Poéticas Nômades: pesquisa-criação do espetáculo tentativa.doc 2.0 a partir de elementos da cena expandida e intermedial

Abstract

This thesis brings about as a key issue the accomplishment of a scenic criation process, whose the investigative drive includes considerations about the use of elements actualised both in the expanded and in the intermedial scenes. Those elements work as triggers to grasp of what we call the technopoetic. The research understand the notion of technopoetics according to its conceptual definition, derived from a creative faculty obtained by what we assume as the machinery sensibility materialization. Such ideas proceed from the proposition of techesthetic developed by Gilbert Siomondon and his discussants. The concepts are also based on ontologic aspects of technical/technological pieces of work occurred after the historical Industrial Revolution. Following the inquiries, the work contextualizes itself into the field of contemporay scenes studies, specifically concerning the types of research based on practice as Brad Hanseman’s “performative research”, Robin Nelson’s “practice as research”, Sylvie Fortin and Pierre Gosselin’s “thesis on practice-basis”, and Mireille LoscoLena’s “reserche-création”. Therefore, this research aims to develop procedures and protocols around the practice done, by means of a technopoetic materialisness and correspondent analysis. For that purpose, we put forward the perspecive at the poetics presente in the techincal object itself, here understood beyond its mere definition as an apparatus, but going further as its identity of a work of art itself. As a result of the creation inquiry, it is devised the performance tentativa.doc 2.0, a practical artistic inquiry intended to fill out hybrid territories of expanded and intermedial scenes. The research technopoetics take into account the notion of nomadism as a compositional setting off per se. Such kind of epistemological trigger brings about different senses of the nomadism, by means of its features as geographic, aethetical, and poetical, through which the performers establish a sort of game among themselves, between them and the techincal objects, and amid techincal objects and spectators. By achieving the game, the performers also compose a experience where each individual mold yourself and the other. In doing so, the circumstances become what Josette Fèral nominates performativity of technology. The undertaking come to conclude at the hability of the artist when dealing with digital devices far beyond of their digital peculiarity, by going toward the activation, development, and interchanges of perceptions within a compound exceedingly present, yet, or even because, virtual.present, yet, or even because, virtual.