This is a work of photographic creation and interdisciplinary research whose subject is the contemporary nature of the City: understood as a Territory notably founded on colonial practices, enlarged by Modernity, and currently representing the ultimate synthesis of a time already marked by overlapping crises. This monograph was produced along a photographic journey traversing several urban borders located at the shores of Baía de Todos os Santos, which are also reflected in the theoretical paths of this interdisciplinary research into which these expanded margins represent a space of radical openness to the urgent issues of the present time. In this form, it is to be seen and read as a Processes' Notebook , whose objective is to discuss both practical, theoretical, and residual perspectives intertwined in the creative process of conceiving the photographic essay published in the Draft Book - Orbi et Urbi, which is the body of work that fundaments it.

Ethnography of the Barranco - poetics of encounter in collaborative multispecific processes" is a research project cultivated through a series of encounters with the Barranco, located in Salvador - BA. The book-work born from these encounters can be read as an exercise in speculative anthropology that aims to raise questions such as: In the context of social isolation, could the pandemic bring a new perspective regarding our relationship with other species? How can we experience the body as a territory of encounter? What would it be like to conduct a collaborative artistic process with what we are accustomed to calling nature?The dissertation reenacts some procedures embodied in the book through a fragmented narrative, composed of images, texts, and appropriations drawing from the ideas of other authors. In the sections referred to as "Frutificações" (Fruitfulings), works related to the book conceptually or belonging to its graphic family have been included, but they have gained autonomy as works in their own right in other bodies and spaces.

Abya Yala is a term opposed to the word America, a counterpoint of the colonial perspective. This dissertation presents thoughts on Contemporary Indigenous Art from Abya Yala, considering the historical factors and social constructions that permeate its formation as an artistic movement with an activist nature. Artworks and exhibitions of indigenous authors and themes have grown exponentially, demanding from curators, museums and spectators a greater understanding of their context, which school and higher education commonly neglects. This work, established in transdisciplinarity, navigates through art, ethnology, anthropology, history, museology and curatorship, aiming, through the cartographic method, to identify discourses in artistic productions, curatorial and expographic activities, proposing actions through art and exhibitions that have in mind the respect for the pluralities and singularities of the original peoples and their productions.

The master’s entitled “The construction of the imaginary in the work of J. Borges: A study on woodcuts in the sociocultural context of Bezerros – PE”, is techniques in the Histery and Theory of Art research line, whose general objective is to investigate, understand and identify the possible relationships between art, context and imagination, and intends to contextualize J. Borges’ art and the sociocultural reality of the Northeast region. Cordel literature and woodcuts are artistic expressions recognized on the national and international scene as eminently Northeastern and Brazilian productions for constructing narratives and textual and visual records about daily life in rural contexts in the interior of the country, especially in the Northeast. In cordel literature, these realities are poetically (re)elaborated in texts and imagens, composing the popular imagination in stories and woodcuts, which are presented in the various events from the relationships between human beings and the regional and local singularities of the contexts where they are produced, and also connected to universal questions and themes of ways of being and living in society. This dissertation also highlights aspects of woodcuts, addressing how woodcuts are presented in the Northeast as an identity and narrative constructions, the sociocultural universe of the city of Bezerros in Pernambuco, and how the artist’s relationship with it occurs. It also addresses the imagery in J. Borges’ art through these network. Finally, it presents the artists who went through master’s teachings, and their possible influences and approaches. In this way, the cultural richness of this region is understood, with its social, economic, historical and geographical characteristics, without forgetting to address the physical locations, manifestations and cultural expressions that stand out most in the city. To this and, it uses, as central authors in its bibliographic references: Wunenburger (2007); Durand (2011); Ortiz (1994); Albuquerque Jr (2011; 2013); Geertz (1978; 2004); and Franklin (2007). The methodology consists of the Analysis and Synthesis method, and the methodological procedure of data collection based on bibliographic and documentary research, in addition to participant observation. As results, one can perceive the sociocultural links that the artist establishes with the city and the reflections of this experience in his work, which result in artistic creations in playful ways, sometimes explored in a more critical way, other times, more poetically, the based on the artist’s perceptions, as do other local woodblock artists, successors who are directly influenced by the artist. Therefore, the approach of this dissertation does not remain in what is given, but rather aims to contribute to further research, with the aim of contextualizing the his successors in the art of northeastern woodcuts.

This thesis presented oil palm as an element of Bahia's culture that carries black identity
symbols, which has promoted interactions and innovation in both contemporary art and
design in contemporary art and design through different creative processes, visual
languages, and authorial different creative processes, visual languages, and authorial
experimentation. To this end, the conceptual proposal "Mancha de dendê não sai" was
developed, which dialogued in the field of culture, visual arts, surface design, and
fashion design. The objective was to investigate and and produce visual poetics about
the palm tree and its components through artistic experimentation that are references for
the development of textile surface design. textile surface design. The theoretical and
methodological approach was based on bibliographies that in a general way, about
contemporary art, surface design, afro-referenced culture afroreferenced culture, palm
oil, belonging, artistic experience, fashion, anthropology education, black identity,
ancestry, religiosity of African matrix, formativity, creative processes, natural pigments.
To this end, the cultural axis was discussed in cultural axis was discussed in Chapter 1
with the history of oil palm, the contexts the typology and classification of its formal
structure, the sacred relationship it established in Candomblé and in an artistic-cultural
workshop. In Chapter 2, we investigated the visual arts of visual arts by Brazilian
professionals, myself included, the experience with palm oil for the the construction of
the artist's book "Torrão", the action with palm oil of the performance "Aroma de
Dendê", the "Aroma de Dendê", the laboratory of dyeing with palm oil, as well as the
experimente experiment in natural dyeing and botanical printing with palm oil. Chapter
3contemplated the area of surface design, highlighting technical and methodological
and methodological elements for the construction of projects, Aloísio Magalhães'
methodological Magalhães for the creation of Cartemes, in which, based on this
foundation, I created the series of patterns entitled "Cartemes with Dendê", using the
reference to dendê palm and its components. Chapter 4 is dedicated to the collaborative
project "Dendém: Moda Mancha which was carried out in partnership with students
from the Fashion Design for the development of a capsule collection that received the
same name as the project. In the Conclusion, there was the recognition of three
significant results in the thesis among the experiments carried out, which are the
production of the dye with palm oil, the series of patterns
"and the capsule collection "Dendém: Moda Mancha de Dendê", in addition to relevant
relevant points of contribution of the chapters and indications of further developments
of the research. And the Appendices showed the current dimension of artisanal
production, semi-artisanal and industrial production of palm oil in the territory of the
South Bass of Bahia. The Character of this research was evidenced by its
multidisciplinary, experimental, and qualitative approach, in which the construction of
various methodological procedures in arts and design was consolidated.

