Programa de Pós-graduação em Arte e Cultura Visual

URI Permanente desta comunidade

http://200.137.215.59/tede/handle/tde/189

Navegar

Agora exibindo 1 - 20 de 282

A estética do cinema nazista na produção dos sentidos na comunicação política no Brasil
(Universidade Federal de Goiás, 2023-11-30) Jimenes, Roberto; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Silva, Thiago Fernando Sant’Anna e; Anjos Neto, João Dantas dos; Carneiro, Rose May; Costa, Marcelo Henrique da
There are many studies that address Nazi Cinema and this had a fundamental role in Hitler's plans, with cinema being the main means of communication used at the time. Several were the cinematographic languages used, however, studying Nazi cinema against the study of visual culture, it is possible to draw a parallel between some points: such as the relationships between visibility (what cinema provides), visuality (the new cinema: entertainment x politics) and power (Nazism), which transform the universe of symbolic understanding among the German population. Is it possible that, when analyzing the images of this cinema, we cannot propose a counter-visuality, if we consider its aesthetics associated with a new analysis of the production of meanings. The implications regarding these visual experiences in a society increasingly centered on the meaning of the gaze, and its repercussions even today in the universe of political and governmental communication in Brazil.
A poesia slam e suas des-margens
(Universidade Federal de Goiás, 2023-11-17) Boleão, Jossier Sales; Martins, Alice Fátima; http://lattes.cnpq.br/2768377569632609; Martins, Alice Fátima; Andrade, Emile Cardoso; Santos, Michelle dos; Guimarães, Leda Maria de Barros; Meira, Elinaldo da Silva
This thesis is an exercise in looking at slam poetry, focusing on the movement in Brazil and making some reflections from the field of Visual Culture. Slam poetry emerged in the early 1980s in the United States and since then has spread to several countries. In Brazil, slam poetry arrived in 2008, the country being one of the references for the quantity and diversity of slam groups spread, in addition to other elements that make up many particularities of each group. The notes made in this text follow the trajectory that begins in the autobiographical path and expands in avenues when finding slam poetry, and understanding it as a poetic act, transfiguring itself into energy of resistance and occupation of seeing, hearing and feeling. The direction in which the thesis is constituted arose from the following questions: what visualities and countervisualities do slammers promote, summon and provoke, from the poems that overflow their bodies? Which narratives mobilize and want to propose? The consequences resulting from these inquiries originate in the investigative work that began in 2019, from the participation in poetic slam battles, in the city of Goiânia, in Goiás and, with the arrival of the covid19 pandemic, the research moved to the competitions that took place in the environment of digital platforms. Given this context, the material that drives the reflections presented here is diverse and comprises various nuances of what already exists in the systematization of slam poetry. That being said, the perspective addressed supported by visual culture covers the dimensions of the poetic act from a pedagogy of slam poetry, from its understanding as cirandas of knowledge anchored in popular education and in the politics of the word, in which the need becomes a voice and the poem becomes the terrain of revolution, since the event in the format of popular assemblies, adding the competitive element between artist poets. In addition, this thesis follows the paths of slam poetry as an insurgency through counterpoetry, in its decolonial exercise, since its aesthetics goes towards the sanación of colonial wounds, having as its power the poetic fabrication of the visual city, without losing the reflections of a pandemic poetics in a regime of denial in Brazil governed by the extreme rightwing, until the year 2022. It finally enters the conditions of this poetic work during longdistance connections by populating digital platforms with poetry and other sensitive exercises. The systematized elements are not intended to show fixed answers, but to point to other perspectives of looking at the slam poetry movement and at artists who reconfigure the scene in everyday life.
Abordagens das práticas comunitárias em espaços públicos por meio da poesia têxtil
(Universidade Federal de Goiás, 2019-08-18) Castañeda Demesa, Itandehuy; Martins, Alice Fátima; http://lattes.cnpq.br/2768377569632609; Martins, Alice Fátima; Santos, Noeli Batista dos; Guimarães, Leda Maria de Barros
