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Item Estéticas da existência: a moda nos Festivais de Rock (Goiânia Noise Festival e Lollapalooza Music Festival-2008/2009)(Universidade Federal de Goiás, 2010-04-13) ABDALA, Lorena Pompei; MENDONÇA, Míriam da Costa Manso Moreira de; http://lattes.cnpq.br/8573276727905431This dissertation deals about the care of the self as a mediator of the construction of identities, which legitimize the existence of the socio-cultural subjects. Through the visual narratives produced in the scenario of rock festivals, were traced the relationship of fashion as a tool for the construction of identity. The fashion, understood as a social and cultural practice operates as an existential support in the setting of the visual symbolic representation of a given culture at a given time and space history. The figures of speech created by the practices of fashion generate social archetypes that become signs of a life style. The dress becomes a whole system of meaning. The analysis is based on photographs taken of goers of the two festivals (Festival Goiânia Noise and Lollapalooza Music Festival), noting that were considered the subjects photographed and not the photograph itself, as supported by observation. The study was structured considering the symbolic systems as creators of communities of existence and fashion as a form of social practice. Thus, the work is grounded in the discourse of fashion in the form of how identities are determined by simulations made by the groups / tribes and how to establish mediated existence poetics of everyday wear.Item Brasília gravada(Universidade Federal de Goiás, 2008-03-27) AFONSO, Manoela dos Anjos; FRAGOSO, Maria Luiza Pinheiro Guimares; http://lattes.cnpq.br/6228855946764716; CLÍMACO, José César Teatini; http://lattes.cnpq.br/4105136553667901This Master dissertation is mainly composed by some reflections about the creation processes that have brought me to the beginning of a new engraving production. The graphic research showed here was made from 2003 to 2005 and is a result of my affective relation with Brasilia through several languages. As I got to know the city, initially having a foreign look over it, I came from the architecture to its history and then to the Nicolas Behr´s poetry. In that constant transit I made the Brasília Gravada engraving series, which became a thinkingthe- city graphic place.Item Percorrendo Tangerine: discursos e territórios da memória(Universidade Federal de Goiás, 2019-04-22) Alexandre, Alda; Martins, Alice Fátima; http://lattes.cnpq.br/2768377569632609; Martins, Alice Fátima; Dias, Luciene de Oliveira; Ferreira, Glauco BatistaThis paper proposes to discuss, in the perspective of the Queer Studies or Theories and in the context of Visual Culture, how conceptions related to gender are reflected in the discourse of the protagonists of the film Tangerine (USA, 2015) by Sean Baker and also to the notion of what it is to be a woman. This analysis comes from the concept of performativity diffused by Judith Butler as a specific modality of power, which acts as normalizing discourse, and it is reflected, in the field of enunciation, about the constitution of the genre. It is a reflection that was taken from the expression "real woman" used by the characters to refer to a street contestant, a cisgender woman, who appears in the history at first as her antagonist. Throughout this study the autobiography cutout is used as a methodological resource, in search of possible confluences between the experiences of the characters and those of the author in the bias of the discursive practices of gender, whose symbolic construction, in a cultural, social and family system is based on the notion that there are "real women." This analysis also goes through the scope of education, where the performative power of the statement is also guided by the binary notion of gender, contributing to the hypersexualization of female bodies and bodies outside the norm. It is a process that is taken to extremes when subjects who do not fit the shared pattern of heteronormativity are expurgated. The non- formal educational practices that are in the film intersect with the formal practices that have affected the author's experience as a teacher, which in turn are intrinsically related to the notion of identity that constituted her.Item Narrativas de patrimônio e percepções culturais sob a ótica da cultura visual(Universidade Federal de Goiás, 2011-05-09) ALEXANDRIA, Genilda da Silva; GUIMARÃES, Leda Maria de Barros; http://lattes.cnpq.br/1491866271915819This dissertation aims to investigate the relationship between patrimony and