Mestrado em Arte e Cultura Visual (FAV)

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    Extraviando imagens em um percurso autoformativo
    (Universidade Federal de Goiás, 2024-02-02) Araújo, Marcos Felipe Fidelis; Perotto, Lilian Ucker;; 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.
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    Torre: gamearte por uma descensão ao real
    (Universidade Federal de Goiás, 2024-02-06) Pires, João Pedro Teles; Oliveira, Flávio Gomes de;; 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).
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    O caderno de artista como processo artístico e poético
    (Universidade Federal de Goiás, 2023-08-17) Pereira, Estêvão Parreiras; Jesus, Samuel José Gilbert de;; 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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    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;; Ferreira, Glauco Batista;; Ferreira, Glauco Batista; Abreu, Carla Luzia de; Santos, Noeli Batista dos; Dering, Renato de Oliveira
    The 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”.
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    O grimório das 4 luas: o feminino e o sagrado feminino nas HQs poético-filosóficas
    (Universidade Federal de Goiás, 2023-07-25) Santos, Rachel Cosme Silva dos; Franco, Edgar Silveira;; Franco, Edgar Silveira; Oliveira, Ivan Carlo Andrade de; Andraus, Gazy
    Comic books are a form of art with multiple approaches, and among them, there is a self-authored genre considered "genuinely Brazilian," as defined by Santos Neto (2009): poetic-philosophical comics. In this genre, self-authored comics flow freely, allowing the creator/cartoonist to express themselves according to their own vision. Poetic-philosophical comics explore existential and philosophical aspects, with the creative freedom to shape themselves according to the narrative's needs. Their main characteristics include a philosophical narrative approach, experimentation with tradi- tional comic codes, and a proposal for short or unconventional stories. Thus, they can explore themes ranging from existential inquiries about humanity to Cyberpunk narratives or the exploration of the creator's internal conflicts, among a myriad of possibilities. This dissertation is the result of a theoretical and practical research con- ducted by a cartoonist and researcher who identified the presence of the concept of the sacred feminine as one of the recurring themes in poetic-philosophical comics. I highlight the sacred feminine present in the creative production of Danielle Barros, as well as in the works of Edgar Franco (Ciberpajé) and Gazy Andraus, important repre- sentatives of the poetic-philosophical genre. The investigation involves studying the singularities of poetic-philosophical comics, their perspective as a legitimate artistic expression, the study of the concept of the sacred feminine, and its detection in the comics of the cartoonists focused on this research. This research, both theoretical and artistic, involves the simultaneous creation of poetic-philosophical comic narrati- ves that address the sacred feminine from the artist-researcher's poetic perspective. For this purpose, traditional methods for paper support are used in some of these narratives, while in others, the syntax of HQtrônicas is explored.
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    Arte de terreiro matriarcal: trabalho de mulheres da Casa de Caridade Luz do Alvorecer
    (Universidade Federal de Goiás, 2023-07-05) Santos, Fabiana Francisca; Franco, Edgar Silveira;; Rodrigues, Manoela dos Anjos Afonso;; Rodrigues, Manoela dos Anjos Afonso; Albuquerque, Maria Betânia Barbosa; Anaquiri, Mirna kambeba Omágua-Yetê
    In this art research I propose an investigation of the artistic poetics and creation processes of a group of daimista and umbandista women members of the Casa de Caridade Luz do Alvorecer (CCLA), of which I am also a member. The research is based on experiences and methodologies of terreiro education and decolonial approaches, to reflect on the collective and creative practices that have been developed in CCLA. I also propose to recognize these practices as tools for the emancipation of these women while they produce and reproduce ancestral visualities. To reflect on the phenomenon that occurs when the visualities of the terreiro enter into a colonial logic through the social structure. The images and their reverberations produced by the terreiro become a counter visuality, looking at the colonial visuality as a reference. The study of tools of freedom, which in a spiritual school, as producers of knowledge, rituals and thoughts, generate awareness of the prevailing hegemonic visualities, valuing the images and narratives of native peoples, through their cultural references. The collective production of knowledge produced in the CCLA are powerful tools against the epistemicide and historicide processes.