This research addresses some concepts of textile art as a means of manifesting the contemporary collective creative processes of women, youth and the elderly in public spaces, through the events of Mulherio das Letras - Goiás Edition, (2017) and Mulherio das Letras, (2017 ), in João Pessoa, in the state of Paraíba, Brazil. In each of the events, textile poetry was developed through the use of words and textile embroidery, performed mainly by women of different ages. I also reflect on art education and the visual arts, and on some approaches to visual culture in two workshops held in the year (2017), at the Federal Institute of Goiás (IFG) and the Center for Teaching and Applied Research in Education (CEPAE). In these workshops, I developed a creative process with the students, through textile poetry and approaching the production of contemporary local poets through the manual art of embroidery and fabric. In the course of this research, the influence of Visual Culture theories and fieldwork experiences in textile poetry workshops made me think of a personal artistic production that proposes a dialogue with some of the theories addressed in this research and experiences as a researcher and artist. . The research went through several spaces of the cultural and educational artistic circuit of the city of Goiânia and João Pessoa. And this led me to reflect on three significant points for the research 1) The relationship of open public spaces with visual culture, visual arts, textile poetry workshops and violence against women. 2) How do the artistic creative processes generated from public spaces and the learning process and education happen? 3) How research dialogues with personal artistic creative processes and school space. This research has created a plot between theories and experiences that needs to be unraveled in order to understand a little more about the web of connections between visual arts, visual culture and textile art.
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 Fátima
This 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.
Ações poéticas urbanas: processos e práticas coletivas, artísticas e pedagógicas
(Universidade Federal de Goiás, 2022-11-14) Nogueira, Emilliano Alves de Freitas; Silva, Thiago Fernando Sant’ Anna e; http://lattes.cnpq.br/9735682996647548; Silva, Thiago Fernando Sant’ Anna e; Somma, Fernando Nelson Miranda; Laurentiz, Luiz Carlos de; Guimarães, Leda Maria de Barros; Silva Filho, Raimundo Martins da
In this research, I propose a reflection about collective, artistic and pedagogical processes and practices, having as object of study the production carried out by the Urban Poetic Actions Collective (CAPU), made up by members of the academic community of the Federal University of Goiás - Goiás Campus. I will introduce investigations questioning the reading, apprehension and ways of intervening in the urban space from artistic practices, and the learning processes involved in it, considering the interrelation between art, visual culture, education and architecture and urbanism. The study of urban collective practices in this research intends to articulate art and politics, from these actions investigation and how the pedagogical practice takes place through the experience in art actions in urban space. With a qualitative character, I intend with this work to understand how artistic and educational processes are built, using a/r/tography as a research methodology in the practices of the Urban Poetic Actions Collective, questioning the roles played by me in this process, as an artist, a researcher, a professor and a CAPU member. In the context of Goiás City, six interventions created by the collective will be introduced, producing counter-visualities as questioners of the hegemonic narratives in the city, highlighting the potential of these actions in discussions about memory, heritage and city. From these actions, I will discuss the relations produced between the artistic making and the knowledge that is built from collective creation, covering the paths of conception, production, presentation, mediation and criticism.
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 Oliveira
We 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 .
Advergames e educação da cultura visual: um estudo sobre a noção de juventude em “Mais Fanta, mais diversão”
(Universidade Federal de Goiás, 2017-04-26) Tavares, Jordana Falcão; Silva Filho, Raimundo Martins da; http://lattes.cnpq.br/1270126774554014; Silva, Thiago Fernando Sant’anna e; Miranda, Fernando Nelson Somma; Santana, Arão Nogueira Paranaguá de; Ribeiro, José Maria Gonçalves da Silva; Silva Filho, Raimundo Martins da
This investigation, developed between 2013 and 2016, try to understand the concept of youth and its media representation taking as theoretical support reflexions of Visual Culture Education. To perform field work was chosen an artifact that is increasingly present in young's lifes: videogames, specifically, advergames, electronic games designed to promote brands or productsThe field work was planned to allow the interaction of the young participants with the advergame "More Fanta, more fun" and Fanta advertising campaigns in order to examine the understandings builded by the media around the idea of being young. The group was formed by 14 students, aged between 10 and 16 years. They were studied at a public school placed in a peripheral region of Goiânia.They gave opinions about the narratives and characters of the games, as well as about technology, consumption