society, and in this sense focuses on the processes related to the building of this patrimony, by seek-ing out through the so-called narratives on patrimony a mélange of senses and under-standings about this theme and linked to the field of the visual culture. In reality, this is also a research under a clear-cut pedagogical approach, so that there is herein an inten-tion to re-read, reanalyze and reinvestigate, giving rise to a speculative review, the rela-tionship between identity and culture concerning the topic patrimony.Item A poética da mulher prendada: prática artística como estratégia de agência feminina no espaço doméstico(Universidade Federal de Goiás, 2023-03-30) Alves, Debora Taiane Oliveira; Rodrigues, Manoela dos Anjos Afonso; http://lattes.cnpq.br/7111235725963338; Rodrigues, Manoela dos Anjos Afonso; Cavalcante, Denise Moraes; Berardo, Rosa MariaThis research emerges from the confluence of the fields of art, autobiography and feminism, with the aim of transforming individual experiences lived at home into dissident artistic practices, which in turn create poetic places of political enunciation and stimulate female agency in the domestic sphere. It is through an artistic practice capable of subverting the idea of an “housewife” that I present the process of a series of works carried out between 2018 and 2022, exploring different aspects of the feminine private experience and bringing reflections with a feminist bias on family, housework, marriage, body and race.Item Simbiose: relações mútuas através do fazer artístico(Universidade Federal de Goiás, 2016-04-06) Alves, Don Gomes; Chaud, Eliane Maria; http://lattes.cnpq.br/0351688503655258; Chaud, Eliane Maria; http://lattes.cnpq.br/0351688503655258; Frade, Isabela Nascimento; Guimarães, Leda Maria de BarrosThe project "Symbiosis" aims to bring reflections on human beings and their relationship with the means they inhabit, whether for the environment, their habitat and/or other beings of our specie. In developing this search an experience was made in the Recycling Cooperative Healthy Environment (COOPERMAS), with activities and reflections that brought to light the prejudices surrounding that space, culminating in the use of art making how a relational tool among members and neighborhood working collective characteristics in a collaborative proposalIt was being built step by step. Human habits are put to debate this process and raise the power that cultural activities have to intervene in hostile environments, human working towards a connection between beings that circumscribe the cloth of Gaia.Item Caminhos cruzados artistas entre viagens, olhares e tempos: arte e ciência na expedição Langsdorff: séculos XIX e XX(Universidade Federal de Goiás, 2007-02-14) AMBRIZZI, Miguel Luiz; MONTEIRO, Rosana Horio; http://lattes.cnpq.br/9262982142956906The research CAMINHOS CRUZADOS. ARTISTAS ENTRE VIAGENS, OLHARES E TEMPOS: ARTE E CIÊNCIA NA EXPEDIÇÃO LANGSDORFF - SÉCULOS XIX E XX results from the study of a curatorial project in contemporary art ( O Brasil de hoje no espelho do século XIX Artistas alemães e brasileiros refazem a expedição Langsdorff , 1995, Dieter Strauss e Alfons Hug). This work, with a bibliographical study in Art History, History and Sociology of the Travel presents visualities readers of artworks produced by the artists of 19th and 20th centuries. The explorers / traveling artists like Rugendas, Taunay and Florence, in a context of The Langsdorff Expedition (1822-1829), and the contemporary artists Carlos Vergara, José Fujocka, Olaf Nicolai and Anatoli Juravlev, all they, development the relationship between Art and Science. The Langsdorff Expedition (1822-1829) between two ways of look, the landscape and the naturalistic view, including the representational notion of the Nature, produces a pattern of iconographic representation (scientific and documental). For this study, the travelers story in a scientific mission (Rugendas, Taunay, Florence) and their relationships with the historical and natural environmental includes and meets biographical elements and iconographic analysis and stylistic, technical and formal analysis. The representational and conceptual changes between 19th and 20th centuries are the background for the analyses artists works. This works are described and analyzed, in the project context, including the expedition and the artistic trajectory and production. In our time, Brazilians (José Fujocka and Carlos Vergara) and foreigns artists (Michael Fahres, Olaf Nicolai, Anatoli Juravlev) restores for the present The Langsdorff Expedition with multiples points of view, representations and languages with a