Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-02-02T12:02:52Z No. of bitstreams: 1 OtoLimaDeAlbuquerqueNeto_DISSERT.pdf: 2860370 bytes, checksum: a36d92183fffc74b8e6ee04835f7be2c (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-02-07T16:02:51Z (GMT) No. of bitstreams: 1 OtoLimaDeAlbuquerqueNeto_DISSERT.pdf: 2860370 bytes, checksum: a36d92183fffc74b8e6ee04835f7be2c (MD5) / Made available in DSpace on 2017-02-07T16:02:51Z (GMT). No. of bitstreams: 1 OtoLimaDeAlbuquerqueNeto_DISSERT.pdf: 2860370 bytes, checksum: a36d92183fffc74b8e6ee04835f7be2c (MD5) Previous issue date: 2016-08-02 / Os ?leos lubrificantes geralmente s?o produzidos a partir de fontes n?o renov?veis, como por exemplo o petr?leo. Estes lubrificantes possuem aditivos para que suas propriedades sejam melhoradas e adequadas para aplica??es espec?ficas o que eleva o custo de produ??o al?m do elevado poder de degrada??o ambiental devido ao seu descarte incorreto. Como forma de reduzir os impactos ambientais e elevado custo de produ??o dos ?leos lubrificantes, foram desenvolvidos estudos voltados para os biolubrificantes originados de oleaginosas que possuem grande potencial de produ??o no territ?rio brasileiro, al?m da redu??o do impacto ambiental por ser um ?leo biodegrad?vel. A lubrifica??o apresenta uma grande import?ncia para o setor industrial, pois contribui para o aumento do ciclo de vida dos componentes mec?nicos de equipamentos de m?dio e grande porte reduzindo o desgaste excessivo entre pe?as com movimento relativo entre si e a refrigera??o dos componentes. O ?leo vegetal produzido a partir do fruto da planta oiticica (Licania r?gida) da familia Chrysobalanaceae, encontrada nas vegeta??es da caatinga, surge como alternativa para uso como biolubrificante devido ao seu baixo custo e f?cil extra??o. No presente trabalho, foram utilizados os m?todos de extra??o mec?nica e qu?mica, para posterior an?lise f?sico-qu?mica e demais par?metros operacionais que devem existir para o bom funcionamento de um ?leo lubrificante. Verificou-se que o m?todo de extra??o mec?nica se mostrou mais eficaz quanto a rapidez da produ??o, mas a extra??o qu?mica mostrou um maior rendimento em rela??o a massa do vegetal e o volume produzido do ?leo. Os valores das propriedades f?sico-qu?micas do ?leo da oiticica para ambas as extra??es se apresentaram similares, logo ambos os m?todos podem ser utilizados para a obten??o do ?leo da oiticica sem se preocupar com altera??es significativas nas principais propriedades esperadas por um ?leo lubrificante vegetal. Os ensaios de desempenho quanto a condutividade e resistividade t?rmica apresentaram valores superiores em compara??o ao ?leo comercial, provando assim que o ?leo vegetal possui uma melhor capacidade de refrigera??o em rela??o ao ?leo comercial. A an?lise de desgaste provou que o poder de lubrifica??o do ?leo da oiticica foi superior em rela??o ao ?leo comercial. / Lubricating oils are usually produced from non-renewable resources such as petroleum. These lubricants have additives that their properties are improved and suitable for specific applications which increases the production cost of high power of environmental degradation due to its incorrect disposal. In order to reduce environmental impacts and high cost of production of lubricating oils, studies were developed focused on the bio-lubricants derived from oil which have large production potential in Brazil, in addition to reducing the environmental impact by being a biodegradable oil. Lubrication is of great importance for the industrial sector, it contributes to increase the life cycle of the mechanical components of medium and large equipment reducing excessive wear between parts with relative movement between itself and the cooling of the components. The vegetable oil produced from the fruit of the myrtle plant (rigid Licania) of Chrysobalanaceae family, found in the caatinga vegetation, is an alternative for use as biolubrificante due to its low cost and easy extraction. In this work, methods of mechanical and chemical extraction were used for subsequent physical and chemical analysis and other operating parameters that must exist for the proper functioning of a lubricating oil. It was observed that the mechanical extraction method was more effective as the speed of production, but the chemical extraction showed a higher yield compared to vegetable mass and volume of produced oil. The values of the physico-chemical properties oiticica oil for both extractions performed similar, then both methods can be used to obtain oiticica oil without worrying about significant changes in key properties expected for vegetable lubricating oil. The performance tests as conductivity and thermal resistivity showed higher values in comparison with the commercial oil, thus proving that the vegetable oil has an improved cooling capacity compared to the commercial oil. The wear analysis proved that the power of oiticica oil lubrication was higher than the commercial oil.