and the notion of youth. The topics discussed at meetings with the group are also the body of this investigation, divided into five chapters. The first chapter presents the reader to the concepts of game and advergame. The second discusses principles that underlie the relationship between games and education. The methodology is described and detailed in the third chapter including fieldwork and a netnography on the virtual space of the games. The concept of youth is addressed and discussed in chapter four. The fifth and final chapter consists of the analysis of the lines of young research staff. It is worth mentioning that the conclusion is an arrangement that took into account the characteristics of the Group of participants, but especially the various changes imposed to the initial planning of the research by changing its course.
Álbum de Montes Claros (1927). Estudo crítico a partir das fotografias de Serafim Facella (1927-1939)
(Universidade Federal de Goiás, 2014-08-25) Nassau, Juçara de Souza; Monteiro, Rosana Horio; http://lattes.cnpq.br/9262982142956906; Monteiro, Rosana Horio; Monteiro, Charles; Oliveira, Adriana Mara Vaz de; De Jesus, Samuel José Gilbert
This research investigates the production of cities' photographic albums, made in the late Nineteenth century and the first decades of the Twentieth century in Brazil. We pursue to reflect about the use of photography as propaganda of urban transformations, as social and visual representation through the city albums and the resulting documentation of the city's memory. We study particularly the Album of Montes Claros, city in northern Minas Gerais, produced in 1927, and, through its disassembly, we developed a new version with the inclusion of photographs taken by Serafim Facella (1893-1980) between 1927 and 1939. Therefore, we present a new visual narrative about the city of Montes Claros.
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 Maria
The 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.
Análise e desenvolvimento de uma narrativa fílmica a partir do discurso fotográfico: Chris Marker como referencial
(Universidade Federal de Goiás, 2012-06-13) Carvalho, Luciana Miranda de; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Guimarães, Leda; Mendonça, Maria Luiza Martins de; Monteiro, Rosana Horio; Gomes, Suely Henrique de Aquino
The main objective of this research is to trace a line of reasoning since the time of the first machines to reproduce the illusion of movement, through the film until the 1960s where did my object of study: the French short film, fiction, La Jetée. From then on it was a brief technical analysis on the a esthetic film that Chris Marker (the author of the film) used in his narrative. Not leaving out a list of photofilmes produced in Brazil for a better contextualization of this type of animation pictures today. Finally, we elaborate on the practice, a movie production, using the same format as that quoted above short film: photographs. This visual narrative, the genre of fiction, has a structure in its cinematic language.
Animação e diversidade: gênero trans e arte Sudaca – aquarelando com pigmentos naturais para além do azul e do rosa
(Universidade Federal de Goiás, 2020-03-09) Santana, Janayna Medeiros Pinto; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo , Rosa Maria; Rodrigues, Manoela dos Anjos Afonso; Oliveira, Flávio Gomes de
You, reader or reader, consider this text as an essay in which I bring part of my concerns and experiments from research in art, which has as a differential the focus on making conceptual images that illustrate a script for animation, which were watercolored with natural pigments. The proposal consists of developing, under the theme LGBTQI +, an animation script, until the production of watercolored manual drawings with natural pigments that represent it visually. It is projected through the theoretical-methodological construction of weaving, to take place through such a method in written and audiovisual language, to the elaboration of a final product, being a documentary about the process of creating these images that illustrate my script in a version for a storyboard. The proposal is structured around the protagonism of history by a trans character (woman / girl), in the name of a Sudanese art, which seeks to break with the ideological paradigms of a hegemonic western culture, which presents the differences in stigmatized, violated and silenced. Dialoging with the place, the Cerrado, and the re-existence of this biome in the face of an agricultural culture that devastates it out of ambition, in the name of food and the maintenance of society. I sought to explore its natural diversity in terms of its color palette to be printed in watercolors, where I come to call for a policy of identities and place. In a “tangle” of relevant discussions, the fact of the emergency in dealing with current and controversial issues, such as the re-existence of trans people and the confrontation of violence to the LGBTQI + group, stands out and together problematize the re-existence of the Cerrado biome, highlighting it o in its plurality.
