Buscando combinar diversos estilos de escrita incluindo narrativas ficcionais, relatos pessoais e artigos, a presente dissertação reflete sobre a minha prática artística no âmbito da pintura, da instalação e do têxtil. O texto levanta reflexões poéticas acerca de conceitos como: materialidade, obsessão, ócio, método e deriva. Através de uma série de textos curtos a dissertação pretende discutir a minha produção poética, tornando-se outra dimensão do trabalho prático. / Seeking to combine diverse styles of writing including fictional narratives, personal reports and articles, the present dissertation reflects on my artistic practice in the scope of painting, installation and the textile. The text raises poetic reflections about concepts such as: materiality, obsession, idleness, method and drift. Through a series of short texts the dissertation intends to discuss my poetic production, becoming another dimension of practical work.

Master's thesis "Body as a Moving Picture" focuses in its theoretical part on the phenomenon of gesture, expression, pose, body language and pathos as we can find it in works for classical authors to contemporary art. The practical part of the thesis describes pedagogically-psychological resources necessary for the realization of art projects in its first chapter. It aims to search different forms of action art and practically test their applicability with students in the lessons of Art Education. The second chapter is dedicated to the realization of art projects. The art projects are focused on a dialog with chosen works of art and the use of artefiletic techniques in practice and their overlap into the students' artistic creations. KEYWORDS gesture, expression, pose, patos, performance art, actionism

Este estudo teórico propõe a investigação sobre o gesto flamenco, a partir da análise do espetáculo Las Cuatro Esquinas, da Companhia de Flamenco Del Puerto. Com o objetivo contextualizar o espetáculo dentro da estética da arte flamenca contemporânea, considerando seus pilares tradicionais a música instrumental, o canto e a dança propriamente dita, a investigação destaca e relaciona diferentes noções de gesto com a operacionalidade artística entre os integrantes do grupo. A pesquisa também estabelece intersecções entre os discursos do corpo do grupo e as especificidades para criação da obra. São utilizados, para fins análise, os registros do espetáculo, como fotos, vídeos, anotações de ensaio, além de entrevistas com o elenco, reafirmando assim o permanente ir e vir entre a reflexão teórica e a prática artística continuada, principal caráter de trabalho desta companhia de dança. / This theoretical study proposes the investigation on the flamenco gesture, through the analysis of the show Las Cuatro Esquinas of the Del Puerto Flamenco’s Company. With the purpose of contextualizing the show within the aesthetics of contemporary flamenco art, considering its traditional pillars as instrumental music, singing and dance proper, the investigation highlights and relates different notions of gesture with the artistic operability among the members of the group. The research also establishes intersections between the body speeches of the group and the specificities for the creation of the work. The records of the show, such as photos, videos, essay notes, as well interviews with the cast, were used for analysis purposes, thus reaffirming the permanent coming and going between the theoretical reflection and the continued artistic practice, the main work character of this company of dance.

