Doutorado em Arte e Cultura Visual (FAV)
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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 “...se eu fosse uma flor...”: o cinema como dispositivo tecnopoético produzindo simbólicos identitários de uma mulher negra(Universidade Federal de Goiás, 2014-12-04) Santos, Júlio César dos; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Kaminski, Rosane; Montoro, Tania Siqueira; Franco, Edgar Silveira; Silva, Thiago Fernando Sant’Anna eThis thesis presents an analysis of the film's creative process "... if I were a flower ..." directed by Marta Cezaria de Oliveira, a black feminist movement militant woman in Goiás, with the understanding the fundamentals of cinema as technopoetic device and cinematic representations of black female identity as human condition symbolic. The film directed by this black woman, in her first film production, evidence how much her political, religious, hardworking and black woman condition infers an aesthetic and visual poetic marked by the idea of art as collective action. The Marta’s film presents a multifaceted identity mosaic formed by different black women views represented there, with whom Martha establishes an intersubjective political dialogue, dialogue that takes place in the territory of femininity and blackness, producing symbolic identity, among other of a flower metaphor and projection of themselves perceptions. Marta holds more than a documentary film, produces a manifest, an ideological political instrument leads to a poetic guided by the main objective of the black women movement what is to produce states of race and gender consciousness and empowerment, considering at the same time the collective and the subjectivity in their political relations. This thesis shows questions that challenge the black women stereotypes, in their own visions, that asks the "being for others", assuming a position of political subject, historical, cultural and subjectively, and the "being for itself" - field in which black women interpellate contemporary society to its foundations in antiracism feminist struggle. Finally, it is shown that the Marta’s black woman condition leads her to produce a "black film" in line with what is proposed by the black movement and the awareness of this condition, without considering the black woman as a victim or heroin, but a subject of hers own history. Representing black women through this film, Marta Cezaria de Oliveira interferes in the process of identity construction of black women and to take ownership of these images alters their subject positions for themselves and others, causing disruptions in their fundamental human condition as therefore, transforming and breaking what seemed predestined them by hegemonic white masculinist culture.Item Sobre mudar de paisagens, sobre mirar com outros olhos – narrativas a partir de deslocamentos territoriais(Universidade Federal de Goiás, 2015-02-24) Rosa, Aline Nunes da; Martins, Alice Fátima; http://lattes.cnpq.br/2768377569632609; Martins, Alice Fatima; Preciosa, Rosane; Oliveira, Ronaldo Alexandre de; Martins, Raimundo; San'tanna, ThiagoPresentando como foco investigativos los desplazamientos territoriales, experimentados como tránsitos y mudanzas de orden geográfica y subjetiva vividas en el transcursos de esta tesis, mi intención con este estudio es explorar qué ocurre y cómo los sujetos implicados en este trabajo perciben este movimiento. Motiva por la pregunta “Qué variaciones y giros son producidos y experimentados a partir de los desplazamientos territoriales?” la presente tesis fue desarrollada en un formato narrativo a través del cruce de relatos autobiográficos de ocho sujetos nómada, entre los cuales me incluyo. La construcción de la tesis se realizó por medio de diferentes caminos que producen encuentros: con autores cuyo pensamiento y escrita transitan por la perspectiva de los Estudios de la Cultura Visual; con literaturas diversas que me facilitaron pensar y ampliar las nociones sobre el tema problematizado; con imágenes producidas en medio de los desplazamientos y halladas al azar; de aquellos que despiertan ciertas películas, en un paseo a la deriva, en una visita a un museo y en las conversaciones con aquellos que colaboraron con la investigación. Metodológicamente, la tesis fue realizada de acuerdo a los presupuestos de la Investigación Narrativa y de la Investigación Cartográfica. La orientación teórica y argumentativa del tema fue tramada con bases en las nociones de nomadismo, a través de autores como Deleuze y Guattari, Rosi Braidotti y Onfray. El concepto deleuzo-guatariano de desterritorialización fue también incorporado al estudio como una manera de cartografiar los movimientos realizados por los participantes de la investigación. Adicionalmente, en medio de mis recorridos teóricos propongo algunas reflexiones en torno a los desplazamientos en diálogo con Rolnik; Preciosa; Lopes; Maffesoli, entre otros. Esta tesis defiende en su escrita la posibilidad de reinvención potenciada por el acto de dejar un territorio, inicialmente geográfico, pero que aquí fue entendido como otro tipo de dominio, es decir, dejar aquello que se instaura como seguro y familiar, con el fin de lanzarse en busca de algo todavía no vivido, que está latente y se configura como territorio de experimentación. En este sentido, tales movimientos se configuran como tres paisajes que titulo de la siguiente manera: “Callejeo”; “Uno en la casa, otro”; “Quién dentro de si no sale…Todos