intention to propose questions and problems to our own world. Key-words: Art History, travelers artists, Art and Science, Langsdorff Expedition.Item Relações de poder e de gênero nos livros didáticos de arte no ensino fundamental(Universidade Federal de Goiás, 2020-06-30) Amorim, Andréa Alcântara Almeida; Abreu, Carla Luzia de; Abreu, Carla Luzia de; Perotto, Lilian Ucker; Cabral, Valéria Fabiane Braga FerreiraThe research Power and Gender relations in Elementary School Art Textbooks has the main objective of investigating how images of textbooks and the relationship of their contents with gender and power issues, in addition to examining how they are received and used. materials by the art teaching professor in public and private school the city of Goiânia, Goiás. Based on the studies of Visual Culture and critical feminist studies of Art History, especially in his assertions about the invisibility of women in the oficial discourses of Art, questions and answers about the possibilities and limits of the textbook to work as gender issues, considering an opinion of a group of teachers and teachers of elementary school. This problematization was guided by the analysis of two collections indicated by the National Plan of Didactic Book (PNLD) in Art of the year 2017, directed to the final years of Elementary School (8th and 9th grade). Interviews were also carried out with a group of collaborating professors and a textbook author, to learn about the perception of these people about these teaching materials. It is expected with this research to problematize how images are selected to appear in textbooks, as well as to reflect about the importance of these materials in educational context, specifically, the Teaching of Art.Item Que memórias me atravessam? Meu percurso de estudante indígena(Universidade Federal de Goiás, 2017-12-14) Anaquiri, Mirna Kambeba Omágua-Yetê; Martins, Raimundo; http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4783162T3; Martins, Raimundo; Miranda, Fernando; Abreu, Carla Luzia deThis is an autobiographical research concerning my career as an indigenous and quota student in the Visual Arts undergraduate program at the Faculty of Visual Arts of the Federal University of Goiás (Brazil). The purpose of the research is to gather elements to understand how autobiographical narrative can help me in teacher construction, and how teacher construction can help my indigenous identity. The thesis is structured in four chapters. In the first one, I present a narrative of some key moments of my career as an indigenous student, focusing on my admission at the Federal University of Goiás, and on my experience in courses that have significantly contributed to my teacher training, as well as in postgraduate courses I attended as a special student. The second chapter is devoted to the processes of elaboration of this research. I make an exposition of the initial methodological intentions, report on the changes that have taken place and present the guiding questions of the research. Used as part of the methodological procedures, I present the performance "What memories cross me?", and describe the activities carried out in the field work. In the third chapter, I analyze the plots that were constructed in the course of field research based on the principles of Visual Culture Education. In the fourth chapter, I draw the final conclusions of my research, highlighting its main points and achievements.Item Decolonialidade e uma educação antirracista no ensino de artes: escrevivências e resistências(Universidade Federal de Goiás, 2023-07-25) Andrade, Vanessa Silva; Dering, Renato de Oliveira; http://lattes.cnpq.br/7891833942208165; Ferreira, Glauco Batista; http://lattes.cnpq.br/2193871294419921; Ferreira, Glauco Batista; Abreu, Carla Luzia de; Santos, Noeli Batista dos; Dering, Renato de OliveiraThe relationship between art teaching and the importance of visual culture is intrinsic, since thinking about visual culture is thinking about the constitution of society and the individuals who are part of it. However, throughout the history of education, the teaching of Arts has been anchored in a perspective, sometimes historiographical, sometimes to enumerate and punctuate characteristics about certain aspects or avant-gardes, reducing another type of proposal: reflection and criticism about this language. Therefore, there is, in this context, a trivialization of this curricular component at school, which, in turn, promoted - and still promotes - various forms of social prejudice, such as racism, which occurs through reproductions that come from a view of a given cultural and economic elite. When