Mestrado em Arte e Cultura Visual (FAV)

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http://200.137.215.59/tede/handle/tde/190

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Animando "Entressonho" - memórias e sonhos como referências imagéticas na criação de um curta-metragem de animação
(Universidade Federal de Goiás, 2025-03-26) Pimentel, Leandro Luiz de Abreu; Oliveira, Flávio Gomes de; http://lattes.cnpq.br/6251395246014220; Oliveira, Flávio Gomes de; Gualtieri , Nicolas Andrés; Rocha, Cláudio Aleixo
The presented theoretical-poetic research project explores, from an autobiographical perspective, how the repertoire of mental images transforms into material for the development of a visual poetics, using memories and dreams in the production of a 2D animation. The motivation for the research arises from the researcher’s own accounts of having stopped dreaming during a mental health crisis and subsequently managing to return to the world of dreams, which resonate in his new artistic productions. The search for answers guides the research path, starting with an interest in: understanding mental images through Visual Culture studies; investigating the relationship between capitalism, mental health, and dreams; analyzing the creative intersection between memory, dreams, and cinema; and exploring how the creative process originating from mental images transforms into a 2D animation. The theoretical framework is grounded in W.J.T. Mitchell's concept of "mental image" and in the Visual Culture studies of Anna María Guasch, Fernando Hernández, Georges Didi-Huberman, Jonathan Crary, Nicholas Mirzoeff, and Raimundo Martins. The theoretical-conceptual basis on the epistemology of dreams is grounded in the studies of Sidarta Ribeiro, and on cinema, in the studies of Arlindo Machado.
Eu também sou dona de casa: reimaginando a cozinha como lugar de memória, autonomia e expressão artística
(Universidade Federal de Goiás, 2025-03-26) Paz, Lívia Chagas da; Rodrigues, Manoela dos Anjos Afonso; http://lattes.cnpq.br/7111235725963338; Rodrigues, Manoela dos Anjos Afonso; Donati, Luisa Angelica Paraguai; Macêdo, Silvana Barbosa
This artistic research emerges from the intersection of art, autobiogeography, and feminism to question the place of women artists in creative spaces. I center the kitchen as a focal point for reflections and practices, revisiting my trajectory, which begins with watercolor self-portraits and, years later, expands into ceramics. Throughout this process, I investigate how domestic logic—historically associated with women—can be redefined through artistic practice. In this context, I engage with authors and artists such as Virginia Woolf, Silvia Federici, bell hooks, Martha Rosler, and Mierle Ukeles to discuss memory, care, and the transmission of female knowledge. Drawing on Manoela dos Anjos Afonso Rodrigues, Lauren Fournier, and Gloria Anzaldúa, I develop a methodology that intertwines autobiogeography and autotheory within artistic research. The resulting ceramic works include Bolsa (2024), which examines self-representation; Conjugação (2024) and Casamento (2023), which explore the kitchen as a site of affective and power negotiations; and Quitandas (2024), in which I transform family recipes into ceramic pieces, activating memories and ancestral knowledge passed down through generations. Thus, I highlight the political and poetic potential of everyday practices, proposing the kitchen not only as a space of resistance but as a place for reinvention and expanded creation
Mulheres na taverna: processo criativo e prática artística sobre a representação feminina através de um jogo de visual novel
(Universidade Federal de Goiás, 2025-04-01) Paulo, Géssica Marques de; Franco, Edgar Silveira; http://lattes.cnpq.br/8415486629956081; Franco, Edgar Silveira; Custódio, José Antônio Loures; Berardo, Rosa Maria
In this master's thesis I bring my creative process and artistic practice on female representation in digital games and the development of the game Mulheres na taverna. The main objectives are to analyze female representation in video games and correlate it with the concept of “beauty myth” by author Naomi Wolf using a practical and feminist approach, for this purpose, the author bell hooks is also used as a bibliographic reference. The game art game was created based on the plot of the book Noite na Taverna by Álvares de Azevedo. During the dissertation, the concepts of narrative, interactive narrative, games, game art and visual novel are explored. To improve the exploration of female representation in games, we analyzed games in the horror/horror genre, which are the focus of this research. And finally, detail the entire creative and artistic process behind the development of the game Mulheres na Taverna.
