Arte & Educação em cultura visual: ensino, sentido, presença e invasões das imagens nos cotidianos

Parte da hipótese que a obra poética, artística ou não, tem força para além da mediação da palavra, ou seja, da afirmação de sentidos que obliterariam a eloquência da presença. Busca discorrer sobre a teoria da presença e sua importância na interlocução com a produção poética nas artes visuais contemporâneas. Aponta a utilidade dessa argumentação como perspectiva para problematizar a Cultura Visual e defender o investimento na elucidação do universo das imagens visuais como elemento de formação humana em sintonia com as questões da alteridade e com os tempos de hoje. Entende que o estudo equalizador entre as imagens visuais e as obras de arte visual favorece a autonomia dos indivíduos e o melhor aproveitamento do mundo das artes com menor risco de sujeição às hegemonias culturais

Study of the images for the Visual Arts Education in Secondary Education textbooks: educational implications

In this paper we present the first data from the research conducted to determine the relationship between traditional visual arts and other forms of visual culture closer to the experiences of high school youth. The hypothesis of this research is that while students are nurtured and live primarily with the images provided by the media culture, their textbooks basically refer to the more traditional art images. The research has been limited to a review and analysis of the most common educational materials for teaching visual arts in high school. After the systematization and analysis of the images appeared in textbooks, we have detected three major types: the artistics, those who belong to media culture and others. The most relevant conclusions indicate that: there are hardly any connections between different types of images, they offer a very traditional view of art and they are far removed from the experiences of young book users.

"Entre a sala de aula e a viagem : o diário gráfico como auxiliar na aprendizagem dos códigos de expressão visual presentes nas disciplinas artísticas e no quotidiano"

Relatório da prática de ensino supervisionada, Mestrado em Ensino de Artes Visuais, Universidade de Lisboa, 2014

Floating on the same plane: metropolis, money and the culture of abstraction

This article argues that the emergence of a trans-disciplinary discourse of ‘visual culture’ must be understood as, above all, a constitutively urban phenomenon. More specifically, it is in the historically new form of the capitalist metropolis, as described most famously by Simmel, that the ‘hyper-stimulus’ of modern visual culture has its social and spatial conditions. Paradoxically, however, it is as a result of this that visual culture studies is also intrinsically ‘haunted’ by a certain spectre of the invisible: one rooted in those forms of ‘real abstraction’ which Marx identifies with the commodity and the money form. Considering, initially, the canonical urban visual forms of the collage and the spectacle, these are each read in a certain relation to Simmel’s account of metropolitan life and of the money form, and, through this, to what the author claims are those forms of social and spatial abstraction that must be understood to animate them. Finally, the article returns to the entanglement of the visible and invisible entailed by this, and concludes by making some tentative suggestions about something like a paradoxical urban ‘aesthetic’ of abstraction on such a basis.

Figurer la société mourante : culture esthétique et idéologique de la presse anarchiste illustrée en France, 1880-1914

Cette thèse étudie l'illustration de la presse anarchiste française sous la Troisième République. À la fois propagande et témoignage de l'actualité, cette illustration est analysée à la lumière de ses relations complexes avec les médias contemporains, avec lesquels les anarchistes entretinrent des polémiques sur la nature et le rôle de l'art, sur la place des images dans la propagande, sur les pratiques de presse et sur un certain nombre d'enjeux sociopolitiques internationaux.

El debate sobre la memoria del conflicto armado en el Perú (1980-2000) : un acercamiento a través de la cultura visual.

À travers d'un regard de la culture visuelle, ce mémoire de maîtrise explorera le débat entourant la mémoire du conflit armé au Pérou (1980-2000), suite à la présentation de l’Informe Final (2003) par la Commission de la vérité et de la réconciliation. Tout d’abord, nous tracerons un portrait des débats qui ont eu lieu dans la sphère politique pour ensuite nous concentrer sur la polémique entourant le Musée de la mémoire et le monument Ojo que llora. Par la suite, nous explorerons la représentation visuelle du conflit à travers l’exposition de photos Yuyanapaq (2004), les films La boca del lobo (1988), La vida es una sola (1993) et Sangre Inocente (2000), en établissant un dialogue avec les études sur la mémoire et la critique académique. Après avoir dressé le tableau des imaginaires visuels du conflit, nous nous attarderons sur l’étape postconflit (2000 à aujourd’hui) pour aborder le débat entourant la postmémoire dans les films Madeinusa (2005) et La teta asustada (2009). Nous croyons que les positions entourant ce débat et la représentation du conflit dans la culture visuelle suggèrent que les mémoires sont toujours en opposition encore aujourd'hui au Pérou. Certaines réaffirment un discours hégémonique, comme l’Informe de Uchuraccay (1983), alors que d’autres s’opposent aux visions totalitaires de la mémoire; pensons notamment à l’émergence d’un nouveau cinéma de région qui implique les populations touchées par la violence dans la production et la projection de ses propres visions du conflit.

