Corpo, fenômeno e manifestação : performance

Corpo, Fenômeno e Manifestação: Performance é uma pesquisa em Poéticas Visuais onde convergem questões de um processo artístico de performance, respaldado por uma prática intensa na dança, experimentações, apresentações, leituras filosóficas e reflexões. Dessa confluência de fatores originou-se a produção textual que investiga e traz à tona as questões do corpo enquanto fenômeno e manifestação na arte da performance. As performances feitas, no decorrer do processo de pesquisa, bem como a observação de performances de outros artistas e estudos sobre teorias da arte, propiciaram o embasamento para a escrita. Puderam ser observados procedimentos operatórios similares, que me levaram a diferentes configurações, em distintas circunstâncias. Por exemplo, a toda performance apresentada foi fundamental o trabalho perceptivo corporal envolvendo todas as articulações de meu corpo, bem como sua musculatura; nesse sentido podia me assegurar que um ser sensível e responsivo surgisse para a atuação, que estivesse ali – o ser -, em pleno domínio de seu estado de presença. A tal procedimento deu-se o nome de corpo percepcionado. A preparação do ambiente, onde a ação performática seria realizada, isto é, o ambiente que receberia o meu corpo, também passou a fazer parte de um regramento para atuar. A esse procedimento chamei espaço preparado. Ao espaço preparado se trouxe a luz, elemento que passou a gerar influência sobre minha poética e sobre a estética que se fazia surgir. O corpo vivo, na performance, é elemento plástico; sua presença interfere no espaço. Percebi que a luz intensificava o lugar do espaço e o lugar do corpo que se pretendia em evidência; era um desencadeador perceptivo. Uma via dupla se estabelecia, entre a ação do corpo e o olho do receptor, através dos recortes de luz no espaço e no corpo, durante as ações realizadas. O corpo, no que lhe cabia, operava o procedimento de reunir as informações colhidas e os elementos trazidos, a cada performance realizada. Nessa questão se estabeleceu a proposta de uma dialética entre corpo e espaço; enquanto isso, no corpo, sínteses se pronunciavam e determinavam a configuração apresentada. Cheguei à conclusão que é justamente assim – em plena percepção de suas possibilidades de ação sensorial e motora, e na preparação e apropriação do ambiente imediato que o circunda - que meu corpo, em sua temporalidade, assume o espaço e, juntamente com suas memórias – e grande parcela de intencionalidade – configura uma aparência. Mais do que na aparência, centra-se o objeto do presente estudo na questão do fenômeno; do que permite o corpo fenomenal engendrar uma manifestação. Palavras-chave: percepção, corpo, espaço, ação, configuração, performance.

The art of being together: a social constructionist perspective on dialogic methods in the organizational context

The purpose of this project is to understand, under a social constructionist approach, what are the meanings that external facilitators and organizational members (sponsors) working with dialogic methods place on themselves and their work. Dialogic methods, with the objective of engaging groups in flows of conversations to envisage and co-create their own future, are growing fast within organizations as a means to achieve collective change. Sharing constructionist ideas about the possibility of multiple realities and language as constitutive of such realities, dialogue has turned into a promising way for transformation, especially in a macro context of constant change and increasing complexity, where traditional structures, relationships and forms of work are questioned. Research on the topic has mostly focused on specific methods or applications, with few attempts to study it in a broader sense. Also, despite the fact that dialogic methods work on the assumption that realities are socially constructed, few studies approach the topic from a social constructionist perspective, as a research methodology per se. Thus, while most existing research aims at explaining whether or how particular methods meet particular results, my intention is to explore the meanings sustaining these new forms of organizational practice. Data was collected through semi-structured interviews with 25 people working with dialogic methods: 11 facilitators and 14 sponsors, from 8 different organizations in Brazil. Firstly, the research findings indicate several contextual elements that seem to sustain the choices for dialogic methods. Within this context, there does not seem to be a clear or specific demand for dialogic methods, but a set of different motivations, objectives and focuses, bringing about several contrasts in the way participants name, describe and explain their experiences with such methods, including tensions on power relations, knowledge creation, identity and communication. Secondly, some central ideas or images were identified within such contrasts, pointing at both directions: dialogic methods as opportunities for the creation of new organizational realities (with images of a ‘door’ or a ‘flow’, for instance, which suggest that dialogic methods may open up the access to other perspectives and the creation of new realities); and dialogic methods as new instrumental mechanisms that seem to reproduce the traditional and non-dialogical forms of work and relationship. The individualistic tradition and its tendency for rational schematism - pointed out by social constructionist scholars as strong traditions in our Western Culture - could be observed in some participants’ accounts with the image of dialogic methods as a ‘gym’, for instance, in which dialogical – and idealized –‘abilities’ could be taught and trained, turning dialogue into a tool, rather than a means for transformation. As a conclusion, I discuss what the implications of such taken-for-granted assumptions may be, and offer some insights into dialogue (and dialogic methods) as ‘the art of being together’.

