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Arte sensorial e o sentido nu
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Resumo(s)
O artigo investiga a prática de sentidos emergentes da perceção de corpo em devir, propondo a noção de Arte Sensorial. Baseando-se na apologia do sensório para uma abordagem crítica e estética defendida por Susan Sontag, na noção de imagem nua de José Gil, na noção de afeto descrita por Brian Massumi e nos estudos sobre consciência de António Damásio e Gerald Edelman, o conceito de Arte Sensorial é aqui fundamentado enquanto um modo de produção de sentidos que ocorre através de uma percepção de afetos e micromovimentos em vez de signos de comunicação pré-determinados. Este conceito é então exemplificado através da análise da peça A+B=X de Gillles Jobin e por fim, através do confronto entre esta análise com um artigo de Una Bauer que analisa a peça Jérôme Bel de Jérôme Bel, fundamenta-se a possibilidade de um grau zero de sentido intrínseco a Arte Sensorial.
Abstract - This article investigates the practice of senses emerging from the perception of the body in becoming, proposing the notion of Sensory Art. Based on Susan Sontag's advocacy of the sensory for a critical and aesthetic approach, José Gil's notion of the nude image, Brian Massumi's notion of affect, and António Damásio and Gerald Edelman's studies on consciousness, the concept of Sensory Art is here grounded as a mode of meaning production that occurs through the perception of affects and micromovements rather than pre-determined communication signs. This concept is then exemplified through the analysis of Gilles Jobin's piece A+B=X and, finally, through a comparison between this analysis and an article by Una Bauer analyzing Jérôme Bel's piece Jérôme Bel, the possibility of a zero degree of intrinsic meaning in Sensory Art is established.
Abstract - This article investigates the practice of senses emerging from the perception of the body in becoming, proposing the notion of Sensory Art. Based on Susan Sontag's advocacy of the sensory for a critical and aesthetic approach, José Gil's notion of the nude image, Brian Massumi's notion of affect, and António Damásio and Gerald Edelman's studies on consciousness, the concept of Sensory Art is here grounded as a mode of meaning production that occurs through the perception of affects and micromovements rather than pre-determined communication signs. This concept is then exemplified through the analysis of Gilles Jobin's piece A+B=X and, finally, through a comparison between this analysis and an article by Una Bauer analyzing Jérôme Bel's piece Jérôme Bel, the possibility of a zero degree of intrinsic meaning in Sensory Art is established.
Descrição
Palavras-chave
Arte sensorial Corpo Micromovimentos Percepção Sentido nu Sensory art Body Micromovements Perception
Contexto Educativo
Citação
De Lima, Cecília (2021) Arte Sensorial e o Sentido Nu. ARJ - Art Research Journal, v.8 n.1. https://doi.org/10.36025/arj.v8i1.25276
Editora
Art Research Journal