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	<title>Publicações &#8211; Osmar Gonçalves</title>
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		<title>Fotografia contemporânea: fronteiras e transgressões</title>
		<link>https://osmargoncalves.com.br/en/fotografia-contemporanea-fronteiras-e-transgressoes/</link>
					<comments>https://osmargoncalves.com.br/en/fotografia-contemporanea-fronteiras-e-transgressoes/#respond</comments>
		
		<dc:creator><![CDATA[rafael]]></dc:creator>
		<pubdate>Thu, 25 Aug 2022 12:47:16 +0000</pubdate>
				<category><![CDATA[Publicações]]></category>
		<guid ispermalink="false">https://osmargoncalves.com.br/?p=1163</guid>

					<description><![CDATA[Fotografia contemporânea: fronteiras e transgressões &#8212;]]></description>
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					<h2 class="elementor-heading-title elementor-size-default">Contemporary Photography: Borders and Transgression</h2>				</div>
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									<p>&#8212;</p>								</div>
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			</item>
		<item>
		<title>A encenação no retrato fotográfico: do &#8220;isto existiu&#8221; ao &#8220;isto foi encenado&#8221; (in Fotografia Contemporânea: desafios e tendências)</title>
		<link>https://osmargoncalves.com.br/en/a-encenacao-no-retrato-fotografico-do-isto-existiu-ao-isto-foi-encenado-in-fotografia-contemporanea-desafios-e-tendencias/</link>
					<comments>https://osmargoncalves.com.br/en/a-encenacao-no-retrato-fotografico-do-isto-existiu-ao-isto-foi-encenado-in-fotografia-contemporanea-desafios-e-tendencias/#respond</comments>
		
		<dc:creator><![CDATA[rafael]]></dc:creator>
		<pubdate>Thu, 25 Aug 2022 12:47:13 +0000</pubdate>
				<category><![CDATA[Publicações]]></category>
		<guid ispermalink="false">https://osmargoncalves.com.br/?p=1164</guid>

					<description><![CDATA[A encenação no retrato fotográfico: do &#8220;isto existiu&#8221; ao &#8220;isto foi encenado&#8221; (in Fotografia Contemporânea: desafios e tendências)]]></description>
										<content:encoded><![CDATA[<div data-elementor-type="wp-post" data-elementor-id="1164" class="elementor elementor-1164">
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					<h2 class="elementor-heading-title elementor-size-default">The staging in the photographic portrait: from “this was” to “this was staged”</h2>				</div>
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									<p>(in Fotografia Contemporânea: desafios e tendências)</p>								</div>
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															<img decoding="async" width="199" height="300" src="https://mleuolzb84yi.i.optimole.com/cb:LHMg.d4d/w:199/h:300/q:mauto/f:best/https://osmargoncalves.com.br/wp-content/uploads/2022/08/ca67667bcbc0a576337d918eef387535.jpeg" class="attachment-medium size-medium wp-image-1147" alt="" srcset="https://mleuolzb84yi.i.optimole.com/cb:LHMg.d4d/w:679/h:1024/q:mauto/f:best/https://osmargoncalves.com.br/wp-content/uploads/2022/08/ca67667bcbc0a576337d918eef387535.jpeg 679w, https://mleuolzb84yi.i.optimole.com/cb:LHMg.d4d/w:199/h:300/q:mauto/f:best/https://osmargoncalves.com.br/wp-content/uploads/2022/08/ca67667bcbc0a576337d918eef387535.jpeg 199w, https://mleuolzb84yi.i.optimole.com/cb:LHMg.d4d/w:8/h:12/q:mauto/f:best/dpr:2/https://osmargoncalves.com.br/wp-content/uploads/2022/08/ca67667bcbc0a576337d918eef387535.jpeg 8w" sizes="(max-width: 199px) 100vw, 199px" />															</div>
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			<slash:comments>0</slash:comments>
		
		
			</item>
		<item>
		<title>Cinema (ao) vivo: a montagem disjuntiva e a explosão dos sentidos na prática dos VJs (Pos-fotografia &#038; Pós-cinema)</title>
		<link>https://osmargoncalves.com.br/en/cinema-ao-vivo-a-montagem-disjuntiva-e-a-explosao-dos-sentidos-na-pratica-dos-vjs-pos-fotografia-pos-cinema/</link>
					<comments>https://osmargoncalves.com.br/en/cinema-ao-vivo-a-montagem-disjuntiva-e-a-explosao-dos-sentidos-na-pratica-dos-vjs-pos-fotografia-pos-cinema/#respond</comments>
		