ellos tan mutables y movedizos como la condición de estar viviendo un desplazamiento. A través de estos paisajes presento algunos desarrollos conceptuales que posibilitan, a mi modo de ver, una comprensión de lo que se desplaza en nosotros cuando nos desplazamos.Item Ao sabor das narrativas: sujeitos, cotidiano e práticas de cozinha(Universidade Federal de Goiás, 2015-02-26) Silveira, Juzelia de Moraes; Guimaraes, Leda Maria de Barros; http://lattes.cnpq.br/1491866271915819; Guimaraes, Leda Maria de Barros; http://lattes.cnpq.br/1491866271915819; Frange, Lucimar Bello Pereira; http://lattes.cnpq.br/6973661142807712; Brandao, Ludmila de Lima; http://lattes.cnpq.br/3912278759228410; Martins, Alice Fatima; http://lattes.cnpq.br/2768377569632609; Silva, Thiago Fernando Sant'Anna e; http://lattes.cnpq.br/9735682996647548The present thesis consists in reports of four participants as well as my own personal reports in order to think how these subjects produce themselves and are produced through their cooking practices. This way, it departs from the perspective of narrative inquiry as methodological approach. As main authors to subsidize the methodological web, I highlight Brockemeier and Harré (2003), Bruner (1990; 1995), Connelly and Clandinin (1990; 1995) and Ellingson and Ellis (2008). I adopt the purposes of Quotidian and Visual Culture Studies to think how the participants’ narratives bring argumentations and notes about how their quotidian is marked by micro-resistances that individuals developed by means of their ways of doing. Thus, I understand that subjects are constituted by references and discourses, which structure their sociocultural contexts, creating with their distinct ways of relating to a practice ways of playing with normative and homogenizing principles. I consider micro-resistances above all through considerations of Michel de Certeau and Luce Giard (2000; 2003) drawn from “A invenção do Cotidiano”, which comprehend the plurality of ways of doing as potencies for subverting the sociocultural impositions. As research references on Everyday life Studies I dialogue mainly with Alves (1998; 2001; 2009; 2012), Victorio Filho (2005; 2007; 2013) and Pais (2003; 2007). Through the reports produced by participants and myself the “visual events” (ILLERIS; ARVEDSEN, 2011) that constituted the experiences that derived from the cooking practices are recovered and observed, thinking how the relation between seeing and being seen is mediated by the whole visual system that composes each lived context. Before this conception, I find the theoretical framework in the writings of Mitchell (2002; 2005), Mirzoeff (2003) and Hernández (2007; 2013). In the chapters developed along this dissertation, I approach issues which, due to being more recurrent in the notes taken by the participants, figure as theme of analysis. These are: “Swiss Lemonade or Micro-resistances through micro-existences”, in which I discuss how small narratives that inhabit the quotidian are constituted as modes of resistance through the way the subjects construct themselves in dialogue with the environment; “Baião de dois – or Kitchen and gender production”, in which I argue on how discursive constructions on gender surround and reinforce the norms that base as well as question them; “Filhoses – or Kitchens as space of affection and socialization”, which traces a reflection on the constant relation between the referred practice and the interaction processes between family and friends through cooking and feeding along with other subjects.Item Imagens de publicidade e ensino de arte: reflexões para uma educação da cultura visual(Universidade Federal de Goiás, 2015-03-10) Sérvio , Pablo Petit Passos; Martins, Raimundo; http://lattes.cnpq.br/1270126774554014; Silva Filho, Raimundo Martins da; Somma , Fernando Nelson Miranda; Charréu, Leonardo Augusto Verde Reis; Guimarães, Leda Maria de Barros; Tourinho, Irene Maria Fernandez SilvaThis thesis investigates the way visual art teachers pedagogically relate to the use of advertising images. Nine teachers in Goiania's municipal system participated as collaborators in the research. The methodological procedures used were observations, field notes and individual interviews. Based on Cultural Studies and principles of Visual Culture Education, this study adopts an epistemological approach that favors poststructuralist assumptions. It assumes that advertising images are relevant for a Visual Culture Education since they contribute to built and at the same time legitimize meanings that guide ways of perceiving, being and having dialogues with the world. The research opposes the prescription of content for the reason that it characterizes school submission to the university and indicate the need to identify and discuss the practices and aspirations that these teachers engage in their day-today teaching. Visual Culture Education highlights that today the visual arts teachers' challenge is not just work with images apart from those that are culturally considered art, but, especially, decide how to use them pedagogically. The research identifies, analyses, and discusses aspects of these teachers discourses and practices being able to produce questions for a Visual Culture Education.