Anuviô
(Universidade Federal de Goiás, 2023-07-20) Oliveira, Julliana Rodrigues de; Rodrigues, Manoela dos Anjos Afonso; http://lattes.cnpq.br/7111235725963338; Rodrigues, Manoela dos Anjos Afonso; Nascimento, Ana Reis; Perotto, Lilian Ucker
This research is constituted as a walk to desanuviar, a process of unroll ideas, clearing my mind, finding the threads of the skein. It was something I needed to do from the moment I received the news that catalysed this whole process of artistic investigation from its inception: that my maternal grandmother, Dona Leonor, had passed away, in March 2020, the beginning of the COVID-19 pandemic. The main aim of the research is to demonstrate how autobiographical elements, material and immaterial, catalyse artistic poetics and creation processes at the confluence of art and visual culture in a critical and political way. Therefore, this is an autobiographical research in art,seeks to investigate an artistic practice that culminates from the interweaving of artistic research with life stories from the experience with mourning. I autobiograph in life and performance and generate images and visualities to fight against the colonization of my memories, through an autobiographical making that is a political exercise of voice reclamation in an era of deletions. I must emphasise that this writing is not an autobiography in the strict sense, that is, an autobiography as a literary genre. This writing gives body and form to a master's dissertation that deals with reflexivity in order to identify the autobiographical elements that are being incorporated into an artistic production that points to strategies that were already being built together with Coletivo Bunker, a performance collective in which I have participated for years. Aspects such as the relationship with the body and the investigation of affections are being articulated through an art and life production that is expressed through walking and threads.
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/9735682996647548
The 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.
Aprendizagens em Devir na cidade: visualidades, excessos e narrativas cotidianas
(Universidade Federal de Goiás, 2017-01-30) Vaz, Tamiris; Silva Filho, Raimundo Martins da; http://lattes.cnpq.br/1270126774554014; Silva Filho, Raimundo Martins da; Miranda , Fernando; Ferreira , Luiz Carlos Pinheiro; Martins , Alice Fátima; Silva , Thiago Sant’Anna e
This research explores becoming’s of learning in quotidian paths done in and around a neighborhood of the city of Goiânia (GO). Through relations between the researcher’s daily life, urban visualities and meetings with other inhabitants of the neighborhood in which she resided during her doctorate, she produces learning narratives in which image and text dialog and complement themselves. Mobilizing percepts by the action of photographing, some visualities surpass the author’s singularities, becoming Excesses that provoke new thoughts. As a recently arrived outsider, she learns by these excesses at every moment that she turns to see, to think, to listen, to speak and to write about the images/narratives she produces. Between urban interventions and talks with the inhabitants, triggered affects provoke other glances about the city and about researching, configuring multiple paths of learning that are always in process.
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 Maria
From 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.
Arte contemporânea na formação de professores [manuscrito]: um estudo com alunos da licenciatura em artes visuais da UFG
(Universidade Federal de Goiás, 2009-04-28) VALENÇA, Kelly Bianca Clifford; SILVA FILHO, Raimundo Martins da; http://lattes.cnpq.br/1270126774554014
The way artifacts influence and are influenced by culture is a recurrent topic in the contemporary scene. Images, toys and art works integrate such ideological framework which impels behavior and contributes for an alienated consumption. To educate in a context in which images seduce and attract for consumption invading our daily life is one of the challenges of art teaching. Contemporary art has a potential to give voice to students subjectivity and to promote dialogical, critical and inclusive learning. This work investigates the way how six students, future teachers three women and three men attending the Visual Arts Teaching Program at the Visual Arts College of the Federal University of Goiás, understand and interrelate with contemporary art images as their teaching object. Inspired on my observations concerning the resistance to the use of these images in classrooms, this research constitutes a sample of collected data that builds a net of point of views that sometimes overcross, sometimes diverge, but, especially, reflect pedagogical, social and cultural issues naturalized in the understandings and conceptions of those future teachers. Developed through individual interviews and focal groups, this investigation is oriented by a qualitative methodological perspective which considers images, talks, silences, gestures and reactions as part of a critical and constructive analysis of narratives that dialogue with visual culture
