Doutorado em Arte e Cultura Visual (FAV)

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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 Silva
This 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.
A estética do cinema nazista na produção dos sentidos na comunicação política no Brasil
(Universidade Federal de Goiás, 2023-11-30) Jimenes, Roberto; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Silva, Thiago Fernando Sant’Anna e; Anjos Neto, João Dantas dos; Carneiro, Rose May; Costa, Marcelo Henrique da
There are many studies that address Nazi Cinema and this had a fundamental role in Hitler's plans, with cinema being the main means of communication used at the time. Several were the cinematographic languages used, however, studying Nazi cinema against the study of visual culture, it is possible to draw a parallel between some points: such as the relationships between visibility (what cinema provides), visuality (the new cinema: entertainment x politics) and power (Nazism), which transform the universe of symbolic understanding among the German population. Is it possible that, when analyzing the images of this cinema, we cannot propose a counter-visuality, if we consider its aesthetics associated with a new analysis of the production of meanings. The implications regarding these visual experiences in a society increasingly centered on the meaning of the gaze, and its repercussions even today in the universe of political and governmental communication in Brazil.
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 e
Hypercompetitiveness, 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.
Mulheres que dirigem filmes em Goiás e a criação de um documentário sobre ser mulher fazendo filme: 1966 a 2022
(Universidade Federal de Goiás, 2023-06-30) Silva, Naira Rosana Dias da; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Dias, Luciene de Oliveira; Montoro, Tânia Siqueira; Rodrigues, Manoela dos Anjos Afonso; Oliveira, Flávio Gomes de
Since 1966 women have directed films in the state of Goiás, Brazil. However, it is known that these women were erased or appeared as supporting actors in movie scripts by male authors. There are still few scholarly works that investigate cinema made in the Brazilian state Goiás, especially if the criterion consists of a thesis written on this subject and, moreover, written by a black female author who reveals her feminist view on issues involving gender and race in films depicting Brazilian region. This exploratory research, centered on personal narratives, creative processes, and the experience of being a woman working in contemporary cinema presents a descriptive table of 131 women who directed films in the state of Goiás. This number represents a total of 306 films produced from 1966 to 2022. It is important to consider that the designation director, referenced and introduced here, does not only refer to the filmmaker who has built a career over the years, recognized in important festivals, or by the production of sophisticated films; director, in this study, is the woman who exercised this function even if the film was made in a straightforward manner or simply presented in film clubs or cultural spaces. Two pioneers of cinema in Goiás ‐ Cici Pinheiro and Rosa Berardo, and the process of creating their films, respectively: the unfinished and disappeared O Ermitão do Muquém and André Louco (1990) ‐ reveal the beginning of the history of female directors in Goiás. The phenotypic issue of the multi‐artist Cici Pinheiro is examined, whether because she came to be recognized as a black woman, or whether the racial issue had never been discussed in any previous writing that addressed her. Even though Cici Pinheiro's film had not been finalized, she embarked on the direction of a feature‐length fiction film in 1966, even before the black female filmmaker Adélia Sampaio from the state of Minas Gerais in Brazil, who needs to be highlighted. Special attention is also given to women who directed animations, due to the rarity of this in Goiás, and to black and indigenous women directors for the same reason, but also due to the racial cut of the researcher, a black woman author behind the camera. Some directors were interviewed in depth, others answered a semi‐structured questionnaire, recorded for the composition of the documentary: Women who direct films in Goiás, the result of this research, in which the process of creation of their making is narrated. The following directors were featured: Ana Luíza Reis de Sá, Cris Ventura, Marta Kalunga, Silvana Beline, and Rosa Berardo. The study prioritized female authors, specifically filmmakers who have recently published collections: Holanda and Tedesco, 2017; Silva, C., 2017; Holanda, 2019; Lusvarghi and Silva, 2019; Tedesco, 2021, and Martins, R., 2021. Museum archives, catalogs printed and online, newspapers, various websites, old blogs, YouTube, Vimeo, CVs, and social networks of the directors were consulted for data collection. Therefore, this research is a contribution to studies that address women and the History of Women in Cinema in Brazil and the state of Goiás.