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    (Universidade Federal de Goiás, 2023-07-20) Oliveira, Julliana Rodrigues de; Rodrigues, Manoela dos Anjos Afonso;; Rodrigues, Manoela dos Anjos Afonso; Nascimento, Ana Reis; Perotto, Lilian Ucker
    This research is constituted as a walk to desanuviar, a process of unroll ideas, clearing my mind, finding the threads of the skein. It was something I needed to do from the moment I received the news that catalysed this whole process of artistic investigation from its inception: that my maternal grandmother, Dona Leonor, had passed away, in March 2020, the beginning of the COVID-19 pandemic. The main aim of the research is to demonstrate how autobiographical elements, material and immaterial, catalyse artistic poetics and creation processes at the confluence of art and visual culture in a critical and political way. Therefore, this is an autobiographical research in art,seeks to investigate an artistic practice that culminates from the interweaving of artistic research with life stories from the experience with mourning. I autobiograph in life and performance and generate images and visualities to fight against the colonization of my memories, through an autobiographical making that is a political exercise of voice reclamation in an era of deletions. I must emphasise that this writing is not an autobiography in the strict sense, that is, an autobiography as a literary genre. This writing gives body and form to a master's dissertation that deals with reflexivity in order to identify the autobiographical elements that are being incorporated into an artistic production that points to strategies that were already being built together with Coletivo Bunker, a performance collective in which I have participated for years. Aspects such as the relationship with the body and the investigation of affections are being articulated through an art and life production that is expressed through walking and threads.
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    Ateliê de figurinhas com arte de resistência
    (Universidade Federal de Goiás, 2023-07-21) Arantes, Daryellen Ramos; Martins, Alice Fátima;; Martins, Alice Fátima; Abreu, Carla Luzia de; Ospina Álvarez, Juan Sebastián
    This 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.
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    Jovens cineastas: montagem audiovisual, arte e cotidiano na escola
    (Universidade Federal de Goiás, 2023-06-30) Anjos, Maykon Rodrigues dos; Martins, Alice Fátima;; Martins, Alice Fátima; Guimarães, Leda Maria de Barros; Satler, Lara Lima
    A 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.
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    Educação infantil e cultura visual nos documentos da Rede Municipal de Educação de Goiânia
    (Universidade Federal de Goiás, 2023-05-25) Guimarães, Julia Moreira; Abreu, Carla Luzia de;; Abreu, Carla Luzia de; Perotto, Lilian Ucker; Costa, Adriane Camilo; Valdez, Diane
    This dissertation proposes a analysis of the subject formation in Early Childhood Education, specifically in the Municipal Education System of Goiânia, having as a founding reference the official documents that regulate this educational stage in the municipality and the understanding that the school environment is not a neutral ground as it is being formed by many contextual layers and plural perceptions. Through the methodological perspectives of document analysis and narrative survey, the research was interested in intersecting the guidelines contained in official documents with different voices from the Municipal Department of Education, which testimonials were collected through interviews. It was examined how these documents were constructed, passed on and received and what as well are the strategies for studies and implementation in educational units. As specific questions, it was explored the role of (audio)visual artifacts in the processes of construction of knowledge in childhood and in other pedagogical dynamics and practices that contribute to the development of children in educational routines. The narratives of the people interviewed pointed out some difficulties for the full understanding of the documents that currently conduct the daily life in educational units dedicated to Early Childhood Education, especially in relation to the time allocated to studies and collective debates on the various themes present in official documents. The interviewees indicated the need to build a broader network of efforts to favor in-depth knowledge of the documents and pointed to continuing education courses as a possibility to incorporate more diversified practices into pedagogical planning, prioritizing the construction of knowledge that favors the development of ethical and democratic values within educational environments.
