Doutorado em Arte e Cultura Visual (FAV)
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Item Circuitos sociais da fotografia votiva em Trindade (GO): caminhos para uma reflexão sobre a fotografia popular(Universidade Federal de Goiás, 2015-05-18) Borges , Déborah Rodrigues; Monteiro, Rosana Horio; http://lattes.cnpq.br/9262982142956906; Monteiro, Rosana Horio; Lima, Solange Ferraz de; Monteiro, Charles; Jesus, Samuel José Gilbert de; Silva, Thiago Fernando Sant'anna eCircuitos sociais da fotografias votiva em Trindade (GO): caminhos para uma reflexão sobre a fotografia popular proposes a new look at the field of popular photography, which consists of massive photographic practices, whose images are endowed with senses widely shared, through analysis of practices, uses and functions of photographic ex-votos in the context of Sala dos Milagres at the Basílica do Divino Pai Eterno in Trindade, a city located in the metropolitan area of Goiânia, capital of Goiás. The ex-votos are objects made by devotees and deposited on religious pilgrimage sites as thanks for graces received or as a way to beg the intervention of saints in favor of certain persons and / or situations. In Trindade(GO), we identified, from the analysis of photographic ex-votos deposited in the Sala dos Milagres and interviews with pilgrims, devotees of the Divino Pai Eterno and employees of the sanctuary, the dynamics of institutionalization of votive picture and the tensions in this process. Thus, we highlight the importance of the materiality of photographic artifacts, performances of individuals and assemblies in space as defining elements of the dynamics of meanings production of photographic ex-votos.Item Ações educativas e poéticas visuais contemporâneas: experiências e diálogos na formação de professores/as de artes visuais na modalidade à distância(Universidade Federal de Goiás, 2015-12-10) Cabral, Valéria Fabiane Braga Ferreira; Tourinho, Irene; http://lattes.cnpq.br/0199098726098947; Martins, Raimundo; http://lattes.cnpq.br/1270126774554014; Silva Filho, Raimundo Martins da; Tourinho, Irene Maria Fernandez Silva; Cunha, Susana Rangel Vieira da; Santana, Arão Nogueira Paranaguá de; Martins, Alice FátimaThis research was conducted with 11 students from the Visual Arts Undergraduate Course, Pró-Licenciatura Program, e-learning, at the Visual Arts College – Federal University of Goiás. The data include observations, statements/comments and images posted and gathered during face-to-face meetings, conversation groups, forums discussions and online diary on the digital environment. Two methodological dimensions on the development of practices that stimulate educational experiences outside the formal school environment, although in tune with it. They are proposals developed on Goiânia city’s cultural spaces, among 2009 and 2012, which projected strategies to answer learning/teaching demands not only through digital environments. The second methodological dimension is directed towards the dialogue-oriented inquiry practice that intertwines teacher research and action-research, with a narrative inclined tonic. This inquiry unfolds itself from interests assembled since the undergraduate school, when I used to consider about my own teaching practice, observing how my professional motivations were turning themselves towards the investigative processes, used to and teaching – built during the inquiry process. The analysis focus three points: 1) Appropriation as action form on school practices, boosting pedagogical planning and possibilities of creation; 2) Making/producing as way/attitude on pedagogical spaces, inhabited by feelings and subjectivities, promoting experiences, affecting and provoking behaviors amongst the people involved; 3) Time, space and thinking displacements of a meaning (re)creation for my teaching practice, considering the lived experiences on this e-learning context. An education genre that affected me given its capacity for constitute and expand learning ways established from the experiences with the students in training. A way of apprehending the world, the others and ourselves.Item Um mergulho nas imagens do corpo e dos maiôs na natação olímpica feminina brasileira (1932-2016)(Universidade Federal de Goiás, 2019-05-27) Campos, Rosângela Soares; Andrade, Rita Morais de; http://lattes.cnpq.br/065217546909301; Andrade, Rita Morais de; Badan, Rosane Costa; Jesus, Samuel José Gilbert de; Sant`Anna, Thiago Fernando; Gomes, Susana Helena AvelarThis work aimed to investigate the body and swimsuit images in Brazilian female Olympic swimming between 1932 and 2016. To do so, we analyzed the construction of social images of the female body in sport in general and then specifically in swimming (scenario as well as the representation of these social images in the visual images, which in this thesis in question were the photographs. The photographs in turn were analyzed through the proposal of Goffman (1979) and Pruitt (2013). The swimsuits were studied considering the social context in which they were made, as well as their technical description. Brazilian female swimming was divided into five periods: glamor era (1932-1952); era of scientism (1972-1976); the beginnings of professionalism (1988-1996); technological age (2000-2009); and posttechnological era (2010- to the present day). Interviews were conducted with swimmers Maria Isabel Guerra, Flávia Nadalutti, Adriana Salazar and Fabíola Molina, as well as some photographs of their personal archive and photographs available in the media. We also analyzed photographs of swimmers Maria Lenk, Piedade Coutinho, Patrícia Amorim, Rebeca Gusmão and Etiene Medeiros. After that, the images of swimmers published in Veja magazine between 1968 and 2016 were investigated. The results showed that in the national scenario, doping and sexual harassment issues were more prominent than performanceItem Bandeirante bocó: uma aventura quadrinística nas terras dos Goyazes(Universidade Federal de Goiás, 2019-03-29) Carvalho, Lígia Maria de; Franco, Edgar Silveira; http://lattes.cnpq.br/8415486629956081; Franco, Edgar Silveira; Magalhães, Henrique de Paiva; Silva, Ademir Luiz da; Silva, Thiago Fernando Sant’Anna e; Berardo, Rosa MariaThe present work is the result of a reflexive effort that sought subsidies iconographic (in the Disney’s character known as Goofy and so as Groo, The Wanderer, by Aragonés) and argumentative (in the classic document titled The Flag of Anhanguera to Goiás in 1722 - Reconstruction of the scripts of José Peixoto da Silva Braga and Urbano do Couto). The purpose of research it was creating a narrative in the form of Comic Books that told a creative and funny way - the adventures of Bandeirante Bocó, that was, the adventures of Bartolomeu Bocoeno da Silva, the "Anhanguará" . To do so, the relevant bibliographic sources was used: The official and popular appropriations of the bandeirante myth; And the Goofy As… collection, which recreates, in its own way, the biographies of illustrious historical figures.Item Encontros com a história da moda: uso de imagens em contextos de ensino e aprendizagem(Universidade Federal de Goiás, 2019-08-30) Chaves, Bárbara Lyra; Andrade, Rita Morais de; http://lattes.cnpq.br/0652175469093010; Andrade, Rita Morais de; Sequeira, Rosane Preciosa; Gomes, Suzana Helena de Avelar; Silva Filho, Raimundo Martins da; Perotto, Lilian UckerThe present thesis focuses on the investigation of transits produced in the relation between image and History of Fashion and the exploration of its potentialities as a pedagogical resource for educators of the Fashion field. The assumptions that mobilize this research are based on the premise that an approximation of the images in a critical and responsible way is relevant both for educators and for the students in formation. It aims to question and denaturalize aspects concerning the production of knowledge in Fashion History from the images that compose it. I turn, then, to the traditional images of the History of Fashion as a way of interrogating positions that constitute the knowledge in this field and, consequently, to provoke other articulations, connections and experiences. The theoretical-conceptual bases that delineate this proposition find subsidies in the studies of Visual Culture from the proposals of W.J.T. Mitchell, Paul Duncum, Imanol Aguirre, Raimundo Martins. As a way of structuring these reflections and broadening the debates related to the practices of seeing in the field, three theoretical-conceptual axes - called "Steering Elements" - have been organized to address the topics: image and power, image and intertextuality, and image and subjectivity. The questions raised from these three reflexive axes proved to be useful for the deepening of themes related to the production of meaning in the field.Item O mercado de arte goiano e o artista como ser social(Universidade Federal de Goiás, 2015-04-14) Coelho , Armando de Aguiar Guedes; Mari, Marcelo; http://lattes.cnpq.br/8059077343813699; Mari, Marcelo; Oliveira, Emerson Dionisio Gomes de; Noronha, Marcio Pizarro; Jesus, Samuel José Gilbert de; Guimarães, Leda Maria de BarrosThe present paper “The art market from Goiânia and the artist as a social being” aims at presenting the tecniques and concepts that bring the artist closer and closer to the viewer. Artistic concepts developed mostly in the 60’s and earlier made it possible for the public to become closer to art, the object being observed and the observer sharing an intelectual harmony that enabled art to exist. The paper presents the piece “Prancha 6 com cocar Kraô” by Carlos Sena as a differential element in this process of reestructuring the arts which took place in Goiânia. It enabled us to understand the art market as a determining element of the intimate social ties. The prices attributed to works of art thus become a symbolic element, creating a disruption in the power the artist and his means of production had in qualitatively predicting the value of a piece. Finally, we show that the resource of intimate social ties, foreseen by Olav Velthius and excessively reorganized by electronic mean, gives rise to a new form of art which works as a disturbance of these very social relations.Item Os salões e sistema da arte - os salões da Caixego nos anos 1970(Universidade Federal de Goiás, 2015-04-27) Coelho, Aguinaldo Caiado de Castro Aquino; Mendonça, Míriam da Costa Manso Moreira de; http://lattes.cnpq.br/8573276727905431; Mendonça, Míriam