Programa de Pós-graduação em Arte e Cultura Visual
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Navegando Programa de Pós-graduação em Arte e Cultura Visual por Por Orientador "Franco, Edgar Silveira"
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Item Da tela de algodão às telas virtuais: o artista plástico e as possibilidades do digital(Universidade Federal de Goiás, 2014-08-11) Brantes, Hélio Renato Silva; Franco, Edgar Silveira; http://lattes.cnpq.br/8415486629956081; Franco, Edgar SIlveira; Andraus, Gazy; Clímaco, José Cesar Teatini de SouzaThis Master dissertation developed in the Postgraduate Program in Art and Visual Culture at FAV / UFG , in Visual Poetics Research and Creative Processes line, part of an exploratory theoretical and practical research that aims to reveal the possibilities of working with artistic poetic having as a conductor bias the trajectory of the means of production an d creation of art and new technologies in the field of cyber art. It introduces the artistic trajectory of the researcher through the universe of painting on traditional support and the technical and technological paths followed by image makers throughout art history with emphasis on the rise of the so-called numerical art of digital basis. Conceptually, holds up in the struggle of man in the use of new technologies and in the approach of the concept of expanding the body through the machines, the "posthuman" body. Simultaneously to the theoretical research, the work involved the development of experimental poetics through a creation exercise that incorporates to the artwork of painting on cotton canvas the unfolding in a digital visual narrative.Item 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 Oitavo dia: a gamearte nos jogos de tabuleiro(Universidade Federal de Goiás, 2016-05-04) Custódio, José Antonio Loures; Franco, Edgar Silveira; Franco, Edgar Silveira; Andraus, Gazy; Berardo, Rosa Maria; Silva, Ademir Luiz da; Silva, Thiago Fernando Sant'Anna eBoard games are cultural reflexes, born as religious and mythological rites, took up the entertainment object condition, and finally, were subverted and transformed into an art form. This theoretical and practical character dissertation investigates this last stage, and research artists and works of analog gamearte aiming to understand the creative process behind the art of board games, still little explored field. This research presents a pioneer, because there are no studies on the game boards through art in Brazil. The first categorization of Brazilian board games that belong to the gamearte settings. It is also proposed to present the relevance and persistence of analog game in a digital contemporaneity. These investigations serve as a reflective theoretical framework for the simultaneous development of poetic practice this research, an authorial artistic board game.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 Videoclipe interativo “Gehennom”: a poética black metal da banda Luxúria de Lillith no contexto da arte(Universidade Federal de Goiás, 2018-05-02) Estevo, Alysson Plínio; Silva, Thiago Fernando Sant'Anna e; Franco, Edgar Silveira; http://lattes.cnpq.br/8415486629956081; Franco, Edgar Silveira; Mikosz, José Elézer; Silva, Thiago Fernando Sant'Anna eThis exploratory research is based on theoretical investigation as well as on the artistic practice of black metal, one of the many branches of heavy metal. It aims to analyze its aesthetics and poetics as well as study its video clips language and their new emerging audiovisual narratives, focusing on the “interactive video clip”. The essay’s proposal comes from the researcher’s own experience with black metal in the Brazilian scenario, which was possible because of his authorial band “Luxúria de Lilith”. The research involves the new possibilities of fruition through the creation of a visual interactive narrative based on one of the songs from “Luxúria de Lilith”’s black metal opera, Gehennom. It is part of a master’s degree final paper, presenting a fictional and transmediatic universe that explores the poetics of the interactive video clip.Item [Entre] mundos: uma narrativa ficcional transmídia(Universidade Federal de Goiás, 2015-06-23) Martins, Veramar Gomes; Franco, Edgar Silveira; http://lattes.cnpq.br/8415486629956081; Franco, Edgar Silveira; Berardo, Rosa Maria; Silva, Ademir Luiz daThis research in visual poetics and search processes of creating two related goals, for a theoretical reflection involving cosplay elements and their connections with the visual language of comics and games in the universe of Japanese pop culture; and create a transmedia