LOPES, Marcos Oliveira. Formas de (R) existir cinema: o cinema como acontecimento no corpo em Álbum de Família e em CC5 hendrix-war. 2015. 139f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Comunicação Social, Fortaleza (CE), 2015. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-03-29T22:52:38Z No. of bitstreams: 1 2015_dis_molopes.pdf: 2098559 bytes, checksum: eeb006dde123ff07cb5c7c0785528775 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2016-03-29T22:58:45Z (GMT) No. of bitstreams: 1 2015_dis_molopes.pdf: 2098559 bytes, checksum: eeb006dde123ff07cb5c7c0785528775 (MD5) / Made available in DSpace on 2016-03-29T22:58:45Z (GMT). No. of bitstreams: 1 2015_dis_molopes.pdf: 2098559 bytes, checksum: eeb006dde123ff07cb5c7c0785528775 (MD5) Previous issue date: 2015 / Formas de (r) existir cinema: o cinema como acontecimento no corpo em “Álbum de família” e em “CC5 hendrix-war”; existe como uma conversa-texto em forma de pesquisa acadêmica que dialoga sobre as possibilidades de existência de cinemas em situações-cinemas experimentadas em duas proposições poéticas a partir da imersão do corpo em espaços/objetos interativos. O trabalho CC5 hendrix-war realizado em parceria entres os artistas Hélio Oiticica e Neville de Almeida, bem como o trabalho Álbum de família de minha autoria, são aqui problematizados como situações-cinemas como efeito de acontecimentos no corpo a partir da ação de um corpo-dançante. A questão que este trabalho apresenta diz da possibilidade de existência de cinema a partir de um corpo que dança no momento em que dança. Assim, a ideia de um livro-cinema que experimentado com um corpo-dançante faz existir uma situação-cinema em Álbum de Família introduz a conversa e tenciona em suas particularidades as capacidades de um conjunto de fotografias poderem ser experimentadas como cinema. Dialogo com os conceitos de situação-cinema (PARENTE, 2009), Transcinemas (MACIEL, 2009), estética do desaparecimento (FURTADO, 2010) e acontecimento (DELEUZE, 2007). O segundo momento desse dialogo trata da possibilidade de existência de cinema a partir a observação sobre os quasi-cinemas de Hélio Oiticica e Neville de almeida. Assim, o conceito de duração é problematizado no sentido de compreender mais atentamente como se efetivam as propostas poéticas em Oiticica/Neville no que se refere as suas experimentações poéticas com o cinema. Aqui, dialogo com os conceitos de quasi-cinema (OITICICA/NEVILLE, 1973), duração (BERGSON, 1999), Linha de fuga (PELBART,2007), e cartografia(DELEUZE &GUATTARI, 2010). A terceira parte do trabalho trata da possibilidade de existência de cinema em CC5 hendrix-war na medida da ação de um corpo que dança. Dialogo com os conceitos de dança (NIETZSCHE, 2002), corpo-dançante (GADELHA, 2010), movimento dançado (GIL, 2006) e agenciamento (DELEUZE, 1998). Nos termos de Deleuze e Guattari a cartografia pretendida no ínterim dessa conversa visa acompanhar um processo, e não representar um objeto. A cartografia como um modo de existência para essa conversa cria seus próprios movimentos, seus próprios desvios. É um projeto que pede passagem, que fala que incorpora sentimentos, que afeta e que é afetado pelos processos pelos quais se efetiva. O que proponho como maneira de fazer pesquisa é uma espécie de mapa do presente que demarca um conjunto de fragmentos, em eterno movimento de produção. Assim, no contexto do plano traçado aqui é pertinente reafirmar que o cinema como acontecimento no corpo nas situações-cinemas aqui problematizadas (r)existe, ou seja, o cinema existe e também resisti em “Álbum de família” e em “CC5 hendrix-war” a partir de um corpo que dança no momento em que dança.