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 Fátima
The 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.
Bonecos na colônia penal: uma adaptação contemporânea de Kafka
(Universidade Federal de Goiás, 2023-07-28) Neiva, Dustan Oeven Gontijo; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Franco, Edgar Silveira; Oliveira, Flávio Gomes de; Machado, Fábio Purper; Oliveira, Ivan Carlo Andrade de
Storytelling is an act pertinent to human beings in all societies and cultures. The ways of telling these stories are varied. Cinema uses the resource of adaptation of literary works, since its origin. In this investigation into art, I address the issue of transposing literary works to audiovisual, particularly animation. This is a theoreticalpoetic research that led to the production of an animation film based on the novel In The penal colony, by the Czech writer, Franz Kafka. In the development of this research, I use an autobiographical work methodology to establish the relations between Kafka's text and my creative process. The film The Penal Machine brings Kafka's work to the contemporary world, under my artistic perception.
Inventar sentidos: formação docente em artes visuais na LEdoC-UFT
(Universidade Federal de Goiás, 2023-06-02) Silva, Hertha Tatiely; Guimarães, Leda Maria de Barros; http://lattes.cnpq.br/1491866271915819; Guimarães, Leda Maria de Barros; Perotto, Lilian Ucker; Pimentel, Lucia Gouvêa; Silva, Thiago Fernando Sant’Anna e; Pereira, Kelci Anne
I propose, in this thesis, to explore positions that contribute to composing ways-of-being-teacher from opening gaps so that those involved in teacher training processes let-be-affected by contexts, experiences, situated knowledges and experiential territories. Contextures through which we produce our possibilities and invented meanings in relation to our own topicality (BORRIAUD, 2011, p. 27). The thesis explores the possibilities of inventing meanings in visual arts teacher training, which is related to the concepts of cognition as an inventive power (KASTRUP, 2001; 2005; 2007) and of experience as the construction of knowledge, of recognition of the potential of what has already been assimilated on the verge of stimulating inventions (LARROSA, 2010; 2016; 2018a; 2018b; 2019). It is a research on art linked to education, in which the methodology itself is a research problem: it explores the transits between the visual arts and teacher training, seeking to relate artistic components (invention and experience) with ways of composing forms-of-being-teacher. The field research was carried out at the Federal University of Tocantins, in the context of the Degree in Rural Education – Visual Arts and Music (LedoC-UFT), course that I work as a teacher. I undertake a narrative about experiences of training in action, in which the narrative in itself is a training practice, besides playing as a pedagogical intervention device. The research is divided into two parts: the first is dedicated to telling the history of field education, its principles and concepts, with emphasis on LEdoC-UFT; in the second part I dedicate myself to explore the possibilities of teaching the visual arts in the pedagogical project of field education, an education committed to the heterogeneity of knowledges, sensibilities and experiences. The thesis seeks to expand and propose possibilities to think about teacher training from an experiential and inventive orientation, aiming to contribute to teachers in forma(c)tion make senses from narratives in themselves. I consider that the research achieved its objective by approximating theory and practice, creating ways of working and assuming positions that expand and/or reposition perspectives on what the visual arts can do as scope of teacher training in field education.
Culturas de fronteiras: (auto)representações da juventude em cenários de violência urbana na cidade de Luziânia/GO
(Universidade Federal de Goiás, 2023-02-27) Matutino, Aurisberg Leite; Guimarães, Leda Maria de Barros; http://lattes.cnpq.br/1491866271915819; Guimarães, Leda Maria De Barros; Perotto, Lilian Ucker; Abreu, Carla Luzia de; Silva, José Carlos de Paiva e; Castro, Gardene Leão de
This doctoral dissertation aims to problematize images of violence among youth that have been manufactured in contemporary society by opposing them—in different analytical layers, interdependent on each other—to several other images that help researchers to perceive a counter-image formed from a series of visualities produced by the young people of the city of Luziânia, Goiás. This counter-visuality is presented in this work, layer by layer, according to the experiences and cultural practices of these participant youth with whom I had the opportunity to be in touch throughout the doctoral research. The goal of this proposal is to think over forms of representation and self-representation triggered by black and poor youth in scenarios of urban violence, redirecting the gaze to their own ways of participation and resistance. The methodological approaches used in this work are snowball sampling (a technique used in certain types of qualitative research where personal networks and “mouth to mouth” references are created to catch up with the participants) and cartography, which ended up shaping a layer-based format, less “motionless,” rather than a structure based on chapters. The opportunity to listen to the young subjects who participated in this research especially incites us to question prevailing discourses on “young people from the unprivileged areas,” the black and impoverished people, as “delinquents” and “criminals,” contributing to bring out other perspectives on how contemporary youth that live in areas of urban violence can deconstruct stigmas and rebuild their own images.