da Costa Manso Moreira de; Oliveira, Emerson Dionísio Gomes de; Costa, Luís Edegar de Oliveira; Silva Filho, Raimundo Martins da; Clímaco, José César Teatini de SouzaThis research aims to analyse and reflect on the Competitive Art Fair Event, System of the Art and the editions of the Annual Visual Art Contests that were held in the 1970’s decade by the bank Caixa Econômica do Estado de Goiás – that became known by Caixego Competitives Art Fairs. Five editions were held. The first one in regional or state terms, conceived in January and launched in July, 1973 , and the other four ones had a national character, from 1974 to 1977. The artistic collection resulting from the awarded works was the main former of the Contemporaneous Art Museum of Goiás, situated in Goiânia. A bibliographic and documental research was done in Caixego and museums files, local newspapers, microfilm images and open interviews with managers, organizers and artists who participated in the aforementioned Art Fairs and also professionals who work in current Art Fairs. The analysis of the characteristics of Caixego Competitives Art Fairs in comparison to the National Art Fairs, from that time and present ones, together with the concepts and evolution of the Competitive Art Fair Event and of the System of the Art, in national terms, but mainly in the State of Goiás in the 1970’s decade, with their elements and actors, constitute the objectives of this thesis. It also intends to investigate the Competitive Art Fairs capacity to gather collections for the Public Museums and the way in which they configure a strategic action of public Policy for identity construction and cultural projection of the State. The original purpose of Caixego Competitives Art fairs , as explained by the directors of the bank and by the then State Governor, was to form an art work Collection made by artists not only from Goiás but also national ones, some already well-known and others still new , and to promote nationally the Art made in Goiás. The Caixego Competitives Art Fairs had an effective participation of the artists from Goiás and also from a number of Brazilian States, nationwide wellknown invited artists, selected by active critics, who were jurors of São Paulo Bienal ( Biennial) and of the major National Competitives Art Fairs.Item O protagonismo das imagens em propostas pedagógicas na escola de tempo integral de Goiânia(Universidade Federal de Goiás, 2019-08-15) Costa, Adriane Camilo; Martins, Alice Fátima; http://lattes.cnpq.br/2768377569632609; Martins, Alice Fátima; Furtado, Rita Márcia Magalhães; Gomes, Marcilene Pelegrine; Abreu, Carla Luzia de; Ribeiro, Maria Gonçalves da SilvaEl objetivo de esta investigación fue presentar las experiencias visuales de una escuela municipal de tiempo completo de Goiânia, basado en las imágenes y artefactos utilizados en sus espacios físicos, con el propósito de destacar el modo por el cual las marcas de la cultura de los profesores son proyectadas visualmente en los espacios de las instituciones escolares. Con la perspectiva de indagar y problematizar las imágenes, suponiendo comprender sus desempeños en la escuela, el punto de partida fue la premisa de que las imágenes y artefactos expuestos en los espacios de las instituciones escolares son importantes para la formación integral de los sujetos y también, que es de responsabilidad de los profesionales de la educación utilizar estos espacios como parte del proceso de enseñanza/aprendizaje para la construcción de conocimiento colectivo. Por lo tanto, la producción visual de la escuela constituyó el núcleo de la investigación, resaltando así la práctica pedagógica de las profesionales de la educación que actuaban en una escuela organizada a tiempo completo. Seis profesoras pedagogas colaboraron con la investigación, todas actúan en los tres primeros años de la educación básica, etapa atendida por la escuela. La investigación se basó en la diversidad de datos construyendo así, un enfoque metodológico híbrido, el cual las imágenes compartidas en los espacios de la escuela fueron consideradas con criticidad, prudencia y atención. En este contexto, colores e iconos dirigidos a públicos específicos, niñas o niños, estaban recurrentemente presentes en las imágenes percibidas en la escuela, evidenciando lo normalizado, reforzando patrones estéticos y comportamientos esperados. El texto de la tesis está organizado en cuatro capítulos, todos ellos estrechamente relacionados a la educación y la cultura visual. En el primer capítulo se presenta la estructura organizativa de la red municipal de educación de Goiânia enfatizando las concepciones de los currículos vigentes. En el segundo, las visibilidades y visualidades se relacionan entre lo que era entendido en los registros del trabajo de campo y los elementos conceptuales y visuales encontrados. En el tercero, se destacan las experiencias de una de las profesoras colaboradoras que desarrolló actividades instigando el proceso imaginario y creativo de los alumnos. En el cuarto y último capítulo, se presenta el análisis de las entrevistas realizadas con las profesoras colaboradoras y las observaciones documentadas en las trayectorias de los encuentros directos e indirectos