Pixação : arte e pedagogia como crime

• Ano de defesa: 2009
• Autor(a) principal: Oliveira, Gustavo Rebelo Coelho de
• Orientador(a): Goulart, Paulo Sergio Sgarbi
• Banca de defesa: Kohan, Walter Omar , Corazza, Sandra Mara
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade do Estado do Rio de Janeiro
• Programa de Pós-Graduação: Programa de Pós-Graduação em Educação
• Departamento: Centro de Educação e Humanidades::Faculdade de Educação
• País: BR
• Palavras-chave em Português: Juventude; Cidade; Metrópole; Arte; Pichação de muros; Delinqüência juvenil; Jovens; Cidadania
• Palavras-chave em Inglês: Youth; City; Metropolis; Art
• Área do conhecimento CNPq: CNPQ::CIENCIAS HUMANAS::EDUCACAO
• Link de acesso: http://www.bdtd.uerj.br/handle/1/10718

Can a peripherized and criminal youth be charmer and lovely? Can we think this youth, in a daily situation of escape, as producer of exciting aesthetics, reverberating affirmative voices, which amplify and show, in front of our noses, spanked over the visual surfaces of ours cities, significatives contradictions and dissonances flagrants of urgent challenges to our fragmented society? This research, therefore, showing up as a non¬impartial work, proposes an intellectual adventure full of daring, and why not, crimes, suggesting, even not educative, affirmative answers to these questions. In this way, I plunged, and, suddenly, saw myself surrounded and contaminated by these youth. who chose the piXação as a way to spank through the walls, tops, marquee, stones, windows, or better, through the surface of the city, their existence, shouting out of loud in visual fetishes, their non-anonimous situation, that not only inhabits, but signs and register with aerosol paint, a city project, in several ways, anonimator. The city, apparently against its will, dresses its inescapable contemporary face, in other words, not made up, tuned with the frazzle, ruins and imperfections that constitute us. Criminal youth reenchanter of failed projects of civilization? Such irony! Respirable air through corage! I see, therefore, the aesthetic production as condition for the human existence, as a way to temper the miseries of a contemporary felling of empty, as a reenchanter element of a world contaminated by a metaphysical fetish UNO. All of this, for a more pleasable life. PiXação, so, as one of the contemporary youth aesthetic production that, even with its peripherized situation, inhabitants of locals, not only geographical, but symbolically invisibilized, nomads, with all audacity and indiscipline, crosses this city that, apparently, has not been projected for them. Unexpected beings, in a good mood, skilled in the art of not being caught, not caring about all of this, teeming flagrants that show us that our historical project of civilization, based on euro-referended morals, in some way, Christian, does not account for, anymore. Urban polyphony evident, without knowing very well what is crime and what is art, other cities, other youths, other aesthetic. And I go this way, in risk of life.