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 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 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 O virtual na concepção de animação interativa na rede internet(Universidade Federal de Goiás, 2015-12-15) Rocha, Cláudio Aleixo; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Borges , Rafael de Almeida Tavares; Christino, Daniel; Franco, Edgar Silveira; Clímaco, José César TeatiniOur work aims to explore the interactive animation on the Internet and especially discusses the current narrative generalization implied by its interaction environment. Found on the relationship between interactivity and the concept of virtual, we argue that it is a way to expand the narrative structure of animations so as to increase the user’s engagement in their interactive environment. Therefore, the purpose of this investigation is to identify means of interaction that value the individual’s subjectivity evincing its importance as a fundamental element in the creative process. Along with all the theoretical findings we bring out herein, this research also ends up in presenting “Na mira do alvo” [Sights on Target], the artistic production we have developed in our PhD studies.Item Tramas formativas em audiovisual: a minha ação docente à luz de experiências audiovisuais coletivas(Universidade Federal de Goiás, 2016-03-07) Satler, Lara Lima; Martins, Alice Fátima; http://lattes.cnpq.br/2768377569632609; Martins, Alice Fátima; Guimarães, Leda Maria; Silva, Thiago Fernando Sant'Anna e; Lignelli, Cesar; Almeida, Rafael deThe present research analyses a web of relationships involving my teaching practice on audiovisual in higher education, the students’ learning in this context and some experiments at movie sets of Sistema CooperAÇÃO – Amigos do Cinema and at workshops of Correspondências, the later a multimedia project by Garapa. Thereby, this inquiry is oriented by the question: how join ethical and cultural knowlegdes with technical and professional practices in my teaching action on audiovisual field? The research aimed to articulate ethics and cultural knowlegdes with technical and professional practices in my teaching action with movies, considering the scenario which involves higher education where I act. And, it specifically aimed: to reflect on my teaching action with movies, searching theories and methods to understand this activity, concerning its scope and limits; to develop a process of research-action on my teaching contexts by means of cyclical investigating, acting and thinking in collaboration with the students; and finally, to quest audiovisual know-how at Sistema CooperAÇÃO and Garapa in order to articulate it with my teaching practice. In this sense, this research has become formative firstly for myself because as a teacherresearcher I think about my teaching activity, reflecting on a series of inquietudes I lived in my path. However, it has also become formative for the students and Pezinho de Jatobá Project participants with whom I developed the first part of the field research, which happened in two NL’s disciplines (“free nucleus”) at Universidade Federal de Goiás. The second part of the field was at movie sets of Sistema CooperAÇÃO and at workshops of Garapa, which are groups that study and make movies simultaneously and with which, at that time, I sought answers to articulate knowledge and practice. In connection with that, my method instruments were research-action, classes diaries, direct observation, interviews and the analysis of audiovisual work produced by Sistema CooperAÇÃO and Garapa. As a result, I observe that my teaching practice is marked by gender questions and, consequently, it leads me to think over audiovisual formation on higher education and to discuss how articulate a cooperative ethics with the students’ routine, in order to encourage knowledge derived from lived experience, perception and from the experimentation of languages, formats and production of audiovisual meanings.Item Libellus Maria do Pote - narrativas de pesquisa sobre mediação e visualidades populares(Universidade Federal de Goiás, 2016-04-20) Soares, Denise Bogéa; Guimarães, Leda de Barros; http://lattes.cnpq.br/1491866271915819; Frange, Lucimar Bello; Maass, Marisa Cobbe; Tourinho, Irene; Chaud, Eliane Maria; Guimarães, Leda de BarrosThis study, of a narrative nature, sets out to deal with topics, artifacts and cultural practices in contexts to do with formal training, hands-on learning and reception on the market. This is done under the banner of the career of a potter from Maranhão – Maria do Pote - and the strategy is to draw up proposals, the aim of which is to mediate the popular visual arts. The concept and structure of the libellus, a parchment from the early Middle Ages bearing illustrations of narratives for contemplation, was taken as a metaphor. This prompted thoughts on the possibility of re-creating the libellus, the purpose of which would be to process the content of the study and suggest there should be an open relationship between text, image and other elements of the graphical composition. By adopting a theoretical perspective of an interdisciplinary nature aimed at studying the imaginário and forms that are generally marginalized in the spaces where art is circulated, this research paper puts forward a conception of the visual arts, their meanings and senses as channels for dialogue between education and visual culture. From this perspective, the stories narrated give flesh to the field information and weave threads of belonging and complicity during the telling and retelling of these experiences. The perspective of the researcher and her autobiography are included in the approach to the research. By