Virgil's fourth Eclogue and the visual arts

Virgil's poetry has frequently appeared in illustrated editions, and has regularly provided subjects for other works of art, including some of the most celebrated masterpieces of the western tradition. In view of its constant appropriation in literary contexts over the course of the centuries, we might expect the famous fourth Eclogue (the so-called ‘messianic’ eclogue) to have exerted more of an impact on visual culture than it appears to have done. This paper considers some of the possible reasons for the apparent scarcity of engagement with Virgil's poem beyond the literary sphere, and examines the uses to which the poet's text is put when it does make an appearance in visual media — perhaps more often than has sometimes been supposed.

Imagens em diálogo: cultura visual no Brasil e México em perspectiva comparada

O objetivo deste artigo é averiguar a circulação de imagens e o surgimento de uma cultura visual política entre o México e o Brasil entre as décadas de 1920 e 1930. Busco examinar em especial como se constituíram repertórios visuais comuns entre os dois países, tanto na produção de imagens carregadas com uma retórica do engajamento político como de algumas imagens que num primeiro olhar poderiam passar por descompromissadas, mas que contribuíram para a construção do imaginário político. Embora minha intenção não seja de uma análise exaustiva, procuraremos averiguar diferentes suportes imagéticos, como as fotografias estampadas na imprensa diária assim como nas revistas ilustradas, cartazes, gravuras e demais expressões artísticas que subsidiem essa circulação de idéias estéticas e políticas entre os dois países. Parto da hipótese de que, apesar das dificuldades de intercâmbios existentes entre os dois países (língua, distância e falta de um contato maior entre seus artistas e intelectuais), ocorreu um intercâmbio de propostas políticas e culturais, principalmente entre redes de sociabilidade de artistas marcadamente no âmbito da esquerda política.

La gárgola en la cultura visual actual

La gárgola ha poblado desde antiguo las cornisas de los edificios religiosos y civiles, sirviendo de evacuación para el agua y para diferentes misiones según las distintas interpretaciones. Su gran componente simbólico hace de ella un reclamo muy interesante para el mundo audiovisual actual. De entre las manifestaciones encontradas, estudiaremos la visión de la gárgola en estos medios y valoraremos su adecuación o no a la visión medieval. Mediante la aparición de la gárgola medieval en el mundo actual en forma de personajes y ornamentos, y gracias a la aplicación de imágenes actuales a las nuevas gárgolas, podemos realizar un recorrido visual y simbólico alrededor de las distintas visiones que la cultura actual realiza de ellas. Pero no podemos quedarnos ahí, es necesario relacionar estas nuevas visiones y significaciones con las originales, para establecer si se ha hecho un uso correcto de la imagen, o se ha roto la estructura del símbolo primigenio.

Viral Bodies: Uncontrollable Blackness in Popular Culture and Everyday Life

Viral Bodies: Uncontrollable Blackness in Popular Culture and Everyday Life maps rapidly circulated performances of Blackness across visual media that collapse Black bodies into ubiquitous “things.” Throughout my dissertation, I use viral performance to describe the uncontrollable discursive circulation of bodies, their behaviors, and the ideas around them. In particular, viral performance is employed to describe the complicated ways that (mis)understandings of Black bodies spread and are often transformed into common-sense beliefs. As viral performances, Black bodies are often made more visible, while simultaneously becoming more opaque. This dissertation examines the recurrence of viral performances of Blackness in viral videos online, film, and photography/images. I argue that viral performances make products that reinscribe stereotypical notions of Blackness while also generating paths of alterity—which contradict the normalized clichés and provide desirable possibilities for Black performance. Viral Bodies forges a new dialogue between visual and aural technologies, performance, and larger historic discourses that script Black bodies as visually (and sonically) deviant subjects. I am interested in how technologies complicate the re-presentation of images, ideas, and ideologies—producing a necessity for new decipherings of performances of Blackness in popular culture and everyday life.

