Doutorado em Arte e Cultura Visual (FAV)

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Samuel Costa – Cartografias da Memória: arquivo. corpo. homoerotismo
(Universidade Federal de Goiás, 2024-06-07) Tito, Keith Valéria; Jesus , Samuel José Gilbert de; http://lattes.cnpq. br/3589952430806659; Jesus, Samuel José Gilbert de; Anjos Neto, João Dantas dos; Oliveira, Flávio Gomes de; Vidica, Ana Rita; Mendonça , Tânia Mara Quinta Aguiar de
The objective of this research consists in the elaboration of a cartography about the photographer Samuel Costa, based on his documentary archive constituted from 1968 to 1987. The cartography as a methodological resource emphasizes the importance of portraying the paths taken during the development of a research. The practice, going into the field, looking around the object of study are also issues attributed to cartography as a method. In this sense, to understand Samuel Costa's trajectory, the investigation begins by presenting the constitution and course of his own archive, with photographic conservation being an essential element in this process. Because, in addition to preserving the materiality of the materials that compose the archive, it also preserves History and Memory, instigating reflections on temporality and the meaning of archives. To understand the context experienced by Samuel Costa, his archive highlights photographs of the male, homoerotic body and the bodies that are revealed through it: the political, social and historical bodies. The investigation also highlights the way in which archives have been used and re-signified by contemporary researchers and artists. The investigation also highlights how archives have been used and reinterpreted by contemporary researchers and artists, the portrayal of male nudity, the bodies participating in gay parades, and how bodies affected by SIDA in the 1980s and 1990s were embraced by an artistic practice centered on photography.
Sob o véu de tule: latências e metamorfoses na fotografia post mortem
(Universidade Federal de Goiás, 2024-03-22) Mendes, Marina Muniz; Jesus, Samuel José Gilbert de; http://lattes.cnpq.br/3589952430806659; ; Jesus, Samuel José Gilbert de; Silva, Guilherme Ghisoni da; Anjos Neto, João Dantas dos; Vilela, Ana Lúcia Oliveira; Beck, Ana Lúcia
This thesis presents the post-mortem portrait as its central theme. It develops the theme through three guiding axes: death, metamorphosis and photography. It investigates processes of construction of meaning centered on artistic images and visualities articulated with culture. It creates connections based on the author's personal history with the genre of post-mortem photography, starting with the photograph of the grandmother being veiled; including photo essays on dead and metamorphosed animals carried out on trips; until arriving at the book Ultima Thule, by Danish photographer Henrik Saxgren; Along the way, this thesis puts photographs from different collections into dialogue, grouping clippings from different historical periods and artists. Bibliographic and documentary research is used. Data examination is based on content analysis. The method is understanding-oriented qualitative research. The justification for the thesis is that in the search to understand life it is important to consider death. The objective of the research is interpretative. The thesis creates a poetic and authorial narrative. It develops creative writing. It is based on authors from the arts, humanities and applied social sciences, poems and literature, including fiction. The narrative strategy of the thesis makes use of morphological, semantic and social connections of the language. It ties together images-images, images-words, words-images, words-words. It stitches the analyzes using metaphors, latent images and imagination. It brings together entries from entomology, enhanced by analogies with the vocabulary universe relating to insects and analogies with the different phases of metamorphosis. Associations and contrasts also promote imagery associations between works. It is research with images, which structure a methodological perspective, not requested solely for their illustrative purposes. It is dedicated to collecting and curating for scientific purposes. It is inspired by the Atlas Mnemosyne by the German art historian, Aby Warburg (1866-1929). It creates a photographic exhibition drawn from four lines of force: candid post-mortem; death and monstrous masks; remote landscapes; and metamorphosed bodies of animals. It considers life, its transformations, reproductions and survivals. It acknowledges that in the search to understand life it is necessary to consider death.