con ellas. En este trabajo, no se ha defendido un punto de vista único, que pretenda elucidar de modo exhaustivo las cuestiones relativas a la presencia de las imágenes en el ambiente escolar. Sin embargo, a partir del proceso emprendido, fue evidente que los contextos y currículos pretendidos pueden y deben ser considerados en las propuestas pedagógicas que utilicen imágenes en espacios físicos de la escuela, con la expectativa de que el conocimiento se construye a partir de la motivación y las imágenes deben motivar la curiosidad, despertar la atención, el entendimiento y la comprensión. La tesis fue finalizada con la seguridad de que aún queda mucho por hacer en el sentido de albergar imágenes en los espacios educativos como potencia de lo que ellas son.Item Olhares móveis: narrativas audiovisuais, aparatos móveis e experiências cartográficas(Universidade Federal de Goiás, 2018-07-02) Costa, Marcelo Henrique da; Martins, Alice Fátima; Martins, Alice Fátima; Barcelos, Patrícia; Borges, Rafael De Almeida Tavares; Abreu, Carla Luiza de; Ribeiro, José Maria Gonçalves da SilvaCinema and education have always flirted. Although they are consolidated fields, with each flirt new points of view are constituted from the experiences and the knowledge constructed from this approach. The "Olhares Móveis" comes from an extensionist action in which workshops of audiovisual realization with mobile devices were with adolescents, students of the Colégio Estadual Pedro Gomes in the district of Campinas, city of Goiânia, state of Goiás, Brazil. The project encapsulated the proposal to instigate reflections on the digital universe and the "new" digital media for capturing, editing and distributing images and sounds, providing practical activities in which students could experience the process of production and construction of meaning and meaning by manipulating the elements of the cinematographic language, using their cellular telephone handsets. The proposed activities allowed the students to develop critical thinking about the images and, above all, the images produced by them. Based on this experience, the present thesis discusses the possibilities of subversion of the support from the practice of producing audiovisual narratives in a school environment, trying to establish connections about the context of technical images for pedagogical purposes and the emergence of these images in an approach perspective pedagogical.Item Vermelho e negro: Beleza, sentimentos e proteção entre os Tapirapé(Universidade Federal de Goiás, 2016-07-12) Damas, Vandimar Marques; Ugolini, Carlo Bonfiglioli; Martins, Alice Fátima; http://lattes.cnpq.br/2768377569632609; Martins, Alice Fátima; http://lattes.cnpq.br/2768377569632609; Martins, Raimundo; Guimarães, Leda Maria de Barros; Lima, Nei Clara de; Strozenberg, IlanaThe aim of this thesis is to ponder on the relationship among the production of artifacts, body painting, and shamanism amongst the indigenous people Tapirapé - auto denomination Apyãwa- and how this knowledge is intertwined and shared within and outside the village. The methodology used in this paper is the field work conceded in the Tapi'itãwa village, located in the territory of Urubu Branco MT, with records in the field’s diary, photographic and audiovisual. Tapirapé has its roots on the Tupi language, and its territory is located in the northeastern state of Mato Grosso. The research was based on Wagley Charles (1988), Baldus Hebert (1972) and Els Lagrou (2007) works as the main theoretical references to produce this ethnography. The body painting here is understood as the reasons executed on the bodies of people, and these reasons are present both in the bodies of people, but also in the masks, bowls and other artifacts produced by the Tapirapé. The Shaman is the chief warrior and he has the power of healing, of disease, and death. In addition, the shaman is responsible for protecting the village. Body painting as artifacts and shamanism operate in the bodies among Tapirapé. Finally, I believe in the Shaman as a demiurge as it connects the visible and invisible to grasp and pass on the knowledge to the Tapirapé. Therefore, if the Shaman is responsible for bringing this knowledge, the school appears as an organization that contributes to the preservation and transmission of knowledge. Nonetheless, the school is not exempt of critics among the Tapirapé. Also, the insertion of artifacts in museums generates debate on how to place and how to expose these artifacts. The image is one of the components of this ethnography, as well as the photographs in this paper, and of course the shamanism and the rituals that also denote to images. Furthermore, this research contains two videos about Tapirapé body painting and shamanism.Item Mo(vi)mentos autobiográficos: historiando fragmentos narrativos de experiências de vida docente e discente em artes visuais(Universidade Federal de Goiás, 2015-03-12) Ferreira, Luiz Carlos Pinheiro; Tourinho, Irene Maria Fernandez Silva; http://lattes.cnpq.br/0199098726098947; Silva Filho, Raimundo Martins da; http://lattes.cnpq.br/1270126774554014; Silva Filho, Raimundo Martins da; Tourinho, Irene Maria Fernandez Silva; Souza, Elizeu Clementino de; Oliveira, Marilda