we understand this proposal, we notice that education has principles that dialogue with coloniality, discussed by Quijano (1992), Mignolo (2017) and other decolonials. In summary, a form of domination of bodies through massified knowledge imposed on all subjects, contributing to a racist education. The purpose of this work, written anchored in “escrevivência”, a concept by Conceição Evaristo (2020) and speech place by Djamila Ribeiro (2017), is to promote a critique of this view through a reflection on an anti-racist education. Thus, the research problem is to understand the importance of working with art in the classroom in order to contribute to a social and cultural reflection of society. That said, the general objective of this research is to question the absence of racial debate in art teaching. To this end, the study outlines the reflection on my trajectory and how I experienced the different forms of racism, as well as presenting possibilities for an anti-racist debate in art teaching through my experiences, understanding that this agenda is essential in teaching practice, since it is a necessary action to think about teaching art from a decolonial perspective. Based on the fact that it is in education that subjects become active agents in their learning process, the teaching of visual arts is an important tool for criticizing these preconceived models. The research, therefore, brings its contributions by proposing a new perspective to think about the teaching of arts in schools and, in this way, erasing coloniality through anti-racist educational “vivências”.Item Jovens cineastas: montagem audiovisual, arte e cotidiano na escola(Universidade Federal de Goiás, 2023-06-30) Anjos, Maykon Rodrigues dos; Martins, Alice Fátima; http://lattes.cnpq.br/2768377569632609; Martins, Alice Fátima; Guimarães, Leda Maria de Barros; Satler, Lara LimaA presente pesquisa propõe a aproximação entre o cinema e a educação no âmbito da realização enquanto experiência de aprendizagens na escola. As discussões trazidas estão inseridas na perspectiva da cultura visual. O eixo das produções estudantis se estabelece na montagem audiovisual como instância articuladora do processo criativo, participando desde a concepção à finalização das obras. Buscamos compreender os desafios e as possibilidades da utilização do telefone celular para a captação de imagens visuais e na montagem dos filmes em sala de aula. Observamos o comportamento do cinema e as discussões da cultura visual em relação às contribuições narrativas de cotidiano, vivências urbanas e experimentações audiovisuais de estudantes. Durante as investigações, o conceito de montagem se ampliou para além do cinema, performando-se uma estratégia de construção de conhecimento. Além disso, durante o trabalho de campo da pesquisa, a pergunta “qual o sentido de aprender cinema?”, surgida em sala de aula, oportunizou a (re)organização das discussões aqui abordadas. Este trabalho orientou-se pela pesquisa-ação enquanto instrumento metodológico empregado, subsidiando a participação coletiva da comunidade escolar durante as atividades, visando alcançar uma cumplicidade com a experiência cinematográfica. As atividades pedagógicas foram desenvolvidas durante um semestre letivo, por meio de disciplinas eletivas, em uma escola pública da rede estadual de educação, o Centro de Ensino em Período Integral Nova Cidade (CEPI Nova Cidade), na cidade de Aparecida de Goiânia, Goiás. Além disso, o campo de investigação se desenvolveu em contexto pandêmico provocado pelo coronavírus SARS-CoV-2. Por outro lado, as aprendizagens com experiências audiovisuais superaram as dificuldades impostas pela pandemia. Ao final, foram produzidas 10 obras audiovisuais utilizando o telefone celular, resultando em sessões públicas de cinema para a comunidade escolar durante o evento da Culminância das Disciplinas Eletivas.Item Ateliê de figurinhas com arte de resistência(Universidade Federal de Goiás, 2023-07-21) Arantes, Daryellen Ramos; Martins, Alice Fátima; http://lattes.cnpq.br/2768377569632609; Martins, Alice Fátima; Abreu, Carla Luzia de; Ospina Álvarez, Juan SebastiánThis research was articulated around the following problem: how do people who make images of resistance see, can they see themselves and make images of resistance be seen? We bring conceptual issues arising from the practices of a studio designed, amid the challenging context of the COVID-19 pandemic, from the perspective of Visual Culture studies, to discuss actions used in the creation and development of a creative environment for editing stickers with frames of films screened at “They make cinema: a showcase for films directed