Papers by Fernanda Albuquerque de Almeida
Rapsódia, 2023
Este artigo apresenta uma análise das videoinstalações do artista brasileiro Otávio Donasci (1952... more Este artigo apresenta uma análise das videoinstalações do artista brasileiro Otávio Donasci (1952-) exibidas em instituições culturais, Videobusto (1986), Videotaxigirls (1992) e Videoesqueleto (1997), e apresentadas em espaços públicos, Hydra (1998) e VideoCriatura Imersiva (2001). Ele utiliza os objetos relacionais de Lygia Clark como ponto de partida para conceber a noção de imagens relacionais, respectiva ao modo de fruição, participativo e imersivo, solicitado por essas instalações. Esta aproximação visa ressaltar a hipótese de que as videocriaturas podem ser pensadas como alternativas aos modelos de comunicação unidirecional presentes tanto na televisão como nas redes sociais, pois consistem em seres híbridos, meio artificiais, meio orgânicos, que promovem interpelações diante do outro por meio de estratégias diversas e multissensoriais.
Bookmarks Related papers MentionsView impact
Pós: Revista do Programa de Pós-graduação da EBA-UFMG, 2023
Daguerreótipos (1975) é um documentário ou filme-ensaio de Agnès Varda (1928-2019), que apresenta... more Daguerreótipos (1975) é um documentário ou filme-ensaio de Agnès Varda (1928-2019), que apresenta retratos de seus vizinhos, os pequenos comerciantes da Rua Daguerre, em Paris. Esses retratos podem ser compreendidos como figurações da intimidade que refletem os limites entre eles e as aproximações decorrentes do cuidado com o qual a cineasta se endereça aos seus entrevistados. O texto desenvolve uma análise interpretativa que visa caracterizar essas figurações da intimidade através do olhar curioso e caloroso de Varda transposto para o filme em silêncio, longa duração e delicadeza. Também delineia uma dimensão política articulada à forma que Varda se aproxima de seus entrevistados, como um modo de vida, e traz sua significação aos espectadores, por meio de sua cinescrita poética.
DAGUERREOTYPES BY AGNÈS VARDA
AESTHETICS AND POLITICS IN THE FIGURATIONS OF INTIMACY
Daguerreotypes (1975) is a documentary or film essay by Agnès Varda (1928-2019) which features portraits of her neighbors, the small merchants on Daguerre Street, in Paris. These portraits can be understood as figurations of intimacy which reflect the limits between them and the approximations resulted from the care with which the filmmaker addresses her interviewees. This text constitutes an interpretative analysis which proposes to characterize these figurations of intimacy through Varda’s curious and warm look transposed to the film in silence, long duration and delicacy. It also delineates a political dimension articulated to the way Varda approaches her interviewees, as a mode of living, and brings their meaning to the spectators through her poetic cine-writing.
DAGUERRÉOTYPES D’AGNÈS VARDA
ESTHÉTIQUE ET POLITIQUE DANS LES FIGURATIONS DE L'INTIMITÉ
Daguerréotypes (1975) est un documentaire d’Agnès Varda (1928-2019), qui met en scène les portraits de ses voisins, les petits commerçants de la rue Daguerre (Paris). Ces portraits peuvent être compris comme des figurations d’intimité qui reflètent les limites entre eux et les approximations résultant du soin avec lequel la cinéaste s’adresse à ses interviewés. Le texte développe une analyse interprétative qui vise à caractériser ces figurations de l’intimité à travers le regard curieux et chaleureux de Varda transposé au film dans le silence, la durée et la délicatesse. Il aussi délimite une dimension politique articulée à la façon dont Varda aborde ses interviewés, comme un mode de vie, et apporte son sens aux spectateurs à travers de son cinécriture poétique.
Bookmarks Related papers MentionsView impact
Significação, 2021
Este artigo apresenta uma breve investigação acerca das reverberações da filosofia da imagem técn... more Este artigo apresenta uma breve investigação acerca das reverberações da filosofia da imagem técnica de Vilém Flusser nas propostas sobre arte mídia realizadas por Arlindo Machado. A relação entre esses autores é sugerida pelo mapeamento das proximidades e distâncias entre seus operadores conceituais, modos de proceder e contribuições aos processos de criação e ao debate sobre esses temas e suas repercussões estéticas e políticas. Elas são pertinentes para a compreensão dos problemas que decorrem da produção e circulação, em larga escala, das imagens técnicas, assim como de que modo os artistas podem responder às questões suscitadas pela dialética entre arte e mídia.