O presente trabalho buscou investigar as contribuições da utilização de tecnologias touchscreen para o desenvolvimento do pensamento matemático. Mais especificamente, propôs uma investigação de singularidades no desenvolvimento dos hábitos do pensamento em atividades de Modelagem Geométrica implementadas a partir do uso da tecnologia touchscreen. No que se refere ao desenvolvimento de hábitos do pensamento, propostos por Paul Goldenberg, é entendido como uma ação que contribui diretamente para o desenvolvimento do pensamento matemático. A escolha de trabalhar com Modelagem Geométrica é explorada neste trabalho com a finalidade de possibilitar aos sujeitos envolvidos o estudo de fenômenos reais a partir do uso de ferramentas matemáticas. Quanto à interação touchscreen, nos baseamos na teoria da Cognição Corporificada que parte do princípio de que corpo e mente estão diretamente relacionados, ou seja, no gesto com a mão os estudantes tornam evidentes as suas intenções e pensamentos. Para realização da pesquisa, a metodologia escolhida foi o estudo de casos múltiplos (dois), mas com apenas uma unidade de análise. Configura um estudo exploratório, em virtude da escassez de estudos na área por tratar-se da integração de uma nova tecnologia ao ensino Como suporte tecnológico, a escolha pelo Sketchometry, software de geometria dinâmica disponível para smartphones, se justifica, visto que este possui um importante destaque no desenvolvimento da proposta de pesquisa, uma vez que, através do seu uso, é possível que os sujeitos elaborem e construam modelos geométricos de forma corporificada (interação touchscreen), o que é uma ação necessária para a compreensão do fenômeno investigado. Ao final da tese, mostramos que, no uso da tecnologia touchscreen, é possível identificar singularidades no desenvolvimento do pensamento do sujeito. Notou-se que a singularidade no desenvolvimento do pensamento está no início da implementação de um modelo geométrico. O aluno segue um caminho guiado por movimentos espontâneos e, desta forma, estabelece a construção e funcionamento de seu modelo. / The present work has aimed to investigate the contributions of the use of touchscreen technologies for the development of mathematical thinking. More specifically, it has proposed an investigation of singularities in the development of habits of thought in Geometric Modeling activities implemented through the use of touchscreen technology. With regard to the development of habits of thought, proposed by Paul Goldenberg, it is understood as an action that contributes directly to the development of mathematical thinking. The choice of working with Geometric Modeling has been explored in this work with the purpose of enabling the subjects involved to study real phenomena that can be investigated, assimilated and better understood from the use of mathematical tools. As for the touchscreen interaction, the work was based on the theory of Embodied Cognition which assumes that body and mind are directly related, which means that, students make evident their intentions and thoughts in gesture with the hand. The methodology chosen to carry out the research was the study of multiple cases (two), but with only one unit of analysis. The study has benn configured as an exploratory one, due to the scarcity of studies in the area, since it is the integration of a new technology in teaching As technological support, the choice of Sketchometry, dynamic geometry software available for smartphones, has been justified, because it has an important emphasis in the development of the research proposal, since, through its use, it is possible for the individuals to elaborate and construct geometric models of an embodied form (touchscreen interaction), which is a necessary action for the understanding of the investigated phenomenon. At the end of the thesis, it has been shown that it is possible to identify singularities in the development of the subject's thinking in the use of touchscreen technology. It has been noted that the uniqueness in the development of thought is at the beginning of the implementation of a geometric model. The student follows a path guided by spontaneous movements and establishes the construction and functioning of his/her model.