by women”. The research collaborators were invited through posters, posted on informative bulletin boards of the Uniforte network cooperatives, announcing remote meetings to exercise ways of appreciating, capturing and editing stickers. Using a/r/tography as a methodological approach, we dialogue with the demand in order to understand fundamentals and mediation strategies aimed at artistic proposals in exercises related to the construction of the gaze. The research resulted in the production of a collection of film links for the sticker studio. The study also established connections with image makers of resistance from the Uniforte cooperatives. The authors used in the bibliography offer a theoretical framework to deal with the themes of resistance, poetics of solidarity, education for visual culture, visualities, decolonial pedagogies, art research and other cross cutting themes.Item Entre artistas, cineastas e sujeitos desviantes, a questão do olhar educado(Universidade Federal de Goiás, 2012-06-01) ARAÚJO, Allex Rodrigo Medrado; MARTINS, Alice Fátima; http://lattes.cnpq.br/2768377569632609This paper proposes an investigative reflection and (mis)reading helical tangle of lines that seeks, in the discourses and images of dadá and the avant-garde film movement dogma95 elements for performing an artistic intervention in the Rodoviaria Plano Piloto in Brasília (DF). The focus of the text is aimed at the questions that underlie the notion of looking educated in the (mis)direction of visual culture, as epistemological basis in order to ask about the different meanings articulated by the individuals who pass in the environment of the intervention in the field. By this route, the lines of escape and overflow interpretations by those subjects who admit a multiplicity of perspectives shaped, inventive and deviants, before the cultural transgressions in insurgency movements above. The research had the (dis)methodological guid Merz in the Hand, which has theoretical and historical descriptions of the movements in question, and the bases for practices with structured interviews, structured scripts of questions by e-mail, photographs, film and artifacts produced in the field. This multiplicity of assemblages unraveled reflections on the myriad of meanings from the looks of interpretations conformed to art images and connections between the subjective and cultural space-times, as well as the practices of subject positions that constitute deviant.Item Cinema de ficção científica na escola(Universidade Federal de Goiás, 2018-06-26) Araújo, Bruno Eduardo Morais de; Martins, Alice de Fátima; http://lattes.cnpq.br/2768377569632609; Silva, Maurineide Alves da; Satler, Lara LimaThe objective of this research is to discuss the inclusion of science fiction movies within the school environment as well as realize the way students relate to these film narratives. Field research was conducted. In it, interviews were applied with teachers and film workshops were made with students, within a state school. The data collected was analyzed in order to understand the observed relations between school, science fiction cinema and educational practices, as well as the way these relationships occur, considering the point of view of teachers and students. These and other issues raised in this paper are addressed in the context of studies of visual culture, which also methodologically guide the paths followed by the survey.Item Extraviando imagens em um percurso autoformativo(Universidade Federal de Goiás, 2024-02-02) Araújo, Marcos Felipe Fidelis; Perotto, Lilian Ucker; http://lattes.cnpq.br/1120812742549842; Perotto, Lilian Ucker; Valle, Lutiere Dalla; Rodrigues, Manoela dos Anjos AfonsoThis dissertation sets out to think about how visualities guide the formation of subjects and, consequently, the implications they have for their understanding of themselves. By visuality I mean the constructed ways of looking or the culture of seeing apprehended in its social and historical context, which enables certain ways of seeing ourselves and weaving self-images from these conceptions. I place myself as the subject of this autobiographical investigation, with the aim of reviewing my training process together with the images that represent the authorized ways of seeing that were given to me from my experience as an EXTRAviada child, who understands himself as a young gay man in a homophobic society, based mainly on religious beliefs. The concept of misplacing images arose from the appropriation of the work by artist Bento Ben Leite entitled “Born to ahazar” (2013), which was censored at the exhibition Queer Museum: cartographies of