| Resumo: |
Considering that science becomes increasingly science of events, in this study we follow interconnections between fields of knowledge that are produced by processuality, exchanges, interferences, mixing, unknown. One of these fields is Social Psychology. Specifically the social psychology that is not interested in dealing with concepts or objects already built, but with concepts and objects to appear. Here we conducted an experimentation, a composition between science, art and subjectivity production. We have no interest in formats, predetermined models, but in the production that occurs between; the elements are destroyed and recreated during the presentations of them. It is an output that is less form and more performance. It produces the research/researcher in the process itself, using experiments, experiences, artistic images, to produce deterritorializations, to find escape routes in order to support the research/researcher. Thus, the engagement with the research problem guided by the thought of the difference is permeated by the strangeness of new position in which the researcher puts himself: the distance of evident, modern certainties, a disruption of truisms, where the researcher "dichotomic-kaleidoscopic-mosaic" remove the homogeneities, causes disruptions, gives up the generalizations and totalizations, and enters routes that have little to do with representation and more with creation. The soils that compose this study are necessarily associated: art-philosophy-science: it is crossbred soils. These consist of a space-time that provides opportunity to the tensions and intersections between fields of knowledge. Therefore, the crossbred soils are made of a producing strain land, an ideal place for exchanges between different areas. Through concomitant interferences between these fields occur the possibility of new scenarios, contradicting the supposed scientific unit that epistemology and modern philosophy pursued during the twentieth century. This dissertation does not intend to create concepts, but to convey flows of ideas regarding the production of thoughts and practices that enable interferences between fields of knowledge. On this direction we tried to point out artistic productions that break the idea of concepts, objects and subjects naturalized and dichotomized. An example of this miscegenation occurs in the relationship between contemporary art and cinema. These fields are increasingly converging to places of interference and creations between-areas, in the network. The plot that this research focuses is the one involving the aesthetic experience that the participant of the hybrid contemporary art exhibition spaces/projection is immersed on the artistic/digital works. Following this idea, we spied several meetingsmismatch- reunions between science, art/cinema and philosophy. The mixture, the miscegenation, is therefore the strong point of this research, which criticizes itself and expands not only through the lens enabled by deleuze-guattarian ethical-aesthetic paradigm and the literature that relates ARTIST-WORK-PARTICIPANT, but also through Julio Cortázar, the Free Jazz, holes, stairs, Cosmococas, Tekpix, HermetoPascoal, mangaba juice, 30 years old, Cildo Meireles, MIMO, and other wandering support that emerged as intercessors for the development of the researcher as a producer of thought and practices that put into play these relationships. |
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