This thesis addresses the artistic, political and institutional reasons that led to
either the recognition or the oblivion of some Bahian painters in the first half of
the 20th century. Graduated from the School of Fine Arts of Bahia (Escola de
Belas Artes da Bahia - EBAB), all of those painters taught drawing or painting in
the State of Bahia (Brazil) and contributed to the advancement of Bahian arts.
Regardless of their different aesthetical approaches and artistic levels, all of
those painters enjoyed recognition in the first three decades of the last century.
The Architecture course at EBAB came to the forefront in the 1920s, and a
group of engineers trained at the Polytechnic School took over the school in
1928, aiming at remodeling the Architecture course, which hadn’t had official
recognition thus far. In keeping with the modernist ideology in place at that time,
the architect was the professional chosen to lead the country towards building a
new national identity, and Architecture courses were to train such professionals.
At EBAB, artists accused the engineers of embezzling funds from the Caminhoá
Legacy, a testamentary gift made to the school by the engineer Francisco
Caminhoá in 1915, which led to conflicts between artists and engineers
resulting in the suspension, dismissal or retirement of the senior artist teachers,
who were replaced by renowned names in Bahian art with the intent of both
renewing the art of painting and hiding the accusations. Managed by the
engineers, the school was renewed and got the political support necessary to
rebuild it, being then annexed to the University of Bahia in 1947. The artist
teachers who remained alongside the engineers, thereby helping in the
modernization project, were recognized by our historiography, while the others
were hidden and gradually forgotten. The uproar between senior artists and
engineers, the modernization project and the modernist historiography in Bahia
highlighted some painters and excluded others, thus interfering in their lives and
also in their memories.

The research, of descriptive and explanatory type, aims to investigate in which ways
time was and is investigated as an important concept in contemporary photographic
works of conceptual matrix, to understand which theoretical references about time
are present in these investigations (in more or less formal or explicit ways) and which
are some of the factors that led to the diversification and expansion of this artistic
investigation since the 1960s. Previous studies that addressed the issue of time in
contemporary photography were limited to a few artists' works, not conducting a
systematic study of the ways in which time is presented in those artistic investigations
and not discussing their problematization movements in relation to theoretical
references about time. To carry out the research, it was selected in bibliographical
sources dedicated to contemporary photography a set of photographic works in
which it was recognized represented, in up to four instances of the creation or fruition
process (idea, process, form, fruition), the occurrence of a problematization of the
concept time (in the form of one of the notions often considered to define it, as well
as other temporal notions recognized in photography by its thinkers). The results
showed that the artistic investigations carried out leaned towards multiple variations
of approaches on time, at the same time distancing themselves from an influential
historical perspective on the relationship of photography with time (the notions of
instant photography and of a decisive moment in photography), going on to translate
a set of other ideas, some close to intuitions we have about time related to everyday
experiences, others reached through formal research on time in areas such as
psychology, physics or philosophy. From the selected works, seven categories of
approach to the investigation and representation of time in contemporary
photography of conceptual matrix were proposed, described and discussed: possible,
fictional, imaginary futures; the present; time as transformation; suspended time;
continuous time; temporal mosaics; deep time. The observation of the artistic
experiences in these seven sets of works seems to confirm the hypothesis that the
diversification and expansion of these investigations about time were achieved as a
consequence of the advent of conceptual art and, as a result of it, the emergence of
an artistic photography that turned to conceptual investigations of time, as well as to
the artists' approaches to intuitive and formal understandings of time. Such a set of
perspectives broadens and enriches the relationship with time and the world for art
lovers and its scholars. And, for artists working with photography, it presents a map of
partially covered temporal dimensions that allows better thinking and previews
dimensions yet to be explored.

In this theoretical-practical research, I use the textile and intimate-familiar embroidery materiality to weave relations between the networks algorithmic images and their possible combinations. From the creation processes I developed, starting from the similarity with the embroidery pixel-stitch to the construction of this net "family album", I do a relation with a free interpretation and use of the term Kipple-zation by author Philip K. Dick for a reflection on the images accumulation on social media. Contextualized within the research reflections, Kipple-zation appears in two moments and two convergent positions, ramified into five discussion nodes that are added to the analysis of the virtual image in social media and its possible relations.

When thinking about the process of artistic creation in contemporary times, this must be considered a path where many languages are tangent. It is proposed here a study guided by the existing synergy between the fields of art and fashion, more specifically in the conjunction between body, clothing and performance. Having a thematic axis that permeates the subject's homossexuality and metamorphoses, the aim is to build an approach that involves the creative processes of the artist in relation to his own experiences. Therefore, a methodology based on theory and practice is worked, which is based on leading authors such as Renato Cohen, Renata Pitombo Cidreira, Nízia Villaça, Edith Modesto, among others, who corroborate the concepts discussed. Thus, entitled "Maravilhoso Escândalo", this dissertation brings reflections about the personal processes that influence artistic making, as well as highlights the tenuous lines that, instead of separating art and fashion, sew and tie them up between the body and the performance.

Given the technological progress of communication, the current urban space configuration influences the contemporary urban society. Nowadays a citizen has unprecedented access to a vision of the landscape, the space, and the objects that compose daily life. Considering a reality that merges the solid matter of cities and the volatile spatiality of digital environments, this research aimed to conduct poetic experiments through contemporary languages. The QR code was the interface used to share addresses from the virtual into the urban space, based on the stencil technique. This mechanism allowed the application of graphical representations along with the QR codes directly on streets. Consequently, they could compose poetic narratives between the physical urban space and the virtual space of the web. The strategy was important to the literature on visual urban art in two main ways: by testing digital media through the interface of mobile devices on the one hand and by approaching the poetic perspective of reality among spaces on the other. 

This dissertation focuses on two situated artistic investigations developed by me and Lucas Lago in the city of Salvador: Projeto Invasões and Oficina-Mutirão de Arquiteturas Impossíveis. Seeking ways to narrate artistic experiences carried out in specific contexts, this dissertation is composed of reports of research and creation paths, the development of conceptual/operational figures, and associations between images, records, documents and archives. From such movements, I look for the emergence of both aspects related to the forms of experience, apprehension and research with places, as well as the emergence of instances of visibility of the methodological and conceptual operations established in the course of such creation processes.