difference in Brazilian art in 2017, which propagated the concept of the queer child. Based on contributions from the field of visual culture studies, I sought to understand the role of images as devices that help in the process of understanding the subject about their life trajectory. I find in artistic practice a self-formative potential that throughout history has enabled various subjects to claim the autonomy of their gaze on themselves, unleashing a self-creative process that is also self-formative, which according to Pineau (2014) consists of "becoming an object of formation for itself" (p.95). Faced with the impossibility of conceiving of myself as a subject based on the identities that have been offered to me, I try to create my own references, going beyond the meanings of the images that have (con)formed me into a distorted and limited perspective of who I could be. Through artistic practice, I reflect on my formative journeys as a subject, returning to the path of creating a character called Mimimon that I developed during the initial years of my undergraduate degree in Visual Arts, which records my formative journey in relation to the images that guided my formation, from which I intend to question my experiences and understand the constitution of the gaze on myself. The image of this character, which is close to the conception of the Devil that I acquired in childhood, is seen as a counter-visuality that authorizes me to claim my formative power to confront the beliefs that have restricted my gaze. In the end, I realize that the dissertation has become a space for formative and methodological experimentation that helps critical reflection on the construction of the subject's own gaze, supported by the images that contributed to his formation, appropriating the Biographical Project Workshop (Delory-Momberger, 2006) to propose the Autobiographical Visual Narratives Workshop, process in which I have immersed myself throughout the research as research method of investigation and the main contribution of this dissertation to the field I’m inserted.Item Corpos em movimento a partir do olhar de Pina Bausch – construindo modos de dançar(Universidade Federal de Goiás, 2015-12-16) Araújo, Pedro Simon Gonçalves; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Martins, Raimundo; Berté, Odailso SinvaldoThis work is the result of a research project that was conducted by the Graduate Program in Art and Visual Culture, master´s level, in FAV-UFG, and aimed to immerse in the dance theater practice, through paths traced by the German choreographer Pina Bausch, who was a guide in the development os this research and helped me to answer personal questions, which the principal aim was to discover how our histories, memories and feelings are represented in body. This research started with a watchful eye in the dance history, as well as in the creative process of Pina Bausch to be able to understand the method of creating images by the body and her representations through cinema. Her unique movie “The Lament of the Empress” had an important function in structuring the Project, since questions that were shared with two other dancers in an immersive practive came from it, and led to the creation of a documentary that dialogues with the videodance and brings through interviews, essays and movements research a sample of a body-affective experience also shared with students from the Federal Institute of Goiás. In a play between theories and reports I sought the different perceptions of the body and dance, crisscrossing authors of visual culture, movement researchers, theories of representation, documentary, which merged with the reports of the meetings with dancers, ballet lessons, contemporary dance and some workshops. The aim was to achieve tangible answers that unravel the pathways of the body and image to find my dance through my body.Item Jo Spence e Hannah Wilke: narrativas da dor(Universidade Federal de Goiás, 2014-07-10) Arcanjo, Kárita Gonzaga de Oliveira; Monteiro, Rosana Horio; Monteiro, Rosana Horio; Bueno, Paulo Lima; Rocha, Cleomar de Sousa; Borges, Maria Elisia; De Jesus, Samuel José GilbertThis research aims to investigate the sick body and the pain representation by means of photography, considering its documentary and narrative elements. To that end we elected the photographic series The Picture of Health? (1982-1986) and Narratives of Disease (1990) by Jo Spence (1934-92) and Intra-Venus (1992-1993) by Hannah Wilke (1940-93), which focus on the cancer photographic documentation, taking into account their meanings as photographic narratives. In these series we have as interests the