A presente tese se ocupa da percepção fônica de línguas não nativas e tem como objetivo repensar as premissas básicas do PERCEPTUAL ASSIMILATION MODEL-L2 [PAM-L2 (BEST; TYLER, 2007)] no que diz respeito aos seus eixos cognitivo, fônico e filosófico. De acordo com os proponentes do modelo, (i) a percepção da fala não nativa dispensa mecanismos cognitivos no que se refere a representações mentais ou processos inferenciais; (ii) a unidade de análise do evento perceptual, em termos de fala, é o gesto articulatório; e (iii) o acesso às informações disponíveis no mundo é direto, garantido pela atuação dos sentidos como nossos próprios sistemas perceptuais. Julgamos que tais premissas são limitadas e incoerentes com o objeto de investigação dos autores e argumentamos, portanto, que os eixos cognitivo, fônico e filosófico do modelo devam ser vislumbrados sobre um ponto de vista alternativo. Quanto ao primeiro eixo, defendemos que o evento perceptual seja concebido essencialmente como um fenômeno cognitivo, criado e gerenciado pelo encéfalo, que envolve abstrações, representações mentais e inferências acerca dos objetos do mundo. Em relação ao segundo eixo, julgamos que o tratamento acústico-articulatório (ALBANO, 2001) à unidade gestual seja mais apropriado à percepção de elementos fônicos não nativos, diferindo do tratamento articulatório (BROWMAN; GOLDSTEIN, 1989, 1992) que reside originalmente no modelo. No que diz respeito ao terceiro eixo, adotamos a posição realista indireta (JACKSON, 1977, 2010) como sendo aquela que abarca de modo mais adequado a percepção das unidades fônicas não nativas, em detrimento do realismo direto (J. GIBSON, 1966, 1986). Decorrentes de nosso refinamento teórico, questões adicionais à percepção fônica não nativa são endereçadas, as quais concernem à falsa dicotomia L2 VS. LE, à influência do sistema grafêmico sobre a percepção fônica e à formação de novas categorias fônicas a serviço do idioma-alvo. Discutimos, também, os aspectos metodológicos de alguns estudos perceptuais, assim como suas implicações para uma nova caracterização do modelo, e ponderamos sobre o delineamento, o tipo de conhecimento de base testado (língua materna ou não nativa) e o objetivo de cada tarefa perceptual a ser empregada em ambiente laboratorial. / This Doctoral Dissertation addresses the phonic perception of non-native languages and aims to rethink the central tenets of the PERCEPTUAL ASSIMILATION MODEL-L2 [PAM-L2 (BEST; TYLER, 2007)] with respect to its cognitive, phonic and philosophical spheres. According to the proponents of the model, (i) the perception of non-native speech disregards any cognitive mechanisms related to mental representations or inferential processes; (ii) the unit for analyzing perceptual events, in terms of speech, corresponds to the articulatory gesture; and (iii) we have direct access to the information available in the world, since our senses act as our own perceptual systems. We argue that these premises are limited and inconsistent with the research object of the authors and, thus, we assume that the cognitive, phonic and philosophical spheres of the model should be glimpsed from an alternative point of view. As for the first sphere, we argue that the perceptual event is essentially a cognitive phenomenon, created and managed by the brain, which involves abstractions, mental representations and inferences about the objects of the world. Regarding the second sphere, we state that an acoustic-articulatory treatment (ALBANO, 2001) to the gestural unit is more appropriate to the perception of non-native phonic elements, differing from the articulatory treatment (BROWMAN; GOLDSTEIN, 1989, 1992) that is originally conveyed by the model. With respect to the third sphere, opposing direct realism (J. GIBSON, 1966, 1986), we adopt the indirect realist position (JACKSON, 1977, 2010) as the one that encompasses the perception of non-native phonic units more adequately. Due to our theoretical refinement, we address additional issues to the phonic perception, which concern the false L2 vs. LE dichotomy, the impact of graphical systems on phonic perception, and the formation of new phonic categories at the service of the target language. We discuss methodological aspects of perceptual studies, as well as their implications for a new characterization of the model, and we also consider the design, the type of knowledge tested (native or nonnative language) and the purpose of each perceptual task to be used in a laboratory environment.

Cette thèse est une étude transversale fondée sur la réactivation de gestes anciens comme ressource esthétique qui émaille l’expression du spectacle vivant. L’épure expressive des œuvres rupestres de la Serra da Capivara constitue le dispositif lumineux d’enquête chorégraphique qui s’articule entre continents. Pratique et théorie se juxtaposent et mettent en cause les impacts sensoriels de l’espace exploré,sollicitant l’éveil de la perception vers les énergies fondatrices pour retisser les figures de danse et de théâtralisation de la vie. Les épisodes de recherche sur le terrain circonscrivent un parcours de réactivation et réincorporation de gestes au commencement de l’art. La chercheuse se met à l’épreuve elle-même et sur la scène problématise le sujet de l’expression par le biais d’une archéologie incarnée, tandis que la recherche s’étend vers le corps-collectif de la nouvelle génération des habitants de la Serra da Capivara. La pensée archéologique invite à creuser, sous un autre