Oliveira de; Martins, Alice FátimaThis doctoral research, with emphasis on autobiographical narrative, presents issues focusing on mo(ve)ments seen from the rearview mirror of life. This retro(re)located archaeological view situates images, memories and fragments of my life history, leading me to a (re)visitation of school time, processes of teacher training and teaching practice in the field of Visual Arts. The study articulates and includes analysis related to the processes of life narrative and teacher training of student’s collaborators earning the Teacher Education Degree in Visual Arts at the University of Brasilia. The research analyses pedagogical episodes lived in the classroom, reflecting on the temporality of biographical experience and existence to think the place of narrative in the context of connections between the know-how as a possibility for transformation and self-transformation of the subjects involved. The narrative fragments of the history of life give the research epistemological coherence consolidating interest in autobiographical approach as research perspective and as a practical training, enabling a (re)construction of archaeological subject. Self-reflexive references and biographical reflexivity are used as theoretical allowance to (re)position historical consciousness about learning and lived experiences throughout life. This route took me to design a methodological tripod based in teaching episodes, in interviews and focal groups as orientation to analyze the data produced in the field of research which showed the self narrative as a way that projects a subject involved in passages, territory of sensibilities configured through marks, affections and traces resulting from lived experiences, that is, a subject under training who learns not only through pedagogical practice but also giving place to whatever comes, and yet, learning to be a place, a port and a space for happenings and mo(ve)ments of life as a necessary way to knowledge and self narrative.Item Avessos da docência em artes visuais(Universidade Federal de Goiás, 2018-02-02) Guimarães, Alexandre José; Guimarães, Leda Maria de Barros; http://lattes.cnpq.br/1491866271915819; Guimarães, Leda Maria de Barros; Damião, Carla Milani; Jesus, Samuel José Gilbert de; Pimentel, Lucia Gouvêa; Ribeiro, Luciana GomesThis study deals the averse teaching of four visual arts teachers in the professional education context from their life histories. In order to discuss variables of the teaching images about the professional education teacher, the teaching work of the Federal Institute of Goiás was investigated through questions about: a) the art teachers identities in a school of technicist tradition; b) the teaching training processes in transit and in different places from and beyond school; c) the historical contextualization of the Brazilian professional education matrices; d) the dialogues between the artistic work and the teaching work as actions that feed back. For methodological inventions, the issue discussed was: how does an investigation in art invite me to experiment the art and how this artistic production infiltrates in a research problem? By understanding the art research as a research narrative this study was built at the same time that it told its story - a metalinguistic game that took shape while maintaining a pedagogical dialogue with itself. In this sense, this study arrives in appoitments such as: a) an identity crisis of the federal network teacher; b) the tension movements for the art education in the technical education context; c) the reaffirmation and reconfiguration of the professional education colorization throughout our histories; d) the necessity and the urgency to think about the art teaching practice in the professional education scope; e) the collegiality as an inseparable element for the art teacher formation; f) the artistic work (or experience) approximation with the teaching work as a dialogical action. In this way, we experimented an archaeological exercise to dig our and other stories for the understanding and reconfiguration of our profession contributing to the identity constitution and our difference within the public education.Item Museu 4.0: um olhar museológico sobre as práticas museais tecnológicas contemporâneas(Universidade Federal de Goiás, 2019-04-09) Lisboa, Pablo Fabião; Rocha, Cleomar de Sousa; http://lattes.cnpq.br/5039948128955710; Rocha, Cleomar; Jesus, Samuel José de; Ferreira, Glauco; Venturelli, Suzete; Groisman, MartinIn contemporary times, the ontology for museums undergoes lasting changes driven by the supporting presence of digital technologies and their legacy of systemic thinking, by the postmodern condition of coexisting diverse themes and artifacts, and by the sense-producing capacity that museums have due to their very nature as machines to create narratives. In this connection, the concept of Museal Fact, which emerges from the relation of man to an object in a scenario (GUARNIERI, 1981), also goes through interpretive changes. Increasingly included in the musealization processes of safeguarding and communication, digital technologies that cause psychic, social and cultural impacts deeply affect the condition of the