Bookmarks Related papers MentionsView impact
Significação, 2021
This article presents a brief investigation about the reverberations of the philosophy of the tec... more This article presents a brief investigation about the reverberations of the philosophy of the technical images developed by Vilém Flusser in the concepts about media art made by Arlindo Machado. The relationship between these authors is suggested by mapping the proximities and distances among their conceptual operators, ways of proceeding and contributions to the creative processes and the debate about these themes and their aesthetic and political repercussions. They are pertinent to the understanding of the problems that arise from the largescale production and circulation of technical images, as well as how artists can answer the questions raised by the dialectic between art and media.
Bookmarks Related papers MentionsView impact
Ars, 2020
Neste artigo, propomos realizar uma análise interpretativa de obras selecionadas do artista norte... more Neste artigo, propomos realizar uma análise interpretativa de obras selecionadas do artista norte-americano Bill Viola (n. 1951), visando à caracterização de imagens de tempo que possuam uma dimensão política resistente à rápida obsolescência e ao capitalismo tardio. Especialmente, buscamos mostrar que, por meio de suas obras, Viola evoca a angústia em face da finitude; por isso, suas imagens de tempo nos interpelam diante do nada da existência. Nessa linha interpretativa, sugerimos uma aproximação entre sua poética e aspectos da filosofia de Martin Heidegger, principalmente o conceito de “ser-para-morte”, e do pensamento de Keiji Nishitani, com a noção de “lugar do vazio”, bem como mobilizamos algumas considerações de Gilles Deleuze, Shuichi Kato, John Hanhardt e Elizabeth ten Grotenhuis.
TIME IMAGES IN BILL VIOLA: EXISTENTIAL QUERIES TOWARDS NOTHINGNESS
In this article, we propose an interpretative analysis of selected works by the American artist Bill Viola (b. 1951), aiming at the characterization of time images that have a political dimension resistant to rapid obsolescence and late capitalism. Especially, we seek to show that, through his works, Viola evokes anguish in the face of finitude; therefore, his time images query us towards the nothingness of existence. Following this interpretative line, we propose an approximation of his poetics to aspects of the philosophy of Martin Heidegger, mainly the concept of “being-toward-death”, and of Keiji Nishitani, with the notion of “field of emptiness”, as well as mobilize some considerations from Gilles Deleuze, Shuichi Kato, John Hanhardt, and Elizabeth ten Grotenhuis.
Bookmarks Related papers MentionsView impact
Revista ARA, 2020
Através da análise interpretativa de obras selecionadas e de considerações de Walter Benjamin, Ha... more Através da análise interpretativa de obras selecionadas e de considerações de Walter Benjamin, Hal Foster e Oliver Grau, este artigo busca investigar o tipo de recepção que os “filmes de luz sólida”, de Anthony McCall (1946), suscitam. O objetivo é caracterizar uma poética da presença, que resista a um modo de fruição vinculado ao excesso de estímulos e velocidade, comum na dita sociedade das imagens.
POETICS OF PRESENCE IN ANTHONY MCCALL SOLID LIGHT FILMS
Through an interpretative analysis of selected artworks and considerations of Walter Benjamin, Hal Foster and Oliver Grau, this article seeks to investigate the type of reception that “solid light films”, by Anthony McCall (1946), arouse. The goal is to characterize a poetics of presence that resists a mode of enjoyment linked to the excess of stimuli and speed, common in the society of images.
Bookmarks Related papers MentionsView impact
Modos, 2019
A partir da análise interpretativa das obras Um dia na vida de um consumidor (1993), Eu pensei qu... more A partir da análise interpretativa das obras Um dia na vida de um consumidor (1993), Eu pensei que estava vendo condenados (2000), Olho/Máquina (2000-2003) e Os criadores dos impérios das compras (2001), de Harun Farocki, este texto busca desenvolver uma aproximação entre as formas de organização social e seus sistemas armamentistas, especificamente considerando o uso de imagens técnicas em conflitos de guerra ao longo do século XX. A análise será complementada por considerações de Paul Virilio e Jonathan Crary, autores que constatam um uso crescente de dispositivos e imagens técnicas como meios de controle da percepção.
