Heterodoxia
সংরক্ষণ করুন:
| প্রধান লেখক: | |
|---|---|
| প্রকাশনার তারিখ: | 2019 |
| বিন্যাস: | Article |
| ভাষা: | por |
| সম্পদ: | Repositório Comum do Brasil - Deposita |
| Download full: | https://deposita.ibict.br/handle/deposita/527 |
সংক্ষিপ্ত: | As an artist – teacher – researcher, I have been interested in investigating the possible relationships between art and technology, with special attention focused on the platform YouTube. We know that art had “its borders expanded from the transformations technological technologies, its reproducibility provided a radical change in its own concept and presented new forms of expression, as well as new possibilities of reception” (OLI VEIRA, 2017. Page 677). It is no longer possible to think about art in contemporary times without association with the technological revolution, YouTube for example, considered the largest media platform. Sharing videos from around the world is part of this transformation and has been in direct dialogue with artistic productions today. In this quest to establish relationships between contemporary art and technological revolution, I developed a visual essay that starts from the appropriation of photographs by the artist Daiane Arbus and comments made in videos about political personalities in Brazil, to create a new, timeless image, trying to show that subjects that were of interest to the artist in the second half of the 20th century, in the United, they are currently in full force in countries like Brazil. After watching several videos on YouTube about political figures in Brazil, and reading the comments of some users, I understood that visual reflections around heterodoxy are urgent. |
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| author | Oliveira, Gabriela Clemente de |
| author_browse | Oliveira, Gabriela Clemente de |
| author_facet | Oliveira, Gabriela Clemente de |
| author_role | author |
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| collection | Repositório Comum do Brasil - Deposita |
| dc.contributor.author.fl_str_mv | Oliveira, Gabriela Clemente de |
| dc.date.accessioned.fl_str_mv | 2024-02-18T23:51:34Z |
| dc.date.issued.fl_str_mv | 2019 |
| dc.format.none.fl_str_mv | application/pdf application/pdf |
| dc.identifier.uri.fl_str_mv | https://deposita.ibict.br/handle/deposita/527 |
| dc.language.iso.fl_str_mv | por |
| dc.publisher.country.fl_str_mv | Brasil |
| dc.publisher.none.fl_str_mv | Universidade do Estado de Minas Gerais |
| dc.relation.ispartof.por.fl_str_mv | Revista do Colóquio |
| dc.rights.driver.fl_str_mv | info:eu-repo/semantics/openAccess |
| dc.source.none.fl_str_mv | reponame:Repositório Comum do Brasil - Deposita instname:Instituto Brasileiro de Informação em Ciência e Tecnologia (Ibict) instacron:IBICT |
| dc.subject.cnpq.fl_str_mv | Artes |
| dc.subject.por.fl_str_mv | Arte |
| dc.title.alternative.eng.fl_str_mv | Heterodoxy |
| dc.title.por.fl_str_mv | Heterodoxia |
| dc.type.driver.fl_str_mv | info:eu-repo/semantics/article |
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| description | As an artist – teacher – researcher, I have been interested in investigating the possible relationships between art and technology, with special attention focused on the platform YouTube. We know that art had “its borders expanded from the transformations technological technologies, its reproducibility provided a radical change in its own concept and presented new forms of expression, as well as new possibilities of reception” (OLI VEIRA, 2017. Page 677). It is no longer possible to think about art in contemporary times without association with the technological revolution, YouTube for example, considered the largest media platform. Sharing videos from around the world is part of this transformation and has been in direct dialogue with artistic productions today. In this quest to establish relationships between contemporary art and technological revolution, I developed a visual essay that starts from the appropriation of photographs by the artist Daiane Arbus and comments made in videos about political personalities in Brazil, to create a new, timeless image, trying to show that subjects that were of interest to the artist in the second half of the 20th century, in the United, they are currently in full force in countries like Brazil. After watching several videos on YouTube about political figures in Brazil, and reading the comments of some users, I understood that visual reflections around heterodoxy are urgent. |
| eu_rights_str_mv | openAccess |
| format | article |
| id | IBICT-1_e7d704f06decc6d7b2437f80ca168896 |
| instacron_str | IBICT |
| institution | IBICT |
| instname_str | Instituto Brasileiro de Informação em Ciência e Tecnologia (Ibict) |
| language | por |
| network_acronym_str | IBICT-1 |
| network_name_str | Repositório Comum do Brasil - Deposita |
| oai_identifier_str | oai:deposita.ibict.br:deposita/527 |
| publishDate | 2019 |
| publishDateSort | 2019 |
| publisher.none.fl_str_mv | Universidade do Estado de Minas Gerais |
| reponame_str | Repositório Comum do Brasil - Deposita |
| repository.mail.fl_str_mv | deposita@ibict.br |
| repository.name.fl_str_mv | Repositório Comum do Brasil - Deposita - Instituto Brasileiro de Informação em Ciência e Tecnologia (Ibict) |