This research verifies the effectiveness of specific lighting parameters, analyzing and highlighting the importance of lighting in the expressiveness of the work displayed in art spaces. It aims to contribute significantly to the artist's identification with the authenticity of the colors of his pictorial works, during the exhibition in contemporary exhibition spaces in order to bring the same visual perception related to the painter's artistic intentions at the moment of conception. Light has aesthetic and semantic potentialities that, duly studied and implemented in exhibition lighting, reveal the authenticity of the work of art and provide a reliable visual interpretation of the author's wishes at the time of its creation. The in-depth study of this theme involves an interdisciplinary approach to the significant scientific aspects of museographic applicability, fundamental for understanding the interrelation between light, vision and painting. A painting by three different visual artists was selected for an experiment where the variables were controlled and photographed under lighting involving different parameters of light and color. As part of the methodological procedure, the results obtained from the photographed paintings were described and the respective evaluation of each artist about their work illuminated under the three different lighting parameters, aiming at the search for the most appropriate parameter and directed to the objective proposed in this research. . In addition, this study presents an analysis from the perspective of usability through the user experience, through an evaluation technique called eye tracker, whose objective was to measure the attention and engagement of the user during interaction with the interface. The data collected and analyzed contributed to the deepening and better understanding of the problem for the verification and contrast of the hypothesis, for the spatial perception of the individual in the contemporary exhibition space through lighting and for the elaboration of specific lighting recommendations that can guarantee the authenticity of the colors. providing the reliability of the pictorial work of art.

This study focuses on comprehending design for social innovation
acting in training and strengthening creative networks in the context of
Salvador. Designer ́s papers are discussed considering social innovation an
emergent professional area. The study brings a qualitative research, including
an analytical case study involving participative observation, reflecting semi
structured interviews with different perspectives participants, among other
informations about the impact of project Bahia: Revoluções Criativas, a social
impact project from Salvador, Bahia, in Coopertextil, a cooperative of women
weavers located in Pelourinho, Salvador, Bahia. The research does not intend
to exhaust the concept of social innovation and its relationship with design, but
rather to present a case study, in the context of the city of Salvador, where
design acts as a key element of a social innovation project, presenting a
economic transformation platform for groups that deal with the creative
economy as a source of income. The main theoretical contribution is to fill gaps
in scientific literature in Portuguese, regarding design for social innovation,
analysing the relations between two projects from Bahia and their
complexities from this pespective. From a practical point of view, the study
ratifies design as a tool to enhance social transformation through actions for
social innovation, which can contribute significantly to proposals for
improvement and quality of life in communities. This study is of interest to
managers, decision makers, students and those interested in creative network
projects, serving as an example for creating and strengthening communities
with a view to generating income and well-being, especially in less favored
social contexts.

This dissertation addresses the color of human skin and some artistic investigations that discuss racism, ancestry, affectivity, social and political behaviors based on the body as a visual sign. From the investigation, through photographic records, of the body of the model Karine Guimarães who presents an epithelial tissue with depigmented areas, due to vitiligo, my skin and the skin of my paternal relatives, the meeting and classification of the colors found in different skins that in the course of the creative process I call Temporal Epidermal Palette (PET) that helps my artistic production. It thus problematizes the skin color paradigm as a color-unity, a presupposition that guides the production of contemporary artists in their multiple poetics, in dialogue with theorists such as Lia Schumann and Grada Kilomba. In addition to this, an analysis of how the color of the skin in its multiple shades becomes a marker of racialization of black bodies, as well as a parameter of affectivity in an interracial family

Art forms have always motivated debates about the relationship of their contents to politics, involving artists and the very materiality of their works, demanding accountability about their, as much as their works, intentions and affiliations to groups in various ways of political, social and identity engagement. The objective of this dissertation is to identify how art forms are related to politics and how these relationships are identified in the works of the visual artist and performer Caetano Dias. Three works were selected for analysis:  O mundo de Janiele, Bicho Geográfico and Rabeca. I did interviews with the artist and analysis about the content and format of these works, adopting an empirical interpretative approach of distribution of the sensible theory and the aesthetic art regime of Jacques Rancière. I sought to identify the sensible evidences which reveals the articulation ways between what is seen, what is heard and what is said about what can be seen in the works and how they enroll in the community sense. The theoretical framework comprises the debate about art and politics, aesthetics constitution and fiction.

This dissertation seeks to establish an experimental exercise in thinking around the threshold experiences between art and ethnography, seeking to trace moments in which artistic practices and ethnography established fruitful contaminations. The investigation unfolds from five nebulae, which present some dimensions and issues around the forms of contact between artists-thinkers and interlocutors from different cultural contexts. We outline the idea of ethnography as friction, in order to understand the force of shock and friction that ethnography has established, above all, with the artistic field, opening up to the problem of difference and cultural impurities. We pursued moments in which the history of art was, in some way, disturbed in its condition as a modern discipline, especially due to the frictions established around the French magazine Documents (1929-1930) and the Aby Warburg (1866-1829) amerindian experience and its resonances in his schizo way of thinking. We sought to delineate possibilities of entering the form of psycho-ethnographic-archaeological knowledge, extracted from the thought and production of Flávio de Carvalho (1899-1973) and from that, we frame Flávio de Carvalho's Amazon Expedition (1958) and the Bahia-Benin Project ( 1988) - especially based on the performance of Lina Bo Bardi (1914-1992) and Pierre Verger (1902-1996), as threshold zones in which the relations between art and ethnography were established prominently, seeking to situate them from the frictions between the transits of ideas, thoughts and spectral presences. The investigation seeks to establish a plan of reflection that takes the methods related to the threshold zones between art and ethnography as methodological experimentation and as a way of thinking, operating through a residual writing, from the excavation and association of fragments, from succession, overlay and parallelism of ideas, agents, events and conceptual notions.

The research has as its object the process of creating a visual artistic poetics based
on the Wordimage, which, inscribed in the space, expands its symbolic contents
and incites sensitive perceptions, through a look that starts from the experiences
in daily life and the issues related to contemporary urban life and it is constituted
in the particular language created by the artist, in the transit between the visual
arts, design and literature.
If in written poetry, we have already escaped the directly sayable of words; the
assumption is that, composed as Wordimage - with the built-in plastic and image
resources - and relating to the space-time of the street, it is possible to enhance its
symbolic and sensitive dimensions.
The searched word is in the streets; the one found in everyday life; the configured,
in the visual arts; the appropriate one, in the epigrams of authorial books; the felt,
in life experiences; the constituted, in these multiple dialogues; the matured one,
through reflections on the concept of body-self developed by Maurice Merleau-
Ponty, unfolded in the process of this poetics.
More than "the body is space" or "the body is in space", "the body is in space". The
word is seen here as a body. The word is in space. My Wordimage remains in the
space of the street. Face-to-face, digital and symbolic street, as a place for meeting
and socializing.
The writing of the thesis “Wordimage on the street: visual creations in everyday
life” was structured in sync with the author's creative process, even though this is
the generator of the investigation. The challenge was to establish, through a
dialogue between visual and written languages, a feedback loop between research
and production, through the proposal of immersion in a humorous game made of
words and images, aiming at meeting the intimacy of the poetic process of artist /
researcher.
The text, composed of different styles and non-linear in some excerpts, sought to
transpose the sensations of the creative experience with the words images,
whether as objects, installations, visual poetry, actions or interventions, on the
street, thus understanding the Thesis as an extension of the artistic work.