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    Processos criativos na tatuagem: releituras da aurora pós-humana aplicadas a um flashbook de tatuagem enquanto prática artística
    (Universidade Federal de Goiás, 2023-05-25) Queiroz, Rennan Pereira; Franco, Edgar Silveira;; Franco, Edgar Silveira; Nunes, Fábio Oliveira; Andraus, Gazy
    This research uses the theoretical-practical methodology to analyze the creative processes present in tattooing. The object of this work is the elaboration of a tattoo-zine book, with visual (re)readings of the transmedia fictional universe of the Post-human Aurora, created by the artist Edgar Franco; in addition to the unfolding of the zine into an artistic performance with the participation of interactors who were tattooed. Using as a theoretical foundation concepts from the works of Baudrillard (1991), Jeha (2019), Le Breton (2004) and Ostrower (1987).Throughout our investigation, we approach the historical context of the tattooing method, going through the main events that contributed to its evolution – such as the dissemination of its practice and its conceptual departure from marginalized use to a contemporary status – in addition to its gradual sophistication and its use by artists. The objective of our analysis is to help legitimize the artistic perspective of tattooing and amplify the languages and expressive supports of the Post-Human Aurora, presenting the creative processes of tattooing as art, using theoretical foundations of contemporary art and appropriating the transmedia fictional universe of Aurora Post-Human to create and develop two artistic experiences, the first in the digital territory and the second in a performative action in the tradition of tattooing on human skin support.
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    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;; Rodrigues, Manoela dos Anjos Afonso; Cavalcante, Denise Moraes; Berardo, Rosa Maria
    This 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.
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    Corpo, doença e política na obra de Félix González-Torres
    (Universidade Federal de Goiás, 2023-02-20) Cardoso, Anna Beatryz Ribeiro; Jesus, Samuel José Gilbert de;; Jesus, Samuel José Gilbert de; Sá, Rubens Pilegi da Silva; Anjos Neto, João Dantas dos
    This research aims to analyze some works by the American artist Félix González-Torres through three different thematic axes: body, disease and politics. It is shown how the artist related to each of these axes and also how they appeared in his artistic production. In order to talk about how he saw and thought about the body, a historical summary of western ways of perceiving it is made and, then, examples are given of how González-Torres approached issues of corporeality in his works. In relation to the disease aspect, some etiological models used to understand it are shown and, later, the influence that the medical system has on the way patients deal with and understand their own disease is pointed out, as well as works by other artists who also talked about similar topics. It is emphasized how González-Torres used his artistic production to better relate to AIDS, disease from which he died, as well as his relationship with death, pain and the loss of family and friends. Finally, the theme of politics is approached and, for that, the context of the AIDS crisis in the United States, during which González-Torres lived and produced most of his works, is brought. The research tries to show how his work and that of other artists of the time were able to contain very strong political and activist capacities, mobilizing for better awareness and reducing prejudice against people infected with the HIV virus.