Preservação digital: o estado da arte

CUNHA, Jacqueline; GALINDO, Marcos. Preservação digital: o estado da arte. In:ENCONTRO NACIONAL DE PESQUISA EM CIÊNCIA DA INFORMAÇÃO, 8., Savador, 2007. Anais... Salvador: ANCIB, 2007. Disponível em:

Arte, prazer e bisturi: construção corporal através da body modification

In view of a field research carried out by a team connected to the universe of body modification, it is possible to discern some uses and meanings linked to these forms of body interventions. Body modification or body change is part of the circuit of piercings and tattoos, although they are socially less thinned and more extreme, like scarifications, subcutaneous implants, bifurcated tongues, surfaces and body suspensions. The aim of this paper is to cast an anthropological glance on these practices, joining at the same context all the subjects involved with these techniques, placing them inside the same relational focus and capturing their journeys and trajectories. The discussions are concentrated on the notion of body building and urban life style. Ideas as personal distinctness and prestige imitation are also present in this universe, as well as matters attached to genre, pleasure, art, and to the so-called alternative circuit . This way, the ethnography so far presented here, reveals the complex and contemporaneous character of these practices of body markings in which the body appears as the central element in the experiences of the subjects of this study

Percepção Ambiental em Museus Paisagens de Arte Contemporânea: a legibilidade dos museus Inhotim/Brasil e em Serralves/Portugal avaliada pelo público/visitante

This thesis nalyzes the wayfinding in Landscape Museum of Contemporary Art (MPAC), based on the Institute of Contemporary Art CACI, Minas Gerais, Brazil and the Museum of Contemporary Art of the Serralves Foundation, Porto, Portugal. The study focuses on the interrelationship of the public/visitors with the landscape, architecture and contemporary art museums in these, in order to understand visual perception and apprehension of such an environment for their users. For both were confronted documentation (visual and written) and people talk. The main hypothesis put forward is that the audience/visitor MPAC appreciates the interrelationship between the natural environment (park/garden) and built environment (the works of contemporary art and the galleries), giving equal value to both. To complement this, a second hypothesis is that during the visit to MPACS, visitors define their paths spontaneously, but strongly influenced by existing visual indicators (maps, signage and striking landscape elements), which facilitate the readability of space, which also contribute to the offered services and the experiences of similar institutions. The analytical basis of the research used the concepts of legibility (LYNCH, 2009), wayfinding (GIBSON, 2009; ARTHUR, PASSINI, 2002; WEISMAN, 1982), Experiential Cotinnum (TUAN, 1985), Space Bound (CRUZ PINTO, 2007) and habitus (BOURDIEU, 1992). Methodologically was used qualitative research (DEMO 2000) by means of a case study (YIN, 2005; STAKE, 1999) and participant observation (WHYTE, 2005). In the two institutions interviews with researchers and curators, behavior observation and questionnaires from employees, trainees, monitors and the public/visitor of the two museums were performed. Although partially referende the initial hypothesis, the research showed that the public/visitor value appears more natural environments, they experience a greater intensity and in addition to the factors listed in the second case, your perception and definition of paths suffer significant influence of emotional relations established with space. Generally the audience/visitor adapts easily to different demands of contemporary art exhibition in the two museums and the built environment (park/garden and museum) interferes with your reading path during the visit, perceived by the public/visitor condition as a factor that favors the enjoyment of works on different mounts (wayfinding), though often become a factor that hinders the legibility of the building and its built environment

O entre do carvão ao corpo - em - arte de ator-brincante

I propose with this paper a reflection on the experiences contained in the creation of the body- in-art (FERRACINI, 2006a, b) that originated the show Rosmaninhos... This process was developed within the coletivo UZUME teatro from João Pessoa PB, through recreations and resignifications of the corporeity and physicality contained in the steps, loas, aboios, songs and choreography observed in the manners that Mestre Zequinha plays in his group of Cavalo Marinho (Sea Horse), resident in the city of Bayeux - PB, and starting from the appropriation of the text Hamlet of William Shakespeare. The body-in-art is understood in this work as a vectorial body that dilates its daily functionality, recognizing a potential learning area capable to generate creative escape lines that destabilize the "subject centered in an individuality and identity" (FOUCAULT apud FERRACINI, 2006b, p.14), being open to the differentiation of itself, indicating the possible existence of an itself-other and of the exchange-in-art space. This process of construction of the body-in-art based on Master Zequinha s ways of playing the Cavalo Marinho was methodically guided by the appropriation of the coletivo UZUME teatro of the stages of Observation, Codification and Theatricalization contained in the technique of corporal mimeses proposed by the LUME Teatro (Campinas - SP). That use resulted in two phases: Active Observation and Composition of the body-in-art. Through the repetition of these aesthetic matrixes of the Cavalo Marinho, the actors discovered actions that when, codified and organized, can configure their body-in-art, which created a vectorial exchange-in-art space to what was found in the Cavalo Marinho party. This search proposed the means of potentiating the actors' work when it comes to a preparation that allowed to dilate the scenic presence and stimulated the production of actions, which culminated in the mounting of the show Rosmaninhos...