This thesis deals with an investigation into artistic processes that based on the
concepts of of presentification and negativity of form as a visual response to the
traces found in the city that we call Urban Wounds. Through three-dimensionality, the
studies bring a theoretical-practical approach on aspects related to contemporary art,
a poetic state that develops from appropriation, displacement and presentation. This
artistic experience led to a reflexive action on the process of creation about art,
memory and the city as a body of concreteness, a research project whose artistic
practices derive from actions thought out of Luigi Pareyson's theory of Formativity.
For the conception of the work, experiments were performed in the laboratory,
developed from procedures commonly applied to the sculptural conception. From this
narrative, we structured our methodology from a perspective presented by Sandra
Rey regarding research in the Visual Arts, which implies an uninterrupted transit
between practice and theory, using walking as an exploratory method, direct
impression as a procedure for appropriation and mirroring. as an objective solution.
Thus, we discuss time and space from a historical memory awakened by artistic
memory, situating the context in which the Urban Wounds are, in a relationship of
absence and continuity, which are revealed by their different textures. In this way, our
poetics was being built through this dialogue between creative flow and technical
mastery, a practice externalized by the city as a broken universe, the result of this
relationship with everyday life.

The research has as its object of study the use of art and design strategies in a
collaborative process to generate ideas for project solutions. The overall objective
is to demonstrate a methodological approach to the conceptual design phase, by
stimulating creativity through art and design in solving design problems. The
theoretical framework included authors who discuss creativity, art and design, in
addition to project methodologies referenced in the thesis. The methodology
consists of a qualitative and exploratory research, using document analysis and
collaborative workshops for data collection. The subjects of the investigation were
students of engineering courses in the first semester of the year 2019, from a
Higher Education Institution (IES). The data collection instruments were
interviews, descriptive memorials of the projects developed by the groups of
research participants and documents generated with the application of creativity
tools, in Collaborative Workshops for Engineering Solutions (OCSE), using
Relationship Analysis; Moodboard – Product deconstruction; Moodboard –
Reference Panel; and Brainwriting 635 or Method 635. The results of the analysis
of the information collected reveal that the models for generating alternatives for
problem solving stimulated a holistic, humanized, subjective and creative view,
with broader perspectives on the problems experienced in the field of engineering,
through a collaborative process. Furthermore, there was no intention of advancing
in the discussions of training curricula, but rather to carry out an analysis of the
possible consequences for the integration of creative processes in decision-making
by future graduates of higher education. From a theoretical point of view, the
thesis contributes to the methodological approach of art and design inserted in a
study proposal, called Collaborative Workshops for Engineering Solutions (OCSE),
which was built in this research with the purpose of developing strategies and
procedures applied to projects, with the use of tools to stimulate creativity, which
can be disseminated and applied in other contexts. From a practical point of view,
the study contributes to a new vision of professionals in training in search of
solutions to project problems, with greater integration from the point of view of
teamwork. This study is useful for artists, designers, students and teachers, who
want to try new tools that help the creative process to solve project problems and
can be applied in new ways, in future works.

This research proposes to analyze the museum, as an environment of sociocultural interaction, stimulator of metacognitive and emotional processes in the public, correlating emotional design, user experience and multiple levels of interactivity, in exhibition spaces. These three theoretical categories structured the development of design recommendations to characterize the experience of visiting museum exhibitions. The investigation seeks to answer to what extent these pillars can help museographic mediation, expanding the tooling possibilities to map and promote user satisfaction. The locus of the research is located in the exhibition spaces of the Eugênio Teixeira Leal Museum, located in the historic center of the Bahian capital, Salvador. The study has a mixed approach, whose instrumental methods and techniques for data collection were systematic observation, interviews, questionnaires, Kansei method, focus group and document analysis, including image and video recordings. It argued that, in addition to the curatorial discourse and expographic project, the museum visit is potentially significant when its design configuration includes the humanization of the experience, through cultural mediators, as well as the thresholds between aesthetic parameters of sensory perception, cognitive parameters accessible and inclusive to the public and emotional parameters of social interaction. As future works, intended to apply the project recommendations generated to the creation or adaptation of exhibition projects of a museographic character, extending to educational spaces, galleries, business, and institutional, public or private environments.

Since its beginnings and in its most rudimentary form, the car has been an object of prestige and symbolism, as it allows to take it further and faster. Over the centuries the formal transformations it has undergone have made the automobile an object of desire and, projecting symbolisms. In this sense, the present dissertation deals with the perception of anthropomorphic forms in automobiles based on Norman's (2008) approach to emotional design, with emphasis on the relationships of emotional expressions on the human face. The literature emphasizes the natural inclination of the human being in the search for humanoid references in things, objects or events, according to Guthrie (1993), however, until then, there was no affective direction of these perceptions, thus, this research aims to guide the emotional perception in the forms of automobiles based on the concept of anthropomorphism. For this, the comparative method was used in order to establish formal associations, in order to relate the expressive traits of seven basic emotional expressions, described by Ekman (2011), to the formal traits observed on the front of the cars, from the data obtained with the analyzes performed by Windhager et al. (2008) and, finally, to establish the relationships of emotional expressions between human and automobile. It is concluded that the general objective of the research was reached, by relating traits of automotive design to the seven basic emotional expressions, in the understanding that human projections on objects are necessary, since they facilitate the perception and understanding of ourselves in space symbolic.

This study seeks to examine the relationships between art, design and politics through the study of imagery models of power representation and personification of power produced and broadcasted in the campaigns of Collor and Lula, in the 1989 presidential elections. It investigates the models of imagery representation of power used in the Brazilian electoral campaigns. The methodology applied in this investigation is that of qualitative research. This is a case study that involves analyzing the images of the presidential election campaigns of the two candidates, seeking to find the genealogy of the imagery models of expression and personification of power. The bases of this study are the images that express power and have been developed by the main artistic movements until the 20th century. The study also seeks to fill gaps in the production of scientific literature on the imagery universe of Brazilian electoral campaigns, offering a starting point for deepening the understanding of the relationships between art, design and politics. This study is relevant for researchers in the fields of art, design and communications as well as for professionals involved in building the image of candidates in the political campaign scene.