taking experience and investigative work as a possibility for creating visual poetics, the Libellus Maria do Pote is put forward so as to establish bridges between the ancient and present graphic visual arts; to recover a representative segment of the ceramic heritage of Maranhão; and to investigate education processes in art that develop into the practice of mediation. The narrative is compiled on the basis of a rough and ready montage and begins by introducing the themes, constructs and other relevant terms to reach an understanding of the text, followed by a discussion of the elements of the research, as well as its theoretical and methodological basis. This contextualizes the concern for the study of image and of mediation processes that are developed in educational settings such as schools, museums, outlets for points etc. The context and the everyday life of Maria do Pote are the subject of the interlocking key topics that narrate her biographical journey, the aim of which is to give evidence of the historicity of the research category called exemplary character. The creative conduct intertwined in the work process generated visual poetics (libelli) linked to the discussion of the book and the work of art as a device that prompts the memory, is portable and is fun to learn from, thereby justifying the need for them and thus revealing the potential of these mediation tools. Finally, on taking a view of art/education as being based on mediation and consubstantiated in a rhizomatic pedagogy, considerations are made on proposing micro-policies that grasp the ludic and ensure receptions reoccur.Item Produções de sentidos em um arquivo pessoal: As ilustrações de figurinos de Alceu Penna para o show Brazil Export (1972)(Universidade Federal de Goiás, 2016-04-25) Penna, Gabriela Ordones; Andrade, Rita Morais de; http://lattes.cnpq.br/0652175469093010; Andrade, Rita Morais de; http://lattes.cnpq.br/0652175469093010; Bonadio, Maria Claudia; Capel, Heloísa Selma Fernandes; Sant´Anna, Thiago; Jesus, Samuel Gilbert deAlceu Penna (1915-1980), creator of the column's Girls of Alceu in The Cruzeiro magazine, became a reference in fashion and behavior by their graphics in the mid-twentieth century. Alongside this activity in the press, he developed a solid and little-known career designing costumes for various shows between the 1930s and 1970s, including the show mulatto-export type Export Brazil (1972) of Abelardo Figueiredo. Thinking illustration as a historical document, that is, as a visual image from which (and where) produces senses, the thesis is concerned with analyzing the Alceu Penna costumes graphics for this show, located in his personal archive, as visual and material evidence in which are impregnated traces of its making and circulation, in addition to visual dialogues established with its surroundings. Every detail contained in the illustration, as his paper, the technique used, the materials used, the author's signature, the wear of time, the colors, all this is treated as important indicators for an interpretation of the work's meaning production.Item Do inimaginável: cinema, direitos humanos, cosmopoéticas(Universidade Federal de Goiás, 2016-05-17) Ribeiro, Marcelo Rodrigues Souza; Monteiro, Rosana Horio; http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4784015Y7; Monteiro, Rosana Horio; Guimarães, César Geraldo; Barbosa, Andrea Cláudia Miguel; Ribeiro, José Maria Gonçalves da Silva; Jesus, Samuel José Gilbert deThis thesis interrogates the relation between film and human rights, based upon a fundamentally theoretical and conceptual approach whose ultimate goal is the openning of a broader research program: the elaboration of what I call a cosmopoetic atlas. Historically, the main modes of relation between film and human rights consist in the uses of images as documents to denounce violations and as part of the work of memory which surrounds those violations. In this kind of context, film takes part in the construction of an archive of evil, against which the “conscience of mankind” declares the principles of universal dignity of the cosmopolitical project of human rights. At the same time, film takes part in the construction of an archive of the common, in which the principles of human rights take up sensible forms. While interrogating the problem of the becoming-sensible of the “conscience of mankind”, one must acknowledge that one of the recurring motifs of the relation between film and human rights consists in the theme of the unimaginable and the problem of the missing images. Introduced through the reading of the 1948 Universal Declaration of Human Rights, the historical and paradigmatic example of the images picturing the Nazi camps and concentrationary experience rises up to a prominent place among the several studied objects, in an analysis of the archiving process of the camps’ images as sensible evidences of the unimaginable and of the forms of montage of the camps’ images as attempts at thinking their meanings and constructing the archive of their memory. While the fiction of Samuel Fuller and Orson Welles, for instance, tends to revisit the archive and to reorganize its elements following plots and interests which do not belong to the original contexts of the images, the documentary of Claude Lanzmann, for instance, finds its impulse in the refusal or, more precisely, in the denegation of the archive. Between the fictional rearchiving and the denegation, some experimental possibilities of