Tese (doutorado)—Universidade de Brasília, Intituto de Ciências Sociais, Departamento de Sociologia, 2011. / Submitted by Luciana Pontes Lemos (lucianalemos@bce.unb.br) on 2012-02-17T13:24:17Z No. of bitstreams: 1 2011_MarcioHagihara.pdf: 1632170 bytes, checksum: f9d4f234a0eceb58d29c6d58b65975e1 (MD5) / Rejected by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br), reason: Luciana, Por favor, proteger o arquivo. Grata, Jacqueline on 2012-02-17T13:52:13Z (GMT) / Submitted by Luciana Pontes Lemos (lucianalemos@bce.unb.br) on 2012-02-17T13:55:13Z No. of bitstreams: 1 2011_MarcioHagihara.pdf: 1632170 bytes, checksum: f9d4f234a0eceb58d29c6d58b65975e1 (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2012-02-17T14:10:53Z (GMT) No. of bitstreams: 1 2011_MarcioHagihara.pdf: 1632170 bytes, checksum: f9d4f234a0eceb58d29c6d58b65975e1 (MD5) / Made available in DSpace on 2012-02-17T14:10:53Z (GMT). No. of bitstreams: 1 2011_MarcioHagihara.pdf: 1632170 bytes, checksum: f9d4f234a0eceb58d29c6d58b65975e1 (MD5) / O advento das instalações e de obras que visam à interação com o público, criando ambientes que envolvem percepções sinestésicas, estão presentes nas mais célebres bienais e exposições de arte pelo mundo. A arquitetura e a arte brasileiras contribuíram bastante para a mudança espacial da obra de arte. O modernismo brasileiro forjou o discurso de ampliação dos princípios das artes plásticas para a construção da cultura nacional. A dimensão construtiva das artes plásticas refletiuse na ampliação da criação plástica dos singelos quadros de cavalete burgueses para os murais sociais de Portinari e para a nacional e monumental arquitetura do Grupo Carioca. Oscar Niemeyer e Lucio Costa projetaram a pretensão máxima de ampliação de escala da obra de arte: Brasília. Frustrada a utopia, irrompe o Movimento Neoconcreto, cuja crítica infligiu-se contra a arquitetura, o espaço clássico e o conceito de cultura nacional, por meio da quebra da tradicional associação simbólica entre arte e cultura. A ligação entre a arquitetura e o Movimento Neoconcreto só faz sentido se ligada à análise iconográfica, pois o exame do discurso escrito – que é uma das obsessões de nossa cultura pela palavra – é insuficiente para estabelecer tal ligação. Entre maquetes e instalações labirínticas de Hélio Oiticica, observa-se a crítica visual da coerência espacial imposta pela política cultural das elites brasileiras. Mais do que isso, a arte brasileira deu sua contribuição, modificando a configuração espacial da obra de arte. Foi preciso destruir a última grande regra da arte, através da morte do Plano. ___________________________________________________________________________________ ABSTRACT / The advent of installations and artworks that aims interaction with the public by creating environments that involve synesthesic perceptions are present in the most famous biennial art exhibition around the world. Brazilian art and architecture contributed enough for the change of the spatial notions of work of art. Brazilian modernism created a speech which aimed to extend the principles of art for the construction of national culture. The constructive dimension of art reflected on an expansion: from the creation of single plastic easel paintings of bourgeois, to the social murals of Portinari, and to the national and monumental architecture of Carioca School. Oscar Niemeyer and Lucio Costa projected the intention of extending the maximum scale of the work of art: Brasilia. The utopia was over, and then the Neo-concrete Movement breaks with its criticism against the architecture, classical space and the concept of national culture, destroying the traditional symbolic association between art and culture. The connection between architecture and Neo-concrete Movement only makes sense if it is related to the iconographic analysis, because the examination of written speech – which is one of the obsessions of our culture – is not enough to establish such connection. Between Helio Oiticica’s models and neo-concretist labyrinthine installations, there is the criticism against visual spatial coherence imposed by the cultural policy of the Brazilian elites. More than this, the Brazilian arts contributed with the changing of the spatial scope of work of art. It was necessary to destroy the last great rule of the art, through the death of the Plan. ___________________________________________________________________________________ RESUMÉ / L'avènement de l’installation et d’ oeuvre d’art qui visant à l'interaction avec le public à travers de la création des environnements qui impliquent des perceptions synèsthesique sont présentes dans la plus célèbre exposition biennale d'art dans le monde. L'art et l'architecture brésilienne