WAR OF LIGHTS: VISION AND SIGHT IN THE WORK OF HARUN FAROCKI
From the interpretative analysis of the artworks A Day in the Life of a Consumer (1993), I Thought I was seeing Convicts (2000), Eye/Machine (2000-2003), and The Creators of the Shopping Worlds (2001), by Harun Farocki, this text connects forms of social organization to their armament systems, specifically considering the use of technical images in war conflicts throughout the 20th century. The analysis will be complemented by considerations of Paul Virilio and Jonathan Crary, authors who see an ongoing use of technical images and devices as means of perception control.
Bookmarks Related papers MentionsView impact
Rapsódia, 2018
Harun Farocki é um nome conhecido no cinema e na arte contemporânea. Enveredou por ambos os campo... more Harun Farocki é um nome conhecido no cinema e na arte contemporânea. Enveredou por ambos os campos, associado a filmes de diferentes durações e videoinstalações em película, vídeo e imagem computadorizada. Guerra, política e economia são alguns dos temas definidos, conectados entre si por uma busca incessante pela construção de um olhar histórico através das imagens. Este texto investiga a questão da liberdade na poética tecnológica de Farocki, através da análise interpretativa das instalações Interface (1995) e Paralelos (2012-2014). Essa investigação do seu gesto poético visa contribuir com uma pesquisa mais ampla sobre as relações entre arte e política no contexto atual, no qual a informática e a telemática são aproveitadas predominantemente para uma difusão de imagens clichês.
FREEDOM IN HARUN FAROCKI'S TECHNOLOGICAL POETICS
Harun Farocki is a name known in cinema and contemporary art. He pursued both fields, associated with films of different durations and video installations in film, video and computer image. War, politics and economy are some of the their themes, linked together by an incessant search for the construction of a historical look through images. This text investigates the issue of freedom in Farocki's technological poetics, through the interpretative analysis of the installations Interface (1995) and Parallels (2012-2014). This investigation of his poetic gesture aims to contribute to a broader research on the relations between art and politics in the current context, in which information technology and telematics are used predominantly for the diffusion of cliché images.
Bookmarks Related papers MentionsView impact
Prometeica, 2018
O que há para ver na imagem que temos diante de nós. Entrevista com Ricardo Nascimento Fabbrini.
... more O que há para ver na imagem que temos diante de nós. Entrevista com Ricardo Nascimento Fabbrini.
What is there to see in the image in front of us. Interview with Ricardo Nascimento Fabbrini.
Bookmarks Related papers MentionsView impact
Movimento, 2017
Este artigo apresenta uma aproximação entre o cinema e a arte contemporânea, que indica o alargam... more Este artigo apresenta uma aproximação entre o cinema e a arte contemporânea, que indica o alargamento do dispositivo cinematográfico e a tendência à interação no campo das artes visuais durante o século XX, por meio da análise interpretativa de cinco obras cujo elemento constitutivo é a projeção. O objetivo é indicar as modalidades de recepção de obras audiovisuais nos primeiros anos do século XXI – contemplação, participação e interação – à luz das tecnologias digitais da imagem.
CINEMA AND CONTEMPORARY ART: FROM THE CONTEMPLATIVE ROOM TO THE INTERACTIVE DEVICES
This article presents an approximation between cinema and the contemporary arts, which indicates the stretching of the cinematographic device and a tendency to interaction in the field of visual arts during the 20th century, through an interpretative analysis of five works, whose constituent element is the projection. The goal is to indicate the reception modalities of audiovisual works in the first years of the 21st century – contemplation, participation and interaction – considering the digital technologies for image generation.
Bookmarks Related papers MentionsView impact
Uploads
Papers by Fernanda Albuquerque de Almeida
DAGUERREOTYPES BY AGNÈS VARDA
AESTHETICS AND POLITICS IN THE FIGURATIONS OF INTIMACY
Daguerreotypes (1975) is a documentary or film essay by Agnès Varda (1928-2019) which features portraits of her neighbors, the small merchants on Daguerre Street, in Paris. These portraits can be understood as figurations of intimacy which reflect the limits between them and the approximations resulted from the care with which the filmmaker addresses her interviewees. This text constitutes an interpretative analysis which proposes to characterize these figurations of intimacy through Varda’s curious and warm look transposed to the film in silence, long duration and delicacy. It also delineates a political dimension articulated to the way Varda approaches her interviewees, as a mode of living, and brings their meaning to the spectators through her poetic cine-writing.
