FundaÃÃo de Amparo à Pesquisa do Estado do Cearà / A presente pesquisa expÃe aÃÃes do movimento de Arte ativista ELAS (Escola Livre de Arte subversiva), para pensar como se dà o processo de Arte, ResistÃncia e EducaÃÃo hoje, atravÃs de artistas, de coletivos e de movimentos de Arte. à por meio da cartografia que estabelecemos uma ligaÃÃo da Arte em processo, com a ResistÃncia Ãs metodologias de pesquisa tradicionais, e à elaboraÃÃo de prÃticas artÃsticas que sÃo limitadas por editais do Estado, e de empresas privadas, que exercem seus poderes em torno dos temas e de outras demandas que exigem para as experimentaÃÃes dos artistas. Problemas de como se dà a relaÃÃo de Arte, instituiÃÃes e mercadoria, de como pensar a ResistÃncia Ãs ârelaÃÃes de poderâ atravÃs das artes, e de como criar novos modos de existÃncia partindo da criaÃÃo, da reinvenÃÃo da EducaÃÃo, do olhar crÃtico em torno das âSociedades de controleâ (conceito pensado por Deleuze), sÃo colocados em discussÃo durante todo o trabalho. Em quase um ano de intervenÃÃo junto ao ELAS, vÃrias ideias e problemas foram pensados e muita Arte foi realizada, numa tentativa de se fazer guerrilha, de criar mundos e de compor vidas, com as prÃticas artÃsticas que buscam inquietar, desterritorializando o sistema educacional tradicional, numa preocupaÃÃo Ãtica e social com o mundo que se faz presente. E num certo erotismo de engajamento polÃtico, a Arte que à produzida dentro de coletivos (onde, na dÃcada de 90, houve uma explosÃo destes coletivos, no Brasil) como no ELAS, com as inspiraÃÃes vindas desde à dÃcada de 30, tÃm nos feito buscar o que se pode ter como livre, em oposiÃÃo Ãs relaÃÃes desenvolvidas no sistema capitalista, pensando e compondo uma âestÃtica da existÃnciaâ, colocada por Foucault (1994), e que podemos visualizar na obra de Hakim Bey(2005) em Zonas AutÃnomas temporÃrias(TAZ) e de Luther Blisset (2001) nas criaÃÃes de mito, em âguerrilhas psÃquicasâ, em aÃÃes de furto como no coletivo Yomango , e âterrorismos poÃticosâ, prÃticas que questionam as relaÃÃes de poderes, e que sÃo formas criativas, subversivas, impactantes e novas, de se fazer polÃtica e de se viver a prÃpria vida. / This research study presents the actions of the activist artistic movement ELAS (Free School of subversive art) in order to reflect about the way in which the process of art, resistance and education takes place today through artists, artistic collectives and movements. It is through cartography that we establish a link between the art in progress, with its resistance to the traditional research methodologies, and the elaboration of artistic practices that are limited by the State and by private companies, that use their power to influence the subject matter and other demands upon artistic experimentation. The following questions are discussed during the entire project: the current relation between art, institutions and the market, how to conceive the resistance to power through the arts, the construction of new ways of existence departing from the creation process, the reinvention of Education, of the critical view of societies of control ( concept introduced by Deleuze), among others. In almost a year of happenings with ELAS, many ideas and problems were reflected upon and a huge amount of art was made, with the intent of making guerrilla, of creating worlds and composing lives, with artistic practices that aim to awaken, expropriating the educational system, in an ethical and social concern with the world that becomes present. And in a certain eroticism of politicalinvolvement, the art produced in collectives ( there was an explosion of these collectives in Brazil during the 90âs) like ELAS, with inspirations originating since the 30âs, has made us look for what can be seen as free, in relations within contemporary society, looking at the way we take care of ourselves through an existence esthetic, denominated by Foucault, and that can also be seen in Hakim Beyâs work in Temporary Autonomous Zones (TAZ), in the creation of myth, in psychic guerrillas, in actions of theft like the ones of the collective Yomango, in poetic terrorisms; all of these practices that question the power relations, and creative, subversive, new and impacting ways of doing politics and living your own life.