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    Lutar contra certas imagens com a ajuda de outras imagens: homens, masculinidades e enfrentamento à violência de gênero
    (Universidade Federal de Goiás, 2023-02-27) Santos Junior, Jocy Meneses dos; Ospina Álvarez, Juan Sebastián;; Abreu, Carla Luzia de;; Abreu, Carla Luzia de; Ospina Álvarez, Juan Sebastián; Victório Filho, Aldo; Martins, Alice Fátima
    Based on the understanding that visualities play pedagogical roles with regard to gender, in this dissertation it is proposed the development of a problematizing way of looking at them, in order to help destabilize norms and imaginaries that foster and sustain the practice of violence against women, with special attention to the roles played by men (as individuals) and by masculinities (as a social construction) in this phenomenon. Through the development of a pedagogical activity, focused on working with a gender reflective group of men, we investigated the contributions of images to the problematization of masculinities and their ties to violence. The montage was used as a pedagogical resource, with conceptual support in the work of Georges Didi-Huberman, to analyze the potential of gathering images and reflecting on them to foster discussions that would demonstrate the development of critical thinking on what visualities teach about gender, with a focus on the ways in which they can help construct and deconstruct violent ideas and practices. The research was conducted through a literature review, based on gender and visual culture studies, and meetings with a reflective group, composed of 5 participants who self-identify as men. Through the collective production of montages as a device to generate reflections, it was possible to perceive the engagement of these men in a thinking about visualities that understands that they serve both to perpetuate the gender order that generates violence, and to promote ruptures with it. The speeches of the participants pointed to a discontent with certain images about masculinities, which in their life trajectories have caused contention and repression, and an interest in other images, which build spaces for experimentation with possibilities of being and living. Some men who participated in the group demonstrated difficulties and doubts at certain moments regarding the complexity of the phenomenon of gender violence, as well as their implications in it and what they can do to collaborate in the fight against it. This, instead of keeping them away from the discussions, was explored in the debate with the group, creating opportunities to problematize certain ideas and collectively build pathways for thought and action. The members of the group showed interest in continuing to deepen their reflections on the theme, which serves as an indication that this educational action may have been a step towards other experiences, through which they may continue to engage in confronting gender violence.
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    A representação do (des)pertencimento no audiovisual: a noção de David Hummon aplicada à obra de David Lynch e à série Eles
    (Universidade Federal de Goiás, 2022-07-11) Ramos, Anna Carolina Mendes; Jesus, Samuel José Gilbert de;; Jesus, Samuel José Gilbert de; Borges, Cristian da Silva; Feitosa, Paulo Henrique Duarte
    This research aims to reflect on the concept of sense of place and its presence in David Lynch's cinema. Therefore, the basis for working on this concept was the practical research carried out by sociologist David Hummon, between 1986 and 1992, which defines the sense of place in terms of the ways in which people build bonds with their communities and their surroundings, and how can they promote identities linked to places of living and living. We identified, in the cinematographic work of David Lynch, a practical application of this concept, mainly through the atmosphere created in his films. In this way, what we carry out in this research is a conceptual transport of an area, which is sociology, through Hummon's practical research, to cinema, specifically in some examples chosen in Lynch's work - which transforms the filmic atmosphere into a space for reflection on identities, a sense of community and the relationship with the Other. We will begin this research by dealing with the film Blue Velvet, realized in 1986, as well as bringing, throughout its development, other films by the director that helped us to deal with related concepts, such as several social segments presented. The film analysis used was based on a methodology that directed our gaze beyond the “immediately visible” and the symbolic in the chosen film to reach the sense of place. In this sense, the construction of a critical narrative about and for North American society proposed by Lynch in his films comes to dialogue with the approach guided by Hummon's sociological research.
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    Os segredos visíveis da cidade: a efemeridade da luz e da sombra na linguagem fotográfica
    (Universidade Federal de Goiás, 2010-04-06) Yépez Collantes, Raúl; Borges, Maria Elizia;; Borges, Maria Elizia; Zamboni, Silvio; Mello, Márcia Metran de; Rufinoni, Priscila; Clímaco, José César
    The present work proposes a theoretical reflection around the photographic images produced by the author between the years 2001 and 2006 during the passing of certain visual effects of a transitory nature that appear in the city. The analysis of images is proceeded by a historical review on urban morphology and iconography; the image of the city; and on a selection of American and European photographers that included the city within their preferred subject matter. In the second part of the article the intention is to be explicit on some of the positions that underlie the fundamental concepts of the author's work, starting with the explanation of the language around the ephemeral and then developing aspects relating to the technical image, an unbreakable element of the photograph. Finally, the study focuses on an interpretative and descriptive analysis, looking at historical, technical, aesthetic and conceptual elements of the most representative images that form part of the author's three thematic exhibitions. At this stage it explores: the embedding in photographic aesthetics of facets of simple and routine urban daily life; the potential of reflection in water on the ground; as well as the dominance of shadows in the contemporary vision of creative photography.