Mulheres na taverna: processo criativo e prática artística sobre a representação feminina através de um jogo de visual novel
(Universidade Federal de Goiás, 2025-01-04) Paulo, Géssica Marques de; Franco, Edgar Silveira; http://lattes.cnpq.br/8415486629956081; Franco, Edgar Silveira; Custódio, José Antônio Loures; Berardo, Rosa Maria
In this master's thesis I bring my creative process and artistic practice on female representation in digital games and the development of the game Mulheres na taverna. The main objectives are to analyze female representation in video games and correlate it with the concept of “beauty myth” by author Naomi Wolf using a practical and feminist approach, for this purpose, the author bell hooks is also used as a bibliographic reference. The game art game was created based on the plot of the book Noite na Taverna by Álvares de Azevedo. During the dissertation, the concepts of narrative, interactive narrative, games, game art and visual novel are explored. To improve the exploration of female representation in games, we analyzed games in the horror/horror genre, which are the focus of this research. And finally, detail the entire creative and artistic process behind the development of the game Mulheres na Taverna.
Nós, eu e o animal-memória
(Universidade Federal de Goiás, 2025-02-18) Crisóstomo, Gisele; Rodrigues, Manoela dos Anjos Afonso; http://lattes.cnpq.br/7111235725963338; Rodrigues, Manoela dos Anjos Afonso; Oliveira, Wolney Fernandes de; Sacco, Helene Gomes
We, I and the memory-animal is an autobiographical research in art which seeks a place of belonging through the creation of artist's books, in a poetics of travel. When wondering where I belong, I looked through the family archive and realized that I wouldn't find a specific place of origin. From this gap, I developed the notion of autogeofabulation, braided from the concepts of inventorying, autobiogeography and critical fabulation. In the process, a presence emerged that guided me through internal landscapes, which I named memory-animal. The operational concepts of autogeofabular and memory-animal are results of this investigation. The movement — physical, identity, diasporic — and the word — oral, written, from the dictionary — sewed the fabric of memory through the threads of the autogeofabulation, traversing the traces of the archive, recognizing the internal landscapes and imagining what was erased. The memory-animal emerged along this path, blurring boundaries between archive and fable, in opposition to hegemonic narratives. The investigative path resulted in the creation of four artist books entitled: About us, The map of the ruins, At the margins of me and Fabled landscapes, made during the year 2024 and which give materiality to this search. This research is part of the line "Artistic Poetics and Creation Processes" of the Postgraduate Program in Art and Visual Culture (PPGACV) of the Faculty of Visual Arts (FAV) of the Federal University of Goiás (UFG) and in the line "Auto/Biographical Materialities and Immaterialities in Artistic Poetics and Creation Processes" from the Autobiographical Artistic Practices Research Group (NuPAA/UFG/CNPq).
Tecituras e bordaduras: contextos, narrativas e práticas de bordado em cooperativas
(Universidade Federal de Goiás, 2024-03-28) Barbosa, Isabele Maria Geraldo; Guimarães, Leda Maria de Barros; http://lattes.cnpq.br/1491866271915819; Guimarães, Leda Maria de Barros; Martins, Alice Fátima; Chaud, Eliane Maria
This research aimed to understand aspects present in the practice of embroidery within a cooperative setting. The investigation focused on the teaching and learning of embroidery, exploring the connections between the craft's practice, its propagation within a cooperative context, and its role as an instrument for socio-economic transformation. By considering embroidery as an artistic practice and an organizing tool for forms, content, thoughts, and feelings, the study paved the way to contemplate the experience of materializing creative processes by embroiderers. Furthermore, the research examined how experiences are shared, and through the exercise of embroidery, it explored the dynamics of communal living in the Bordana cooperative located in Goiânia, Goiás. The methodological approach involved narrative interviews to share experiences with this craft, considering the reasons that led individuals to pursue learning embroidery. Their learning and teaching histories were investigated, revealing differences and peculiarities in the processes. As a result, the research observed the social impacts promoted by the practice of embroidery, the stance of cooperative members in creative processes, and the role of Design as a collaborative mechanism in these processes. Among the authors of the works surveyed and their references, names such as Mariana Diniz de Carvalho (2017), Jean-Yves Durand (2016), and Maureen Daly Goggin (2009) stand out. Authors like Raimundo Martins and Irene Tourinho (2013, 2017) played a significant role as methodological foundations and opened doors to new references. It is considered that this study may contribute to forming a more attentive view of the significance of artistic practices within cooperative situations, especially the practice of artisanal embroidery as a means of community coexistence and a transformative element for individuals.