TomosGravura, o corpo entre a ciência e a gravura
(Universidade Federal de Goiás, 2019-03-25) Gouvêa, Maria Filomena Gonçalves; Clímaco, José César Teatini de Sousa; http://lattes.cnpq.br/4105136553667901; Clímaco, José César Teatini de Sousa; Arruda, Amilton José Vieira de; Silva, Thiago Fernando Sant’Anna e; Pìnto, Suely Lima de Assis; Jorge, Anahy Mendonça
TomosGravura, the body between science and engraving, is made of theoretical and practical research that studies the body between the images of radiological science and Art in Engraving. TomosGravura is formed from image-to-image. The images are two pieces of the author's own body, the brain and the cervical spine. The arguments consist of treating the gaze as the reflexive dialectic process initiator. To analyze the body historically and in metaphors, seeing it through studies, under the skin, of the dead, which means, by anatomization and, in the living body, by the image. The radiology technical images and engraving are seen in these two ways of knowing, distinctly, to reach the understanding of the choice by Magnetic Resonance (MR) and by linography in Lost Matrix as a poetic process. The shift of meanings from science images to the engraving are possibilities in contemporary visual poetics and contemplates three artists as visual reference: Cris Bierrenbach, Cláudio Mubarac and Monica Mansur in their poetic propositions in recorded images. Afterwards, the inquisitive look on the poetic TomosGravura is built. The considerations about this theoretical / practical study are the conclusion of the thesis. All the reflection is based on Georges Didi-Huberman’ studies (2010, 2013) among others. The body is seen between science and engraving and the image is constituted as source, support and mediation for TomosGravura. It was used a qualitative methodology with farther studies and the use of autobiographical narrative in harmony with the presented images is made.
Nas tramas da colonialidade: a experiência de construção social do olhar de estudantes de Direito do Campus Goiás da Universidade Federal de Goiás em 2022
(Universidade Federal de Goiás, 2022-12-13) Oliveira, Fernanda Sousa; Silva, Thiago Fernando Sant’Anna e; http://lattes.cnpq.br/9735682996647548; Silva, Thiago Fernando Sant’Anna e; Ferreira, Glauco Batista; Guimarães, Leda Maria de Barros; Santos, Cristiano Alexandre dos; Santos, Welson Barbosa dos
This research is a thesis proposal that aims to understand the social construction of the gaze of law students at the Federal University of Goiás, Campus Goiás in the year 2022. We go through our own trajectory of professional and academic construction to compose an autobiographical space. We walk through the paths of coloniality printed in Brazilian legal education and that reverberate in the processes of legal education of students and professionals who are involved with the dynamics of Law, whether at the university or in the judiciary. We went through the fundamental categories for the seams between Law and Visual Culture and the plot of the social construction of the Law student’s gaze. We are faced with coloniality and looting operating within a rule of law with a Mirzoerfian visual complex. The research outlined here is a cartographic work with a qualitative and autobiographical approach. The analyzes resulting from our contact with the field of research provided an approach to the meanings that students attribute to images since legal education.
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 Borba
Esta 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.