Caixas das verdades e as imagens de vivências trans sob o olhar da cultura visual: as imagens educam os olhares
(Universidade Federal de Goiás, 2024-08-08) Soares, Márcia Santana; Dering, Renato de Oliveira; http://lattes.cnpq.br/7891833942208165; Silva, Thiago Fernando Sant’Anna e; http://lattes.cnpq.br/9735682996647548; Silva, Thiago Fernando Sant’Anna e Silva; Dering, Renato de Oliveira; Borges, Guilherme Martins Teixeira; Parreiras, Vicente Aguimar; Guimarães, Leda Maria de Barros
The theme of this research is “"Boxes of truths" and images of trans experiences from the perspective of Visual Culture: images educate the gaze" and aims to problematize the formation of gender identity, social representation, the place of speech, the coloniality of being in Visual Culture studies, from a Foulcaultian perspective, presenting the visuality of the hegemonic discourse around sexuality and the resistance of each of the research subjects, Nádia Köller and Nicolas N. Mardem, through the image of family albums and narratives, in order to discuss contravisuality and experience decolonial literacy, associated with the object of Visual Culture. In the construction of feminine and masculine, there are power disputes, which reinforce the discourse of heteronormativity and the binary question (man/woman),while other identity categories are present in the social environment and claim the right to be visualized. A look at transsexuality based on queer theory breaks with the binary logic of sexuality, rejecting what society, culture and language aim to instill on the surface of subjects. When society dictates heteronormativity as the standard of conduct, gays, lesbians, transsexuals, asexuals andintergenders are seen as subjects who deviate from the heterosexual norm, and thus suffer discrimination. Thus, 'it is necessary for the formal/informal educational process to be able to discuss diversity, sexuality, empowerment and prejudice through portraits fromthe personal collection of transgender people and to understand how such images can educate gazes, bodies, and bring the cultural and social meaning of the subjects involved, mediating images and Visual Culture through classroom experience, through decolonial literacy with third-year high school students at Colégio CEPAE - Centro de Ensino e Pesquisa Aplicada à Educação. Thisresearch will be carried out using the inventory and descriptive research method, of an ethnological and cartographic nature, with a photomemory and photogenerominory procedure.
goyania – outubro ou nada: arquivos, imaginação, montagem, filme-ensaio
(Universidade Federal de Goiás, 2023-08-23) Alves, Uliana Duarte; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Silva, Sabrina Tenório Luna da; Borges, Rafael de Almeida Tavares; Rodrigues, Manoela dos Anjos Afonso; Jesus, Samuel José Gilbert de
The doctoral dissertation goyania – october sketches: archives, imagination, montage, essay film, is dedicated to investigate the creation process of the short film goyania – october sketches (2022), in which I performed the functions of researcher, screenwriter, producer, editor and director. During the long editing period, the work gradually molded itself to a different form than the one initially invented, requiring that the approach of its objects – my hometown, its history and its imagery – made a displacement towards my personal experience and the way I related to the archival images and sounds produced in different eras, media and with contrasting intentions. I rode among the archives inspired by a strong impulse to question these images and through them, at the same time that I was thinking over the very experience of drawing a different portrait of Goiânia than the one presented by classical historiography. The theoretical-practical nature of the research made it possible for the notions of imagination and montage, which structured the film, to be taken as starting points for its production. The theoretical and artistic references that inspired the film were also welcomed in this dissertation in a pragmatic way, to the point where it embraced an essayistic and somewhat insubordinate writing, wishing to answer both to the movement of thought that recalled the creation process, re-elaborating the concerns that constituted it and the commitment to building a knowledge in Art that contributes to the studies of essay film, found footage film, visual culture, history and image.
Cultura visual, vida digital e videoclipes do Youtube
(Universidade Federal de Goiás, 2024-03-21) Carvalho Júnior, Luiz Espíndola de; Silva, Thiago Fernando Sant Anna e; http://lattes.cnpq.br/9735682996647548; Guimarães, Leda Maria de Barros; http://lattes.cnpq.br/1491866271915819; Guimarães, Leda Maria de Barros; Silva, Thiago Fernando Sant Anna e; Arslan, Luciana Mourão; Guimarães, Alexandre José; Martins, Alice Fátima
This thesis presents the methodological design and results obtained in Visual Culture and Digital Life: A Discussion from YouTube Visualities. The objective was to analyze, under the scope of Visual Culture, the most accessed video clips on YouTube Rewind Brazil, in the time frame between 2018 and 2020, combined with interviews carried out with students from State´s College Dom Pedro I. The visualities observed were perceived from Discipline and Punish in conjunction with decolonial studies, used to support ideas that can result in curricula for teaching Art in an inclusive, anti-racist manner and away from the euro centrist bias. The results obtained point to the prevalence of university country music and ostentatious funk as visualities that encourage unbridled consumerism, based on cybernetic digital platforms, such as the YouTube, with educational impacts reflecting on aesthetics, sociology, Visual Culture, art teaching and the construction of digital simulacra that emulate reality in an individual, and transparent and liquid way (Metaverse). Cyberspace has become an “artificial oasis” where all desires can materialize in a customized way.