subject, the object, and the scenario, requiring conceptual negotiations in the context of Museology that will impact the everyday routine of museums. When considering the contemporary museal practices from a museological perspective, a set of paradigmatic changes that press for an ontological updating of museums is revealed. Thus, we come to the concept of Museum 4.0 (Smart Museum), which corresponds to the fourth generation of museums that works in a complex way, building on a post-technological condition that consists in the application of systemic thinking to all processes, with or without the employment and embedding of digital technologies. This complexity of contemporary museums makes the museological operational chain liquid and breaks with the exclusive paradigm of museums as places of possession and safeguard to consider the status of accessing and sharing, reinventing their social function and therefore their ontology. We believe that the future of museums is not only technological but rather complex, catalyzed by the designation of Museum 4.0 (Smart Museum).Item VideoHQescultura: uma poética narrativa(Universidade Federal de Goiás, 2017-12-19) Machado, Fábio Purper; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Franco, Edgar Silveira; Silva, Thiago Fernando Sant’Anna e; Andraus, Gazy; Venturell, SuzeteThese are the processes of an artist researcher who discusses his poetic and traces its dialogues with operational concepts from different origins. The artistic work that is covered here consists of a series of creations of my own, which I call videocomicsculptures, and are defined as narratives in movement between the artistic fields of sculpture, comics and video. I choose to focus this research on the ones that result in videos, and that come to be permeated by issues from the fields of film, photography and animation. Relations between the senses of touch and vision that are experienced with the videocomicsculptures dialogue with the “Tactile Vision Theory” (José Val Del Omar) and with the concept of “image-time” (Gilles Deleuze), which contributes to this work with the notion of a cinema that proposes blocks of sensation with the materiality of filmed objects. There is a dialog with the “sculpture effect” (Régis Durand, Phillipe Dubois), by valuing tridimensionalities in the flat support of the video, and with the notions of “transmedia narrative” (Henry Jenkins, Edgar Franco) and “expanded comics” (Gazy Andraus), among other concepts that involve the plurality of means of telling stories. Relations between image and writing that are present in the videocomicsculptures are also addressed, as well as issues in common with poetics of other artists within these areas and especially in movement between them. Moreover, the tergiversative feature present in the textual portion of several of the works that compose the body of this research is taken as the guiding thread for the establishment of a fictional universe, here baptized “Fictional Tergiverse”. Some parameters and benchmarks are then developed for an initial exploration of an artistic field that is made of movements and boundary works between these chosen artistic fields.Item Impressões: experimentações com gravura em livros de artista e fanzines(Universidade Federal de Goiás, 2018-08-28) Mendonça, Adriana Aparecida; Clímaco, José César Teatini de Souza; http://lattes.cnpq.br/4105136553667901; Silveira, Paulo Antônio de Menezes Pereira da; Andraus, Gazy; Franco, Edgar Silveira; Guimarães, Leda Maria de BarrosThe objective of this research is to reflect on the experimentation of my artistic practices in engraving that fundamentally involve the stage of printing. The material studied is the construction of artist's books and fanzines, from the possibilities of reproduction of the image, such as woodcut, calcogravura, xerogravura, serigrafia, stencil, monotype, stamps, engraving with the use of plastic matrices and other alternative materials; investigate different types of printing, such as, offset, photocopy, image transfer, digital engraving and plots, as well as alternative techniques using plastic matrices and collages. Therefore the engraving appears as an interlocutor of the possible dialogues, being in the middle of the experiments through techniques treated in this research as matrices for reproduction and creation of new matrices, in a process of comings and goings that walks by the diversity of techniques and that proposes experiments with new matrices and also with traditional engraving techniques.Item Visões Caixa de Pandora: fricções entre artista, instituição e público(Universidade Federal de Goiás, 2018-04-23) Morais, Paul Cezanne Souza Cardoso de; Martins, Alice Fátima; http://lattes.cnpq.br/2768377569632609; Souza, José Afonso Medeiros; Sousa, Cinara Barbosa de; Martins, Raimundo; Abreu, Carla Luzia de; Fernandes, Ana Cândida Franceschini de AvelarThe field of this research is the experimental exhibition "Eu Como Você", signed by Grupo EmpreZa, an artistic collective that I’m member. This exhibition took place at Museu de Arte do Rio (MAR), from May to July 2014. The artistic work project has been extended to participate in the Calibán Psychoanalysis Symposium, in November 2014 