Cette recherche, par une approche deleuzienne – mais aussi inspirée des écrits de Guattari, Foucault, Bergson et Massumi –, vise à approfondir le bagage théorique associé au concept de résistance. En abordant les notions de néolibéralisme, de démocratie et de société de contrôle, une conceptualisation particulière du pouvoir est développée : non pas un biopouvoir – ayant force sur la vie – mais un ontopouvoir – ayant force de vie. À travers l’étude micropolitique du mouvement de contestation Occupy (2011), les concepts d’affect, d’événement, de préfiguration, de devenir, de structure et de consensus sont travaillés, et des possibilités résistantes sont cartographiées et théorisées. En somme, cette synthèse conceptuelle élabore une forme de résistance radicalement autre que celles préconisées par la démocratie (néo)libérale représentative ou la politique identitaire : une résistance intrinsèquement créative tournée vers ce qui n’existe pas encore. / This research takes a Deleuzian approach, also drawing on the work of Guattari, Foucault, Bergson, and Massumi. Its aim is to deepen the concept of resistance. The notions of neoliberalism, democracy and control society are addressed toward developing a renewed concept of power, not as biopower – the power over life – but rather as ontopower – the power of life. Through the micro-political study of the social movement Occupy (2011), the concepts of affect, structure, event, prefiguration, becoming, and consensus are explored, and potentials of resistance are mapped and theorized. The conceptual synthesis arrived at conceptualizes a form of resistance radically different to those advocated by representative (neo)liberal democracy or identity politics: a intrinsically creative resistance turned toward what does not yet exist.

[pt] A presente tese aborda os atos que tomaram as ruas do Brasil a partir de junho de 2013, sob perspectiva ao mesmo tempo estética e política. Seguindo a própria estética múltipla dos atos, o texto, escrito na forma de diários, lança mão de um vasto universo de referências culturais. Escrito na primeira pessoa e trazendo as questões para o momento atual, o trabalho evidencia a dimensão da presença na experiência estética (assim como na política pela via da ação direta). Em um processo antropofágico, a escrita transita por postagens no Facebook, fotografias, poesia, performance, teatro, cinema, grafite, desenhos animados, filosofia, história e carnaval. A tese não se propõe a explicar os atos ou fixá-los na História, mas, ao contar histórias, usa os acontecimentos como fonte de inspiração para uma nova criação, com uma escrita reflexiva sobre o mundo, a cultura, a arte, a política, a vida urbana e o próprio momento presente. O foco está em um corpo singular que atravessou as ruas do Rio de Janeiro em certos momentos de intensidade (de 2013 a 2016), deixando também seus rastros na cidade. Ao afirmar que 2013 não acabou, o que a autora pretende não é revelar o que seriam as suas consequências no Brasil de hoje, mas sim chamar a atenção para a sua abertura inexorável, que não permite conclusões fáceis. Por isso, a própria tese permanece inconclusa. É um ensaio poético, que busca captar aquilo que de 2013 a autora considera a sua poesia inesgotável. 2013 era um grande movimento de ocupação das cidades ressignificando espaços e vidas. E como aqueles manifestantes que sempre retornavam após os ataques da polícia cantando Olha eu aqui de novo!, há algo que sempre volta, que não se rende à dispersão imposta e ainda faz questão de tirar sarro dançando. A tese é essa dança. / [en] This thesis approaches the acts that took the streets of Brazil from June 2013, from both na aesthetic and political perspective. Following the very multiple aesthetics of the acts, the text, written in the form of diaries, makes use of a broad universe of cultural references. Written in the first person and bringing the issues to the current moment, the work evidences the dimension of the presence in the aesthetic experience (as well as in politics through direct actions). In an anthropophagic process, the writing transits through Facebook posts, photographs, poetry, performance, theater, cinema, graffiti, cartoons, philosophy, history and carnival. The thesis does not propose to explain the acts or to set them in the History, but in telling stories, uses the events as a source of inspiration for a new creation, with a reflective writing about the world, culture, art, politics, urban life and the very current moment. The focus is on a singular body that has passed through the streets of Rio de Janeiro in certain moments of intensity (from 2013 to 2016), leaving also its traces in the city. In saying that 2013 is not over, what the author intends is not to reveal what would be its consequences in Brazil today, but to draw attention to its inexorable opening, which does not allow easy conclusions. Therefore, the thesis itself remains unfinished. It is a poetic essay, which seeks to capture what of 2013 the author considers its inexhaustible poetry. 2013 was a great movement of occupation of cities, resignifying spaces and lives. And like those demonstrators who always have returned after the police attacks, singing Look at me here again!, there is something that always comes back, that does not surrender to the imposed dispersion and even makes a point of making fun dancing. The thesis is this dance.

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