Espaço rompido: uma investigação poética dos processos de abstração nos quadrinhos ou por uma poética da opacidade
(Universidade Federal de Goiás, 2022-05-12) Silveira, Guilherme Lima Bruno E; Franco, Edgar Silveira; http://lattes.cnpq.br/8415486629956081; Franco, Edgar Silveira; Rodrigues, Manoela dos Anjos Afonso; Andraus, Gazy; Bonfim, Carolina Felice; Moreira, Valter do Carmo
“Broken space” is a reflection on the potency of abstraction in the language of comics. By crossing different fields, I looked for creative paths that diluted or flowed across borders, allowing a work that decentered traditional comic books, putting them in relationship with processes of contemporary arts, literature and other artistic systems. “Broken space” is a box that represents part of what was mapped and built during the course of research, poetic works and procedural discussions merge into loose fragments, allowing a reduction in the hierarchical distance between practice and theory, which were built without prior order, in an incessant coming and going. Poetic research allowed us to enter cracks guided by intuition and the pleasure of the formative process, finding fertile ground that allowed the unfolding of a will that I understood and called “poetics of opacity”, characterized by the strength of the process of abstraction in comics – a process that it maintains in constant tension the notions of figuration, narrative, continuity, graphic cut and montage, materiality, conceptuality and authorship. Finally, this research in Artistic Poetics and Creation Processes sought to explore the opacity of language and the abstraction of comics in constant dialogue with our reality of transparency and pragmatism, opposing the contemporary trend of fast automated reception to the desire for diversity, solidarity and poetry.
Gamæstética: reflexões sobre games, arte, estética e processos criativos
(Universidade Federal de Goiás, 2022-11-30) Mendonça, Bruno de Abreu; Franco, Edgar Silveira; http://lattes.cnpq.br/8415486629956081; Franco, Edgar Silveira; Nunes, Fábio Oliveira; Andraus, Gazy; Custódio, José Antônio Loures; Berardo, Rosa Maria
GAMÆSTHETICS: Reflections on Games, Art, Aesthetics and Creative Processes is a propo-sal for the application of a specific aesthetic theory/approach – developed here – to be adop-ted when dealing with video games and gameart objects, seeking to preset an understanding and analysis of the details that embody player’s experience. It is a research aimed mainly at understanding the visualities addressed in video games and gameart, what they refer to and how they create bonds with those who interact with them, having here considered how com-mon – and, why not, necessary – these electronic games have become within the contempo-rary social structure. The studies developed here permeate the fields of art, game design, visualities and philosophy, presenting discussions and concepts that act in a supplementary way to the very existence of electronic games. These, allied to the basis of argument that brings to light the indispensable link between the theoretical act and the process of creating the poetics of the ludic object, aim at a direct approximation with the term gamæsthetics, coined here as the study of the act of playing and how the player interprets it. In this thesis, gamæsthetics is conceptualized from theoretical-practical creation exercises, observing what is behind the game, in addition to bits and pixels. It is an action of sifting through motivations and intentions defined (consciously or not) by aesthetic options and extracting from there the understanding of expression, of feeling; it is to insert oneself in the game and to be part of it.
Cinema imersivo: narratividade cinematográfica na perspectiva da realidade virtual
(Universidade Federal de Goiás, 2017-06-17) Souza, Guilherme Mendonça de; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Clímaco, José César Teatini de Souza; Silva, Thiago Fernando Sant´Anna e; Christino, Daniel; Borges, Rafael de Almeida Tavares
This exploratory research is based on the contemporary context of the relations between virtual reality and cinema. The thesis seeks to demonstrate how the technological advent influences the forms of communication and artistic manifestations, as well as brings out the emergence of emerging narratives. Immersive cinema (imercine), backed by the traditional cinematic language, suggests adaptations and significant changes in modes of production, exhibition and reception. The artistic project proposes the production of an immersive film (imerfilm) whose plot is inserted in the virtual reality environment.