| repository_id_str | 4658 |
| spelling | 2024-02-18T23:51:34Z2019https://deposita.ibict.br/handle/deposita/527As an artist – teacher – researcher, I have been interested in investigating the possible relationships between art and technology, with special attention focused on the platform YouTube. We know that art had “its borders expanded from the transformations technological technologies, its reproducibility provided a radical change in its own concept and presented new forms of expression, as well as new possibilities of reception” (OLI VEIRA, 2017. Page 677). It is no longer possible to think about art in contemporary times without association with the technological revolution, YouTube for example, considered the largest media platform. Sharing videos from around the world is part of this transformation and has been in direct dialogue with artistic productions today. In this quest to establish relationships between contemporary art and technological revolution, I developed a visual essay that starts from the appropriation of photographs by the artist Daiane Arbus and comments made in videos about political personalities in Brazil, to create a new, timeless image, trying to show that subjects that were of interest to the artist in the second half of the 20th century, in the United, they are currently in full force in countries like Brazil. After watching several videos on YouTube about political figures in Brazil, and reading the comments of some users, I understood that visual reflections around heterodoxy are urgent.Na condição de artista – professora – pesquisadora, tenho me interessado em investigar as relações possíveis entre arte e tecnologia, com atenção especial voltada para a plataforma YouTube. Sabemos que a arte teve “suas fronteiras ampliadas a partir das transformações tecnológicas, sua reprodutibilidade proporcionou mudança radical em seu próprio conceito e apresentou novas formas de expressão, bem como novas possibilidades de recepção” (OLI VEIRA, 2017. Pág. 677). Não é mais possível pensar arte na contemporaneidade sem associa ção com a revolução tecnológica, o YouTube por exemplo, considerado a maior plataforma de compartilhamento de vídeos do mundo, é parte dessa transformação e tem dialogado dire tamente com produções artísticas na atualidade. Nessa busca para estabelecer relações entre arte contemporânea e revolução tecnológica, desenvolvi um ensaio visual que parte da apro priação de fotografias da artista Daiane Arbus e de comentários feitos em vídeos sobre perso nalidades políticas no Brasil, para criar uma nova imagem, atemporal, tentando mostrar que assuntos que foram de interesse da artista na segunda metade do século XX, nos Estados Unidos, encontram-se em plena atualidade em países como o Brasil. Depois de assistir a diver sos vídeos no YouTube, sobre personalidades políticas no Brasil, e ler os comentários de al guns usuários, entendi que reflexões visuais em torno da heterodoxia, se fazem urgentes.CAPESSudeste-1application/pdfapplication/pdfporUniversidade do Estado de Minas GeraisBrasilRevista do ColóquioArteArtesHeterodoxiaHeterodoxyinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/article8Oliveira, Gabriela Clemente deinfo:eu-repo/semantics/openAccessreponame:Repositório Comum do Brasil - Depositainstname:Instituto Brasileiro de Informação em Ciência e Tecnologia (Ibict)instacron:IBICTTEXT6 HETERODOXIA 2019.pdf.txtWritten by FormatFilter org.dspace.app.mediafilter.TikaTextExtractionFilter on 2025-06-06T20:18:55Z (GMT).Extracted texttext/plain2059https://deposita.ibict.br/bitstreams/49ac881b-de91-4d26-83b1-e609bd0f52ca/downloadafe742278208b6c2bd03a584b0142a25MD53falseAnonymousREADTHUMBNAIL6 HETERODOXIA 2019.pdf.jpgWritten by FormatFilter org.dspace.app.mediafilter.PDFBoxThumbnail on 2025-06-06T20:18:55Z (GMT).Generated Thumbnailimage/jpeg3545https://deposita.ibict.br/bitstreams/c9c935f5-40df-4f2c-a859-a87d0adc69c9/download6c64644b1901d0e2993004775a51be56MD54falseAnonymousREADLICENSElicense.txtWritten by org.dspace.content.LicenseUtilstext/plain; charset=utf-81867https://deposita.ibict.br/bitstreams/53219103-e604-4d0c-9f52-431f94ff5b74/downloada7c148eec59885ba1ba6d14692be8465MD51falseAnonymousREADORIGINAL6 HETERODOXIA 2019.pdf/dspace/deposita/upload/6 HETERODOXIA 2019.pdfapplication/pdf317404https://deposita.ibict.br/bitstreams/58fca443-f2bc-428d-b1be-06fbed716231/download3abbcaff27d8e53c0882b2a1213eec30MD52trueAnonymousREADdeposita/5272026-03-20T17:41:10.601841Zopen.accessoai:deposita.ibict.br:deposita/527https://deposita.ibict.brRepositório ComumPUBhttp://deposita.ibict.br/oai/requestdeposita@ibict.bropendoar:46582026-03-20T17:41:10Repositório Comum do Brasil - Deposita - Instituto Brasileiro de Informação em Ciência e Tecnologia (Ibict)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 |
| spellingShingle | Heterodoxia Oliveira, Gabriela Clemente de Arte Artes |
| status_str | publishedVersion |
| title | Heterodoxia |
| title_full | Heterodoxia |
| title_fullStr | Heterodoxia |
| title_full_unstemmed | Heterodoxia |
| title_short | Heterodoxia |
| title_sort | Heterodoxia |
| topic | Arte Artes |
| url | https://deposita.ibict.br/handle/deposita/527 |