Zonas polisensoriais: estruturação sensível no espaço urbano

• Ano de defesa: 1997
• Autor(a) principal: Michelin, Simone
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal do Rio de Janeiro; Brasil; Escola de Belas Artes; Programa de Pós-Graduação em Artes Visuais; UFRJ
• Palavras-chave em Português: Arte contemporânea; Vídeo; Artes plásticas; CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES
• Link de acesso: http://hdl.handle.net/11422/10143

The aim of this dissertation is the constitution of a theoretical body of reflection on the proposal of the creation of Polisensory Zones (ZP) , specifically detailing the ZP.1, a work designed to occupy the entrance hall of the Rectorship building of the Universidade Federal do Rio de Janeiro. The Polisensory Zones are interventions conceived for public spaces. They have limited duration and should be able to integrate lmage-Movement, Three-Dimensional Structures, Light and Sound to the landscape and/or architecture, incorporating in its structure the use of technologies of representation. The ZP.1, which I treat as an artistic situation of hybrid eh ara cter, it reinstates the “tabula rasa” perspective, th e sarne perspective presented by the revolutionary strategies of the vanguards. The ZP.1 retakes these strategies not as a statement, but as a question, a quest, with criticai and inquisitive purpose. Art presents itself in a form conditioned by determined factors, among them the historical time, the ideology which Art will serve as mouthpiece or the refusal of this factor, and the implications of this choice. A society is not an abstraction, but something that evolves into a material form, aggregating itself around a symbolic system, which constitutes its culture, i.e.: history materialized in an object (Levy- Strauss). Art continues being the only manifestation that, in a way or another, in spite of everything, remains as a possibility to add a special sense to things, to phenomena. Considering Art from the point of view that it is a "common good", my work reiterates the particular necessity of this historical moment to understand this manifestation in depht, far beyond the styles and manipulations of the power.