Da estética do fluxo à estética em fluxo
Experiência E Devir Entre Artemídia E Comunicação
Bibliographic Data
| ID | 5783312 |
|---|---|
| Authors | Gabriela Freitas (0000-0002-6195-3871, corresponding author), Gabriela Pereira de Freitas |
| Year | 2014 |
| Publication date | 2014-11-28 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | THESIS |
| Publisher | Biblioteca Central da UNB (PUBLISHER) |
| DOI | 10.26512/2014.11.t.17814 |
| OpenAlex | W952397209 |
| Language | PT |
| Citations received | 1 |
| References cited | 4 |
In this research we propose a new understand of the notion of flux, a constantly used word nowadays, especially in the areas of social studies, including Communication.We start from an etymological and philosophical investigation looking at the Portuguese, Latin and Greek roots of the word as well as the first thoughts about this concept presented in Heraclitus (535 BC -475 BC), Greece.His reflections served as a guide to establish a dialogue with other philosophers like Plato, Giordano Bruno, Heidegger, Hegel, Nietzsche, Bergson and Deleuze.Then, by realizing the flux manifests itself in an aesthetic way, we explore how its aesthetics engenders and therefore, our efforts turned initially to design a method capable of addressing an object without taking it out of its flow, or its movement.To this end, we combine the intuitive and analytical principles, as proposed by Bergson, taking into account the experience of the researcher and taking the description, as understood by Maffesoli, as an important resource for the analysis.Both the experience and the later moment of analysis sought to consolidate themselves over an theoretical-methodological tripod constituted on a dialogue between the fields of Philosophy, Science and the Arts, as proposed by the method of complexity of Edgar Morin.We also seek to create moments of suspension (as Husserl's epoché) that enabled to articulate such knowledge.We found in the Arts a fruitful investigation area of the flux, especially in the field of Media Arts, which, by appropriating media in their art making, anticipates aesthetic uses that later form the Communication itself, in a mediatic becoming of the Arts, as pointed by Ivana Bentes.The chosen works are constituted as installations that invite us to walk through and immerse in it, leading to the development of an anthropological path (as in Durand) that is sedimented by the experience.Thus, we come to an understanding that the Aesthetic of Flux actually implies in a Flux of the Aesthetics -Aesthetics in Flux -constituted of the categories-phenomenon of Oscillation and Imaginary Topology, composed respectively of the subcategories of rhythm / hybridity and reverie / immersion.We noticed, during the study, the importance of the social dimension, the search for the other, which leads to a demand for transcending that occurs in an immanent manner (trans-immanent).This dynamic takes us, finally, back to Communication.Recognizing the manifestations of the Aesthetics in Flux, we found some recurrences and appropriations by the Communication field and its events and pointed out some paths for future research in the area, in the direction of the man-machine relation by interfaces, among other issues
Art · Epistemology · Hegelianism · Humanities · Linguistics · The arts · Visual arts · Cultural, Media, and Literary Studies · Education and Digital Technologies · Philosophy · Psychology and Mental Health
| Unique citing works | 1 |
|---|---|
| Citations per year | 0.17 |
| Citation span | 2020 - 2020 (1) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 1 |