ont contribué suffisamment à la transformation spatiale de l'oeuvre d'art. Le modernisme brésilien a établi un discours de vulgarisation des principes de l'art pour la construction de la culture nationale. La dimension constructive de l'art reflète dans l'expansion d’oeuvres d’art plastiques: de la peintures de chevalet de bourgeois, à travers les peintures murales de Portinari et jusqu’à social et national monumentale l'architecture d’École Carioca. Oscar Niemeyer et Lucio Costa ont conçu l'intention d'étendre la maximale l'échelle de l'oeuvre d'art: Brasília. Frustré l'utopie, le Mouvement Neo-concrète a provoqué des critiques contre l'architecture, l'espace classique et le concept de la culture nationale, a travès de la rupture de la traditionnelle association symbolique entre l'art et culture. Le lien entre l'architecture et le Mouvement Neo-concrète n'a de sens que si liées à l'analyse iconographique, parce que l'examen du discours écrit – qui est l'une des obsessions de notre culture, le mot – est insuffisante pour établir tel lien. Entre les labyrinthiques et rhizomateuses maquettes et installations de Hélio Oiticica, il y a une critique de la cohérence dans l'espace visuelle imposée par la politique culturelle de l'élite brésilienne. Plus que cela, l'art brésilien donnait sa contribution, la modification de la notion spaciale de l’oeuvre d'art. Il faut détruire la dernière grand règle de l’art, à travers de la mort du Plan.

Many scholars have considered Cuban American artist Ana Mendieta to be a translator of Afro-Cuban culture. In her 2019 monograph on the artist, for example, Genevieve Hyacinthe writes: “brownness made Mendieta a powerful translator of Black Atlantic forms into contemporary art language because she was not, and could never be, part of the dominant white culture.” Mendieta also announced herself as a translator (and inheritor) of Siboney and Taino cultures. Her gallery notes that to celebrate her return to Cuba’s “maternal breast” as an adult, the artist titled the rock carvings she made there with “names of zemis, or Taíno spirits, such as Bacayu for ‘Light of Day.’” I argue that alongside her claims on Taino cultural heritage we might consider her actual ancestry and claims on Indigenous women in the art of Cuban settlers before her. My dissertation considers Mendieta as a translator not of Taino myths or Black cultural practices but of ethnological texts and nationalistic folklore which catalogued and caricatured Black and Indigenous cultures. “Bacayu,” for example, is not a Taino “zemi” but rather a word she culled from a glossary of Black and Indigenous terms: a performance of knowledge over Indigenous cultures rather than a Taino cultural product. It hails from a lecherous story written by a Havana dentist about the death of an “Indian doncella.” Each chapter considers her translations of such pieces, focusing in particular on her translation choices which I suggest are motivated by her feminist and anti-imperial politics. My first chapter considers the influence of ethnographic studies on Abakuá and particularly the writings of Fernando Ortiz in her Iowa campus performances which reference crime scenes and “sacrificial” initiation ceremonies. Rather than offering unmediated access to Black religious practices, I suggest she is performing an abased view of Abakuá as seen through the (exterminationist) lens of Ortiz’s scholarship from his criminological ethnography, Los negros brujos (1906), to his less punitive but still highly fetishizing account of Abakuá in “La ‘tragedia’ de los ñáñigos” (1950). I don’t believe Mendieta translates this work to oppress Black people. Rather as a bodywork artist composing a militant, corporal language of feminist critique, she aims the violence of cultural translation toward her chauvinistic art school cohort. The second chapter considers her literary translation of “La Venus Negra, based on a Cuban legend,” which was composed by Adrián del Valle, Ortiz’s secretary at La Sociedad Económica de los Amigos del País for which he collated Cuba’s first public library among other projects. The original legend can be contextualized by del Valle’s broader stewardship of Cuban letters: he penned “La Venus Negra” for a collection celebrating the Centenary of Cienfuegos from the family notes of a prominent cienfueguero, Pedro Modesto. Examining the tacky national showcase in which the legend originally appears, I consider the ways Mendieta repositions la Venus Negra as a display of her own “will to continue being Other.” In particular, her translation imposes a “Siboney” ancestry on la Venus Negra and dispenses with the conditions which determine the protagonist’s muteness (in the original, la Venus Negra is a