Tempo da bestage: poéticas autobiogeográficas de coexistência
(Universidade Federal de Goiás, 2024-12-20) Pinto, Bernardo de Morais; Rodrigues, Manoela dos Anjos Afonso; http://lattes.cnpq.br/7111235725963338; Rodrigues, Manoela dos Anjos Afonso; Brandão , Claudia Mariza Mattos; Meira, Elinaldo da Silva
This research establishes a dialogue between the fields of Art, Visual Culture, Autobiography, and Ecological Thought to artistically investigate the Anthropocene through autobiographical experiences in the northern Minas Gerais territory. Through an artistic practice guided by autobiogeography, I articulate ethical-political-aesthetic spaces as a counter-colonial action that processually maps what I call the "time of bestage." As outcomes of this investigation, I present a series of works created between 2020 and 2024, stemming from the poetic strategies I developed to inherit, without denying, the challenges of the ruins of our times.
Arquiteturas da infância: uma construção de memórias
(Universidade Federal de Goiás, 2024-05-27) Souza, Kassius Brunno; Silva, Odinaldo da Costa; http://lattes.cnpq.br/8837262003405158; Rodrigues, Manoela dos Anjos Afonso; http://lattes.cnpq.br/7111235725963338; Rodrigues, Manoela dos Anjos Afonso; Silva, Odinaldo da Costa; Sacco, Helene Gomes; Oliveira, Wolney Fernandes de
Childhood architectures is research that investigates the intersection between childhood and architecture through the body-memory-space relationships and the (re)creation of what I call poeticspatial structures: the house, the church, the school and the street, through artistic practice in different media and languages. The methodology is composed of poetic writing and studio work, driven by the Autobiographical Research in Art approach (Rodrigues, 2021). In this process, I also seek to create dialogues between Bachelard’s (2008) poetics of space and Arfuch’s (2010) biographical space to understand the body of work as a means of establishing a poetics of biographical space. This space is originated, in this research, by fables and daydreams driven by a practice of the self that calls upon writing, childhood, visual arts and architecture to, together, enable the construction of memories.
Ser mil e uma: imagens dançaram em seus próprios tempos até chegarem a mim
(Universidade Federal de Goiás, 2024-02-05) Barra, Luiza Domingos; Rodrigues, Manoela dos Anjos Afonso; http://lattes.cnpq.br/7111235725963338; Rodrigues, Manoela dos Anjos Afonso; Abreu, Carla Luzia de; Macedo, Silvana Barbosa
This autobiographical essay writing is a drift full of doubts - which is woven together with reflections on and with the processes of artistic creation. Defining itself as a research in art, it aimed to create artistic works based on photographic images from my family's collection, including photos taken in Lebanon in the 1950s and collected by my great-grandmother since her immigration to Brazil. I start from the position of great-granddaughter of Lebanese immigrants to appropriate such photographs with a poetic intention that addresses issues of identity, gender and belonging while criticizing orientalist stereotypes. I therefore draw on Edward Said's (2007) definition of Orientalism, using it as a theoretical-critical nutrient to perceive Eurocentric discourses and epistemologies in images of Art and Visual Culture referring to Arab countries. Inserted in the research line Artistic Poetics and Creation Processes of the Postgraduate Program in Art and Visual Culture at FAV/UFG, the relevance of the research glimpses the current geopolitical configuration of the “Middle East” and how the Western media reproduces stereotypes that affect refugees and immigrants. The methodology benefits from the notions of Autobiographical Research in Art, proposed by Manoela dos Anjos Afonso Rodrigues (2021) and autofiction by Nelson Guerreiro (2011). I present as artistic results created in this context, a set of works that seeks to technically explore artist books, photography, performance and video from a “feminist way of unarchiving” as presented by Luana Saturnino Tvardovskas (2021).
