interface. These intersections call into question aspects of the aesthetic experience associated with the recognition of idiosyncrasies of the authors’ visual productions that are used for teaching and for artistic exhibitions. The results of the investigation indicate that the pedagogical use of images focuses on local visualities at the same time that they signal experiences involving collaborative practices of network learning as well as daily learning that are configured as continuing, identity and institutional training. Educational actions and mediation elements constitute modes of teaching that are interrelated, generating epistemological conflicts and convergences on ways of acting as teacher-artist in environments of the Amazonian cultural diversity.Item Análise e aplicação do quadrinho autoral de horror e terror: uma construção de estilo híbrido a partir de influências de desenhos de quadrinhos espanhóis da década de 1970 e narrativa Gekigá(Universidade Federal de Goiás, 2020-12-01) Dutra, Cláudio Batista; Andraus, Gazy; Franco, Edgar Silveira; http://lattes.cnpq.br/8415486629956081; Franco, Edgar Silveira; Oliveira, Ivan Carlo Andrade de; Berardo, Rosa MariaThe current dissertation carries out in discussion authorial comics, in which highlights thematics such as the horror, as well as the narrative originated from the Gekiga style. Concerning the horror, it implements a reflection based on the authors of these genres and explores the influence of Spanish comics illustrators such as Esteban Maroto, José Ortiz, José Gonzalez, Sanjulián, Luís García, and others published in Brazilian magazines, as well as it contextualizes a few contemporaneous Brazilian authors influenced by them such as Mozart Couto, Mano, Rodval Matias, Watson Portela, Carlos Chagas, Ricardo Leite, among others. These last names were relevant on the creating process of national Comic Books on the publishers D-Arte and others. Furthermore, the research accom- plishes the influence throughout the visual narrative aesthetic of Gekiga comics – an au- thorial branch of Manga. These theoretical reflections result on the artistic practice built on the creating of authorial comic books that mixes realistic styles throughout the Spanish aesthetic of horror with the photographic language of the Gekiga narrative, promoting narrative exercises that blend these influences. The result proposed, as itself, consists of an album in horror comic books carrying out three short comics to this research work.Item MekHanTropia: autoconhecimento e (re)existência em um universo transmidiático, experimental, colaborativo e autoral(Universidade Federal de Goiás, 2023-11-17) Felipe, Frederico Carvalho; Franco, Edgar Silveira; http://lattes.cnpq.br/8415486629956081; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Franco; Berardo, Rosa Maria; Franco, Edgar Silveira; Andraus, Gazy; Nunes, Fabio Oliveira; Silveira, Guilherme Lima Bruno eHypercompetitiveness, hyperinformation, hyperproductivity and hyperconsumption – 24/7 (hours/days) – generate new anxieties in individuals who are increasingly standardized according to the market. Thus, I think poetically about this thesis-creation about how we currently deal with telematic flows and subjectivities today, placing myself through creative processes as an object of artistic experimentation to build a transmedia dream universe that I call 'MekHanTropia'. Through poetic artistic creations using different languages, tools and platforms, I create a cosmology that represents some of my subjective experiences in times of high human dispersion due to the pandemic. I envision ways to (re)exist through countercultural artistic resistance, questioning psychopolitical standards and Manichaean binaries dictated by the market and reflect, in this process, on collaborative art, experimental and conceptual art, poetic resignifications, polysemic relationships between art and technology, dreamlike narratives, intertextualities and other practices that aim at selfknowledge and confronting institutionalized mekHanTropic psychobinary obscurantism through resignification and artistic materialization.Item Cibernética e interatividade: conceitos, práticas e poéticas experimentais(Universidade Federal de Goiás, 2019-12-13) Fioramonte, Wilder; Rocha, Cleomar de Sousa; http://lattes.cnpq.br/5039948128955710; Rocha, Cleomar de Sousa; Salles, Laurita Ricardo de; Monteiro, Rosana Horio; Hildebrand, Hermes Renato; Silva, Thiago Fernando Sant’Anna eThis research unfolds in an investigation of a theoretical nature and another of a practical nature. From a theoretical point of view, aspects of cybernetics (such as the notions of feedback, control, self-regulation, entropy, role of the observer, cognitive processes, first and second order cybernetics) are addressed, as well as theoretical aspects related to participation and to interactivity in the context of technological art, with issues such as the opening of the artwork to reception and the notions of first and second interactivity, endogenous and exogenous interactivity being discussed. The alignment of these concepts form the basis for the practical approach, when we present: (1) the technological art installations of the new expographic project of the Museu Casa de Cora Coralina (City of Goiás), developed by the Media Lab / BR team between the years from 2016 to 2018; (2) the work Sonoridades Coralinas (2017), an installation that invites the viewer to delight in declamations of verses by the poet Cora Coralina, in a multisensory perspective; and, (3) the installation of technological art Metamorfônicos (2017-2018), in which a person can interact to a cybernetic system through the generation of sounds capable of inducing a “creature” to perform rhythmic steps and paint ink tracks in paper. As relevant results of this investigation, we mention the verification of important alignments between the theoretical notions of participation and interactivity in the perspectives addressed by Julio Plaza and Edmond Couchot et al. in association with first and second order cybernetic theory, and the practical experiments with the technological poetics of the works listed, all of them inserted in the regional context of the state of Goiás.Item Narrativas cruzadas e histórias de vida: docentes, moda e cultura visual(Universidade Federal de Goiás, 2021-08-12) Flori, Rogério Justino; Silva Filho, Raimundo Martins da; http://lattes.cnpq.br/1270126774554014; Silva Filho, Raimundo Martins da; Lopes, Humberto Pinheiro; Ferreira, Luiz Carlos Pinheiro; Rodrigues, Manoela dos Anjos Afonso; Ferreira, Glauco BatistaThrough the life stories of a group of professors of Fashion Design, this study investigates how their training processes and work contexts intersect in the construction of their teaching careers. The research discusses how teachers participating in the research use images in the classroom and, consequently, the impact of this practice in the sense of creating and/or expanding the repertoire of visualities in fashion teaching. Life stories, fashion images, and classroom experiences are the spaces and focus of this research. The data was produced from individual interviews, annotations and images chosen by participants of the research. There are nine professors who collaborate in the research, fashion professors linked to a private institution and public university in Goiânia and Trindade, both in the state of Goiás. The discussion about images that the teachers present in their teaching practice adds to the research ways of thinking and teaching fashion. The research problematizes and discusses issues related to the centrality of the image in fashion teaching seeking support in visual culture theorists in a dialogical relation with the lived experiences narrated by the participants of the research.Item O efeito terrorífico nas artes visuais: o grotesco, monstruoso e o infamiliar(Universidade Federal de Goiás, 2021-08-26) Freitas, João Paulo de; Damião, Carla Milan; http://lattes.cnpq.br/2366404598683251; Damião, Carla Milani; Ribeiro, Rita Aparecida da Conceição; Jesus, Samuel Jose Gilbert de; Martins, Alice Fatima; Ramos, Pedro Hussak Van VelthenThis research investigates the presence and forms of manifestation of terrifying images in contemporary visual arts. To understand this phenomenon, I rely on interdisciplinary studies of the image and on the concepts of the grotesque, monstrous and unfamiliar (Das Unheimliche). I investigate how these specific categories work to create different terrifying effects in artistic images. Images that are characterized by the effect of haunting, dubiousness and hybridizations. I locate the discussion from the perspective of visual culture, highlighting the image as a meeting space between different forms of visuality and affections.