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2019, Anais do Simpósio Brasileiro de Computação Musical (SBCM 2019)
This is a concert proposal of Brazilian digital art, which brings in its creative core the historical and cultural aspects of certain locations in Brazil. The term Tecnofagia derives from an allusion to the concept of anthropophagic movement (artistic movement started in the twentieth century founded and theorized by the poet Oswald de Andrade and the painter Tarsila do Amaral). The anthropophagic movement was a metaphor for a goal of cultural swallowing where foreign culture would not be denied but should not be imitated. In his notes, Oswald de Andrade proposes the "cultural devouring of imported techniques to re-elaborate them autonomously, turning them into an export product." The Tecnofagia project is a collaborative creative and collective performance group that seeks to broaden aspects of live electronic music, video art, improvisation and performance, taking them into a multimodal narrative context with essentially Brazilian sound elements such as:accents and p...
To invent something is to invent an accident. To invent the ship is to invent the shipwreck; the space shuttle, the explosion. And to invent the electronic superhighway or the Internet is to invent a major risk which is not easily spotted because it does not produce fatalities like a shipwreck or a mid-air explosion.* The aim of this text is to describe different experiences which explore the connections or boundaries between arts, technology and society in a Brazilian context. These works are not just performances which can immediately be recognized as such, but I have chosen to bring a variety of examples of works that may dialogue with each other, composing a quite a heterogeneous reality. Seguir Faça parte do Tumblr
Latin American Theatre Review, 2017
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Arts in the Margins of World Encounters, 2021
The chapter is part of the book "Arts in the Margins of World Encounters", edited by Willemijn de Jong, Eriko Aoki and John Clammer. It begins by presenting general information on the indigenous peoples living in Brazil today. Then, it gives an overview of their artistic forms, pointing out the singularities and, at the same time, raising issues or practices common to some of them. For example it looks at ephemerality. Most people do not keep the pieces, masks, or adornments after having used them in rituals. Out of context, they are no longer effective, valuable, or even safe. This can generate tensions when indigenous items are transformed into museum artefacts. Further the text analyses the ubiquity of graphism. The compositions are based on repetitive or alternate geometric patterns printed on different surfaces. They may serve as a code for reading social distinctions––there are specific graphisms for each phase of the life cycle or for belonging to clans and moieties; but they may also serve as a link with the world of invisible beings. The chapter also deals with the agency of images and objects, in the sense that they can act on humans and trigger effects. Moreover, synaesthesia is considered, in that several artistic languages are combined. Finally, the chapter addresses the relative invisibility of indigenous arts in Brazil, both in museums and in the art market, while at the same time signalling the emergence, in recent years, of some contemporary indigenous artists, who combine individual poetic research with political and cultural activism.
In relation to research in human sciences, and against the current opinions, Giorgio Agamben argues that the discussion of the method does not precede practice, but it succeeds practice (Agamben, 2008, p. 7). The investigation procedures are generally defined a posteriori as an explanation about the long and continuous habit of researching. The observation is recovered in order to justify some trajectories of research in performing arts that I have followed over the years of investigation in the area and that, in a certain sense, reflect my own path. The recent discovery that several Brazilian researchers have worked with contemporary theater assumptions of genetic criticism is part of this a posteriori methodological recognition, of which, until recently, we had no awareness. It is clear that the methodologies are never pure, and they seem nourish themselves, at least in the case of the performing arts, of an inevitable hybridity resulting from the slippery nature of the object. Th...
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