DAGUERRÉOTYPES D’AGNÈS VARDA
ESTHÉTIQUE ET POLITIQUE DANS LES FIGURATIONS DE L'INTIMITÉ
Daguerréotypes (1975) est un documentaire d’Agnès Varda (1928-2019), qui met en scène les portraits de ses voisins, les petits commerçants de la rue Daguerre (Paris). Ces portraits peuvent être compris comme des figurations d’intimité qui reflètent les limites entre eux et les approximations résultant du soin avec lequel la cinéaste s’adresse à ses interviewés. Le texte développe une analyse interprétative qui vise à caractériser ces figurations de l’intimité à travers le regard curieux et chaleureux de Varda transposé au film dans le silence, la durée et la délicatesse. Il aussi délimite une dimension politique articulée à la façon dont Varda aborde ses interviewés, comme un mode de vie, et apporte son sens aux spectateurs à travers de son cinécriture poétique.
TIME IMAGES IN BILL VIOLA: EXISTENTIAL QUERIES TOWARDS NOTHINGNESS
In this article, we propose an interpretative analysis of selected works by the American artist Bill Viola (b. 1951), aiming at the characterization of time images that have a political dimension resistant to rapid obsolescence and late capitalism. Especially, we seek to show that, through his works, Viola evokes anguish in the face of finitude; therefore, his time images query us towards the nothingness of existence. Following this interpretative line, we propose an approximation of his poetics to aspects of the philosophy of Martin Heidegger, mainly the concept of “being-toward-death”, and of Keiji Nishitani, with the notion of “field of emptiness”, as well as mobilize some considerations from Gilles Deleuze, Shuichi Kato, John Hanhardt, and Elizabeth ten Grotenhuis.
POETICS OF PRESENCE IN ANTHONY MCCALL SOLID LIGHT FILMS
Through an interpretative analysis of selected artworks and considerations of Walter Benjamin, Hal Foster and Oliver Grau, this article seeks to investigate the type of reception that “solid light films”, by Anthony McCall (1946), arouse. The goal is to characterize a poetics of presence that resists a mode of enjoyment linked to the excess of stimuli and speed, common in the society of images.
WAR OF LIGHTS: VISION AND SIGHT IN THE WORK OF HARUN FAROCKI
From the interpretative analysis of the artworks A Day in the Life of a Consumer (1993), I Thought I was seeing Convicts (2000), Eye/Machine (2000-2003), and The Creators of the Shopping Worlds (2001), by Harun Farocki, this text connects forms of social organization to their armament systems, specifically considering the use of technical images in war conflicts throughout the 20th century. The analysis will be complemented by considerations of Paul Virilio and Jonathan Crary, authors who see an ongoing use of technical images and devices as means of perception control.
FREEDOM IN HARUN FAROCKI'S TECHNOLOGICAL POETICS
Harun Farocki is a name known in cinema and contemporary art. He pursued both fields, associated with films of different durations and video installations in film, video and computer image. War, politics and economy are some of the their themes, linked together by an incessant search for the construction of a historical look through images. This text investigates the issue of freedom in Farocki's technological poetics, through the interpretative analysis of the installations Interface (1995) and Parallels (2012-2014). This investigation of his poetic gesture aims to contribute to a broader research on the relations between art and politics in the current context, in which information technology and telematics are used predominantly for the diffusion of cliché images.
What is there to see in the image in front of us. Interview with Ricardo Nascimento Fabbrini.
CINEMA AND CONTEMPORARY ART: FROM THE CONTEMPLATIVE ROOM TO THE INTERACTIVE DEVICES
This article presents an approximation between cinema and the contemporary arts, which indicates the stretching of the cinematographic device and a tendency to interaction in the field of visual arts during the 20th century, through an interpretative analysis of five works, whose constituent element is the projection. The goal is to indicate the reception modalities of audiovisual works in the first years of the 21st century – contemplation, participation and interaction – considering the digital technologies for image generation.