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 Batista
This 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 peoples
Empoderadas: o jogo como ferramenta de pedagogias culturais feministas e antirracistas
(Universidade Federal de Goiás, 2022-11-02) Queiroz, Juliana Barbosa e; Guimarães, Leda Maria; http://lattes.cnpq.br/1491866271915819; Sant'anna, Thiago Fernando; http://lattes.cnpq.br/9735682996647548; Oliveira, Flávio Gomes de; Arslan, Luciana Mourão; Silva, Thiago Fernando Sant'anna e; Guimarães, Leda Maria
When a woman empowers herself, she is not seeking superiority over men. It is in this sense that this research aims to present, through the universe of educational games, ways of female empowerment and ways to achieve gender equality. The central objective is the creation of an educational game that brings as a theme characters black Brazilian women from various historical contexts, with approaches on issues of racism and gender violence in their lives. The process of creation and application of the game prototype tests will be described with the intention that the methodology used can help researchers and teachers who have the goal of building games. In this way, they can access my experience as a creator and, thus, avoid the mistakes I may have made. The theoretical referential used as a pillar in the production of this dissertation is anchored in authors such as Alves and Coutinho (2019), bell hooks (2020), Freire (2019), Kapp and Boller (2018), Huizinga (2019), among others, also relevant to the construction of this work. The methodology used was participant action research that encompasses field research, divided into focus group and content analysis. Finally, the process of building the game in a cooperative character established for me new directions, which I would not have access to mediate my own learning. Another relevant point of the creative process is the observation that the act of playing promoted by the participants achieved a debate among them about the content.
Ações poéticas urbanas: processos e práticas coletivas, artísticas e pedagógicas
(Universidade Federal de Goiás, 2022-11-14) Nogueira, Emilliano Alves de Freitas; Silva, Thiago Fernando Sant’ Anna e; http://lattes.cnpq.br/9735682996647548; Silva, Thiago Fernando Sant’ Anna e; Somma, Fernando Nelson Miranda; Laurentiz, Luiz Carlos de; Guimarães, Leda Maria de Barros; Silva Filho, Raimundo Martins da
In this research, I propose a reflection about collective, artistic and pedagogical processes and practices, having as object of study the production carried out by the Urban Poetic Actions Collective (CAPU), made up by members of the academic community of the Federal University of Goiás - Goiás Campus. I will introduce investigations questioning the reading, apprehension and ways of intervening in the urban space from artistic practices, and the learning processes involved in it, considering the interrelation between art, visual culture, education and architecture and urbanism. The study of urban collective practices in this research intends to articulate art and politics, from these actions investigation and how the pedagogical practice takes place through the experience in art actions in urban space. With a qualitative character, I intend with this work to understand how artistic and educational processes are built, using a/r/tography as a research methodology in the practices of the Urban Poetic Actions Collective, questioning the roles played by me in this process, as an artist, a researcher, a professor and a CAPU member. In the context of Goiás City, six interventions created by the collective will be introduced, producing counter-visualities as questioners of the hegemonic narratives in the city, highlighting the potential of these actions in discussions about memory, heritage and city. From these actions, I will discuss the relations produced between the artistic making and the knowledge that is built from collective creation, covering the paths of conception, production, presentation, mediation and criticism.
Bóra fazer filmes? Realização cinematográfica colaborativa em lugares de aprender
(Universidade Federal de Goiás, 2022-08-26) Pereira, Renato Cirino Machado Alves; Martins, Alice Fátima; http://lattes.cnpq.br/2768377569632609; Martins, Alice Fátima; Abreu, Carla Luzia de; Perotto, Lilian Ucker; Guimarães, Leda Maria de Barros; Oliveira, Paulo Passos de
Potentially, every person is a storyteller, no matter if their stories are literal or whimsical, real or fictional. In times of Computer Mediated Communication and social media immersion, cinematographic narratives are key elements to building our imaginary and identities. With that in mind, this doctoral dissertation explores learning spaces and the minimum resources that may be required to create these film narratives through collaboration and solidarity. Thus, this research work emphasizes a cinema that is built upon the everyday visual gestalt of individuals and their experiences in communal learning spaces that, in addition to spaces, are people, experiences and, above all, communities. First, this research created a systematic analysis of the works by the Sistema CooperAÇÃO Amigos do Cinema, and its work of developing movie narratives with limited physical and financial resources, and with the participation of individuals with no prior experience in the film industry. Through the experience gained from the immersion of the Sistema CooperAÇÃO Amigos do Cinema work, and the tools and methods proposed by a/r/tografia and narrative research studies, this research study further investigated the methods of cinematographic production in the formal education program offered by the visual arts curriculum at the Waldemar Mundim, Colégio da Polícia Militar de Goiás. These findings comprised considerations about the role of relationships and practical circumstances, which were created mainly from the concepts (creation and execution) students have of film and cinema processes themselves and based on the preconceptions related to cinematographic narratives as pedagogical tools. It was possible to verify the use of the Poetic of Solidarity concept both in and out of the school setting, as proposed by researcher and filmmaker Alice Fatima Martins. This curricular experiment culminated with the creation of the First Audiovisual Fair of the Colégio da Polícia Militar de Goiás, Walter Mundim, in which premiered 19 films that were completely conceptualized, produced, and shot by students of the program, three short-feature films and one feature-length film, O Legado do Artifice (The Craftsman Legacy). Therefore, this research work contributes to the theories of multi-visualities used to mediate the social relations within the context of school and education. Also, it reflects upon the development of curricular activities of students through the conceptualization and execution of films.
