Superfície-tátil: corpo, gesto e formação

Abstract

The present presentation is made through a presentation of the faces, in which a similarity materializes in indistinct states of a writing in Education. The research exerts a formative role that negotiates a production of knowledge by means of the art and the fiction of body. Each leaf is a place, face to face, leaf to leaf, singularities of a body without location. Proposition-to that touch to the user, to read, move, go to exit and exit without the action through a procedure that explores the surface to body and of the language. The trailing plates have the same characteristics and are dependent on the way they are touched; tactile variation on each touch. As it touches the spaces of one of the other lenses is produced. Such spaces of experimentation may be quasi-filled as a production of directions that propagate, a body point stands out as a moving surface effect. The slides supply the clues to genealogical writing, that is, a singular way of doing, or even a gesture of writing that produces production between the production of art and the production of concept, in which body of meaning is never established, but it is always a temporary solution. It is emphasized that movement of the work of art engenders a thinking on the surface of knowledge, in which gestures of meaning become possible in what can be known through a fiction of a body, which is inscribed by sensibilia. Such fiction, combining philosophy and art, carna in the mind a synesthetic reference of language, in which the processes of subjectivation connect to a living element or to a random point through concepts and visualities.So, the effects generated by all this materiality, seek to rub the concepts with the processes of formation and writing connected with a body in state of art. Therefore, through this way of doing thesis, or, through these valves of the sensation that are articulated, it is asked: - What ways of life are affirmed through this writing exercise to dance to research in Education? Through these procedures, what makes a body a powerful way to know is in what confuses it, the food that almost expresses it through a weakened sense. Thus the notion of the problematic field of the thesis has produced several meanings: from a deembedding body, as a place of tactile questions, from a fertile space for the subversion of meaning, and as a variable formation through the way of thinking with the body. There is an indistinct space between the production of art and academic production, where there are no more boundaries between concepts and sensations, which demand a mechanism of writing that is an effect of bodily causes, frictions, fictions and ephemeral compositions.