| dc.description.abstract | This is a composition of memories chants, a scripture of
singular perceptions, a junction of many crossings, an
experimentation essay that longs for a Thesis, which presents
itself as a possibility to feel-think the fragments in the
narratives of children memories of adults who have lived
childhood, shifting our gaze to the memories of bricoleur
playing amidst the Amazon Forest in the process of
colonization of the city of Sinop-MT, historically between
1973 and 1983. In this process, I understand the research as an
event and experience that is phenomenologically bound to
everything, to all. In this sense, in this scripture, science and
art, human and nature are inseparable, inviting us to enter the
past, reinterpreted in the present that beckons for the future.
Memories that shine in time, reinterpreted by adults in the
now and that, therefore, each one of them constructs their
landscapes of memories, in a unique way, that carnally they
are touched, affected by the time and spaces in the same way
that in narrating their experiences, touch, affect , sensitize
other bodies as a power inventive, bricoleur of creation that
provoke a multiplicity of encounters, knowledge,
deconstruction of certainties, transformations, becoming,
anxieties, gaps so that the reader can imagine, feel,
‘fantasticar’, elaborate other own compositions. In view of
this, by experimenting with the multiple ways of making
history, would it be possible to narrate childhood experiences,
especially at play, from the adult memories in a poetichistorical investigation, where different languages of
knowledge intersect in a phenomenological perspective? How
was it like to bricoleur play of the of guys who lived their
childhoods in Sinop-MT, amid the Amazon rainforest between
the years 1973 and 1983? Each chant of this thesiscomposition is produced by singular encounters with Merleau
Ponty (1991, 1994, 1996, 2014), Michel de Certeau (1982,
1998), Agamben (2005), Deleuze and Guattari (1992, 1995,
1997 ), Benjamin (1987, 1994), combined in the different
languages of art: photography, plastic arts, music, in the
poetry of Manoel de Barros (2010) and other poets in
crossings that provoked me all along the way deconstructing
certainties, to try other paths, transforming, deforming,
remaking, constructing other glances, insistently provoking
affections for above all, to live the research. | |