Imagens da diferença e narrativas de si: tecendo pedagogias tiririqueiras e crioulas com um "quilomboindígena"
(Universidade Federal de Goiás, 2022-02-17) Miziara, Larissa Isidoro; Albuquerque, Marcos Alexandre dos Santos; http://lattes.cnpq.br/8192926134324071; Guimarães, Leda Maria de Barros; http://lattes.cnpq.br/1491866271915819; Guimarães, Leda Maria de Barros; Abreu, Carla Luiza; Amaral, Maria Das Vitorias Negreiros do; Fonseca, Carolina Ferreira da; Ferreira, Glauco Batista
From specific, national and global laws of identity for all indigenous groups and quilombolas indigenous groups in Brazil, indigenous groups and quilombolas of individuals are organized into a few groups. Such organization involves a management of visualities that configure the cultural difference for the internal and external legitimation of the groups. This research did not take place in the field of Education, Art and Visual Culture, developed from the knowledge of teachers/es, and leaders of Tiririca − a ‘theses’ project in Pernambuco. When considering that the work of building identities involves a perception of cultural difference, I ask: What are the educational intentions and the paths invented to investigate the processes of building identities on black, indigenous and quilombola identities? What are the visualities and counter-visualities associated with the ethnic groups of the sertão region of Itaparica in Pernambuco? In what ways do the productions made with tiririqueira women present, or not, processes of deconstruction of the colonial-modern-episteme? In what way can the relationships established by the tiririqueiras women provide learning in relation to themselves, others and the world? How to think about the practices and studies of Visual Culture in the face of the invisible of life? How does the transition between invisibility and visibility take place? The objective was to understand about the visibility regime developed for the conquest of rights that local school education operates. When considering principles of critical interculturality, the power relations between different social actors and in the production of knowledge are approached. Realizing the importance of Tiririca dos Crioulos in the creation of ‘indigenous quilombolas’ epistemologies, as well as the importance of art/education in the process of building identities, it reflects on cultural pedagogies in their practices of learning and teaching art that emerge from interactions social. It seeks to think about the art/education spaces that favor decolonial pedagogies from the strategies, practices and methodologies that emerge from the struggle pedagogies of Tiririca dos Crioulos. By carrying out a historical contextualization of the region, I trace how the coloniality of power acted, creating visualities and counter-visualities associated with ethnic groups, which were organized between indigenous and black people. In dialogue with some authors about the importance of imagery narratives undertaken in the construction of national identities, around ethnic-racial groups, I approach the naturalization of social inequalities through art. Visualities around the construction of the region's indianity are worked on, which reflect on perceptions about indigenous, black and quilombola identities, generating (or not) access to policies. I seek, based on a regime of visibility that occurs within the community, which are the forms of representation about being indigenous and quilombola that currently impact Tiririca dos Crioulos in the access to social rights. In the production of knowledge, I dedicate myself to the relationship with women, presenting the profile of the tiririqueiras to emphasize the importance of breaking with the discursive regime that silenced their voices. I present the training process with the teachers and young people, sharing the images around the construction of quilombola-indigenous identities to understand how the community narratives are managed in their visibility regimes, in the internal and external training processes, in search of to create a consensus that can influence the dynamics that involve ethnic-racial relations.
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 Velthen
This 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.

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