Vertebral: um olhar feminino crítico sobre a representação da mulher flexível
(Universidade Federal de Goiás, 2023-09-21) Berardo, Julia Macedo; Rodrigues, Manoela dos Anjos Afonso; http://lattes.cnpq.br/7111235725963338; Rodrigues, Manoela dos Anjos Afonso; Miola, Gabriela Canale; Nascimento, Ana Reis
This is an autobiographical arts research, developed at the master's level in the research path Artistic Poetics and Creative Processes of the Graduate Program in Art and Visual Culture, at the Faculty of Visual Arts (FAV) of the Federal University of Goiás (UFG). The objective was to carry out an audiovisual production based on a critical and poetic exercise on the presence and representation of women in the circus, seeking to address the obstacles and invisible violence suffered by athletes and artists in circus performance, starting from my experience as a woman and artist. With the support of feminist critical thinking and informed by the historical study of the presence of women in the circus, I create a multimedia audiovisual performance, seeking to confront the sexist and fetishized representations of the athletes and opening space for other ways of being and seeing the female body in the circus expression. In this text, I dialogue with Latin American authors such as Bosch (2019), Losada (2021), Orellana (2020) and Varejão (2020). Complementarily, the theoretical framework is composed by Bleiberg (2005), Guhl and Koner (2017), and Qifeng (1985) to draw a historical panorama. Concerning multimedia artistic representation and cinematographic language, my audiovisual poetics is informed by the survey and analysis carried out by authors such as Martin (2003) as well as by my references and experiences as a woman, artist, circus contortionist, and multimedia audiovisual producer.
Parasita: Bong Joon-Ho e a representação do real
(Universidade Federal de Goiás, 2024-10-27) Yoshioka, Namie Martins; Damião, Carla Milani; http://lattes.cnpq.br/2366404598683251; Martins, Alice Fátima; Araújo, Rodrigo Oliveira de; Meira, Elinaldo da Silva
This research investigates the relation between cinema and philosophy built on the movie Parasite (2019), produced by the south-Korean director Bong Joon-Ho, through the Visual Culture perspective. Explores, then, the movie’s dialects, signs and symbols, aiming to understand the connection of this narrative with societies characterized by its social inequality and class struggle. Instigates the discussion through the reality representation, providing to the social and economic interactions a conceptual and reflective support.
QUE PARADA É ESSA? experiências no Beco da Codorna e nos becos da Rua do Lazer
(Universidade Federal de Goiás, 2023-11-30) Silva, Gabriela Neres Batista; Ferreira, Glauco Batista; http://lattes.cnpq.br/2193871294419921; Ferreira, Glauco Batista; Wichers, Camila Azevedo de Moraes; Abreu, Carla Luzia de
How do experiences affect this subjective relationship with Becos da Codorna and Rua do Lazer, in the city of Goiânia? And what about the people who attend this place? Or with the graffiti present on them? Based on these questions and the walker's methodology, this dissertation was narrated. Therefore, I invite you to walk with me through these alleys, in order to understand the social and visual relationships we have in these places, and also to understand the artistic, political and social occupations that have resulted in their different perspectives. Along this research, I present the relationship of this theme with Visual Culture, as well as key concepts of image, memory and place. Then, I talk about these alleys and their formative process, being that of Codorna, which has this place for loading and unloading merchandise, for parking and, later, museum/cultural equipment, transformed based on occupations of the Hip Hop community, while those on Rua do Lazer, revitalized after so many years, have a relationship with the local community, going through other processes. Finally, I expose these experiences lived in a post-pandemic world by different people, collectives, businesses that demonstrate these visual and political social perspectives.