and October 2015. The emphasis of Grupo EmpreZa's work is on performance art, the body and its limits. The main questions of this research are: How aesthetic experiences like this behave in the museum exhibition space? What are the possible connections between individuals and aesthetic experiences? To answer these questions, I chose to analyze the relationships between people, the public, images, visual and aesthetic experiences, as well as the way Grupo EmpreZa and the institutions have worked along that time. For analysis, the documents collected include videos, photographs, official and administrative documents, and interviews. This study is based on some phenomenological concepts. It emphasizes the experimental character of the exhibition and the problems with the exhibition space, as well as the relations between people and aesthetic experience, images and visualities in exhibition. The term "Pandora's Box" is a reference to the prevalence of a permanent sensation of risk in the exhibition space, considering the nature of the visual experiences, the experimental character of the exhibition, against the hegemonic normative sets of the art system, and the relations of power in contemporary society.Item Arte robótica: contextos, conceitos e perspectivas(Universidade Federal de Goiás, 2017-03-17) Nomura, Luciana Hidemi Santana; Franco, Edgar Silveira; http://lattes.cnpq.br/8415486629956081; Venturelli, Suzette; Nunes, Fábio Oliveira; Berardo, Rosa; Clímaco, José César Teatini; Franco, Edgar SiveiraThis research approaches theoretical and practical features of cyberarts, particularly Robotic Art and its contexts. Knowing that this field is constantly changing, because it is an artistic production anchored in a permanently evolving technology, the aim here is to question the possibility of artistic creation by robots, as well as to enunciate the aesthetic, reflexive and processual possibilities of robotic art. Therefore, the premise of the thesis is based on the contemporary production of art and on technological improvement, since part of the work in art and technology results from the collaboration between human artists and an intelligent software. In accordance with the theoretical study, the processes of creation, the experiments and the production techniques of Nefelibata 2.0 were reported. The poetic production induced the creation of one robotic cloud, which interact with the public in a kind of robotic performance. The framework of this study is supported by the proposition that robotic art can be created by humans, robots or symbiotically, not being limited by the technical use of robotics, once electronic creatures can be given artificial creativity, a behavior of their own and may interact with the public. Thus, the objectives of this study are to conceptualize robotic art, discussing its aesthetic, interactive and poetic aspects, to reflect upon the perspectives set up on the field of robotic art, as well as to ponder over artificial creation.Item "Se a prova fosse sobre os rebeldes eu ia tirar 10": culturas visuais tramando masculinidades na escola(Universidade Federal de Goiás, 2014-07-04) Nunes, Luciana Borre; Martins, Raimundo; Martins, Raimundo; Cunha, Susana Rangel Vieira da; Rebouças, Moema; Martins, Alice Fátima; Nunes, Lilian do AmaralChildhoods are social, cultural and historical constructions inserted in networks of power and representation processes. So, I dialogue with twenty children of the 3th year of an Elementary Public School (ages between 8 to 11 years old) in Goiânia, Goiás, searching to understand which representations of masculinity are circulating in school and how masculinities are constituted and mediated by images and cultural artifacts in a classroom. The main focuses of this research are: (1) to understand how children between 8 and 11 years old constitute their masculinities mediated by cultural elements in day-by-day experiences in the school; (2) to understand how do they express their representations of masculinity in school and; (3) to discuss how are produced pedagogical "weaves" for the constitution of gender and sexuality in the classroom. The investigation was driven by an ethnographic bias and the development of analyses, the contributions of Visual Culture Studies and Gender and Sexuality Studies were used, particularly those associated with the post-structuralism approaches. Focal groups, notes in a diary and the developing of a pedagogical action with photographs were used as strategies for data production. The results showed that there are a multiplicity of masculinities permeated by images and cultural artifacts that perform a kind of pedagogy in the classroom; heteronormative narratives that constitute a major source of learning about gender and sexuality in school reverberating in other areas; heterosexuality defended by some boys with acts of exclusion and ridicule of their classmates who do not meet hegemonic masculinity requirements; religious direction valued by the teachers and the school community as synonymous of discipline, norms of conduct, dissemination of good practices for school living, and also, as an attempt to fight violence; distance between school knowledge and childhood everyday knowledge