pathological pain of the sick and treated body and the image built from its appropriation by these artists. Basing on the study of self-portrait we discuss the relationship between pose and identity in the photographic image constitution as well as the concepts of photography-document proposed by André Rouillé and photographic narrative adopted by Susan e. Bell. Thus, we understand Jo Spence‘s and Hannah Wilke‘s narratives as potent instruments to face the pain, the silence and the stigma which the cancer patient is submitted, and still, a way for questioning the female image socially and culturally constructed.Item PRODUZINDO IMAGENS E DESEJOS: UMA ANÁLISE DO PAPEL DO STYLIST NA SEDUÇÃO EXERCIDA POR EDITORIAIS DE MODA PUBLICADOS PELA MÍDIA IMPRESSA BRASILEIRA(Universidade Federal de Goiás, 2008-10-06) ASMAR, Rafaela; COSTA, Luís Edegar de Oliveira; http://lattes.cnpq.br/4800838962828598; MENDONÇA, Míriam da Costa Manso Moreira de; http://lattes.cnpq.br/8573276727905431Item Outros modos de ver: imagens cinematográficas no ensino de artes visuais(Universidade Federal de Goiás, 2007-04-03) ASSIS, Henrique Lima; MARTINS, Alice Fátima; http://lattes.cnpq.br/2768377569632609Currently, School is one of those places where meaning about daily life is produced through cultural practices, concepts and values. Therefore, the aim of this investigation is the development of a number of artistic learning, amid technical images, specially the eletroeletronic ones of the origin of cinema. In this study the main motivational aspect was the possibility of learning from imagery modalities. In this regard, a number of different ways of learning, involving the visual narratives of Lumiére Brothers as well as George Méliès were planned and developed by me with a group of second grade students at a public state High School in the suburb of Goiânia. The students also produced their visual works discussing problems faced in the daily relations established among students and educators. As reflection on this educational practice, the students, the tutors and I watched and discussed the short films produced by the students of room B guided by the methodological processes of visual culture. Therefore, we discussed and reached conclusions on these narratives mediated by the following questions: What do these images allow us to think? , What relations can we establish and what do they tell about us? Among other arisen questions the students visual narratives caused a diversity of feelings and interpretations about relations of power established in the core of the field-school as well as showing the absence of dialogue, interaction and hearing in the processes of teaching and learning. Finally, for the students, the attention, dialogue and the possibility of complaining about their problems became an alternative for them to be heard. For me, dialogue, action and reflection of the same actions within the context of my pedagogical practice were some of the main concepts in which, we, the people linked to this investigation could experience in a field-school.Item Gravobraduras: processos de impressão e objetos de estrutura dobrada(Universidade Federal de Goiás, 2014-03-27) Ávila, Eduardo Araújo de; Clímaco, José César Teatini de Souza; http://lattes.cnpq.br/4105136553667901; Clímaco, José César Teatini de Souza; Guimarães, Leda Maria de Barros; Saito, Cecília Noriko ItoThis work presents the outcomes of a research master’s degree in Art and Visual Culture, which consists of experiments in printmaking and in studies on the use of foldings as matrices, whose poetic concept is defined as “gravobraduras”. The study has as reference the wrapping culture (tsutsumu bunka), which involves not only the study of origami, but also about other practices, such as furoshiki, that include the production of involucres and wrappings. The reference in question alludes to “practice of Japanese gift” and the artistic production of this work to the “wanderings of Japanese immigrants in Brazil”. Therefore, the primary objective of this research is to analyze what are the paths, sometimes errant sometimes constant, in which the image generated by the “matrix folding” travels up to become a visual pattern, but also evaluate the development of the artistic production in three methods of printing: by high relief (matrix folding), by permeation (silkscreen) and by digital means. The research also involves reflections on artistic creation as creating networks, according to Cecilia Salles, who emphasizes that are important the concomitant actions and the establishment of links between relevant subjects to the research to generate its own methodology and poetic.