Tecendo Papéis:viagem pelos saberes e práticas do ensino de arte

Nowdays, recycling became a relevant social and educational aim among many other factors, which involve balance between man and nature. This study relates the experiences with the production of recycled handmade paper directed at the teaching in Universidade Federal do Rio Grande do Norte UFRN, and through workshops of carnauba recycled handcrafts papers as a pioneer activity accomplished at the Felix Rodrigues Foundation, in the city of Pendências, Açu Valley, Rio Grande do Norte. A bibliographic review was done about the history of handmade paper and a discussion about carnauba´s paper artistic possibilities in art-education. Analyses within the context of art teaching, accordingly to Ana Mae Barbosa´s triangle propose and, also, Buoro, Ostrower and Nachmanovitch´s pedagogy of art. It deals with a group of artisans in order to establish the nature of their relationship and the possibilities of achieving more ecological awareness. Finally, we intend to realize a dialogue with Morin and other authors

A arte rupestre como expressão comunicativa da cultura

Along their existence, through of the millenniuns, the Man registers, one way or another, their saga. One in those registration ways is the rupestrian art. Through the rupestrian art the Prehistory is brought even us, portraying in images the daily ritualist and magic of the Man, in scenes that show, among other, their cults and also their daily hard work. The Man is imposed, while registering of their existence, starting from the moment in that he is capable to leave their marks through the transformation that attributes to the Nature; also for the produced interferences and for the cultural singularities that themselves were constituted before the period of the alphabetical writing. In an artifice of duplicating utensils and in the sense of representing animals and to himself own, he delegated us a communicative system whose contexts and details were - and it continue being - an enigma to be deciphered. Starting from this argument, the research has for objective to understand the daily and the history of cultural groups that they preceded us, taking as base the reading of the rupestrian paintings found at the located archeological ranches in the Area of Seridó, more specifically in the Complexo Xique-xique, close to the Municipal district of Carnaúba dos Dantas, distant 220 kilometers of Natal, the capital of Rio Grande do Norte State

Clara Nunes como obra de arte: a epistemologia das ciências humanas a partir da cultura musical

The thesis has its largest array in the reorganization of science that is built from the middle of the last century and its horizon reconnection between scientific culture and humanistic culture, and the dialogue between science, art and literature. This epistemological regeneration view of the scientific paradigm incorporates the poetic language and sociological analysis, and brings out a complex, open and transdisciplinary narrative. To undertake this exercise as interlocutors we have thinkers like Nietzsche, Lévi-Strauss, Edgar Morin and Bruno Latour, to name a few, and as a reference for analyzing the entire artistic production of one of the icons of Brazilian music, Clara Nunes. It is problematized up in this work, through the singer s discography, lyrics and fragments of her biography, the construction of a social character that politicized culture, increased the mestizo consciousness of popular imagery, and exceeded the excessively prosaic narratives of the academic and scientific culture. The central argument of the thesis recognizes a Hybrid Subject Clara Nunes, as indeed is what is expected of the politically engaged intellectual in the 21st century

A arte de si: uma análise da ascese nas comunidades alternativas

In this research, we studied alternative communities that promote self-care practices, as well as environmental and community care.We problematized if there are ascetical practices in these communities - understanding asceticism from Ortega (2008) and Foucault (2006, 2009, 1998), which would be a transition from one type of subjectivity to another one to be achieved through exercises on itself, in other words, the ascetic oscillates between a refused identity to another to be drawn by an art that focuses itlself.This research was conducted through the analysis of files, observations of daily practices and interviews with open questions in order to achieve reflections and thoughts of the residents of alternative communities.For our study, we chose the Alternative Community of Campina, located in the Capon Valley/Bahia; Sabiaguaba community, located in Fortaleza-CE; and the National Meeting of Alternative Communities (ENCA). The research points to ways of living that create new subjectivities, in which the subject feels responsible for taking care of themselves, others and the environment