This dissertation deals with how traditional painting techniques are being renewed in the encounter with emerging media. Understanding that painting is one of the ways of producing images and I reflect on the impact of these new media on the perception of images. I try, therefore, to think how the concept of remixability used by Manovich (2005) that calls it “the transformative process through which the means and information that we organize and share can be recombined and constructed in order to create new forms, concepts, ideas, mashups and services” can be adopted to reflect on my painting which, while still working with some of the traditional techniques and teachings, expands the defined space of canvas and oil paints, taking on new dimensions: movement, music, augmented reality, reproduction, sharing. For this purpose and considering the creative process as an activity that does not only concern a work or a set of works, but that involves the artist's life, made up of paths, choices, uncertainties (SALLES, 1998; OSTROWER, 2004) the autobiographical method as part of my methodological choice for this study.

This dissertation entitled “CARRANCAS DE CARVÃO: Resignifications of the Figures of Bow of the São Francisco River”, refers to the research on my artistic creation process, which has the Carrancas de Carvão as visual poetics, in which, I use charcoal as feedstock. I was inspired by the Carrancas of the São Francisco River, in order to denounce the degrading situation in which Rio finds itself. The biggest motivation is my feeling of belonging, since I have been living in the city of Juazeiro / BA since 2012, and I have been following closely all this movement of destruction and neglect, mainly on the part of the governors who have always enjoyed and enjoy River. Even so, Velho Chico is considered the main source of energy and food for the people of the Northeast, especially for the riverside population. Inspired by the Art of these people, the Art of Carrancas, which originated the charcoal sculptures, thus establishing dialogues with the works of the Masters Carranqueiros and the sculptor Frans Krajcberg, warning against the destruction of Rio, as well as life on planet Earth. In the methodology I use the intersection of the practical process with theoretical reflections, such as expansion in the territory of the work of Art, through the Critique of the Process of Artistic Creation, according to Cecilia Almeida Salles in: Unfinished Gesture and Networks of creation, as well, with notes by Blanca Brites and Elida Tessler, through work: The environment as a zero point. However, as a result of the research, I reflect on the exhibition “OPARÁ”, held at the National Museum of Afro-Brazilian Culture - MUNCAB, in Salvador / BA. In this way, I aim to contribute to future research in order to safeguard the life of the São Francisco River, riverside art and Brazilian culture in general.

The text presented here uses as a methodological proposal the movements of the sea - the body that generates the poetic and aesthetic development of this work - in order to compose a narrative in a flow of a self-referential character that intends a performative writing in the daily-report format from the organization of texts-reports produced by me, which describe from drowning to the experience of emerging, coming and going in the temporality of actions. In the body of this writing I incorporate quotes from authors that base my thoughts on the visual (and sound) spills that I propose, having in the relationship between water and body the main theme for the development of my creative process.

This dissertation narrates research, reflections and individual and collective experiments on noise as the starting point of the creative processes of the works that make up the series RUÍDOS NO PERCURSO. In this trajectory, noise appears in the field of Sound Art immersed in sensorial and even relational references while it is intentionally reframed in its dialectical and metaphorical attributions. Based on the theoretical support of philosophers like Arthur Danto, defender of metaphor as a space for revealing truths through works of art, and Jacques Derrida, in the thesis that words do not express everything, the artist-researcher invests in the study of expanded concepts of the word “noise” and in its complex intangibility in order  to feel and interpret this paradigm in the arts

A poeira is present in all places. It is common to see it above all, in different layers that show the constant passage of time - the movement of the landscape. “Landscapes of dust: for a poetics of distance” is a project where dust is the form, the evidence, the memory of the urban landscape. The way of inhabiting it and its location directly influence its transformation.

The observation and relation of the natural and urban space of Bogotá and Salvador, the relations of man with nature and the landscape understood as a concept created culturally, are the bases for the development of this research. In this way, this dissertation aims to establish relationships between the natural, urban and the landscape from poetic acts formed by the movements of construction and deconstruction generated by the constant growth of the city, whose interest lies in the observation of its effects on the environment, trying to present the landscape and the dust as a basis for the creation of an artistic language with the drawing by deposition of dust or sand.

At this point, my works have developed through time, the movement of urban space and the observation of the landscape, from different anthropic factors, such as minings, to the construction of social housing projects, combustion of gasoline and diesel, among others. other causes and, not by chance, constantly developing in the cities of Bogotá and Salvador.

“Dust landscapes: for a poetics of distance” is, therefore, a silent testimony to the movement of urban space and the transformation of the landscape, based on the works of authors such as Milton Santos, Javier Maderuelo, Jean Marc Besse, Merleau Ponty, Marc Auge, André Rouillé, as well as in the observation, experimentation and direct intervention of the urban landscape.

Thesis related to the practical-theoretical research inserted in the line of the Artistic Creation Processes in Virtual Arts. In the course of the investigation through the poetic experience, connections were established between a local-global and a natural access to the imaginary present in the “Guerra de Espadas de Fogo” - cultural manifestation present in Cruz das Almas, located in the Recôncavo Baiano, which is the researcher’s hometown. When examining the video collection captured by the artist, since 2011, and the drawing on the notebooks, both the visuality of images of the manifestation and the memories of an interior landscape, a visibility of the childhood in his hometown, are evoked and touched. A resulting repercussion in images, visual experience between memory and life, creates a path with a graphic dominance, but expanded between artisanal and digital media. The poetic was conducted by the interest in the effects caused by the lights of the incandescent material expelled by the flaming swords, in contrast to the darkness. The new cycle brings works made only with charcoal and other calcined materials, such as soot and carbon black, in two-dimensional means and in the form of animated videos. The “Risk Principle”, between the verb and the noun in its meanings of imminent danger and of drawing, occupies a central place, configuring a contemporary poetic visual between line, light and darkness. The methodology is based on the “Artistic Comprehensive Approach for Creation Processes” proposed by professor Dr. Sonia Rangel, which leads the artist-researcher to understand and to organize the sensitive experience, the invention and the reception of his own work, also making it visible and communicable in the form of a critical-creative reflection. Dialogues are made with theorists and artists such as:  Arlindo Machado, George-Didi Huberman, Giorgio Agamben, Kilian Glasner, Luigi Pareyson, Michel Maffesoli, Pedro Marighella, Regina Silveira, Sonia Rangel, William Kentridge, among others. 

