Funções perceptuais para o design de espaço

O termo “percepção” deriva do latim perceptio, ‘colheita’; ‘concepção de um pensamento ou ideia’; ‘conhecimento certo’; de percipio, ‘apoderar-se de’; ‘tomar/apanhar’; ‘perceber’; ‘experimentar/sentir’; ‘captar pela inteligência’; ‘conhecer de modo certo’, de capio, ‘capturar’; ‘deter’; ‘apreender’; ‘apoderar-se de’; ‘receber’. A semântica de “percepção” parece, pois, ter as raízes no toque e no movimento: com efeito, os sentidos precisam de ser tocados (por luz, forma, som, odor ou gosto). Assim, não é por acaso que as teorias do conhecimento sempre consideraram o sentido háptico.

Fluxing the logic of definitive differences

Focusing on Fluxus, a loosely knit association of artists from America, Europe and Asia whose work centers around intermediality, this article explores the notion of relationality without relata. Intermediality refers to works that fall conceptually between media – such as visual poetry or action music – as well as between the general area of art media and those of life media(Higgins). Departing from two Fluxus intermedia – the event score, a performative score in the form of words, and the Fluxkit, a performative score in the form of objects – I investigate the logic of co-constitutivity within which every element is both subject and object, both constitutive and constituted. To be more precise, I trace the cross-categorial interplay of differences that explodes the logico-linguistic structure of binary oppositions, such as those between foreground and background, word and action, sound and silence, identity and alterity. Aided by Jacques Derrida’s concept of ‘de-centered play’ and Shigenori Nagatomo’s concept of ‘interfusion’ this article seeks to articulate the ways in which the Fluxus works mobilise the ‘silent background’ to dismantle the dualistic logic of definite differences.

The “right way” of Hermetism: disputes on Gnostic’s, Pagan’s and Christian’s (re-)visions of the Hermetic phonomenon in late antiquity

This paper aims to understand the phenomenon of Hermetism though the perspective of its process of reception and reproduction in society. It will explore the phenomenon that was the transformation of the Hermetica into a social discourse. The so-called technical and philosophical Hermetica are texts. A text is the result of a production: it is composed by men, and addressed to men. It is important to consider the intentions and values present in a text’s production, and to understand that its process of reception and reproduction in society are, in fact, complex and dynamic.