and, as result, repudiation of images and cultural artifacts that are banned from the classroom and; cultural consumption as an important piece in the gearing of interpersonal relationships in the classroom.Item Corpos se (mo)vendo com imagens e afetos: dança e pedagogias culturais(Universidade Federal de Goiás, 2014-10-09) Odailso, Sinvaldo Berté; Tourinho, Irene; Silva Filho, Raimundo Martins da; http://lattes.cnpq.br/1270126774554014; Espírito Santo, Denise; Rengel, Lenira Peral; Martins, Alice Fátima; Guimarães, Leda MariaAnchored in a qualitative perspective, particularly in the bricolage approach, this research is articulated through a creative-pedagogical process in dance developed with a focal group that worked relationships between body and image and allowed reflections on pop culture, performativity and cultural pedagogies. The focus of the investigation is on manifestations of affects drowned from experiences with bodies and images in contexts of cultural pedagogies and in accordance with the principles of visual culture education and dance. Aspects of my own trajectory, especially affective investments directed to the pop singer Madonna, to the choreographer Pina Bausch and to the painter Frida Kahlo, motivate autobiographical narratives, methodological orientation and ways of discussing image as an artifact, an idea and an action of the body. Productions of the three arti sts build the theoretical basis to discuss affect, body and images as links between the experiences/narratives of the collaborators, fragments of my trajectory, and learning arising from the creative-pedagogical process. Images, performances and cultural a rtifacts both mine and of the collaborators, intertwine installing poignant questions about how affects can impact and change our motivations, choices and actions. The thesis faces problems over how cultural pedagogies can educate the body constituting challenges to art teaching and particularly for teaching dance. It also examines how institutionalized spaces may consider and value affects, experiences and learning that bodies bring and set in motion at school and university. From the perspective of visual culture education, I observe, describe, and analyze propositions of teaching and creation in which affective and every day life movements become allies in dance allowing insights, reflections, learning, and performative positions with which bodies can move and see. .Item A fantástica história de Francisco Iwerten: hiper-realidade e simulacro nos quadrinhos do Capitão Gralha(Universidade Federal de Goiás, 2017-05-09) Oliveira , Ivan Carlo Andrade de; Franco, Edgar Silveira; http://lattes.cnpq.br/8415486629956081; Franco , Edgar Silveira; Berardo , Rosa Maria; Silva , Thiago Fernando Sant’Anna e; Andraus , Gazy; Magalhães , Henrique Paiva deThis thesis discusses Francisco Iwerten case. Born in Curitiba, Iwerten created Capitão Gralha (Captain Jackdaw), the first Brazilian super-hero, and published it in Curitiba at the beginning of 1940s. This entirely fictitious story was created in a text I wrote to Metal Pesado (Heavy Metal) Curitiba magazine in 1997. Despite the text being fictional, many believed that Iwerten and his creation had really existed, going as far as Iwerten winning an Ângelo Agostini prize as Master of National Comics. In September 2014 the story was revealed at a discussion table of II Curitiba Gibicon comics event. The project concerns the analysis of the case and the creative process of the album Capitão Gralha’s Lost Stories, which will be produced as if it was a rescue of Iwerten’s stories and will have my scripts with multiple draughtsmen’s art. The thesis is based on the concepts of simulacrum and hyperreality, especially from the approaches of Umberto Eco and Baudrillard. The aim is to analyze how the boundaries between reality and fiction were gradually fading and how art, literature and comics reflect this process through works that test those limits. Literary and artistic works that used this approach are analyzed, creating a likelihood that, although fictional, have been taken as real. It will also be detailed historical process of creating myths Francisco Iwerten and Captain Crow and analyzed how it has expanded, especially after the popularization of the Internet. Will be analyzed in detail the process of creating the project deals with the case analysis and the album creation process lost stories of Captain Crow, released on April 1, 2016, in Gibiteca of Curitiba. The album, using the concepts of simulacrum and hyperreality, emulates rescue publications with stories in "original" comic Iwerten and his team, introductory texts unraveling the creative designer process and the context of creation of each story, and a detailed biography of Iwerten, which describes in detail the whole trajectory of this imaginary comic artist, from his Jewish ancestry, the trip to the United States within the good-neighbor policy and the publication of stories. The thesis focuses on the intricacies of creating this detail and verisimilitude strategies adopted for the album became hyper-real. It also analyzes other likelihood strategies such as fan-page of Captain Crow, which deals Iwerten as real as to publish even quotes.