Os modos de vestir das mulheres INỸ Karajá: origem, tradição e invenção
(Universidade Federal de Goiás, 2024-01-30) Di Calaça, Indyanelle Marçal Garcia; Andrade, Rita Morais de; http://lattes.cnpq.br/0652175469093010; Andrade, Rita Morais de; Pires, Ema Cláudia Ribeiro; Jesus, Samuel José Gilbert de; Cândido, Manuelina Maria Duarte; Nazareno , Elias
This thesis presents a study about the ways of dressing of Inỹ Karajá women in contemporary times. Although women are more contemplated in the history of fashion and dress, than men and children, for example, the choice made it easier for me to reflect the similarities and differences between the ways of dressing of Inỹ Karajá women and women in the territory that was once called Brazil. The guiding questions promote several reflections, such as: do Inỹ Karajá women's ways of dressing in contemporary times result in the maintenance of a tradition? Is there a difference in the way of dressing between women from the same village Santa Isabel do Morro/TO, considering age, social position, religion, etc? Is the use of traditional clothing by Inỹ Karajá women related to the feeling of belonging/identity? The methodological procedures adopted include a systematized bibliographic review with a concern for privileging the plurality of indigenous and Latin American authors with works of a transdisciplinary aspect, without a passive focus on European references. This research initially made use of Digital Ethnography for its realization, meeting the guidelines of the World Health Organization for the containment of covid-19 and recognizing the greater vulnerability of indigenous populations. The project was assessed and approved by the Research Ethics Committee of the Universidade Federal de Goiás, and the semi-structured interviews began, using technological resources that best suited the possibilities of the indigenous women collaborating. Subsequently, the Santa Isabel do Morro/TO village applied to the Fundação Nacional do Índio (FUNAI) to carry out the field research in person. The research, in general, involved the participation of several indigenous Karajá from different villages, but mainly from the aforementioned village, based on a project approved under the REFARM CRIA call for proposals, which promoted collaborative and horizontal data collection. There was also an analysis of images and visualities of museum collections and archives, based on the contribution of authors from the field of Visual Culture. The interest in indigenous dress may contribute to the production of the history of clothing in the country in the context of discussions on coloniality and decoloniality; besides promoting a mutual reflection, both by the researcher/mediator about my own naturalized conceptions, and by the female collaborators Inỹ Karajá about the transformations in their own culture.
A poesia slam e suas des-margens
(Universidade Federal de Goiás, 2023-11-17) Boleão, Jossier Sales; Martins, Alice Fátima; http://lattes.cnpq.br/2768377569632609; Martins, Alice Fátima; Andrade, Emile Cardoso; Santos, Michelle dos; Guimarães, Leda Maria de Barros; Meira, Elinaldo da Silva
This thesis is an exercise in looking at slam poetry, focusing on the movement in Brazil and making some reflections from the field of Visual Culture. Slam poetry emerged in the early 1980s in the United States and since then has spread to several countries. In Brazil, slam poetry arrived in 2008, the country being one of the references for the quantity and diversity of slam groups spread, in addition to other elements that make up many particularities of each group. The notes made in this text follow the trajectory that begins in the autobiographical path and expands in avenues when finding slam poetry, and understanding it as a poetic act, transfiguring itself into energy of resistance and occupation of seeing, hearing and feeling. The direction in which the thesis is constituted arose from the following questions: what visualities and countervisualities do slammers promote, summon and provoke, from the poems that overflow their bodies? Which narratives mobilize and want to propose? The consequences resulting from these inquiries originate in the investigative work that began in 2019, from the participation in poetic slam battles, in the city of Goiânia, in Goiás and, with the arrival of the covid19 pandemic, the research moved to the competitions that took place in the environment of digital platforms. Given this context, the material that drives the reflections presented here is diverse and comprises various nuances of what already exists in the systematization of slam poetry. That being said, the perspective addressed supported by visual culture covers the dimensions of the poetic act from a pedagogy of slam poetry, from its understanding as cirandas of knowledge anchored in popular education and in the politics of the word, in which the need becomes a voice and the poem becomes the terrain of revolution, since the event in the format of popular assemblies, adding the competitive element between artist poets. In addition, this thesis follows the paths of slam poetry as an insurgency through counterpoetry, in its decolonial exercise, since its aesthetics goes towards the sanación of colonial wounds, having as its power the poetic fabrication of the visual city, without losing the reflections of a pandemic poetics in a regime of denial in Brazil governed by the extreme rightwing, until the year 2022. It finally enters the conditions of this poetic work during longdistance connections by populating digital platforms with poetry and other sensitive exercises. The systematized elements are not intended to show fixed answers, but to point to other perspectives of looking at the slam poetry movement and at artists who reconfigure the scene in everyday life.
