Detalhes bibliográficos
| Ano de defesa: |
2022 |
| Autor(a) principal: |
Oliveira, Luma Santos de
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| Orientador(a): |
Leão, Lucia Isaltina Clemente
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| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Tese
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| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica de São Paulo
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| Programa de Pós-Graduação: |
Programa de Estudos Pós-Graduados em Comunicação e Semiótica
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| Departamento: |
Faculdade de Filosofia, Comunicação, Letras e Artes
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| País: |
Brasil
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| Palavras-chave em Português: |
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| Palavras-chave em Inglês: |
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| Área do conhecimento CNPq: |
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| Link de acesso: |
https://repositorio.pucsp.br/jspui/handle/handle/27797
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Resumo: |
In contemporary times, there is an intense production of images that circulate in digital communication technologies. In general, these are images that repeat formulas and that communicate the banalization of everyday life on social networks. In parallel with this production, experimental photographic projects present inquiries that pose questions to both the point of view of the technical procedures and political and aesthetical issues, which takes the perception of everyday life in a critical manner. Thisresearch aims at developing a curatorship project of experimental artistic-photographic projects that thematically address everyday life, their insertion in the current technological context, as well as the presence of Brazilian everyday life theme in early 21stcentury photographs. The process of creating the curatorship involved: the conceptual definition of the proposal and its scope; a selection of works; and semiotic analyses of the selected works. For the construction of the curatorial proposal, we developed a brief iconological journey about the presence of everyday life in the history of art, focusing on painting and photography. In the selection, we chose projects which, in a captive and unique way, propose a reflection about the social relations that arise in the context of social media interactions, in which we are intrinsically rooted. The thesis is justified as it offers a renewed vision of the possibilities of photography that focuses on everyday life, as opposed to the banalization of the photographic act that permeates digital social networks. The chosen methodological strategy comprises: (1) historical and critical study of the photographic path in society (Benjamin, Sontag, Machado, Manovich); (2) review of the relationships between the theme of everyday life, painting and photography (Lucie-Smith, Cotton); (3) presentation of the bases of Charles Sanders Peirce’s semiotics (Santaella, Dubois, Ibri); and (4) application of the curatorial method based on Dewey's concept of aesthetic experience, as developed by Leão |