Design de comunicação e a cultura visual portuguesa

Dissertação de Mestrado para obtenção do grau de Mestre em Design de Comunicação, apresentada na Universidade de Lisboa - Faculdade de Arquitectura.

Veteranness : Representations of Combat-related PTSD in U.S. Popular Visual Media

Posttraumatic stress and PTSD are becoming familiar terms to refer to what we often call the invisible wounds of war, yet these are recent additions to a popular discourse in which images of and ideas about combat-affected veterans have long circulated. A legacy of ideas about combat veterans and war trauma thus intersects with more recent clinical information about PTSD to become part of a discourse of visual media that has defined and continues to redefine veteran for popular audiences. In this dissertation I examine realist combat veteran representations in selected films and other visual media from three periods: during and after World Wars I and II (James Allen from I Am a Fugitive from a Chain Gang, Fred Derry and Al Stephenson from The Best Years of Our Lives); after the Vietnam War (Michael from The Deer Hunter, Eriksson from Casualties of War), and post 9/11 (Will James from The Hurt Locker, a collection of veterans from Wartorn: 1861-2010.) Employing a theoretical framework informed by visual media studies, Barthes’ concept of myth, and Foucault’s concept ofdiscursive unity, I analyze how these veteran representations are endowed with PTSD symptom-like behaviors and responses that seem reasonable and natural within the narrative arc. I contend that veteran myths appear through each veteran representation as the narrative develops and resolves. I argue that these veteran myths are many and varied but that they crystallize in a dominant veteran discourse, a discursive unity that I term veteranness. I further argue that veteranness entangles discrete categories such as veteran, combat veteran, and PTSD with veteran myths, often tying dominant discourse about combat-related PTSD to outdated or outmoded notions that significantly affect our attitudes about and treatment of veterans. A basic premise of my research is that unless and until we learn about the lasting effects of the trauma inherent to combat, we hinder our ability to fulfill our responsibilities to war veterans. A society that limits its understanding of posttraumatic stress, PTSD and post-war experiences of actual veterans affected by war trauma to veteranness or veteran myths risks normalizing or naturalizing an unexamined set of sociocultural expectations of all veterans, rendering them voice-less, invisible, and, ultimately disposable.

Communication, Cultural and Media Studies : The Key Concepts (4th Edition)

This fourth edition of Communication, Cultural and Media Studies: The Key Concepts is an indispensible guide to the most important terms in the field. It offers clear explanations of the key concepts, exploring their origins, what they’re used for and why they provoke discussion. The author provides a multi-disciplinary explanation and assessment of the key concepts, from ‘authorship’ to ‘censorship’; ‘creative industries’ to ‘network theory’; ‘complexity’ to ‘visual culture’. The new edition of this classic text includes: * Over 200 entries including 50 new entries * All entries revised, rewritten and updated * Coverage of recent developments in the field * Insight into interactive media and the knowledge-based economy * A fully updated bibliography with 400 items and suggestions for further reading throughout the text

Slow horizon

“Slow Horizon” is comprised of six lenticular panels hung in an even, horizontal sequence. As the viewer moves in front of the work, each panel alternates subtly between two vertical colour gradients. From left to right, the panels move through yellow, orange, magenta and violet to ‘midnight blue’. Together, the coloured panels comprise an abstract horizon line that references the changing nature of light at sunset. The scale, movement and chromatic qualities of the panels also allude to the formal characteristics of the screen technologies that pervade contemporary visual culture. “Slow Horizon” contributes to studies in the field of contemporary art. It is particularly concerned with the relationships between abstraction, colour, signification and perception. Since early Modernity, debates concerning representation and the formal qualities of the picture plane have been fundamental to art practice and theory. These debates have often dovetailed with questions of art’s capacity to generate shifts in thought and perception. Practitioners such as Ellsworth Kelly, James Turrell and Ed Ruscha have variously used block and blended colour to engage in these formal, symbolic and perceptual potentials of colour. Using a practice-led research methodology, “Slow Horizon” furthers this creative inquiry. By conflating the reductive visual logics of abstraction and minimalism with the iconic, romantic evocations of sunset imagery, it questions not only the contemporary relationship between abstraction and image-making, but also art’s ability to create moments of stillness and contemplation in a context significantly shaped by screen technologies. “Slow Horizon” has been exhibited internationally as part of “Supermassive” at LA Louver Gallery, Venice, California in 2013. The exhibition was reviewed in The Los Angeles Times.