nude Black woman who is captured and displaced from her island hideout by criollo enslavers). In Mendieta’s translation la Venus is not muted Black protest incarnate but becomes an anti-colonial symbol. Mendieta publishes the piece in the feminist magazine Heresies, illustrating the legend with a silhouette of her own body from her Silueta Series. Again, I don’t think Mendieta poses as a Ciboney woman or absents Black women in a gesture of ill will toward Black and Indigenous people. Rather, she does so as an anti-imperial strategy consistent with Fidel Castro’s cadre, as her unavowed translation of Roberto Fernández Retamar’s “Calibán” into her “Dialectics of Isolation: An Exhibition of Third World Women Artists of the United States” curatorial statement indicates. In the essay, Retamar, a white Cuban scholar, aligns the revolution with Black and Indigenous Cuba by “reclaiming” the caricature Caliban, which, as Coco Fusco writes, Shakespeare himself had based on an “Indian” exhibited in London. In the third chapter, I consider Mendieta’s Esculturas Rupestres, not as tributes to Taino spirits but as monuments of settler longing for mutilated Indigenous women. The legend I mentioned in the introductory paragraph, “Bacayu,” for example, is settler fanfiction about a daughter of a “cacique” whose death portends the coming of the white man and includes a lengthy description of the dead woman’s body. I also point toward the misnamings of Black women which appear within this rock series (Black Venus, Mother) which are often overlooked by scholars who ask us to read the work as Taino myth. Finally, building on these themes, I suggest a comparison to the work of Brazilian artist Hélio Oiticica: emphasizing the similarities in their “cannibalistic” approaches to translation. Although differently aligned politically (leftist, anarchist), Oiticica’s family, like Mendieta’s, were culturally and politically prominent settlers; and, like Mendieta, Oiticica is often read as a translator of Black Atlantic culture. Further both artists engaged in the caricaturing of Indigenous “American” cultures. In New York, Oiticica translated Oswald de Andrade’s “Manifesto Antropófago” (1928) to contextualize his work and the work of his friends. Artists in Brazil had adapted de Andrade’s manifesto into a translation program “cannibalizing” European and North American cultures, a practice they misidentified as Tupi as de Andrade had. Comparing Mendieta and Oiticica as translators reveals shared patterns of Latin American vanguards employing caricatures of Black and Indigenous cultures in anti-imperial performances. These caricatures and their resemblance to caricatures in the U.S. also point to older (and enduring) transnational networks of white nationalism in the Americas.

This study takes up the phrase ‘the skin of all’ as a means to explore the tension between the singular and the collective, and between union and estrangement. I examine aesthetic, symbolic, and theoretical attempts at unification amidst various forms of difference and the political imperatives and implications attached to this aim. The goal is to analyze how such attempts were related to the development of artistic institutions and discourses as well as to broader sociopolitical conditions within and beyond Brazil’s dictatorship era (1964-1985). This dissertation reflects on the reemergence of the discourse of antropofagia throughout the sixties and seventies in Brazil, a concept first developed in the 1920s as an explicit rejection of the privileged position of European culture and the assertion of a unified Brazilian national identity forged from its colonial histories and the co-presence of indigenous, African, and European identities. I emphasize that antropofagia has functioned as a counterhegemonic proposition reliant on the appropriation of marginal racial positions and their integration into a larger national framework, while still acknowledging the productive potentials that antropofagia’s collapsing of boundaries facilitates. My project challenges simplified narratives of harmonic exchange, embracing contradiction and the tensions of privilege, access, and power. Examining primary sources, contemporaneous writings and present-day scholarship, this project interrogates the mythos, life, and after-life of Pape and Oiticica’s performance and participatory works and analyzes these alongside both artist’s media-based practices. Analyzing the broader aims and implications of Lygia Pape and Hélio Oiticica’s engagement with Black and indigenous cultures, I unpack the ways their works irresolutely engage with race in the Brazilian context and how a primitivistic essentialism has been central to these works and their reception.