The research aims at the study regarding the plastic production of the artist Athos Bulcão for the Rede Sarah and the relation with its architecture; also paying attention to his biographical aspects, related to his life and work, verifying the particularities of his artistic work and the unquestionable legacy for the Brazilian art, focusing on the work with the architect João Filgueiras Lima, Lelé. The association between the arts is treated in the research as a fundamental element for understanding the concept prevalent in the artist’s work for Rede Sarah. Assuming that the concepts of integration and synthesis of the arts widely used in literature, in the treatment of the associations between the arts, do not fully contemplate the artistic production of Athos Bulcão, especially the one carried out in the Rede Sarah Hospitals, together with the architect Lelé, for which the concept of “dialogue between the arts” is proposed. The general objective of this study is to verify and expand the possibilities of reflection upon the artistic production of Athos Bulcão focusing on the achievements for the Rede Sarah Hospitals, from 1975 to 2003, when he developed a partnership with the architect Lelé. In terms of methodological approach, the thesis uses the Analytical Method as a basis to understand the many faces of the artist’s production, studying its elements, as well as the relationships and the contexts involved. It also comes close to the Historical and Comparative Method, based on the History of Art and Architecture. Among the research strategies, documentary, bibliographic and technical visits were adopted. From the bibliographic survey, it was possible to have a panoramic view of the artist and his multifaceted production, pointing to the need to consider the fragments and his rich production as a whole. Thus, we sought a way to graphically represent the relationships and interconnections between his works, highlighting the possible influences of his experiments and the most recurring elements in his formal vocabulary, in addition to establishing the temporal relationship between the works and the influences of the artist. In this sense, the rhizome was chosen, based on the concept of Deleuze and Guattari (1995). The main contributions of the thesis include: the specificities of Athos’ modus operandi, based on three main pillars: the exploration of possibilities, collaboration and the environment; the citation and self-citation processes carried out by the artist, very striking features in the works of Rede Sarah (confirming the idea of troc), since it is possible to identify a series of repercussions between contemporary productions and their works; the presentation of the dialogue between the arts, as a conceptual expansion that recognizes the importance of plastic arts in relation to architecture, enabling its application in other studies; expanding the understanding of Athos’ production for Rede Sarah, highlighting the process developed by the artist in partnership with Lelé, called, in this thesis, “co-creation”, which pointed out the antecedents of hospital humanization; in addition to updating studies on such production, which points to its contemporary rates.

This research deals with the process of legitimizing photography in the field of the arts in order to understand its historical bases and repercussions in Brazil, particularly in Bahia. Based on Pierre Bourdieu's concept of “field”, we sought to understand the main events that determined the position occupied by photography since its beginnings and permanence. In the search for artistic recognition, photographers developed creative experiments that formed the basis for the use of photography by artists, in the first decades of the twentieth century, when photography was admitted to the Museum of Modern Art in New York (MoMA) too. In Brazil, in the second half of the 19th century, photography was used as a tool by many painters and in Bahia the Academy of Fine Arts followed the guidelines of the Imperial Academy, introducing photography in the programming of its first General Exhibitions. Teachers and students from the Academy of Fine Arts of Bahia included photography among their artistic services. In the 1940s, the performance of Foto Cine Clube Bandeirante was fundamental for the insertion of photography in the spaces that legitimized art, also influencing the Brazilian photoclub scene. In Bahia in the 1960s, photography entered the Museum of Modern Art and was integrated in national exhibitions, such as: 1st National Exhibition of Photographic Art in Bahia; Special Photography Room, at the II Biennial of Plastic Arts of Bahia and the II Bahiano Salon of Contemporary Photography. Following international trends in the renewal of modern art, photography began to be assimilated in a hybrid way by Bahian artists: Lênio Braga, Juarez Paraiso, Jamison Pedra and Silvio Robatto, in the environmental project of the Etsedron group, among others. Later, the transformations occurred in The field of art in relation to the meaning of the art object favored the process of legitimizing photography as a work of art, with repercussions in Bahia, initially in the University Salons where photography first appeared as a specific category and then at the Recôncavo Biennials and Salon of Bahia.

This dissertation presents a study on interior design, about color, its theories and applicability in projected environments. Through the modernist historical clipping, where visual art explores chromaticity as an autonomous element, while constructive practices are shaped by a new architectural order. It contextualizes the period of modern architecture and the influences on design and decoration, the changes of the architectural patterns, as far as color is concerned, in the interior design, especially the white, through bibliographical revision, with the analytical-synthetic method, the literature consulted and the images related to the historical context, reaching contemporaneity. It presents the interlocutions of the architectural preexistence, the recommendations of chromatic application in the interiors, elucidating the course of polychromy and monochrome in Brazilian residential environments. Finally, considerations are made, aligning the course of color in residential interiors, opening paths and weaving criticisms that point new and in-depth investigations, in interior design

This dissertation presents a study on interior design, about color, its theories and applicability in projected environments. Through the modernist historical clipping, where visual art explores chromaticity as an autonomous element, while constructive practices are shaped by a new architectural order. It contextualizes the period of modern architecture and the influences on design and decoration, the changes of the architectural patterns, as far as color is concerned, in the interior design, especially the white, through bibliographical revision, with the analytical-synthetic method, the literature consulted and the images related to the historical context, reaching contemporaneity. It presents the interlocutions of the architectural preexistence, the recommendations of chromatic application in the interiors, elucidating the course of polychromy and monochrome in Brazilian residential environments. Finally, considerations are made, aligning the course of color in residential interiors, opening paths and weaving criticisms that point new and in-depth investigations, in interior design.

The theme treated in the dissertation refers to the look and the painting. The question that arises is: what to see (to look) has to have (to possess) with to be (to exist)? The problem arose from the readings of phenomenology Maurice Merleau-Ponty, an author who claims that it is the task of philosophy to "relearn to see”. The phenomenon of visibility appears as a starting point for thinking about issues of ontology (study of Being) and aesthetics (as Philosophy of Art). The reflections focus on the theme of color and light and, thus, if it is led to a contribution on the painting and
the genesis of the painter. At the end, it is evident, we begin again.

In the face of the hegemonic model of Brazilian urbanization, the research sought to analyze the cultural and artistic activities practiced in the neighborhood of Saramandaia in Salvador-Bahia as these relate to its history and help to consolidate the identity of the community. In addition, we pursued comprehension towards the formation of the neighborhood and its historical relationship with the city, in order to identify the role played by the public authorities in the organization of its urban space. To achieve the proposed objectives, the adopted approach was the exploratory field research alongside semi-structuted interviews with leaders, associations, graffiti artists and open-question questionnaires with residents from different areas of the neighborhood to obtain a general sight of the community. From these data, it was observed the historical importance of these practices for the community, for the development of children and young adults and for the community mobilization in favor of social rights. The analysis made evident the need to strengthen these associations to such an extent as they promote culture in a neighborhood lacking services offered by the State and make the residents aware so they seek improvements for the community. 