fictional universe that dialogue concisely with the issues involved in this theoretical reflection. Therefore briefly present the elements of the language of comics and game cosplay. Seeking establishing relations between the creation of a fictional universe and the development of a transmedia narrative. Done this theoretical framework, I analyze five productions involving the transmedia narrative concepts and two projects in the same space, but from the perspective of the artistic experience. Finally, I present the construction process of the fictional universe "Between Worlds", and how this content is related to the theoretical elements studied throughout this thesis, also reflecting on the imagery creation of this narrative, designed to exploit multiple media platforms, site, Facebook, Comic, Game and Cosplay.Item Do game à arte: processo criativo em gamearte(Universidade Federal de Goiás, 2014-05-23) Mendonça, Bruno de Abreu; Franco, Edgar Silveira; http://lattes.cnpq.br/8415486629956081; Franco, Edgar Silveira; Venturelli, Suzete; Berardo, Rosa; Chaud, Eliane; Nunes, Fábio OliveiraThe research presented here seeks, through the investigation of the characteristics and ways of the electronic games, analyze their possibilities as an art object – the form of artistic expression called gameart. Through exploratory research that permeates the origins of video games, their relationships, motivations and evolution, its intended to develop a deeper understanding of the structure and definition of the electronic game in order to develop an gameart object that can reflect, deconstruct and /or criticize characteristics from the universe of eletronic games . After presenting the definition, genres and formats of games, the research turns to the definition and analysis of the concept of gameart, revisiting the origins of this new creative possibility and reflecting on the possibilities to treat a video game as an art object. The theoretical analysis developed here became the basis for experimentation and construction of aesthetic and conceptual scheme, aiming at the creative process of two gameart objects , the first more generalist and created as an exercise of introduction to the universe of gameart and the second, deeper, seeking a detailing of the elements that define it. Both gameart objects served as basis for the construction of a third – and last – gameart object, presenting concepts acquired by experience with previous works : Labyrinth of the Mind.Item 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 MariaGAMÆSTHETICS: 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.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 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.Item Acqua lumens: luz, movimento, arte e tecnologia(Universidade Federal de Goiás, 2014-06-27) Oliveira, Alana Borges Neves; Franco, Edgar Silveira; http://lattes.cnpq.br/8415486629956081; Franco, Edgar Silveira; Hidelbrand, Hermes Renato; Berardo, Rosa Maria; Chaud, Eliane Maria; Nunes, Fábio OliveiraWe seek to investigate in this research elements and concepts that are present and or in dialogue with our experimental artistic production in Art and Technology. To lift and understand the contexts of creation involving movement and color-light mostly along the history of art and also situate our production in the contemporary art scene. Starting from the language of photography, passing through Kinetic Art and reaching the interactive installations. In this course we rely on the study of the works of many artists and important concepts such as interactivity. Having grounded and assembled this panorama present our creative process. Addressing the choices and changes that occurred during this process we had produced two prototypes, the latter being the final experimental work, titled Acqua lumens. This artwork features moving forms that arise through interaction with the public and are lit by light-color photographs produced between 2007 and 2009. Present and past, individual and collective, chance and programming merge into a single result .Item O retrato do mal: a adaptação da clássica história em quadrinhos de Jayme Cortez para animação(Universidade Federal de Goiás, 2021-04-27) Paixão Júnior, Márcio Mário da; Franco, Edgar Silveira; http://lattes.cnpq.br/8415486629956081; Oliveira, Selma Regina Nunes; Chinen, Nobuyoshi; Silva, Thiago Fernando Sant’Anna e; Rocha, Cláudio AleixoBorn in Portugal, Jayme Cortez (1926 – 1987) arrives in Brazil in 1947, where he develops an influential career in the fields of illustration, publicity and comics books. The period between 1950s and 1990s is marked by the popularity