A estética do cinema nazista na produção dos sentidos na comunicação política no Brasil
(Universidade Federal de Goiás, 2023-11-30) Jimenes, Roberto; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Silva, Thiago Fernando Sant’Anna e; Anjos Neto, João Dantas dos; Carneiro, Rose May; Costa, Marcelo Henrique da
There are many studies that address Nazi Cinema and this had a fundamental role in Hitler's plans, with cinema being the main means of communication used at the time. Several were the cinematographic languages used, however, studying Nazi cinema against the study of visual culture, it is possible to draw a parallel between some points: such as the relationships between visibility (what cinema provides), visuality (the new cinema: entertainment x politics) and power (Nazism), which transform the universe of symbolic understanding among the German population. Is it possible that, when analyzing the images of this cinema, we cannot propose a counter-visuality, if we consider its aesthetics associated with a new analysis of the production of meanings. The implications regarding these visual experiences in a society increasingly centered on the meaning of the gaze, and its repercussions even today in the universe of political and governmental communication in Brazil.
MekHanTropia: autoconhecimento e (re)existência em um universo transmidiático, experimental, colaborativo e autoral
(Universidade Federal de Goiás, 2023-11-17) Felipe, Frederico Carvalho; Franco, Edgar Silveira; http://lattes.cnpq.br/8415486629956081; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Franco; Berardo, Rosa Maria; Franco, Edgar Silveira; Andraus, Gazy; Nunes, Fabio Oliveira; Silveira, Guilherme Lima Bruno e
Hypercompetitiveness, hyperinformation, hyperproductivity and hyperconsumption – 24/7 (hours/days) – generate new anxieties in individuals who are increasingly standardized according to the market. Thus, I think poetically about this thesis-creation about how we currently deal with telematic flows and subjectivities today, placing myself through creative processes as an object of artistic experimentation to build a transmedia dream universe that I call 'MekHanTropia'. Through poetic artistic creations using different languages, tools and platforms, I create a cosmology that represents some of my subjective experiences in times of high human dispersion due to the pandemic. I envision ways to (re)exist through countercultural artistic resistance, questioning psychopolitical standards and Manichaean binaries dictated by the market and reflect, in this process, on collaborative art, experimental and conceptual art, poetic resignifications, polysemic relationships between art and technology, dreamlike narratives, intertextualities and other practices that aim at selfknowledge and confronting institutionalized mekHanTropic psychobinary obscurantism through resignification and artistic materialization.