Saberes, imagens e experiências formadoras: a trajetória de uma professora-tutora no curso de licenciatura em Artes Visuais a distância da FAV/UFG
(Universidade Federal de Goiás, 2023-12-15) Rosa, Maria de Fatima França; Perotto, Lilian Ucker; http://lattes.cnpq.br/1120812742549842; Perotto, Lilian Ucker; Guimarães, Leda Maria de Barros; Cabral, Valéria Fabiane Braga Ferreira
The research "Knowledge, images and formative experiences: the teaching trajectory of a tutor teacher in the distance learning Degree in Visual Arts at FAV/UFG”, has as its theme the construction of the teaching narrative in the tutoring of the distance Visual Arts Degree course at the Federal University of Goiás. Based on the contributions of autobiographical research, this training research aims to investigate the teaching trajectory of tutoring in a distance learning Visual Arts degree course, in order to understand how the teaching nature of tutoring work in distance learning is constructed and to learn about the formative experiences that marked my journey in the distance learning Visual Arts degree course at FAV/UFG. The aim is to reflect on how these experiences have contributed to thinking about teaching practice. Based on the concept of educational autobiography, the field of research takes place in the memory of tutoring and in the personal image archives that present teaching practice actions. The images are highlighted and act as triggers for the experience, revealing situations and enabling a critical look at what was experienced.
Lacunas entre linguagens: a leitura de obras de arte visuais e verbais
(Universidade Federal de Goiás, 2024-08-16) Macedo, Marília de Paula Gontijo; Beck, Ana Lúcia; http://lattes.cnpq.br/2375559417849078; Beck, Ana Lúcia; Tavares, Leonardo Motta; Jesus, Samuel José Gilbert de
This dissertation reflects upon artworks that use visual language and verbal language as complementary things, as opposed to a hierarchical relation between them. Considering the works of authors such as G. E. Lessing, Michel Foucault and W. J. T. Mitchell, a landscape of the different relations between images and words in the artfield throughout the course of history is made, as well as how these conceptions have affected and still affect art production and our perception of it. Driving this content are some examples of visual artists and writers, such as Taryn Simon and Cecilia Vicuña, connecting works that have words and images in order to, at last, reflect about the production of brazilian artist Leila Danziger, considering the way she explores the dialogue between verbal and visual languages in her own production.
Um artista no planetário: processos de criação e poéticas artísticas na intersecção arte e astronomia
(Universidade Federal de Goiás, 2021-12-07) Meireles, Matheus Ezequiel de Oliveira; Rodrigues, Manoela dos Anjos Afonso; http://lattes.cnpq.br/7111235725963338; Rodrigues, Manoela dos Anjos Afonso; Bonfim , Carolina Felice; Oliveira, Flavio Gomes de
The origin of this work lies in my artistic trajectory, which intersects visual arts and astronomy – a practice I designate as cosmographies. In this research, I want to reflect on my experience as an artist at the Planetário Juan Bernardino Marques Barrio of the Federal University of Goiás (UFG). Through an artistic practice-based research methodology, I ask what can I discover with the experiences, creations and poetics that arise in this interdisciplinary context which converges art and astronomy in actions directed to society. With the theoretical-practical approach to these issues, I seek to challenge borders and defend the importance of synergy between different areas of knowledge. A research that directly contributes to the Planetarium, to the local society/culture and, especially, to the area of Arts – considering both artistic research in Planetariums and investigations in the relationship between art and astronomy are fields that have been few explored academically in Brazil and in the world.
Cultura visual e identidades na cena do metal: imagens de mulheres das bandas Placenta e Nervosa
(Universidade Federal de Goiás, 2023-11-29) Santos, Olívia Cristhina Silva dos; Silva, Thiago Fernando Sant`Anna e; http://lattes.cnpq.br/9735682996647548; Silva, Thiago Fernando Sant' Anna e; Perotto , Lilian Ucker; Oliveira , Susane Rodrigues de
This dissertation's subject of study is the images of women musicians who work in the Brazilian Heavy Metal scene, based on a visual and historical-social analysis of the transformations promoted by this musical style and the effects on the construction of new female bodies and the expansion of this phenomenon in recent decades. To do this, we explored the rich iconography and visual aesthetics of the bands Placenta and Nervosa, two representatives of the metal genres in Brazil. In this research with images we operate the concepts of image, culture and identity, exploring how the conduct of conduct organizes the pedagogical processes of resistance and identity construction crossed by power relations established by the field of the world of images, anchored in the theorizations of Stuart Hall, Foucault and Joan Scott, among other contemporary and post-structuralist theorists such as John Berger, Nicholas Mirzoeff, W. J. T. Mitchell who explore visual culture from various perspectives, respectively.