of the horror genre in national comic books – this genre that has in Cortez one of its greatest expressions. He is the creator of The portrait of evil, which has two versions, one published in 1961, and another, better known, released in 1974. A classic of Brazilian comics, this second version is considered by some researchers as one of the laminar horror comics created in Brazil. Research in art The portrait of evil: the adaptation of the classic comic by Jayme Cortez for animation gave rise to a short animation film based on the homonymous comic, in a process where artistic production and theoretical research were fed back continuously.Item Processos criativos na tatuagem: releituras da aurora pós-humana aplicadas a um flashbook de tatuagem enquanto prática artística(Universidade Federal de Goiás, 2023-05-25) Queiroz, Rennan Pereira; Franco, Edgar Silveira; http://lattes.cnpq.br/8415486629956081; Franco, Edgar Silveira; Nunes, Fábio Oliveira; Andraus, GazyThis research uses the theoretical-practical methodology to analyze the creative processes present in tattooing. The object of this work is the elaboration of a tattoo-zine book, with visual (re)readings of the transmedia fictional universe of the Post-human Aurora, created by the artist Edgar Franco; in addition to the unfolding of the zine into an artistic performance with the participation of interactors who were tattooed. Using as a theoretical foundation concepts from the works of Baudrillard (1991), Jeha (2019), Le Breton (2004) and Ostrower (1987).Throughout our investigation, we approach the historical context of the tattooing method, going through the main events that contributed to its evolution – such as the dissemination of its practice and its conceptual departure from marginalized use to a contemporary status – in addition to its gradual sophistication and its use by artists. The objective of our analysis is to help legitimize the artistic perspective of tattooing and amplify the languages and expressive supports of the Post-Human Aurora, presenting the creative processes of tattooing as art, using theoretical foundations of contemporary art and appropriating the transmedia fictional universe of Aurora Post-Human to create and develop two artistic experiences, the first in the digital territory and the second in a performative action in the tradition of tattooing on human skin support.Item O grimório das 4 luas: o feminino e o sagrado feminino nas HQs poético-filosóficas(Universidade Federal de Goiás, 2023-07-25) Santos, Rachel Cosme Silva dos; Franco, Edgar Silveira; http://lattes.cnpq.br/8415486629956081; Franco, Edgar Silveira; Oliveira, Ivan Carlo Andrade de; Andraus, GazyComic books are a form of art with multiple approaches, and among them, there is a self-authored genre considered "genuinely Brazilian," as defined by Santos Neto (2009): poetic-philosophical comics. In this genre, self-authored comics flow freely, allowing the creator/cartoonist to express themselves according to their own vision. Poetic-philosophical comics explore existential and philosophical aspects, with the creative freedom to shape themselves according to the narrative's needs. Their main characteristics include a philosophical narrative approach, experimentation with tradi- tional comic codes, and a proposal for short or unconventional stories. Thus, they can explore themes ranging from existential inquiries about humanity to Cyberpunk narratives or the exploration of the creator's internal conflicts, among a myriad of possibilities. This dissertation is the result of a theoretical and practical research con- ducted by a cartoonist and researcher who identified the presence of the concept of the sacred feminine as one of the recurring themes in poetic-philosophical comics. I highlight the sacred feminine present in the creative production of Danielle Barros, as well as in the works of Edgar Franco (Ciberpajé) and Gazy Andraus, important repre- sentatives of the poetic-philosophical genre. The investigation involves studying the singularities of poetic-philosophical comics, their perspective as a legitimate artistic expression, the study of the concept of the sacred feminine, and its detection in the comics of the cartoonists focused on this research. This research, both theoretical and artistic, involves the simultaneous creation of poetic-philosophical comic narrati- ves that address the sacred feminine from the artist-researcher's poetic perspective. For this purpose, traditional methods for paper support are used in some of these narratives, while in others, the syntax of HQtrônicas is explored.Item Performance cibergótica: processo