Arte de terreiro matriarcal: trabalho de mulheres da Casa de Caridade Luz do Alvorecer
(Universidade Federal de Goiás, 2023-07-05) Santos, Fabiana Francisca; Franco, Edgar Silveira; http://lattes.cnpq.br/8415486629956081; Rodrigues, Manoela dos Anjos Afonso; http://lattes.cnpq.br/7111235725963338; Rodrigues, Manoela dos Anjos Afonso; Albuquerque, Maria Betânia Barbosa; Anaquiri, Mirna kambeba Omágua-Yetê
In this art research I propose an investigation of the artistic poetics and creation processes of a group of daimista and umbandista women members of the Casa de Caridade Luz do Alvorecer (CCLA), of which I am also a member. The research is based on experiences and methodologies of terreiro education and decolonial approaches, to reflect on the collective and creative practices that have been developed in CCLA. I also propose to recognize these practices as tools for the emancipation of these women while they produce and reproduce ancestral visualities. To reflect on the phenomenon that occurs when the visualities of the terreiro enter into a colonial logic through the social structure. The images and their reverberations produced by the terreiro become a counter visuality, looking at the colonial visuality as a reference. The study of tools of freedom, which in a spiritual school, as producers of knowledge, rituals and thoughts, generate awareness of the prevailing hegemonic visualities, valuing the images and narratives of native peoples, through their cultural references. The collective production of knowledge produced in the CCLA are powerful tools against the epistemicide and historicide processes.
Arte e cotidiano: experiência homossexual, teoria queer e educação
(Universidade Federal de Goiás, 2007-04-24) MARQUES FILHO, Adair; SILVA FILHO, Raimundo Martins da; http://lattes.cnpq.br/1270126774554014
Inspired by post-modern uneasiness, contemporary culture opens possibilities for individual and collective manifestations that look for demands restrained by the ideals of modernity. Into this scene I bring authors and ideas as a way to create and occupy spaces in a context of control and repression in relation to queer individuals or, more specifically, queer atitudes. Critical, transgressive positionings formulated and experienced by theoreticians and activists in the areas of sexuality, human rights, arts and social and cultural movements raise questions that are yet, taboos in the contemporary scene and which are intensified in the field of art/education. This investigation privileges aspects of the life history of two artists from Goiânia (Goiás Brazil). These histories are examined from a perspective that move across visual culture, queer theory and art/education, discussing topics such as the appropriation of the masculine body in contemporary art; body as a territory of ideological and political struggles; art/education as a form of transformation and intervention in the ways of seeing, feeling and acting; the process of artistic formation and its importance in cultural and visual experience, and, finally, queer theory, supported by feminist and post-estruturalist thinking, as a way to contravene conventions and norms.
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 Siveira
This 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.
Arte/vida/trabalho e experiência docente: Produção de sentidos de hiphoppers da Vila Pedroso
(Universidade Federal de Goiás, 2010-03-22) PEREIRA, Vânia Olária; GUIMARÃES, Leda Maria de Barros; http://lattes.cnpq.br/1491866271915819
This research falls within the area of Education and Visuality of the Post-Graduate Visual Culture and discusses the meanings produced by social actors participating in the hip hop movement. The instrumental framework of support for the interpretations is composed of theoretical notions and postmodern research which is inserted in the Field of Cultural Studies. The work field rescues experiments that are carried out, in addition to those undertaken teaching experience before the masters, presented in the classroom reports, interviews and records imagistic. I adopt methodological quality/ reflexive principals for the research. Starting from a baseline of intent and ignorance, I expose the motivation and the origins of this study: I reflect on my teacher training and the Hip Hop Project, held at the Municipal School Madre Francisca in 2005. I follow the trajectory of the members of the Madre Hip Hop group, already outside the school, seeking to contextualize the neighborhood where they live and where the school is located - Village Pedroso, in the eastern region of Goiania. I seek an approach with the culture of the research subjects, discussing its conditions and social situations, political and aesthetic, through testing interpretive summaries. I attempt to identify how the analysts classify and understand their artistic productions, in contrast to some general arguments of the critique of popular art.

Navegar

Navegando Programa de Pós-graduação em Arte e Cultura Visual por Título

Resultados por página

Opções de Ordenação