angle, le phénomène esthétique lié à la corporéité en amplifiant la conscience du corps, celle qui est éprouvée par l’acteur-danseur. L’analyse de milliers de figures révèle l’originalité de la trace préservée dans les innombrables sites, avec des peintures étonnantes et propose un nouveau point de vue sur la fonction de l’art rupestre dans le temps actuel. Elle montre une voie pédagogique mêlée avec la création,rompant avec la vision conformiste stéréotypée du sertão brésilien. Ce lieu de débat sur l’origine de l’homme est attendu comme un réseau d’innovation artistique. Corps, environnement et mémoire peuvent se fondre, se décaler du temps, en considérant ce qui vibre au-delà de la trace. / This thesis is a cross-disciplinary study based on the reactivation of ancient gestures as an aesthetic resource that enamels the expression of performing arts. The expressive outline of the rock art of the Serrada Capivara constitutes the radiant methodological device for a choreographic research bridging continents. Practice and theory interface and question the sensory impacts of the investigated space, calling for the perception of the primordial energies to recreate dance figures, and the the atricalizing of life. The episodes of field research circumscribe a journey of reactivating and reincorporating gestures at the beginning of Art. The researcher is exposed for testing herself. On stage she problematizes the subject’s expression through embodied archeology, while the research extends to the collective body of the new generation of inhabitants of the Serra da Capivara. The archaeological thought invites to dig, from another angle, aesthetic phenomenon connected to corporeality by amplifying the consciousness of the body, the one that is experienced by the actor-dancer. The analysis of thousands of figures reveals the originality of the trace preserved in the countless sites with astonishing paintings. It proposes a new point of view on the function of rock art in our time and it shows a pedagogical way of using creativity to break with the stereotyped conformist vision of the northeast Brazil. This place of debate on the origin of man is expected to be a network of artistic innovation. Body, environment and memory can melt, shift from time, considering what vibrates beyond the trace.

Lakoff and Nuñez (2000) argue that the origins of mathematical thinking arise from the progressive development of the human sensorium and experience. Cognitive science research in in education plays a big role in developing new pedagogies, especially those that leverage new “Cyberlearning” technologies. The current study employs two principle frameworks for creating pedagogy for learning mathematical fractions: (1) grounded and embodied cognition (Varela, Thompson & Rosch, 1991; Glenberg, 1997; 2003; Barsalou, 1999; 2008), (2) situated cognition (Lesh, 1981; Lave 1988, Greeno, 1998; Roth, 2002). Grounded and embodied cognition was operationalized through the gesture. Although gesture is traditionally discussed as a spontaneous co-articulation of speech (Kendon, 1972; McNeill & Levy, 1980; 1992; Goldin-Meadow, 1986) it is taking on a new role with the advent of 21st century technologies that utilize gestural interface. Using gestures as simulated action (Hostetter and Alibali, 2008), we developed two sets of gestural mechanics based on an exploratory study on the gestures elementary students used to explain mathematical fractions (Swart, 2014): (1) iconic gestures (I) – i.e., enactive of the processes to create objects, (2) deictic gestures (D) – i.e., index pointing to ground or identify objects or locations. Situated cognition was operationalized through narrative (Black and Bower, 1980; Graesser, Hauft-Smith, Cohen, and Pyles 1980; Graesser, Singer, Trabasso, 1994). Researchers crafted two types of narratives in order to create a situated learning environment (Hennessy, 1993): (1) strong narrative (S) – with a setting, characters and plot (based on the popular PBS Kids television show, Cyberchase, (2) weak narrative (W) – without an explicit setting, characters or plot. Combining these two factors together, the research team designed and developed Mobile Mathematics Movement (M3). Using the two independent variables, gesture (I vs. D) and narrative (S vs. W), M3 was crafted into 4 different versions: SI, SD, WI, WD. The first two iterations, M3:i1 and M3:i2, were tested in randomized factorial experiments in afterschool programs with high-needs populations. After completing these studies employing a design-based research (DBR) methodology, the tutor-game developed into its latest iteration, M3:i3. The curriculum of M3 had students employing a splitting objects (i.e., parts-to-whole) schema (Steffe, 2004) and was divided into two parts: (Part 1) object fracturing (x5 per level): estimating, denominating, numerating, re-estimating; (Part 