Esta dissertação baseia-se em observações etnográficas e em entrevistas realizadas entre 2016 e 2018, principalmente com policiais do Batalhão de Operações Especiais (Bope) de Macapá/ AP. O trabalho se voltou para a compreensão que eles têm de seu processo de formação e para a construção de um ethos bopeano. Foram analisadas as suas percepções a respeito do uso da força e do que entendem por violência policial, além de símbolos identificadores da corporação, como a farda preta e a caveira. Uma das principais conclusões é que a formação de um bopeano implica a construção de um Corpo-Arma coletivo a partir de Corpos-Armas individuais, sendo que, para a maioria deles, a violência policial ou excessos respondem ao amplo contexto de violência social em que se inserem. / This dissertation is based on ethnographic observations and interviews conducted between 2016 and 2018, mainly with police officers from the Special Operations Unit (Bope) of Macapá/AP, in the North of Brazil. The work has focused on the understanding these officers have of their training process and to the construction of a bopean ethos. Their perceptions regarding the use of force and what they understood as police violence were analyzed, as well as symbols that identify the corporation, such as the black uniform and the skull. One of the main conclusions is that the formation of a bopean implies the construction of a collective Body-Weapon that is a result of singular body-weapons and, for most of them, police violence or \"excessive force\" respond to the broad context of social violence in which they live in.

GAYME is a transmedia story-telling world that I have created to conceptually explore the dynamics of queering game design through the development of varying game prototypes. The final iteration of GAYME is @deadquarewalking'. It is a documentary game and a performance art installation that documents a carless, gay/queer/quare man's journey on Halloween to get to and from one of Orlando's most well-known gay clubs - the Parliament House Resort. "The art of cruising" city streets to seek out queer/quare companionship particularly amongst gay, male culture(s) is well-documented in densely, populated cities like New York, San Francisco and London, but not so much in car-centric, urban environments like Orlando that are less oriented towards pedestrians. Cruising has been and continues to be risky even in pedestrian-friendly cities but in Orlando cruising takes on a whole other dimension of danger. In 2011-2012, The Advocate magazine named Orlando one of the gayest cities in America (Breen, 2012). Transportation for America (2011) also named the Orlando metropolitan region the most dangerous city in the country for pedestrians. Living in Orlando without a car can be deadly as well as a significant barrier to connecting with other people, especially queer/quare people, because of Orlando's car-centric design. In Orlando, cars are sexy. At the same time, the increasing prevalence in gay, male culture(s) of geo-social, mobile phone applications using Global Positioning Systems (GPS) and location aware services, such as Grindr (Grindr, LLC., 2009) and even FourSquare (Crowley and Selvadurai, 2009) and Instagram (Systrom and Krieger, 2010), is shifting the way gay/queer/quare Orlandoans co-create social and sexual networks both online and offline. Urban and sub-urban landscapes have transformed into hybrid "techno-scapes" overlaying "the electronic, the emotional and the social with the geographic and the physical" (Hjorth, 2011). With or without a car, gay men can still geo-socially cruise Orlando's car-centric, street life with mobile devices. As such emerging media has become more pervasive, it has created new opportunities to quarely visualize Orlando's "technoscape" through phone photography and hashtag metadata while also blurring lines between the artist and the curator, the player and the game designer. This project particularly has evolved to employ game design as an exhibition tool for the visualization of geo-social photography through hashtag play. Using hashtags as a game mechanic generates metadata that potentially identifies patterns of play and "ways of seeing" across player experiences as they attempt to make meaning of the images they encounter in the game. @deadquarewalking also demonstrates the potential of game design and geo-social, photo-sharing applications to illuminate new ways of documenting and witnessing the urban landscapes that we both collectively and uniquely inhabit. 'In Irish culture, "quare" can mean "very" or "extremely" or it can be a spelling of the rural or Southern pronunciation of the word "queer." Living in the American Southeast, I personally relate more to the term "quare" versus "queer." Cultural theorist E. Patrick Johnson (2001) also argues for "quareness" as a way to question the subjective bias of whiteness in queer studies that risks discounting the lived experiences and material realities of people of color. Though I do not identify as a person of color and would be categorized as white or European American, "quareness" has an important critical application for considering how Orlando's urban design is intersectionally racialized, gendered and classed.