Doutorado em Arte e Cultura Visual (FAV)
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Item 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 daThere 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.Item 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 SilvaThis 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.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 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 daIn 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.Item 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 daThis 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.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 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 eThis 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.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 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 Avessos da docência em artes visuais(Universidade Federal de Goiás, 2018-02-02) Guimarães, Alexandre José; Guimarães, Leda Maria de Barros; http://lattes.cnpq.br/1491866271915819; Guimarães, Leda Maria de Barros; Damião, Carla Milani; Jesus, Samuel José Gilbert de; Pimentel, Lucia Gouvêa; Ribeiro, Luciana GomesThis study deals the averse teaching of four visual arts teachers in the professional education context from their life histories. In order to discuss variables of the teaching images about the professional education teacher, the teaching work of the Federal Institute of Goiás was investigated through questions about: a) the art teachers identities in a school of technicist tradition; b) the teaching training processes in transit and in different places from and beyond school; c) the historical contextualization of the Brazilian professional education matrices; d) the dialogues between the artistic work and the teaching work as actions that feed back. For methodological inventions, the issue discussed was: how does an investigation in art invite me to experiment the art and how this artistic production infiltrates in a research problem? By understanding the art research as a research narrative this study was built at the same time that it told its story - a metalinguistic game that took shape while maintaining a pedagogical dialogue with itself. In this sense, this study arrives in appoitments such as: a) an identity crisis of the federal network teacher; b) the tension movements for the art education in the technical education context; c) the reaffirmation and reconfiguration of the professional education colorization throughout our histories; d) the necessity and the urgency to think about the art teaching practice in the professional education scope; e) the collegiality as an inseparable element for the art teacher formation; f) the artistic work (or experience) approximation with the teaching work as a dialogical action. In this way, we experimented an archaeological exercise to dig our and other stories for the understanding and reconfiguration of our profession contributing to the identity constitution and our difference within the public education.Item 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 Bonecos na colônia penal: uma adaptação contemporânea de Kafka(Universidade Federal de Goiás, 2023-07-28) Neiva, Dustan Oeven Gontijo; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Franco, Edgar Silveira; Oliveira, Flávio Gomes de; Machado, Fábio Purper; Oliveira, Ivan Carlo Andrade deStorytelling is an act pertinent to human beings in all societies and cultures. The ways of telling these stories are varied. Cinema uses the resource of adaptation of literary works, since its origin. In this investigation into art, I address the issue of transposing literary works to audiovisual, particularly animation. This is a theoreticalpoetic research that led to the production of an animation film based on the novel In The penal colony, by the Czech writer, Franz Kafka. In the development of this research, I use an autobiographical work methodology to establish the relations between Kafka's text and my creative process. The film The Penal Machine brings Kafka's work to the contemporary world, under my artistic perception.Item Bóra fazer filmes? Realização cinematográfica colaborativa em lugares de aprender(Universidade Federal de Goiás, 2022-08-26) Pereira, Renato Cirino Machado Alves; Martins, Alice Fátima; http://lattes.cnpq.br/2768377569632609; Martins, Alice Fátima; Abreu, Carla Luzia de; Perotto, Lilian Ucker; Guimarães, Leda Maria de Barros; Oliveira, Paulo Passos dePotentially, every person is a storyteller, no matter if their stories are literal or whimsical, real or fictional. In times of Computer Mediated Communication and social media immersion, cinematographic narratives are key elements to building our imaginary and identities. With that in mind, this doctoral dissertation explores learning spaces and the minimum resources that may be required to create these film narratives through collaboration and solidarity. Thus, this research work emphasizes a cinema that is built upon the everyday visual gestalt of individuals and their experiences in communal