2) object equivalency (comparing 5 fractions): comparing, ordering, verifying magnitudes, verifying positions on vertical number line. In the final dissertation study, 131 students (x̄age = 8.78 yrs, 52.6% Female; 39.7% Hispanic; 32.8% African-American; 19.9% South-East Asian; 3.8% Caucasian; 3.8% South Asian (Indian); 97.7 % received free/reduced lunch) from the Harlem and Lower East Side neighborhoods of New York City were consented and assented and completed the study. Students were randomly assigned to 1 of the 4 conditions, completed a direct pre-assessment of the curriculum as well as a transfer pre-assessment, played all seven levels of the tutor-game, completed an exit survey (free response and 5-point likert – motivation, self-efficacy, engagement, learning), completed a direct post-assessment of the curriculum as well as a transfer post-assessment (parallel forms) and a 7 minute semi-structured clinical interview. Factorial ANOVAs indicated a significant interaction between gesture and narrative (though all groups showed significant learning pre to post) on the direct assessment. Both the SI and WD groups significantly outperformed the other two groups, though were not different from each other. Though there was not a significant interaction between gesture and narrative on for the transfer assessment, pair-wise comparisons and planned contrasts showed that the SI group outperformed all the other groups. Follow up hierarchical linear regressions (HLR) showed that game play significantly mediated students’ learning. Specifically, students’ performances estimating and denominating were predictive of direct learning of the curriculum while estimating, denomination and numeration were all predictive of transfer. Further HLRs also found that students’ learning was moderated by their existing proficiencies for fractions. This finding helped clarify the nature of the narrative-gesture interaction, such that low-proficiency students improved more in the WD condition and high-proficiency students improved more in the SI condition. An exploratory factor analysis of the 5-point likert exit survey showed loaded on four factors as anticipated, with significant loadings for engagement and learning, but revealed no significant differences between the conditions. The significant interaction revealed that both a weak narrative (non-contextualized) environments using deictic (identity) gestures as well as strong narrative (contextualized) environments using iconic (enactive) gestures are differentially beneficial for learning. Contrary to our interaction hypothesis, learning for novices benefitted from a more abstract environment, supporting the work of (Kaminski, Sloutsky, Heckler, 2008) and learning for those with higher proficiencies at fractions was better in the more concrete environment (e.g., Moreno, Ozogul, & Reisslein (2011). The likert data supports research suggesting that students find digital platforms engaging and empowering, regardless of learning or not (for review see Wouters, van Nimwegen, van Oostendorp, & van der Spek, 2013). Together, these results have important implications for the design of learning environments and a digital pedagogy and follow-up work is necessary for expounding on the interactions between gestures and narratives as well as the possible mediation by task complexity.

Pour le sculpteur le rôle du dessin consiste, souvent, en l’élaboration d’esquisses qui préfigurent le travail tridimensionnel ultérieur. Mais le dessin ne se limite pas uniquement à cette fonction préparatoire au processus de création en sculpture. Quelle est alors l’incidence du dessin dans le travail d’un sculpteur ? C’est par une analyse de leurs modes opératoires que nous étudierons l’œuvre de différents sculpteurs-dessinateurs ainsi que d’autres artistes qui pratiquent le dessin dans une œuvre tridimensionnelle. Au risque de sembler intemporelle, cette approche «poïétique» tentera d’identifier différents usages du dessin dans les démarches de sculpteurs, qu’il s’agisse d’exploration, de documentation ou de préfiguration, mais aussi du dessin dans l’espace ou comme voie parallèle au travail de sculpture. Le dessin ne serait-il pas finalement l’essence même du travail de sculpteur, comme une pratique dématérialisée de la sculpture ? Cette recherche s’appuie aussi sur l’explicitation de mon travail personnel de sculpteur et elle nourrit une réflexion sur l’accompagnement d’étudiants, sur l’usage qu’ils peuvent avoir du dessin dans leur processus d’apprentissage. / For any sculptor, drawing often consists in making some preparatory sketches that prefigure the later three-dimensional work. However, drawing is not limited only to this preparatory function of the process of creation when sculpting. What is then the incidence of drawing on the work of the sculptor? We will study the work of different sculptors-draftsmen