Mulheres que dirigem filmes em Goiás e a criação de um documentário sobre ser mulher fazendo filme: 1966 a 2022
(Universidade Federal de Goiás, 2023-06-30) Silva, Naira Rosana Dias da; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Dias, Luciene de Oliveira; Montoro, Tânia Siqueira; Rodrigues, Manoela dos Anjos Afonso; Oliveira, Flávio Gomes de
Since 1966 women have directed films in the state of Goiás, Brazil. However, it is known that these women were erased or appeared as supporting actors in movie scripts by male authors. There are still few scholarly works that investigate cinema made in the Brazilian state Goiás, especially if the criterion consists of a thesis written on this subject and, moreover, written by a black female author who reveals her feminist view on issues involving gender and race in films depicting Brazilian region. This exploratory research, centered on personal narratives, creative processes, and the experience of being a woman working in contemporary cinema presents a descriptive table of 131 women who directed films in the state of Goiás. This number represents a total of 306 films produced from 1966 to 2022. It is important to consider that the designation director, referenced and introduced here, does not only refer to the filmmaker who has built a career over the years, recognized in important festivals, or by the production of sophisticated films; director, in this study, is the woman who exercised this function even if the film was made in a straightforward manner or simply presented in film clubs or cultural spaces. Two pioneers of cinema in Goiás ‐ Cici Pinheiro and Rosa Berardo, and the process of creating their films, respectively: the unfinished and disappeared O Ermitão do Muquém and André Louco (1990) ‐ reveal the beginning of the history of female directors in Goiás. The phenotypic issue of the multi‐artist Cici Pinheiro is examined, whether because she came to be recognized as a black woman, or whether the racial issue had never been discussed in any previous writing that addressed her. Even though Cici Pinheiro's film had not been finalized, she embarked on the direction of a feature‐length fiction film in 1966, even before the black female filmmaker Adélia Sampaio from the state of Minas Gerais in Brazil, who needs to be highlighted. Special attention is also given to women who directed animations, due to the rarity of this in Goiás, and to black and indigenous women directors for the same reason, but also due to the racial cut of the researcher, a black woman author behind the camera. Some directors were interviewed in depth, others answered a semi‐structured questionnaire, recorded for the composition of the documentary: Women who direct films in Goiás, the result of this research, in which the process of creation of their making is narrated. The following directors were featured: Ana Luíza Reis de Sá, Cris Ventura, Marta Kalunga, Silvana Beline, and Rosa Berardo. The study prioritized female authors, specifically filmmakers who have recently published collections: Holanda and Tedesco, 2017; Silva, C., 2017; Holanda, 2019; Lusvarghi and Silva, 2019; Tedesco, 2021, and Martins, R., 2021. Museum archives, catalogs printed and online, newspapers, various websites, old blogs, YouTube, Vimeo, CVs, and social networks of the directors were consulted for data collection. Therefore, this research is a contribution to studies that address women and the History of Women in Cinema in Brazil and the state of Goiás.
O livro dos meus dias: histórias de uma travessia cartográfica para corpo, desejo e divergência contadas em dança, poesia e imagem
(Universidade Federal de Goiás, 2023-07-04) Brito, Alessandra Araújo de; Ferreira, Glauco Batista; http://lattes.cnpq.br/2193871294419921; Ferreira, Glauco Batista; Krischke, Ana Maria Alonso; Nascimento, Ana Reis; Rodrigues, Manoela dos Anjos Afonso; Martins, Alice Fátima
The Book of My Days is an autobiographical research that presents a cartographic route of self-production, accomplished by a neurodivergent person, in processes of seeing and moving oneself from experimentations with dance in image devices, involving photography, video and poetic writing. It approaches visual culture questioning the imperative conditioning of the images in the gaze regime, acting in the processing of subjectivation, in the construction of identities and social practices. In counterpoint, proposes active agencies of productions from other corporeities, founded on difference and singularity. Exploring relations between body, image and move, as an expression plan of a self writing, the research weaves lines of strength in becomings, dreams, shadows, memoirs and affections.
Bonecos na colônia penal: uma adaptação contemporânea de Kafka
(Universidade Federal de Goiás, 2023-07-28) Neiva, Dustan Oeven Gontijo; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Franco, Edgar Silveira; Oliveira, Flávio Gomes de; Machado, Fábio Purper; Oliveira, Ivan Carlo Andrade de
Storytelling is an act pertinent to human beings in all societies and cultures. The ways of telling these stories are varied. Cinema uses the resource of adaptation of literary works, since its origin. In this investigation into art, I address the issue of transposing literary works to audiovisual, particularly animation. This is a theoreticalpoetic research that led to the production of an animation film based on the novel In The penal colony, by the Czech writer, Franz Kafka. In the development of this research, I use an autobiographical work methodology to establish the relations between Kafka's text and my creative process. The film The Penal Machine brings Kafka's work to the contemporary world, under my artistic perception.