remontage of the archive emerge, based upon the anarchivic openness which destructures and reorganizes its images, in films by Alain Resnais, Mikhail Romm and Jean-Luc Godard. Just as the cosmopolitical project of human rights depends on the becoming-sensible of the “conscience of mankind” for its universal dissemination, juridical concepts such as “genocide” or “crime against humanity” find one of their privileged forms of sensible inscription in film images.Item Saberes-fazeres cartografados à partir das memórias do meu avô(Universidade Federal de Goiás, 2016-06-23) Oliveira, Wolney Fernandes de; Guimarães, Lêda Maria de Barros; http://lattes.cnpq.br/1491866271915819; Guimarães, Lêda Maria de Barros; Lima, Nei Clara de; Perotto, Lílian Ucker; Silva Filho, Raimundo Martins da; Chaud, Eliane MairaThis research is designed as an exercise of mapping practices that revolve around memories of my maternal grandfather in an attempt to baste other sources of knowledge to my experience as a teacher. Between the lines of a narrative research, this mapping (DELEUZE, GUATTARI, 2011; ROLNIK, 2006) seeks to show processes, artistic and pedagogical, woven in teaching-learning situations and developed through meetings with four craftsmen who knew my grandfather. For the configuration of these meetings and the interweaving of narratives, mine and of craftsmen, it is possible to envision a circuit composed by affective itineraries. To affect and be affected in the review of stories about my grandfather, I use assembly operations (DIDI-HUBERMAN, 2012; 2013) to demarcate the plot of a collaborative network comprised gradually, without my knowing what would be your final design. Of interpretative, the demarcations obtained by this network were organized in a kind of atlas where it is possible to investigate the development of maps as an analytical tool and building ideas. Through discoveries engendered by these moving landscapes would highlight aspects of drift and wandering (DEBORD, 2003; CARERI, 2013; CERTEAU, 2014) as creative positions around teaching and creating art practices. Finally, seek references in the practices of craftsmen (SENNET, 2009) and aim for a job associated with convivial experiences with emphasis on processes. Through these notes emerge collaborative practices, which I believe can contribute to circumscribe a wider knowledge on how to act in different spaces of mediation.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 A arte como a glória de qualquer um no museu do mundo e a gravidade do silêncio(Universidade Federal de Goiás, 2016-10-21) Sá, Rubens Pileggi; Basbaum, R.; http://lattes.cnpq.br/2307960927958416; Climaco, J. C. T. S.; http://lattes.cnpq.br/4105136553667901; Climaco, J. C. T. S.; http://lattes.cnpq.br/4105136553667901; Cesar , Marisa Flórido; Ribeiro , Gisele Barbosa; Jesus , Samuel José Gilbert de; Chaud, Eliane MariaFrom a historical problem that dates back, in Brazilian art, the Concretism and the Neoconcretismo, I develop, since 1998, an artistic trajectory that uses the street like one laboratory of actions, manifestations and artistic interventions. My work is embodied in the relationship between the "expanded field of art" with the body, object and space. It turns out that during of the development of the thesis, I notice an obvious limits of this type of production to of the dissolution of the artistic field, increasingly subsumed by the sociological discourse, making it a sort of commodity to be traded as resistance art. The problem moves then to an investigation of appropriations that can be made that field - place without place - to incorporate them and transform them, at its base, so that art can still be produced once. And if, at first, the statement of a relationship between art and life becomes a militant way, programmatic and pragmatic, in a next moment requires a reflexive deepening method and language. The solution I found, caused by the tension of the current political moment, was to turn my attention to work betting on negativity, in exploring the dimension of emptiness and silence, thinking the lack as a possibility to add an idea, through the viewer's imagination. The practical result is the creation of a glass box, designed to fill the space of a door by means of resonance sound effect and vibration speakers, revealing a small continuous motion. My intention with this is to suggest a situation of instability and the imminence of a possible tragedy, condensing the premises of the field expanded into the critique of institutional debate.Item Vida de boneco: um filme para pensar a respeito do uso de bonecos em produções audiovisuais(Universidade Federal de Goiás, 2016-11-01) Oliveira, Flávio Gomes de; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Oliveira, Selma Regina Nunes; Silva, Thiago Fernando Sant’Anna e; Christino, Daniel; Franco, Edgar SilveiraThis work consists of a research on the use of puppets in many audiovisual productions, and also at analyzing the various types of puppets that are made for this type of application. After this analysis, map production system of this type of character by means of an inventory of the main characteristics that involve the proABSTRACT duction, use and animation of this type of character. Finally, propose the production of a short film made with various puppets that exemplifies the data obtained during the bibliographical research, this step presents the production processes of each type of puppet and the animation process thereof.