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    “Meu desenho é feio!” _As páginas amarrotadas do caderno de desenho e a formação docente em artes no ensino básico
    (Universidade Federal de Goiás, 2022-04-01) Nascimento, Iana Francisca Quirino do; Martins, Alice Fátima;; Martins, Alice Fátima; Meira, Elinaldo da Silva; Guimarães, Leda Maria de Barros; Morais, Paul Cezanne Souza Cardoso de
    The motivating concerns of this research are intended to investigate how the teachers' training and experience in the arts contribute to or interfere in the student's graphic production worked in basic education drawing classes by taking as a starting point the statement "my drawing is ugly", taken from my observations made in the classroom in the last year of the graduation internship in Visual Arts Degree, in 2018. Here, the exchanges come from the teaching/learning field where the teachers work; through semi-structured interviews made online, we think together both Art Teaching and Visual Culture, which support the strategies applied in the classroom. I share my experience as a student, the daughter of a pedagogue, by bringing my mother's reports to this work on her experiences as a student and teacher in basic arts education. In this space, I understand myself as a student, researcher, and illustrator along with the people participating in the research, teachers from municipal and state public schools in Goiânia/GO, Olinda/PE, and Timon/MA. The drawing structures in the research not only the observed narratives but comes to this point as a methodological strategy, thinking of the research work itself as a scribble, risk, or scrabble.
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    Professora podemos dançar sobre isso? Experiências de uma artista-docente no Projeto Orlandança (2015-2020)
    (Universidade Federal de Goiás, 2022-03-29) Calixto, Janaina Pimenta; Silva, Thiago Fernando Sant 'Anna e;; Guimarães, Leda Maria de Barros;; Ribeiro, Luciana Gomes; Perotto, Lilian Ucker; Silva, Rosana Gonçalves da; Figueiredo, Valéria Maria Chaves de; Guimarães, Leda Maria de Barros
    This research deals with the power of critical teaching of art in public schools, based on the experiences of an artist-teacher for five years with the Orlandança Project at the Orlando de Morais Municipal School in Goiânia-GO. Thus, we bring, through the images and memories of the researcher archived through them, the paths of a teaching experience, critical/reflective in art at school, through dance from a critical perspective. In this way, we intend, through these experiences, to understand the power of teaching art at school? How does this teaching experience answer the question? Starting from an affective writing, we seek in this narrative to bring elements that validate the importance of strengthening the teaching of art in public schools, especially dance, which is increasingly removed from this place as an area of ​​knowledge. We approach concepts from the field of Visual Culture, Semiotics, Archive, Memory, Body, Education, Art and Dance. We established as a general objective of this research: to investigate the importance of critical educational practices in dance at school, and as specific objectives: to understand how my teaching experience in the Orlandança Project can contribute to a transformative teaching, potent in art at school; to analyze the mediation processes and the construction of meanings that the classes, presentations and sensitization in dance aroused in the students of the Orlandança Project; to analyze the possible relations between dance and the critical formation of the subjects in the Orlandança Project.