Inventar sentidos: formação docente em artes visuais na LEdoC-UFT
(Universidade Federal de Goiás, 2023-06-02) Silva, Hertha Tatiely; Guimarães, Leda Maria de Barros; http://lattes.cnpq.br/1491866271915819; Guimarães, Leda Maria de Barros; Perotto, Lilian Ucker; Pimentel, Lucia Gouvêa; Silva, Thiago Fernando Sant’Anna e; Pereira, Kelci Anne
I propose, in this thesis, to explore positions that contribute to composing ways-of-being-teacher from opening gaps so that those involved in teacher training processes let-be-affected by contexts, experiences, situated knowledges and experiential territories. Contextures through which we produce our possibilities and invented meanings in relation to our own topicality (BORRIAUD, 2011, p. 27). The thesis explores the possibilities of inventing meanings in visual arts teacher training, which is related to the concepts of cognition as an inventive power (KASTRUP, 2001; 2005; 2007) and of experience as the construction of knowledge, of recognition of the potential of what has already been assimilated on the verge of stimulating inventions (LARROSA, 2010; 2016; 2018a; 2018b; 2019). It is a research on art linked to education, in which the methodology itself is a research problem: it explores the transits between the visual arts and teacher training, seeking to relate artistic components (invention and experience) with ways of composing forms-of-being-teacher. The field research was carried out at the Federal University of Tocantins, in the context of the Degree in Rural Education – Visual Arts and Music (LedoC-UFT), course that I work as a teacher. I undertake a narrative about experiences of training in action, in which the narrative in itself is a training practice, besides playing as a pedagogical intervention device. The research is divided into two parts: the first is dedicated to telling the history of field education, its principles and concepts, with emphasis on LEdoC-UFT; in the second part I dedicate myself to explore the possibilities of teaching the visual arts in the pedagogical project of field education, an education committed to the heterogeneity of knowledges, sensibilities and experiences. The thesis seeks to expand and propose possibilities to think about teacher training from an experiential and inventive orientation, aiming to contribute to teachers in forma(c)tion make senses from narratives in themselves. I consider that the research achieved its objective by approximating theory and practice, creating ways of working and assuming positions that expand and/or reposition perspectives on what the visual arts can do as scope of teacher training in field education.
Culturas de fronteiras: (auto)representações da juventude em cenários de violência urbana na cidade de Luziânia/GO
(Universidade Federal de Goiás, 2023-02-27) Matutino, Aurisberg Leite; Guimarães, Leda Maria de Barros; http://lattes.cnpq.br/1491866271915819; Guimarães, Leda Maria De Barros; Perotto, Lilian Ucker; Abreu, Carla Luzia de; Silva, José Carlos de Paiva e; Castro, Gardene Leão de
This doctoral dissertation aims to problematize images of violence among youth that have been manufactured in contemporary society by opposing them—in different analytical layers, interdependent on each other—to several other images that help researchers to perceive a counter-image formed from a series of visualities produced by the young people of the city of Luziânia, Goiás. This counter-visuality is presented in this work, layer by layer, according to the experiences and cultural practices of these participant youth with whom I had the opportunity to be in touch throughout the doctoral research. The goal of this proposal is to think over forms of representation and self-representation triggered by black and poor youth in scenarios of urban violence, redirecting the gaze to their own ways of participation and resistance. The methodological approaches used in this work are snowball sampling (a technique used in certain types of qualitative research where personal networks and “mouth to mouth” references are created to catch up with the participants) and cartography, which ended up shaping a layer-based format, less “motionless,” rather than a structure based on chapters. The opportunity to listen to the young subjects who participated in this research especially incites us to question prevailing discourses on “young people from the unprivileged areas,” the black and impoverished people, as “delinquents” and “criminals,” contributing to bring out other perspectives on how contemporary youth that live in areas of urban violence can deconstruct stigmas and rebuild their own images.
TomosGravura, o corpo entre a ciência e a gravura
(Universidade Federal de Goiás, 2019-03-25) Gouvêa, Maria Filomena Gonçalves; Clímaco, José César Teatini de Sousa; http://lattes.cnpq.br/4105136553667901; Clímaco, José César Teatini de Sousa; Arruda, Amilton José Vieira de; Silva, Thiago Fernando Sant’Anna e; Pìnto, Suely Lima de Assis; Jorge, Anahy Mendonça
TomosGravura, the body between science and engraving, is made of theoretical and practical research that studies the body between the images of radiological science and Art in Engraving. TomosGravura is formed from image-to-image. The images are two pieces of the author's own body, the brain and the cervical spine. The arguments consist of treating the gaze as the reflexive dialectic process initiator. To analyze the body historically and in metaphors, seeing it through studies, under the skin, of the dead, which means, by anatomization and, in the living body, by the image. The radiology technical images and engraving are seen in these two ways of knowing, distinctly, to reach the understanding of the choice by Magnetic Resonance (MR) and by linography in Lost Matrix as a poetic process. The shift of meanings from science images to the engraving are possibilities in contemporary visual poetics and contemplates three artists as visual reference: Cris Bierrenbach, Cláudio Mubarac and Monica Mansur in their poetic propositions in recorded images. Afterwards, the inquisitive look on the poetic TomosGravura is built. The considerations about this theoretical / practical study are the conclusion of the thesis. All the reflection is based on Georges Didi-Huberman’ studies (2010, 2013) among others. The body is seen between science and engraving and the image is constituted as source, support and mediation for TomosGravura. It was used a qualitative methodology with farther studies and the use of autobiographical narrative in harmony with the presented images is made.