learning spaces that, in addition to spaces, are people, experiences and, above all, communities. First, this research created a systematic analysis of the works by the Sistema CooperAÇÃO Amigos do Cinema, and its work of developing movie narratives with limited physical and financial resources, and with the participation of individuals with no prior experience in the film industry. Through the experience gained from the immersion of the Sistema CooperAÇÃO Amigos do Cinema work, and the tools and methods proposed by a/r/tografia and narrative research studies, this research study further investigated the methods of cinematographic production in the formal education program offered by the visual arts curriculum at the Waldemar Mundim, Colégio da Polícia Militar de Goiás. These findings comprised considerations about the role of relationships and practical circumstances, which were created mainly from the concepts (creation and execution) students have of film and cinema processes themselves and based on the preconceptions related to cinematographic narratives as pedagogical tools. It was possible to verify the use of the Poetic of Solidarity concept both in and out of the school setting, as proposed by researcher and filmmaker Alice Fatima Martins. This curricular experiment culminated with the creation of the First Audiovisual Fair of the Colégio da Polícia Militar de Goiás, Walter Mundim, in which premiered 19 films that were completely conceptualized, produced, and shot by students of the program, three short-feature films and one feature-length film, O Legado do Artifice (The Craftsman Legacy). Therefore, this research work contributes to the theories of multi-visualities used to mediate the social relations within the context of school and education. Also, it reflects upon the development of curricular activities of students through the conceptualization and execution of films.Item Caixas das verdades e as imagens de vivências trans sob o olhar da cultura visual: as imagens educam os olhares(Universidade Federal de Goiás, 2024-08-08) Soares, Márcia Santana; Dering, Renato de Oliveira; http://lattes.cnpq.br/7891833942208165; Silva, Thiago Fernando Sant’Anna e; http://lattes.cnpq.br/9735682996647548; Silva, Thiago Fernando Sant’Anna e Silva; Dering, Renato de Oliveira; Borges, Guilherme Martins Teixeira; Parreiras, Vicente Aguimar; Guimarães, Leda Maria de BarrosThe theme of this research is “"Boxes of truths" and images of trans experiences from the perspective of Visual Culture: images educate the gaze" and aims to problematize the formation of gender identity, social representation, the place of speech, the coloniality of being in Visual Culture studies, from a Foulcaultian perspective, presenting the visuality of the hegemonic discourse around sexuality and the resistance of each of the research subjects, Nádia Köller and Nicolas N. Mardem, through the image of family albums and narratives, in order to discuss contravisuality and experience decolonial literacy, associated with the object of Visual Culture. In the construction of feminine and masculine, there are power disputes, which reinforce the discourse of heteronormativity and the binary question (man/woman),while other identity categories are present in the social environment and claim the right to be visualized. A look at transsexuality based on queer theory breaks with the binary logic of sexuality, rejecting what society, culture and language aim to instill on the surface of subjects. When society dictates heteronormativity as the standard of conduct, gays, lesbians, transsexuals, asexuals andintergenders are seen as subjects who deviate from the heterosexual norm, and thus suffer discrimination. Thus, 'it is necessary for the formal/informal educational process to be able to discuss diversity, sexuality, empowerment and prejudice through portraits fromthe personal collection of transgender people and to understand how such images can educate gazes, bodies, and bring the cultural and social meaning of the subjects involved, mediating images and Visual Culture through classroom experience, through decolonial literacy with third-year high school students at Colégio CEPAE - Centro de Ensino e Pesquisa Aplicada à Educação. Thisresearch will be carried out using the inventory and descriptive research method, of an ethnological and cartographic nature, with a photomemory and photogenerominory procedure.Item As caixas de memórias de Marilda de Godoi: arquivo, visualidade dos corpos e poder (1889 – 1969)(Universidade Federal de Goiás, 2017-02-07) Ribeiro, Rafaella Sudário; Silva, Thiago Fernando Sant’Anna e; http://lattes.cnpq.br/9735682996647548; Silva, Thiago Fernando Sant’Anna e; Chaud, Eliane; Berardo, Rosa Maria; Biserra, William Alves; Arbues, MargarethEsta tesis doctoral tiene como principal fuente de investigación las fotografías. Eso permite el análisis de las imágenes de los cuerpos de mujeres y también la construcción de la imagen del género femenino en los retratos de familia, así como de sus papeles y funciones sociales delante de los mecanismos de construcción de la diferencia de la