Sagradas torres: a reinvenção de si no cinema vivo

• Ano de defesa: 2012
• Autor(a) principal: Ferreira, Luiza Helena Guimarães
• Orientador(a): Rolnik, Suely Belinha
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Pontifícia Universidade Católica de São Paulo
• Programa de Pós-Graduação: Programa de Estudos Pós-Graduados em Psicologia: Psicologia Clínica
• Departamento: Psicologia
• País: BR
• Palavras-chave em Português: Subjetividade; Cinema expandido; Narrativa; Jogos desejantes
• Área do conhecimento CNPq: CNPQ::CIENCIAS HUMANAS::PSICOLOGIA
• Link de acesso: https://tede2.pucsp.br/handle/handle/15172

This thesis involves the creation of an art and technology device that promotes effects in the spectator's subjetivity and establishes a relation between interfaces. Such interfaces include the body that makes the performance to the force lines of the instalation. It's a form of Live Cinema developed nowadays. Luiza Helena Guimarães Ferreira's thesis research enriched and gained new contours with this device's creation. The tensions between the bodies, the cultural skins, this work, Sagradas Torres: A reinvenção de si no cinema vivo, shows the development of this device and its theoretical, practical and methodological implications. It's about the possibility of reinvention of yourself in the happening temporality through the invention of non-linear audiovisual narratives. This means the coupling between machines, body and subjectivity in real time, that locates this research in the border between Art, Psychology and Communication fields. The Hagar-BCN (art and technology laboratory) provided support to the project's development, in addiction to the adviser Suely Rolnik and the co-advisor Antoni Mercader. Some other institutes also helped, such as LMI and UB. Sagradas Torres is the thesis' nervous core. It was assembled and exposed in the Hangar, not for a coincidence, on September 9th, 2012. This exhibition resulted in a film2. Also, the author had performed Tertulia Indignados at Puerta de Sol, Madrid, which also resulted in a film (Tertulia Indignats). Both were important to discussions brought by this thesis. The contribution of this device to this thesis is undeniably, because it answers the need of problematizing the dominant trend of artistic ways which use new technologies to promote the spectator's interaction, but are, frequently, just entertainment exercises. They contribute to reduce your creation capability, instead of active it, allowing the dominant political reproduction of subjectivity