ALBUQUERQUE, Bartira Dias de. Arte, Resistência e Educação: cartografias das ações do movimento ELAS (Escola Livre de Artes Subversiva) - movimento de arte ativista que atua na cidade de Fortaleza. 2013. 122f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Educação Brasileira, Fortaleza (CE), 2013. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-08-13T12:01:18Z No. of bitstreams: 1 2013_dis_bdalbuquerque.pdf: 3007577 bytes, checksum: 6f53ac3b77cab6e6bc5b6951f91a95f7 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-08-13T12:40:00Z (GMT) No. of bitstreams: 1 2013_dis_bdalbuquerque.pdf: 3007577 bytes, checksum: 6f53ac3b77cab6e6bc5b6951f91a95f7 (MD5) / Made available in DSpace on 2014-08-13T12:40:00Z (GMT). No. of bitstreams: 1 2013_dis_bdalbuquerque.pdf: 3007577 bytes, checksum: 6f53ac3b77cab6e6bc5b6951f91a95f7 (MD5) Previous issue date: 2013 / This research study presents the actions of the activist artistic movement ELAS (Free School of subversive art) in order to reflect about the way in which the process of art, resistance and education takes place today through artists, artistic collectives and movements. It is through cartography that we establish a link between the art in progress, with its resistance to the traditional research methodologies, and the elaboration of artistic practices that are limited by the State and by private companies, that use their power to influence the subject matter and other demands upon artistic experimentation. The following questions are discussed during the entire project: the current relation between art, institutions and the market, how to conceive the resistance to power through the arts, the construction of new ways of existence departing from the creation process, the reinvention of Education, of the critical view of societies of control ( concept introduced by Deleuze), among others. In almost a year of happenings with ELAS, many ideas and problems were reflected upon and a huge amount of art was made, with the intent of making guerrilla, of creating worlds and composing lives, with artistic practices that aim to awaken, expropriating the educational system, in an ethical and social concern with the world that becomes present. And in a certain eroticism of politicalinvolvement, the art produced in collectives ( there was an explosion of these collectives in Brazil during the 90’s) like ELAS, with inspirations originating since the 30’s, has made us look for what can be seen as free, in relations within contemporary society, looking at the way we take care of ourselves through an existence esthetic, denominated by Foucault, and that can also be seen in Hakim Bey’s work in Temporary Autonomous Zones (TAZ), in the creation of myth, in psychic guerrillas, in actions of theft like the ones of the collective Yomango, in poetic terrorisms; all of these practices that question the power relations, and creative, subversive, new and impacting ways of doing politics and living your own life. / A presente pesquisa expõe ações do movimento de Arte ativista ELAS (Escola Livre de Arte subversiva), para pensar como se dá o processo de Arte, Resistência e Educação hoje, através de artistas, de coletivos e de movimentos de Arte. É por meio da cartografia que estabelecemos uma ligação da Arte em processo, com a Resistência às metodologias de pesquisa tradicionais, e à elaboração de práticas artísticas que são limitadas por editais do Estado, e de empresas privadas, que exercem seus poderes em torno dos temas e de outras demandas que exigem para as experimentações dos artistas. Problemas de como se dá a relação de Arte, instituições e mercadoria, de como pensar a Resistência às “relações de poder” através das artes, e de como criar novos modos de existência partindo da criação, da reinvenção da Educação, do olhar crítico em torno das “Sociedades de controle” (conceito pensado por Deleuze), são colocados em discussão durante todo o trabalho. Em quase um ano de intervenção junto ao ELAS, várias ideias e problemas foram pensados e muita Arte foi realizada, numa tentativa de se fazer guerrilha, de criar mundos e de compor vidas, com as práticas artísticas que buscam inquietar, desterritorializando o sistema educacional tradicional, numa preocupação ética e social com o mundo que se faz presente. E num certo erotismo de engajamento político, a Arte que é produzida dentro de coletivos (onde, na década de 90, houve uma explosão destes coletivos, no Brasil) como no ELAS, com as inspirações vindas desde à década de 30, têm nos feito buscar o que se pode ter como livre, em oposição às relações desenvolvidas no sistema capitalista, pensando e compondo uma “estética da existência”, colocada por Foucault (1994), e que podemos visualizar na obra de Hakim Bey(2005) em Zonas Autônomas temporárias(TAZ) e de Luther Blisset (2001) nas criações de mito, em “guerrilhas psíquicas”, em ações de furto como no coletivo Yomango , e “terrorismos poéticos”, práticas que questionam as relações de poderes, e que são formas criativas, subversivas, impactantes e novas, de se fazer política e de se viver a própria vida.