Impressões da história da personagem transgênero no cinema brasileiro
(Universidade Federal de Goiás, 2024-03-27) Sousa, Cristiano de Oliveira; Berardo, Rosa Maria; https://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Oliveira, Flavio Gomes de; Champangnatte, Dostoiewski Mariatt de Oliveira
The proposed research aims at conducting 10 interviews with transgender individuals in the Brazilian context, in order to identify, analyze, and document their reactions regarding the representations assigned to them within Brazilian cinema, as a historical reference. This study is characterized by an analytical approach to the creative process in artistic and visual culture spheres, specifically focusing on the LGBTI+ theme. For this purpose, a qualitative methodology was adopted, based on a personal historical perspective, rooted in knowledge and activism related to the LGBTI+ issue, and supported by the relevant national cinema history on the subject. The theoretical foundation draws from the contributions of Michel Foucault, Stuart Hall, and Judith Butler, whose propositions emphasize gender representation in visual culture. The core of this research is the construction of an audiovisual product that explores the interactions between theories addressing LGBTI+ issues, the narratives of the interviewees, and audiovisual languages, particularly focusing on the construction of contemporary cultural and cinematic imagery
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 Afonso
This 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.
Torre: gamearte por uma descensão ao real
(Universidade Federal de Goiás, 2024-02-06) Pires, João Pedro Teles; Oliveira, Flávio Gomes de; http://lattes.cnpq.br/6251395246014220; Oliveira, Flávio Gomes de; Rocha, Cláudio Aleixo; Ribeiro, Raquel de Paula
In this paper we propose the exploration of the process of creating the game art object entitled Turret. To do this, it is first necessary to establish the language used through the research. I find in essay writing (Adorno, 2003; Larrosa, 2003) a way of giving way to poetic and creative thinking that unites the process of creation and research work, a way of understanding these works as a single effort, and questioning, from the field of Art, some precepts and values of the academic production of knowledge. In sequence, we seek to update the concept of game with some of the prominent authors such as Huizinga (2000), Caillois (2017) and McGonigal (2011) in order to find the meanings of game as a significant cultural artifact for the human experience. In this discussion, we pay attention to the notion that games and players are violent or disseminators of uncritical violence, questioning it from the perspective of Visual Culture and the hypervisualization of images (Martins, 2006;2010). From this perspective, we think about the occurrence of violence in and around games and digital communities, and how this manifests and acts in both directions between the digital world and the real world (De Abreu, 2014a; 2014b). Through language, memes are established as ideological disseminators (Chagas, 2018) that help in the emergence of digital communities of the most diverse natures. We then turn to the act of playing, and how this becomes indicative of different human-machine interactions that focus on the cognitive and interpretative capabilities of games beyond uncritical entertainment (Majkowski, 2017), affirming that there are several paths between the minds of the creator and the player (Leino, 2012) and that these relationships can be anticipated, established or ignored between them, which makes games a powerful storytelling tool (Murray, 2003). Finally, the creative process is scrutinized (Salles, 2004) and thought on how it appropriates concepts from self-writing (Smith and Watson, 2002; Faedrich, 2015) and game art (Venturelli, 2006, 2019), to contemplate the path between the artist’s notebooks (Cirillo, 2011) to the digital medium, and how this gesture of creating art communicates with emotions (Sartre, 2006), more specifically with pain, ecstasy and the transcendence of human experience (Bataille, 1988), referring to the literature that addresses self-injurious behaviors (Araújo, 2019) and how these behaviors refer to social networks and digital environments (Silva, Souza and Faria, 2019).
O caderno de artista como processo artístico e poético
(Universidade Federal de Goiás, 2023-08-17) Pereira, Estêvão Parreiras; Jesus, Samuel José Gilbert de; http://lattes.cnpq.br/3589952430806659; Jesus; Jesus, Samuel José Gilbert de; Oliveira, Gregorio Soares Rodrigues de; Oliveira, Flávio Gomes de
The investigation is articulated around the production and thought about the artists' notebooks. As well as their recognition as a language of artistic and poetic construction of the artist in process. When investigating the object in question, we refer to a complex instrument of archive of experiences; it remains in the emanation of creation, perpetuated by the gathering of drawings, writings, among other means of expression.

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