Made available in DSpace on 2016-04-28T19:34:00Z (GMT). No. of bitstreams: 1 Ana Paula Sapaterra.pdf: 20682646 bytes, checksum: 84025d12b4a11e1f3db19220860fe52a (MD5) Previous issue date: 2015-09-08 / Secretaria da Educação do Estado de São Paulo / This thesis has the aim to describe and analyze the José Oiticica s Lexical and Syntactic Manual Analysis work. For this work we examined all the twelve editions and we certified that the first four ones remained similar in the linguistic aspects. From the fifth one, there was partial a redoing of the work, fact that was kept to the twelfth edition (1958), this was the reason we chose to compare the first (1919) and the fifth (1940) in order to point the permanence and the changes ocurred among the versions. We observed that the second, third and fourfh editions had some improvements , adding morphosis, flexons, root and radical on the second edition definitions, the junction of the two paragraphs in one just and the adding of an erratum on the second edition. These modifications that ocurred from the second to the fourth one don t mean that the volumes were modifyed on the contents; From the fifth edition the redoing of the work was done, like the figure alteration , reason which we were taken to compare the version of 1919 and 1940. We also point the motive of the Manual prodution and for those who it was destined. To develop this research, it was necessary to survey the historical situation of Brazil in the First Republic and the facts that became fundamental on the nation development so idealized by the republicans and, subsequent to challenged, by the anarchists. Some aspects of José Oiticica s life will be approached from the cultural and social spaces were he passed by, about the job that he did as an educator, journalist and writer, about the works produced by him, the turmoils that he suffered due to his engagement with the anarchist ideal. For this we will use as theoretic apparatus the linguistic Ideas History (Auroux, Fávero and Orlandi), in order to seize in the chosen subject - the José Oiticica s Manual - , how and what shape he and the environment are linked in a cause and effect relationship / Esta tese tem como objetivo descrever e analisar a obra Manual de Análise Léxica e Sintática, de José Oiticica. Para tal fim, examinamos as doze edições e constatamos que as quatro primeiras permaneceram idênticas nos aspectos linguísticos. A partir da quinta, houve um refazimento parcial da obra, fato que se manteve até a décima segunda edição (1958), motivo pelo qual escolhemos cotejar a primeira (1919) e a quinta edição (1940) a fim de apontar a permanência e as mudanças ocorridas entre as versões. Observamos que a segunda, a terceira e a quarta edição foram melhoradas com o acréscimo dos conceitos de morfose, flexões, raiz e radical nas definições preliminares da segunda edição, a junção de dois parágrafos em um só e o aditamento de uma errata na 2ª edição. Essas alterações que ocorreram a partir da segunda até a quarta versão não significam que os volumes sofreram modificações no conteúdo; já a partir da quinta, registrou-se o refazimento da obra, como as modificações de quadros , motivo que nos levou a colacionar a versão de 1919 e a de 1940. Também apontamos o porquê da produção do Manual e a quem se destinava. Para desenvolver esta pesquisa, foi necessário fazer um levantamento histórico de como era o Brasil na Primeira República e dos fatos que se tornaram fundamentais na construção da nação tão idealizada pelos republicanos e, posteriormente, contestada pelos anarquistas. Abordar-se-ão, também, aspectos da vida de José Oiticica, dos espaços sociais e culturais por onde transitou, do trabalho que realizou como educador, jornalista e escritor, das obras que produziu e dos problemas que sofreu devido ao seu envolvimento com o ideário anarquista. Para tal, utilizaremos como aparato teórico a História das Ideias Linguísticas (Auroux , Fávero e Orlandi) a fim de apreender no objeto escolhido - o Manual de José Oiticica -, como e de que forma ele e o meio estão interligados numa relação de causa e efeito

