O zineiro que se expandiu a zineasta e transgrediu-se como meta-artista transmídia da incerteza
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2021-04-14
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Universidade Federal de Goiás
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I, Léo Pimentel Souto, in this PhD research, while investigating my creative processes, I create, in an anarchic way, a cartographic genealogy of intelligence|open|source insurgent from my own multimedia poetics ancestor:|:gambi[A]punk [“gambiarra” (“do a MacGyver on something”) + anarcopunk as a Brazilian alternative to “cyberpunk”], using a method that turns zine practice (especially anarcopunk) into a meta-artistic film-zine-maker gesture. A triple gesture that, at the same time, brings “movement” (kinesis) as an element of composition, collage as a means of epistemological/artistic construction and craft as a political-existential attitude.
Anarchic cartographic genealogy of insurgent|open|source|intelligence, which is so by act of breaking “code”. It breaks to plot, dialectically through what I have called crossroads games, auto|bio|ethno|geo|graphyc. Plot, in a dialectical game, that rises up against the alienated languages of the media, making my auto|bio|ethno|geo|graphy acquire a very specific and peculiar sense with regard to my cartographic genealogical traces: a [A]₦(c)[A]R(q)tØgЯ[A]₱h¥ (reads: anarchtography), anarchic cartography and artography for decentralizing their constituent elements and weaving poetic nodes between my voluntary life story (autobiography pu₦k:|:philosopher, anarchist:|:herɘge, hack3r:|:amAteur and quɘer:|:aЯtificiAlis†) and the sticky history of my black ethnicity (bastard amalgam between two great civilizations of impeded futures) that crosses me (because it precedes my birth and will remain after my death) and constitutes me (collective milestones that are recognized in my authorship) – autoethnography as something that crosses me and constitutes me without the intervention of my will.
This texture, [A]₦(c)[A]R(q)tØgЯ[A]₱hᴉc (\ anarchtographic \), makes my creative processes coincide with the construction of my poetics, both auto|bio|ethno|geo|graphic. And, his way of presenting himself is that of the multi|trans|media composition of a zine in an expanded field, that is, situated within the expansion of the zine category: video, music, text, performance, remix of objects, etc. Composition whose expansion moves as a force:|:distortive:|:by:|:disobedience (d²) among and between different media/supports, and an experimental act, in this case my zineasta meta-artistic gesture, as in an experiment:|:that:|:it:|:is:|:put:|:to:|:the:|:test (↕Ǝ↔) also in expanded field: me (autopoiesis), work (poiesis), public (heteropoiesis) and cosmos (multipoiesis).
In autopoiesis (I): I constitute myself as Lover of Heresy, traces of a multimedia artist “degenerate” from what was once a “friend of wisdom” (philosopher), and today in a more promiscuous relationship with the production of knowledge and the arts: my texts, my writing, words and punctuation become “scriptoclasm” [Dᴉ₴tøЯtᴉ₦g ʄ(Ǝip)]; my images drawn,
photographed, filmed, remixed, become “iconophagy” [Dᴉ₴tøЯtᴉ₦g ʄ(ɨ)]; my audiovisuals, videos, films, become “trails of views” [Dᴉ₴tøЯtᴉ₦g (Яvᴉm)]; and my songs and tracks become “to noiseficate” (action of turning into noise) [Dᴉ₴tøЯtᴉ₦g ʄ(Я♫Ἶ↑). This self-constitution whose zine action has become a meta-artistic film-zine-maker gesture.
In poiesis (work), for example, the present thesis, becomes a Teszine. In other words, a horny:|:thesis:|:on:|:being:|:a:|:zine: which can be understood as a thesis expanding into fields of what it is not, at the same time, like a zine also in expansion for everything that did not characterize it until then – and this two-way expansion taking place as the greatest force of enjoyment. In it, pleasantly, everything is distorted at the same time that, the distorted, becomes an element of language: pages (layout), words (spelling and conceptualization), formatting (ABNT Norms) and visuality (relationship between text and image). In sensual distorting movements, sinuous by the dialectic of crossroads games, it becomes: so much experience in itself, (a zine, expanded in complexity and depth, brought to the status of proposer in a particular way of investigation and intellectual and poetic approaches own), as well as an invitation for those who have contact with it to become an audience:|:experiment:|:expanded – contemplation, active, labyrinthine and expanding.
From here emerges its heteropoiesis (audience – audience:|:experiment:|:expanded): from the non-self and the need for conversation, it is necessary to have, at least, initial directions for the better understanding and enjoyment of my poetic-distortion auto|bio|ethnic|geo|graphical, and, from here, we will proceed towards a debate from creative processes between director and user, both experiments. Forward but without intending to silence any polyphony – both in their own distorting forces.
And, finally, multipoiesis (cosmos), that is, my multi|trans|poetic|creative|political|philosophical work carried out, and the entire fictional|political|existential universe that it evokes. Its fundamental cosmogonic appearance occurs as a meta-artistic work. This, insurgent by the games of crossroads between the path of the [A]₦(c)[A]R(q)tØgЯ[A]₱h¥ of my life, of the space between my youngest age of experiments and the contours of an aesthetic of gambiarra ancestry [A] punk ([A]₦c3₴t0Я:|:g[A]mbᴉ[A]pU₦k – understood as the local geo-historical construction of a global ancestral fiction) and the path of what I call it m[E]t[A]²Яtᴉ₴t:|:of:|:Ц₦cƎЯt[₳]ᴉ₦t¥ (\meta-artist of uncertainty\), that is, the consecration of a lifetime of artistic experiments in the most diverse media, in its political practice, now militant, now creative, for a better world, and its corresponding radical philosophical reflections.
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SOUTO, Léo Pimentel. O zineiro que se expandiu a zineasta e transgrediu-se como meta-artista transmídia da incerteza. 2021. 596 f. Tese (Doutorado em Arte e Cultura Visual) - Universidade Federal de Goiás, Goiânia, 2021.