In this article, I seek to discuss the principles of modulation and variation in Deleuze’s canonical essay “Postscript on the Societies of Control” (Deleuze 1992). Analyzing and testing what Deleuze recognizes as “inseparable variations, forming a system of variable geometry” and as a “self-deforming cast that will continuously change from one moment to the other […], like a sieve whose mesh will transmute from point to point” (1992: 4), I will focus on the digital image

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Avec l’accélération de la production narrative au vingt-et-unième siècle, ainsi que les tentatives d’appropriation des moyens de production et des mythes collectifs par le marché, il y a lieu de questionner l’effet des nouveaux mythes sur la psyché humaine. L’ingestion persistante et soutenue de récits infusés de symboles capitalistes produit une mutation de la subjectivité humaine, dans un mouvement vers une certaine homogénéité. Par une relecture de la Poétique d’Aristote, la première section de cette thèse propose une vision politique de la catharsis, qui théorise le récepteur de toute narration comme programmable et pouvant être guidé vers des attitudes et des postures. Cette conception mène directement à une définition machinique du récit et la notion d’asservissement machinique, qui conçoit la subjectivité humaine comme engagée dans des processus de connectivité où elle perd certains fragments de son unicité. La troisième foulée de cette thèse théorise la société de contrôle de Deleuze et ses héritiers conceptuels, le capitalisme de surveillance et l’ectosubjectivité. Ces deux notions tentent de percevoir le régime de pouvoir du vingt-et-unième siècle, fondé sur les données personnelles et la standardisation de la psyché humaine. Finalement, le quatrième et dernier chapitre de cette recherche se penche sur la notion de vérité telle que décrite par Michel Foucault dans Le Courage de la Vérité. Dans la notion Grecque, et particulièrement son développement platonicien, de parrhēsia, Foucault identifie l’homogénéité d’une vérité basée sur une hiérarchie éthique, et son renversement par les Cyniques en animalité assumée qui ouvre de nouveaux territoires d’existence et de vérité. En somme, ce renversement nous permet de concevoir ce que serait une existence libre, hors d’un régime de vérité qui désubjective et rend homogène. / With the acceleration of narrative production in the twenty-first century, as well as the attempted appropriation of means of production and collective myths by market economy, there is an increasing need to question the effect of these new myths on the human psyche. The persistent and sustained ingestion of narratives infused with capitalist symbols produces a transformation of subjectivity, which mutates from unicity to increased standardization. Through a rereading of Aristotle’s Poetics, the first section of this thesis offers a political conception of catharsis that theorizes the receiver of narratives as programmable and guidable towards attitudes and postures. This conception leads directly to a machinic definition of the narrative and the concept of machinic enslavement. These concepts conceive of human subjectivity as engaged in processes of networking where it loses fragments of its unicity. The third chapter of this thesis theorizes Deleuze's society of control and its conceptual successors, surveillance capitalism and ectosubjectivity. Both these concepts attempt to theorize the reigning regime of power of the twenty-first century, based on personal data and the standardization of the human psyche. Finally, the fourth and final chapter of this research analyzes the notion of truth as described by Michel Foucault in The Courage of Truth. In the Greek notion of parrhēsia, and especially in its platonic development, Foucault identifies the homogeneity of a truth system based on a hierarchization of ethics. The reversal of this system by the Cynics into an assumed bestiality is crucial to this thesis as it opens new territories of existence and truth. In sum, the Cynic reversal permits us to conceive of a free existence, outside of a regime of truth that desubjectivates and homogenizes.