criativo de figurino para o Posthuman Tantra(Universidade Federal de Goiás, 2019-04-26) Silva, Luiz Carlos Ferreira da; Franco, Edgar Silveira; http://lattes.cnpq.br/8415486629956081; Franco, Edgar Silveira; Silva, Ademir Luiz da; Berardo, Rosa MariaThis research refers to an investigation of creative processes in art and visual culture of theoretical and practical character, involving the costumes and their contexts. It is structured in the creation of a costume for the artistic language of performance. The development of his aesthetic identity involves an exploratory exploration of industrial- based rock subcultures such as the gothic, cyberpunk and, above all, the cybergothic, relating them to the conceptual aspects that make up the fictional universe transmedia of Edgar Franco's "Post-Human Dawn”, inspired by reflections on the contemporary context of cyberart and hypertechnologies such as robotics, nanoengineering and biotechnology. It also addresses aspects related to the post-human phenomenon, science fiction, technognosis and fetishism. The poetic production involves the creation of a costume with interactive technological elements for the presentations of the Posthuman Tantra's performance group that assists in the ritual incorporation of the power animal of the performer Ciberpajé: the Wolf, making him a post-human wolf / werewolf. The created clothing also contributes to the critical proposal of the Posthuman Tantra, treating the costumes as poetic creation that assists in criticizing the harmful aspects of the technological acceleration of a consumer society driven by the dynamics of fashion and programmed obsolescence.Item Cartografias do inconsciente em quadrinhos: ayahuasca, respiração holotrópica e sonhos lúcidos como processos criativos(Universidade Federal de Goiás, 2018-03-28) Silva, Matheus Moura; Franco, Edgar Silveira; http://lattes.cnpq.br/8415486629956081; Franco, Edgar Silveira; Mikosz, José Eliézer; Andraus, Gazy; Monteiro, Rosana Horio; Silva, Thiago Fernando Sant'Anna eThis research spotlights on the relationship between comic books and visionary art. Over Visionary Art it's used the concept created by the artist Laurence Caruana in The First Manifesto of Visionary Art (2001), which defines all this type of artwork that intends to portray visions obtained by outstretched states of consciousness. In Brazil, although little known in the country, there are renowned international comic authors who are pointedly visionary, as is the case of Sergio Macedo and Alain Voss. The proposal, then, is to investigate the creative processes involved in doing such singular works and the relationship between visions / comics / everyday life and how Non-Ordinary States of Consciousness (NOSC) may or may not intervene with the artist's persona. I look into the works of Moebius, Jim Woodring, Rick Veitch, Sergio Macedo and Xalberto, as well as my own production prior to the research. Bibliographies related to creative processes, anthropology (shamanism), psychology (NOSC), are used as reference to demarcate the theoretical ground which I go through. the investigation takes place in the line of research of Visual Poetics and Creation Processes, thus, it also extends to the artistic practice, that is, to make comics. In my case, to create stories that are in the scope of visionary art, using as methods to induce NOSC the ritualistic ayahuasca tea, lucid dreams and the technique called Holotropic Breathwork - developed by the Czech psychiatrist Stanislav Grof. The methodological approach is art-based research combined with selfethnography. As a poetic result, 16 comic stories were developed, eight of them derived from ayahuasca and three from lucid dreams, one from common dream and one from hypnagogic dream, in addition to three stories derived from Holotropic Breathwork. The creative process of each of them is discussed, seeking to draw parallels between the seen, felt and portrayed, with the cognitive processes of psychological states typical of NOSC. In the end, all the stories were put together in a comic book album called Cartographies of the Unconscious.Item 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.Item O zineiro que se expandiu a zineasta e transgrediu-se como meta-artista transmídia da incerteza(Universidade Federal de Goiás, 2021-04-14) Souto, Léo Pimentel; Andraus, Gazy; http://lattes.cnpq.br/0256950026952623; Franco, Edgar Silveira; http://lattes.cnpq.br/8415486629956081; Garrossini, Daniela Fávaro; Clímaco, José César Teatini; Senra, Rafael; Rodrigues, Manoela dos Anjos Afonso; Franco, Edgar SilveiraI, 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.