This thesis consists of a dialectical analysis between collective aspects that permeate the urban space of Salvador through the language of selected images of graffiti and pixos on the walls. These writings on the walls mainly denounce the problems encountered in large cities, as well as aspects that concern a collective unconscious. Therefore, this dialogue aims to follow a necessary path to observe where we are and what we want and can achieve, as the problems of city life permeate all who inhabit it in different ways. By bringing together the concepts of analytical psychology and Didi-Huberman's philosophy of art, we seek to study the possible mobilizations of affection, in particular love, that these urban interventions can weave in collective spheres. and individual. Thus, aspects linked to four central themes were observed in Salvador: the expressiveness of love, the struggle for the feminine and feminist struggle, spirituality and concern for nature.

The Santa Parentela iconographies, ancestors of the family of Jesus, are part of the tradition of Catholic worship and this research is an investigation into the iconographic studies, of the compositional aspects and the last restoration process of four easel paintings executed in oil on canvas. The paintings, from the 18th century, are located on the altar of Santa Ana, attributed to the master painter António Simões Ribeiro, in the Basilica Cathedral of the city of Salvador, Bahia. The research aimed to highlight the importance of the ensemble in the Salvador’s sacred art scene, drawing attention to the rare iconography of "Santa Ana Benfeitora" through analytical-synthetic, descriptive and explanatory method. The technical procedures involved bibliographic and documentary research, formed by books, scientific articles and museum collections’ image banks, using as reference the system developed by Panofsky, besides relating the viewpoints of image’s interpretation in accord with Hans Belting and Georges Didi-Huberman; All of them started from the principles of the German historian Aby Warburg, and created, however, interesting bifurcations which expand the possibilities of images’ analysis. For the database constitution, the last process of conservation and restoration suffered by the paintings were the basis for the development of the paintings’ analysis, made systematically by the researcher, starting from the criteria of preventive analysis, diagnostic studies, until the reversibility of materials. The proposed work dynamics strictly followed the steps for the best use of time and safeguarding the works, as well as making them knowable. The obtained result, beyond the iconographic study, was the documentation of the conservation and the paintings’ restoration process, an addendum to the scientific character of Bahia’s art history. It were concluded that the importance given by the Jesuits to the female family of Jesus in the Catedral do Salvador presented another reading of the Holy Parent, where the proselytizing Jesuit character were based on affirming the value of the family from the veneration of the characters present at the altar. And the comparison of the works of master painter António Simões Ribeiro with the attribution of the paintings of the altar of Santa Ana made us perceive such similarity to the set already proven, strengthening it.

The crisis in design projects goes through patterns homogenization, we see "same of the same", solutions without "soul". The world has changed and ways of designing also, indicating a need for updates and new propositions. Modern design methodology has not been aware of some contemporary needs, lacking subsidies that meet in a respectful way cultural diversity, emotions, nature and mankind contradictions. Thus, from the work of Prophet Gentileza. paths open up towards an understanding of a design that goes beyond the material, productive, technological and marketing issues. A search to make reflections about symbolic processes in the projective path of contemporary design supported by Gilbert Durand’s anthropology of the imaginary. The objective is to propose through a reflection that articulates design, art and imaginary, in a theoreticalpractical-methodological approach to observe and analyze the input of the imaginary in designer's trajectory through the method AT. 9 + 1. ED (Archetype test of 9 Elements + 1 Design Element). It proposes methods, ways of proceeding to a projective path that contemplates some demands of design and contemporary society. The AT. 9 + 1. ED method is placed to think and design, privileging the symbolic dimension. With continuous application and consequent improvement of the AT9 + 1ED, will bring as result a method and support for observing relevant subjective issues and also as a data collector of the modos operandi that encompasses individual’s psychological landscape facing a design problem, directing to possible suggestions/solutions/recommendations and also for a process resignification, namely thinking and designing with purposes.

This research was developed from excursions carried out by the public spaces of the city of Salvador, Bahia, with the purpose of the appropriation of vestiges, stains, textures, worn drawings and torn posters found in the extensions of wall. In an experimental process, operational and technical methods were developed to effect of the take-off traces, among other assumptions that gave rise to determinant resignificances. It points out identity aspects from crosses between artists, thinkers and the author's interlocution during such drifts, approaching an urban geopolitics production, a time-space of the city. The trajectory as apprehension of traces is applied as a method, approach to considerations in the field of trans-esthetic zones and poetic experiments, identified and selected vestigial images - the structure that links the takeoff to the artistic work, perceptive principles of reality only the artist reveals which is invisible, generates the second image of the street scenario. Takeoffs question aspects of current art, such as authorship, originality, official discourse and space of action in the production and post-production of contemporary art, points to the territorial demarcation in the urban space and the determinant peripheral precariousness as a constitutive element in the expression of vestiges about the walls. The detached and displaced vestiges, their fragments, multiplicities and simultaneities, are analyzed from the perspective of the contemporary time / space of the work contextualized as visual documents, in procedures that affect cataloging and archiving of the memory of the city from the perspective of art.

Plurality and social diversity require more sensitive, empathetic people who are able to
critically reflect on principles and ethical and aesthetic values as a tool to strengthen social
relationships. The research pointed out that the educational laws and legislation predict
principles that must be included in the formative process to ensure students’ full
development aiming at the mastery of the knowledge needed for the exercise of
citizenship. Nonetheless, there is a gap in the way content related to principles and values
is approached. It creates the need to think of creative educational practices capable of
effectively raising students’ awareness through critical reflection on issues related to social
inclusion, prompting them to consciously exercise their social practices. The research
question emerged: In what ways can art and design contribute as a creative and
interactive instrument to raise awareness among people by using social principles and
values as references to approach issues related to social inclusion? From there, the
research sets out to identify the visual arts’ artistic processes and design’s modus
operandi as a means for producing artistic objects which communicate with social issues,
aiming to develop an artistic process capable of collectively awakening social skills and
respect for differences. Backed by the methodological resources of self-ethnography and
action research, plus given that the proximity with the research object and the
autoproduction of the book Livro de Artista Verve inspired the field research developed
with the 9th graders from a state public school, the methodological challenge is to produce
the Book-Object collectively, collaboratively and with emphasis on cooperation, producing
the Book-Object Pedra Movente para a Inclusão Social as a result. The conception of the
course-experience guided by artistic processes and the iterative steps of Design Thinking
resulted in an artistic object providing different ways to approach issues related to social

inclusion. It is a qualitative research, supported by the methodological resources of self-
ethnography and action research. The research was developed at the Presciliano Silva

State School with the classes of the ninth year of elementary school, from March to July
2018.The exhibition featured a conversation circle with the participation of students,
teachers, employees, guests and the advisor, discussing about the process and the result.
Research results encouraged rapprochement between students, new discovery of
friendships and strengthened affections. It provoked cordiality and respect, as proven
by the reports from students who were involved. The reports also signaled behavioral
changes and the recognition that the awareness process that was developed promoted
critical reflection, and raised awareness about social inclusion issues. One can
conclude that the articulation between art’s creative processes and design’s modus
operandi build up social skills among participants through the experience of art making.