DAGUERREOTYPES BY AGNÈS VARDA
AESTHETICS AND POLITICS IN THE FIGURATIONS OF INTIMACY
Daguerreotypes (1975) is a documentary or film essay by Agnès Varda (1928-2019) which features portraits of her neighbors, the small merchants on Daguerre Street, in Paris. These portraits can be understood as figurations of intimacy which reflect the limits between them and the approximations resulted from the care with which the filmmaker addresses her interviewees. This text constitutes an interpretative analysis which proposes to characterize these figurations of intimacy through Varda’s curious and warm look transposed to the film in silence, long duration and delicacy. It also delineates a political dimension articulated to the way Varda approaches her interviewees, as a mode of living, and brings their meaning to the spectators through her poetic cine-writing.
DAGUERRÉOTYPES D’AGNÈS VARDA
ESTHÉTIQUE ET POLITIQUE DANS LES FIGURATIONS DE L'INTIMITÉ
Daguerréotypes (1975) est un documentaire d’Agnès Varda (1928-2019), qui met en scène les portraits de ses voisins, les petits commerçants de la rue Daguerre (Paris). Ces portraits peuvent être compris comme des figurations d’intimité qui reflètent les limites entre eux et les approximations résultant du soin avec lequel la cinéaste s’adresse à ses interviewés. Le texte développe une analyse interprétative qui vise à caractériser ces figurations de l’intimité à travers le regard curieux et chaleureux de Varda transposé au film dans le silence, la durée et la délicatesse. Il aussi délimite une dimension politique articulée à la façon dont Varda aborde ses interviewés, comme un mode de vie, et apporte son sens aux spectateurs à travers de son cinécriture poétique.
TIME IMAGES IN BILL VIOLA: EXISTENTIAL QUERIES TOWARDS NOTHINGNESS
In this article, we propose an interpretative analysis of selected works by the American artist Bill Viola (b. 1951), aiming at the characterization of time images that have a political dimension resistant to rapid obsolescence and late capitalism. Especially, we seek to show that, through his works, Viola evokes anguish in the face of finitude; therefore, his time images query us towards the nothingness of existence. Following this interpretative line, we propose an approximation of his poetics to aspects of the philosophy of Martin Heidegger, mainly the concept of “being-toward-death”, and of Keiji Nishitani, with the notion of “field of emptiness”, as well as mobilize some considerations from Gilles Deleuze, Shuichi Kato, John Hanhardt, and Elizabeth ten Grotenhuis.
POETICS OF PRESENCE IN ANTHONY MCCALL SOLID LIGHT FILMS
Through an interpretative analysis of selected artworks and considerations of Walter Benjamin, Hal Foster and Oliver Grau, this article seeks to investigate the type of reception that “solid light films”, by Anthony McCall (1946), arouse. The goal is to characterize a poetics of presence that resists a mode of enjoyment linked to the excess of stimuli and speed, common in the society of images.
WAR OF LIGHTS: VISION AND SIGHT IN THE WORK OF HARUN FAROCKI
From the interpretative analysis of the artworks A Day in the Life of a Consumer (1993), I Thought I was seeing Convicts (2000), Eye/Machine (2000-2003), and The Creators of the Shopping Worlds (2001), by Harun Farocki, this text connects forms of social organization to their armament systems, specifically considering the use of technical images in war conflicts throughout the 20th century. The analysis will be complemented by considerations of Paul Virilio and Jonathan Crary, authors who see an ongoing use of technical images and devices as means of perception control.
FREEDOM IN HARUN FAROCKI'S TECHNOLOGICAL POETICS
Harun Farocki is a name known in cinema and contemporary art. He pursued both fields, associated with films of different durations and video installations in film, video and computer image. War, politics and economy are some of the their themes, linked together by an incessant search for the construction of a historical look through images. This text investigates the issue of freedom in Farocki's technological poetics, through the interpretative analysis of the installations Interface (1995) and Parallels (2012-2014). This investigation of his poetic gesture aims to contribute to a broader research on the relations between art and politics in the current context, in which information technology and telematics are used predominantly for the diffusion of cliché images.
What is there to see in the image in front of us. Interview with Ricardo Nascimento Fabbrini.
CINEMA AND CONTEMPORARY ART: FROM THE CONTEMPLATIVE ROOM TO THE INTERACTIVE DEVICES
This article presents an approximation between cinema and the contemporary arts, which indicates the stretching of the cinematographic device and a tendency to interaction in the field of visual arts during the 20th century, through an interpretative analysis of five works, whose constituent element is the projection. The goal is to indicate the reception modalities of audiovisual works in the first years of the 21st century – contemplation, participation and interaction – considering the digital technologies for image generation.