through the analysis of their operational modes, together with the work of other artists who practice drawing while doing the three-dimensional work. Even if it may seem timeless, this “poietic” approach will try to identify different uses of drawing in the sculptor’s methods, either exploration, documentation, prefiguration, drawing in space or as a parallel path to the sculptural work. Isn’t it drawing the very essence of the sculptor’s work, as a dematerialized practice of sculpting? This research is also based on the explicitation of my work as a sculptor and nourishes some reflection on the accompaniment to students and the application of the drawing stage in their learning processes. / Para el escultor el dibujo consiste a menudo en la elaboración de bocetos preparatorios que prefiguran el trabajo tridimensional posterior. Pero, el dibujo no se limita únicamente a esta función preparatoria del proceso de creación en escultura. ¿Cuál es entonces la incidencia del dibujo en el trabajo del escultor? Estudiaremos la obra de diferentes escultores dibujantes por medio de análisis de sus modos operacionales. También la obra de otros artistas que practican el dibujo en una obra tridimensional. Aún si puede parecer intemporal, este enfoque “poiético” intentará identificar diferentes usos del dibujo en los métodos de escultores, ya sea de exploración, de documentación o de prefiguración, como de dibujo en el espacio o como vía paralela al trabajo de escultura. ¿No será el dibujo finalmente la esencia misma del trabajo de escultor, como una práctica desmaterializada de la escultura? Esta investigación se apoya además en la explicitación de mi trabajo como escultor y nutre una reflexión sobre el acompañamiento de estudiantes y la aplicación del dibujo en sus procesos de aprendizaje.

The role of gestures in determining the use of familiar and novel tools was explored. In the first study, participants were shown gestures for tools corresponding either to tool design, or to the physical affordances of a puzzle designed for each tool. In the second study, two additional conditions were added. In the first, gestures were used that did not correspond to tool design or the puzzle affordances. The second was a control condition in which no gestures were shown. Results indicate that the demonstration of gestures appropriate to a novel problem situation facilitate creative use of tools. Additionally, attention to tool and puzzle affordances is effective for creative tool use when no gestural input is present. However, knowledge of tool design may interfere with this creative application. Performance is further hindered by the demonstration of gestures consistent with tool design, which may prime individuals to rely on the design stance. / by Robert R. Freund. / Thesis (M.A.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

Theories of embodiment propose that our bodily states can influence affective processing. This thesis investigated the possibility that facial feedback (i.e., afferent signals from facial muscles) can influence the interpretation of affective stimuli. One study tested the effect of overt smiling and frowning on the interpretation of short descriptions of everyday events. Smiling, as compared to frowning, led to more positive evaluations, but only for participants who were aware of the emotional relevance of their expressions. A second study tested whether subtle changes in facial activation (elicited by unconsciously presented happy/angry facial expressions) led to changes in evaluations of ambiguous target symbols. While angry prime faces, as compared to happy prime faces, induced more frowning (as measured via electromyography), this change in facial activation did not translate into a behavioural effect on subsequent evaluations. A third study investigated the relation between naturally occurring facial reactions and interpretations of both clearly valenced and ambiguous facial expressions. Results indicate that facial reactivity predicts participants' self-reports of their own emotional reactions towards others' expressions (Experiment 1). A relation between facial reactions and interpretations of the expression senders' emotional states was only found in cases in which participants with high sensitivity towards their own bodily states (as measured with a test of interoceptive accuracy) tried to interpret ambiguous expressions (Experiment 2). In a last experiment, prolonged presentation of emotional prime faces led to expression-congruent facial reactions, but resulted in expression-incongruent behavioural reactions in both classification speed and interpretative tendency of emotional target faces. Overall, this thesis suggests that facial feedback is not generally involved in the interpretation of affective stimuli, but that it might contribute to evaluative processes only under special circumstances.