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A obra de Hélio Oiticica põe em questão o estatuto, as instituições, as fronteiras e a relação da arte com à politica, do neocroncretismo ayté a arte ambiental, passando pelas conexões com a antiarte e a arte conceitual. O campo de análise se concentra no período em que Hélio Oiticica se envolve com a comunidade da Mangueira, no Rio de Janeiro, anos 1960 e 1970. Esta dissertação se propõe a analisar as intervenções e as propostas de Hélio Oiticica do ponto de vista dos processos sociais que lhe animam e são reconfigurados no ânimo da produção de subjetividade. Assume como enfoque uma transição das práticas e processos artísticos entre o marco da modernidade e da pós-modernidade, que tem consequências diferentes matrizes de produção social, economia do desejo e formas de organização política. Em especial, sob o ponto de vista da resistência, é aprofundada a diferença conceitual entre uma arte voltada à afirmação de identidades e à emancipação, em relação ao marco pós-moderno dos processos de singularização e diferenciação constituinte / In the word of brazilian artist Helio Oiticica, there is a systematic questioning of art pratices, conditions, limitations and connections, concerning its relations to politics, both in the micropolitical level and institutional frame. This research goes from Brazilian art movement of Neoconcretism to the holistic Environmental Art, and also through a (briefly discussed) journey upon Antiart and Conceptual Art. My analysis focuses Mangueiras favela community imbrications, where Helio Oiticica did much experimentation along the sixties and seventies. I endeavor to address social processes that animate and reconstruct, from conceptual point of view, his Works in relation to subjectivity production.It assumes as its central point a certain periodization, from modern matrices of art process to post-modern, in the sense established by Brazilian art critic Mario Pedrosa. Specially, under the light of resistance, I wish to examine how Helio Oiticica, both in his writings and his actual Works, he strives to radicalize differentiation and singularisation processes within artistic, political and social interwoven matrices of poor communities in Brazil

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A obra de Hélio Oiticica põe em questão o estatuto, as instituições, as fronteiras e a relação da arte com à politica, do neocroncretismo ayté a arte ambiental, passando pelas conexões com a antiarte e a arte conceitual. O campo de análise se concentra no período em que Hélio Oiticica se envolve com a comunidade da Mangueira, no Rio de Janeiro, anos 1960 e 1970. Esta dissertação se propõe a analisar as intervenções e as propostas de Hélio Oiticica do ponto de vista dos processos sociais que lhe animam e são reconfigurados no ânimo da produção de subjetividade. Assume como enfoque uma transição das práticas e processos artísticos entre o marco da modernidade e da pós-modernidade, que tem consequências diferentes matrizes de produção social, economia do desejo e formas de organização política. Em especial, sob o ponto de vista da resistência, é aprofundada a diferença conceitual entre uma arte voltada à afirmação de identidades e à emancipação, em relação ao marco pós-moderno dos processos de singularização e diferenciação constituinte / In the word of brazilian artist Helio Oiticica, there is a systematic questioning of art pratices, conditions, limitations and connections, concerning its relations to politics, both in the micropolitical level and institutional frame. This research goes from Brazilian art movement of Neoconcretism to the holistic Environmental Art, and also through a (briefly discussed) journey upon Antiart and Conceptual Art. My analysis focuses Mangueiras favela community imbrications, where Helio Oiticica did much experimentation along the sixties and seventies. I endeavor to address social processes that animate and reconstruct, from conceptual point of view, his Works in relation to subjectivity production.It assumes as its central point a certain periodization, from modern matrices of art process to post-modern, in the sense established by Brazilian art critic Mario Pedrosa. Specially, under the light of resistance, I wish to examine how Helio Oiticica, both in his writings and his actual Works, he strives to radicalize differentiation and singularisation processes within artistic, political and social interwoven matrices of poor communities in Brazil