Nas tramas da colonialidade: a experiência de construção social do olhar de estudantes de Direito do Campus Goiás da Universidade Federal de Goiás em 2022
(Universidade Federal de Goiás, 2022-12-13) Oliveira, Fernanda Sousa; Silva, Thiago Fernando Sant’Anna e; http://lattes.cnpq.br/9735682996647548; Silva, Thiago Fernando Sant’Anna e; Ferreira, Glauco Batista; Guimarães, Leda Maria de Barros; Santos, Cristiano Alexandre dos; Santos, Welson Barbosa dos
This research is a thesis proposal that aims to understand the social construction of the gaze of law students at the Federal University of Goiás, Campus Goiás in the year 2022. We go through our own trajectory of professional and academic construction to compose an autobiographical space. We walk through the paths of coloniality printed in Brazilian legal education and that reverberate in the processes of legal education of students and professionals who are involved with the dynamics of Law, whether at the university or in the judiciary. We went through the fundamental categories for the seams between Law and Visual Culture and the plot of the social construction of the Law student’s gaze. We are faced with coloniality and looting operating within a rule of law with a Mirzoerfian visual complex. The research outlined here is a cartographic work with a qualitative and autobiographical approach. The analyzes resulting from our contact with the field of research provided an approach to the meanings that students attribute to images since legal education.
Mediações entre imagens do corpo e da cidade: reflexões sobre práticas educativas no campo das artes
(Universidade Federal de Goiás, 2022-11-18) Araújo, Pedro Simon Gonçalves; Berté, Odailso Sinvaldo; http://lattes.cnpq.br/0846451772067427; Silva Filho, Raimundo Martins da; http://lattes.cnpq.br/1270126774554014; Silva Filho, Raimundo Martins da; Perotto, Lilian Ucker; Ferreira, Glauco Batista; Ferreira, Luiz Carlos Pinheiro; Barboza, Mônica Corrêa de Borba
Esta investigación discute las mediaciones entre las imágenes corporales y su relación con las prácticas educativas en los espacios de educación artística a partir de una experiencia pedagógica-afectiva realizada con estudiantes de la carrera de Licenciatura en Danza del Instituto Federal de Goiás - Campus Aparecida de Goiânia. El trabajo de campo se realizó con cuatro estudiantes mujeres y tres hombres de esa institución a través de reuniones semanales durante cuatro meses en 2019. Los instrumentos utilizados para la producción de datos fueron entrevistas en profundidad, anotaciones en el diario de campo y registros audiovisuales. La investigación cualitativa utiliza el enfoque narrativo-autobiográfico para articular los conceptos de cuerpo, imagen, memoria y ciudad en consonancia con los estudios del cuerpo y de la cultura visual. Aspectos y episodios de mi trayectoria, que involucran vivencias y aprendizajes con el cuerpo en las ciudades de Goiânia y Río de Janeiro, enfatizan experiencias personales que toman como referencia los conceptos de "corpomedia", "corpografia" y performance. Anclado en los principios de la educación de la cultura visual, el marco teórico establece relaciones dialógicas con imágenes y conocimientos estético-afectivos vinculados a la danza, poniendo en perspectiva subjetividades y poderes del cuerpo en los espacios de enseñanza. La forma en que el cuerpo puede verse afectado por las imágenes de la ciudad es una discusión que busca entender cómo estos cruces impactan la formación de los individuos y generan aprendizajes a través del movimiento y la actuación, intensificando las percepciones de uno mismos y las apropiaciones pedagógicas de los espacios dentro y fuera de las escuelas. Los resultados de la investigación demuestran una construcción del conocimiento sensible de los individuos sobre sí mismos a partir del cuerpo en movimiento y conexiones con sus recuerdos y momentos/episodios de sus historias de vida. También revelan el potencial del uso de las imágenes en la relación entre los cuerpos y las ciudades a través de la danza y la performance, proyectando posibilidades de uso y apropiación del espacio público. El énfasis en el cuerpo en las prácticas pedagógicas se hace evidente al caracterizarlo como agente en la construcción de concepciones y procedimientos metodológicos humanos, críticos y dialógicos.