sexualidad. Para llevar a cabo esta propuesta de trabajo, se seleccionaron dos colecciones fotográficas: la colección privada de Marilda de Godoy y la colección de dominio público titulada "Colección iconográfica Marilda de Godoy", que se encuentra bajo vigilancia del IPEHBC (Instituto de Investigación Historia de Brasil Central). La colección fotográfica privada de Marilda forma parte de su colección de documentos, que también constituye el material empírico de investigación para el desarrollo de esta tesis. Más allá, este estudio presenta las problematizaciones de los archivos, sus conocimientos y las maneras de archivar y ordenar establecidas por Marilda, con el fin de conformar su colección de documentos y, por lo tanto, preservar la memoria de su vida y de su familia. Se cree que la visualidad de estos retratos corrobora los "regímenes de visualidad" que forman un sistema de "reglas", estableciendo las "formas de ver" y representar visualmente el mundo, guiando las relaciones de género, los roles sociales, las relaciones interpersonales y la familia. En este sentido, la imagen fotográfica es comprendida como un rastro del documento o artefacto resultante de la interacción social que, a su vez, produce sentidos articulados en las narraciones visuales. Este trabajo, por lo tanto, se delinea en la investigación con/en imágenes, en una perspectiva de la crítica visual y de la crítica feminista para analizar las imágenes de los cuerpos y de sus mecanismos de disciplina que aparecen en las imágenes fotográficas. Estos son los instrumentos que impulsan las prácticas sociales en sus patrones de comportamiento, capaces de producir sentido y engendrar a la gente en las redes relacionales.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 Cinema imersivo: narratividade cinematográfica na perspectiva da realidade virtual(Universidade Federal de Goiás, 2017-06-17) Souza, Guilherme Mendonça de; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Clímaco, José César Teatini de Souza; Silva, Thiago Fernando Sant´Anna e; Christino, Daniel; Borges, Rafael de Almeida TavaresThis exploratory research is based on the contemporary context of the relations between virtual reality and cinema. The thesis seeks to demonstrate how the technological advent influences the forms of communication and artistic manifestations, as well as brings out the emergence of emerging narratives. Immersive cinema (imercine), backed by the traditional cinematic language, suggests adaptations and significant changes in modes of production, exhibition and reception. The artistic project proposes the production of an immersive film (imerfilm) whose plot is inserted in the virtual reality environment.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 Conversações hipervisuais: vamos falar sobre olhares masculinizados?(Universidade Federal de Goiás, 2018-03-15) Ospina Álvarez, Juan Sebastián; Martins, Alice Fátima; Grossi, Miriam Pillar; Henning, Carlos Eduardo; Abreu, Carla Luzia de; Martins, RaimundoThe present thesis intercrosses the visual cultures studies and the gender studies, having as object of analysis six encounters which made up the NarrATIVIDADES extension project. Genders Lab and narratives, which happened in November and December 2015, March and April 2017, in addition to the narratives produced by the people who committed themselves to the registered design from the School of Visual Arts (FAV) at the Pro-rector of Extension and Culture (PROEC) from the Federal University of Goiás (UFG). Masculinities in this study are treated as cultural constructs that are supported by the variety of speeches to operate in societies. For this reason, after reports of several visualities are problematized, these constructs of discipline and control that not only relate to the scope of the affective-sexual, but also to the domain of symbolic production. In this sense, this research craved analyze the possibilities and deconstruction strategies of visualities on masculinities and masculinization of looks, this from hypervisuals talks, works with memories and narratives produced by the group of students and teachers on the main subject of research: objectification and women hypersexualization, especially black women and black men; invisibility of the non heteronormative identities and androcentrism in using audiovisuals and media devices. The methodological approach nicknamed and used in this process corresponds to the hypervisual conversations that consist in an expansion of a narrative research expansion from works with visualities and countervisualities. To better comprehend the proper use of the term ‘hypervisuals’ are threshed, throughout the text, discussions around the concept of visual, visual images, the visualities, the countervisualities, the scopic regimes and many other terms of the studies of visual cultures. Since it’s a study linked to the Line of Image Cultural Research of image and Mediation Processes, this research outlines also the use of hypervisual narratives as possible to develop pedagogical processes with deconstructivist bias.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. .