This results in a methodological process capable of developing an educational art-
design action as a pedagogical/educational/didact a pathway.

The Brazilian fashion system is capable of providing a rich source of inspiration and solutions to social and environmental problems in the country, and can effectively reframe textile residues generated by the garment industry, transforming them from garbage to luxury, in the development of products that improve the relations of social inequality, promote more sustainable practices and involve the consumer in a new relationship of value. In this sense, the present dissertation aims to study the possible paths of sustainable fashion in Brazil by analyzing the articulations already established and necessary for the integration of the apparel industry and the textile handicraft as mutual and equal protagonists. In order to clarify the research contributions, a case study was carried out, taking as reference social business models implemented in different Brazilian regions. The specific objectives of the proposal were: to identify the possible relations of the circular fashion with the craftsmanship and the industry; understand the principles of circular fashion, from the point of view of the creative process of the fashion designer, and its relation with art and crafts; verifying the role of the fashion designer as an articulator between artisans, consumers and entrepreneurs. In terms of methodology, the research assumed the character of qualitative and found, in the bibliographic survey, one of its main procedures. The treatment of the data was performed according to the method of analysis and synthesis. In addition, in the development of the case study, a method of integration between the main cross-cutting themes with the context researched was adopted for the processing of the gathered information, being: social innovation, garment industry, textile waste, art, design, artisanal textile production and socioenvironmental responsibility. Industry and artisans were in favor of strategic and consumerrelated recommendations and considerations. Among the final considerations, the dissertation points out the integration of industry and handicrafts for the best use of the residues is the most promising path, facing the social, economic and cultural conditions of a country like Brazil.

In contemporary times, the fields of art and editorial design, as image producers,
have been crossed by changes in materials, constructive techniques and
environments of messages fruition in globalized and constantly changing
sensitivities. This dissertation discusses the boundaries between art and design as
constructive manifestations of subjectivity in the contemporary social body. In
parallel, it also discusses strategies of production and consumption of these
messages, historizing also the approximations and distances between the fields, and
comparing the thought of authors of both areas, as well as theorists related to
philosophy and sociology. The research also proposes some tactics and reflections
for the convergence between the conception process of design and the creative
processes in contemporary art, through an artist book produced by a designer as
author especifically for this study. The work explores possibilities a narrative which
stands at the border between contemporary art and editorial design.

This research is on visual poetics and lays its start point on the book format as a plastic object and participation device. It aims at creating, re-creating, transgressing and expanding the idea of Books with different formats, functions, sizes and materials to compound the Caravelas Libraries. Such Libraries open paths to personal and collective artistic creations, reckoning when and where each one of them influences the others and referencing a hybrid of zoological and botanical images that combines both the sense of community of man o' wars with the growth strategies of a passion fruit plant. The passion fruit plant itself was used as material, image and method in the construction of books. The imagery-method of this research, thus, premises the Principle of Expansion as dominant and the Principles of Multiplicity and Collaboration implied and derived from it. The method uses cartography to record flows and occupied spaces guided by the creation of devices, objects and proposals that trigger individual and/or collective artistic actions, and also explores different techniques and means. The research was inspired by the dialogue with thinkers and artists such as Artur Barrio, Félix Guattari, Gilles Deleuze, Hélio Oiticica, Italo Calvino, Jorge Larrosa, Sandra Rey, Sonia Rangel, Virginia Kastrup, Paulo Bruscky, Collective Poro, among others. It sought connections between conceptual, methodological and operational aspects in works and the poetics of artistic books elaborations and/or collaborative practices. Hyperlinks are included throughout the thesis due to the characteristics of the proposals made with production, registration and creative expansion shared on the internet. The seven sections

This thesis focuses and reflects the conjunction Cartography and Art as a plan and process of artistic creation. Designated as Science and Art of thinking and creating maps, images and spatial representations, this investigation conceives and reflects the Cartography as an experimental, moving field, propeller of poetics and esthetics distoantes of conventional and functional Cartography. The creative operability in Visual Arts, notably in contemporary times, exposes the presence, use and even the invention of Cartographies and Cartographic forms,
dimensioning artistic works with Maps and cartographic derivatives, in paths and imaginary, subversive and critical approaches. This finding moved in the research the creation of a conceptual figure named as cArtegrafia, reference to the artisticvisual think-make, to investigations, productions in Art and Cartography. In this way, two mobile, imaginary, discursive, and derivative plans mirror the treacherous research; the Cartographic, of coordinated, measurable parallels and meridians, and the cArtegráfico, imaginative, poetic, of latitudes | mobile lengths.

What are the borders of (un)visible, of shadow, opacity, in a world submerged in images? How can we experiment other ways of thinking, creating, feeling, sharing images? My artistic research focuses on penetrable, walk in, Camera Obscura in architectural spaces, exploring consequences of inverting conventional relative dimensional scale between body and device, so that old media archaeology can potentialize immersive, procedural, performative and participatory experience involving either production of experimental large format photography – panoramas and photograms, as ephemeral live experiences of internal projections. Photogram as artistic expression is a technique without camera. In my artwork it differs both in process and conceptual characteristics. Regarding process they are produced with a rare mixed technique using double exposures plus large format pinhole photography. Relationship medium-body is straightforward: body is confronted with image, generating noises, shadows contaminating photography. Conceptually, image relates to ephemeral actions through a reversal of scale, body operating device from inside, in constitutive relation, at once subject and object of an action. Panoramas, fragmented large format pinhole photography were created in sitespecific relational projects transforming photography into expression of identity and community through experiences that expand the idea of panorama to include contemporary ideas about authorship and time in photography, enhancing procedural, immersive, collaborative action. Why explore Camera Obscura, almost 200 years after birth of photography, facing incredible technical evolution reached and the two revolutions produced, cinema and digital images? There are many possible reasons and any artist has one close to his heart. What moves me isn´ t nostalgy: beyond beauty and aura of "old" , "alternative" techniques, I feel that anachronic images are not necessarily outdated and that paradoxically, boundaries of experimental photography and its innovative, creative, conceptual, expressive potential, are still very open and in flux with art media and contemporary issues, strategies, connections and approaches.