Espaço rompido: uma investigação poética dos processos de abstração nos quadrinhos ou por uma poética da opacidade
(Universidade Federal de Goiás, 2022-05-12) Silveira, Guilherme Lima Bruno E; Franco, Edgar Silveira; http://lattes.cnpq.br/8415486629956081; Franco, Edgar Silveira; Rodrigues, Manoela dos Anjos Afonso; Andraus, Gazy; Bonfim, Carolina Felice; Moreira, Valter do Carmo
“Broken space” is a reflection on the potency of abstraction in the language of comics. By crossing different fields, I looked for creative paths that diluted or flowed across borders, allowing a work that decentered traditional comic books, putting them in relationship with processes of contemporary arts, literature and other artistic systems. “Broken space” is a box that represents part of what was mapped and built during the course of research, poetic works and procedural discussions merge into loose fragments, allowing a reduction in the hierarchical distance between practice and theory, which were built without prior order, in an incessant coming and going. Poetic research allowed us to enter cracks guided by intuition and the pleasure of the formative process, finding fertile ground that allowed the unfolding of a will that I understood and called “poetics of opacity”, characterized by the strength of the process of abstraction in comics – a process that it maintains in constant tension the notions of figuration, narrative, continuity, graphic cut and montage, materiality, conceptuality and authorship. Finally, this research in Artistic Poetics and Creation Processes sought to explore the opacity of language and the abstraction of comics in constant dialogue with our reality of transparency and pragmatism, opposing the contemporary trend of fast automated reception to the desire for diversity, solidarity and poetry.
Gamæstética: reflexões sobre games, arte, estética e processos criativos
(Universidade Federal de Goiás, 2022-11-30) Mendonça, Bruno de Abreu; Franco, Edgar Silveira; http://lattes.cnpq.br/8415486629956081; Franco, Edgar Silveira; Nunes, Fábio Oliveira; Andraus, Gazy; Custódio, José Antônio Loures; Berardo, Rosa Maria
GAMÆSTHETICS: Reflections on Games, Art, Aesthetics and Creative Processes is a propo-sal for the application of a specific aesthetic theory/approach – developed here – to be adop-ted when dealing with video games and gameart objects, seeking to preset an understanding and analysis of the details that embody player’s experience. It is a research aimed mainly at understanding the visualities addressed in video games and gameart, what they refer to and how they create bonds with those who interact with them, having here considered how com-mon – and, why not, necessary – these electronic games have become within the contempo-rary social structure. The studies developed here permeate the fields of art, game design, visualities and philosophy, presenting discussions and concepts that act in a supplementary way to the very existence of electronic games. These, allied to the basis of argument that brings to light the indispensable link between the theoretical act and the process of creating the poetics of the ludic object, aim at a direct approximation with the term gamæsthetics, coined here as the study of the act of playing and how the player interprets it. In this thesis, gamæsthetics is conceptualized from theoretical-practical creation exercises, observing what is behind the game, in addition to bits and pixels. It is an action of sifting through motivations and intentions defined (consciously or not) by aesthetic options and extracting from there the understanding of expression, of feeling; it is to insert oneself in the game and to be part of it.
Cinema imersivo: narratividade cinematográfica na perspectiva da realidade virtual
(Universidade Federal de Goiás, 2017-06-17) Souza, Guilherme Mendonça de; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Clímaco, José César Teatini de Souza; Silva, Thiago Fernando Sant´Anna e; Christino, Daniel; Borges, Rafael de Almeida Tavares
This exploratory research is based on the contemporary context of the relations between virtual reality and cinema. The thesis seeks to demonstrate how the technological advent influences the forms of communication and artistic manifestations, as well as brings out the emergence of emerging narratives. Immersive cinema (imercine), backed by the traditional cinematic language, suggests adaptations and significant changes in modes of production, exhibition and reception. The artistic project proposes the production of an immersive film (imerfilm) whose plot is inserted in the virtual reality environment.

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