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    Cozer bolos/coser livros - autopublicação de livros: ação pedagógica e artística na cidade de Goiás (GO)
    (Universidade Federal de Goiás, 2022-02-04) Carlos, Wagner Falcão; Perotto, Lilian Ucker;; Perotto, Lilian Ucker; Andrade, Émile Cardoso; Guimarães, Leda Maria de Barros
    History has shown that access to the book as a reader and, especially, as an author faces significant restrictions since its development. It is proposed to reflect on the relevance of other subjects having access to the book as authors, minimizing the distance between people to this object by seeking ways to, on the one hand, question the right artificially constructed by visuality to access exclusively the book as authorship; on the other hand, providing opportunities for other subjects to access it as authors, valuing their perspectives through these objects. It is methodologically supported by action research (LEWIN; GREENWOOD, 2006); in Arts-Based Research (HERNÁNDEZ, 2008) and a/r/tography (IRWIN, 2013); and in Visual Culture (MIRZOEFF, 2003). As complementary techniques and procedures, bibliographic research are used (MARCONI; LAKATOS, 2017), cross images (SAMAIN, 2012), grounded theory (STRAUSS; CORBIN, 2008) and writing under the typology of Evocative Texts ( BARONE; EISNER 2006 apud HERNÁNDEZ, 2008). The option for such methodological paths and for such methods are given to meet the idea of trivialize the access to the book as an author, something that has strong support in the propositions of Mirzoeff (2011) about visuality complexes, generating the perception that the book system is also organized through a complex, the book complex. The reflections on memory had as a starting point the thought of Candau (2011) and Halbwachs (1990). Exist an emphasis on the relation with the book Memory and Society, by Ecléa Bosi (1994), which, in addition to debating the issue of memory, brings reflections relevant to the methodology for promoting self-publishing due to the way in which the book is organized. From Almeida (2009), Gohn (2015) and Freire (2011,2013), he raised a reflection on the pedagogical and artistic action, “Cozer bolos/ Coser Livros”, which was mediated by a visual arts teacher. The results of the experiment were shared through a significant number of images and text-images. Then the promotion of self-publishing is a relevant action for the access of more subjects to the book as authorship; that the training process involved in the action must have as a principle the search for the authors' autonomy, in an education for freedom; that public research and teaching institutions play a key role in ensuring the development of similar actions.
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    Fotografia: artefato, afetos e aprendizagens no ambiente digital
    (Universidade Federal de Goiás, 2022-02-18) Ramos, Nandra Imiane; Perotto, Lilian Ucker;; Martins, Alice Fátima; Fernandes, Ana Rita Vidica; Perotto, Lilian Ucker
    The research "Photography: artifact, affect and learning in the digital environment" has as its object of investigation the photographs produced in the digital environment, specifically in the social network Instagram and the way they are conveyed as affective devices of contemporary looks, having been guided by the following question-problem: how can photography act as a learning and affective device in the mediation of seeing during the pandemic? For this, I gathered a group of ten participants to follow them netnographically (KOZINETS, 2010; FERRAZ, 2019) and produce cartographies (BARROS; KASTRUP, 2009) regarding their personal relationships with photography. Thus, the data collection of this qualitative research was carried out with members of the UFG community and over 18 years old, aiming to perform a netnographic follow-up of their profiles on Instagram for a month. Thus, through an informal learning environment (LIB NEO, 2010; GOHN, 2006), conversations via Google Meet took place about the respective profiles on the social network, their relationships with photography and social interactions. Thus, with the subjects' own photographs and the affections cited during the meetings, cartographies were produced in order to make explicit the relationships with images during this pandemic period. The main objectives are: to link photography to affects, both as resources that enable the externalization of subjectivities; to map the affects exposed in the photographs, through the affective cartography methodology; to understand how photography operates in the deconstruction of the hegemony of seeing, and investigate how photography, through cultural pedagogies, operates as a learning tool in the digital environment. Therefore, the main contribution with this line of research is to suggest a study about decentralized learning, related to informal education and cultural pedagogies (ANDRADE, COSTA; 2015), which move beyond formal educational spaces, continuously throughout life. Including through photographic images in the digital environment, which constitute and form visual experiences about perceptions of the world. Thus, it is possible to propose that the main contribution to the visual arts and culture field is supporting the construction of new knowledge, proposing a critical and historical reflection on photographs and contemporary looks, under the pandemic context. Since reality also shapes sociocultural experiences and carries affections to the relationships with image. And, thus, open knowledges that arise from everyday learning, understanding that the different formats of photography are part of Arts.