		<dc:creator><![CDATA[rafael]]></dc:creator>
		<pubdate>Thu, 25 Aug 2022 12:47:09 +0000</pubdate>
				<category><![CDATA[Publicações]]></category>
		<guid ispermalink="false">https://osmargoncalves.com.br/?p=1165</guid>

					<description><![CDATA[Cinema (ao) vivo: a montagem disjuntiva e a explosão dos sentidos na prática dos VJs (Pós-fotografia &#38; Pós-cinema)]]></description>
										<content:encoded><![CDATA[<div data-elementor-type="wp-post" data-elementor-id="1165" class="elementor elementor-1165">
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					<h2 class="elementor-heading-title elementor-size-default">Cinema (live): disjunctive editing and the explosion of meanings in the practice of VJs</h2>				</div>
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									<p>(Pós-fotografia &amp; Pós-cinema)</p>								</div>
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															<img decoding="async" width="200" height="300" src="https://mleuolzb84yi.i.optimole.com/cb:LHMg.d4d/w:200/h:300/q:mauto/f:best/https://osmargoncalves.com.br/wp-content/uploads/2022/08/31ndqm9H4QL.jpeg" class="attachment-medium size-medium wp-image-1149" alt="" srcset="https://mleuolzb84yi.i.optimole.com/cb:LHMg.d4d/w:334/h:500/q:mauto/f:best/https://osmargoncalves.com.br/wp-content/uploads/2022/08/31ndqm9H4QL.jpeg 334w, https://mleuolzb84yi.i.optimole.com/cb:LHMg.d4d/w:200/h:300/q:mauto/f:best/https://osmargoncalves.com.br/wp-content/uploads/2022/08/31ndqm9H4QL.jpeg 200w, https://mleuolzb84yi.i.optimole.com/cb:LHMg.d4d/w:8/h:12/q:mauto/f:best/dpr:2/https://osmargoncalves.com.br/wp-content/uploads/2022/08/31ndqm9H4QL.jpeg 8w" sizes="(max-width: 200px) 100vw, 200px" />															</div>
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			</item>
		<item>
		<title>Políticas do corpo nas videoinstalações contemporâneas (in Corpo Implicado)</title>
		<link>https://osmargoncalves.com.br/en/politicas-do-corpo-nas-videoinstalacoes-contemporaneas-in-corpo-implicado/</link>
					<comments>https://osmargoncalves.com.br/en/politicas-do-corpo-nas-videoinstalacoes-contemporaneas-in-corpo-implicado/#respond</comments>
		
		<dc:creator><![CDATA[rafael]]></dc:creator>
		<pubdate>Thu, 25 Aug 2022 12:47:06 +0000</pubdate>
				<category><![CDATA[Publicações]]></category>
		<guid ispermalink="false">https://osmargoncalves.com.br/?p=1166</guid>

					<description><![CDATA[Políticas do corpo nas videoinstalações contemporâneas (in Corpo Implicado)]]></description>
										<content:encoded><![CDATA[<div data-elementor-type="wp-post" data-elementor-id="1166" class="elementor elementor-1166">
						<section class="elementor-section elementor-top-section elementor-element elementor-element-cd53dd2 elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="cd53dd2" data-element_type="section" data-e-type="section">
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					<h2 class="elementor-heading-title elementor-size-default">Body politics in contemporary video installations</h2>				</div>
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									<p>(in Corpo Implicado)</p>								</div>
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					</div>
		</div>
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															<img loading="lazy" decoding="async" width="214" height="300" src="https://mleuolzb84yi.i.optimole.com/cb:LHMg.d4d/w:214/h:300/q:mauto/f:best/https://osmargoncalves.com.br/wp-content/uploads/2022/08/p1.jpeg" class="attachment-medium size-medium wp-image-1150" alt="" srcset="https://mleuolzb84yi.i.optimole.com/cb:LHMg.d4d/w:771/h:1080/q:mauto/f:best/https://osmargoncalves.com.br/wp-content/uploads/2022/08/p1.jpeg 850w, https://mleuolzb84yi.i.optimole.com/cb:LHMg.d4d/w:214/h:300/q:mauto/f:best/https://osmargoncalves.com.br/wp-content/uploads/2022/08/p1.jpeg 214w, https://mleuolzb84yi.i.optimole.com/cb:LHMg.d4d/w:731/h:1024/q:mauto/f:best/https://osmargoncalves.com.br/wp-content/uploads/2022/08/p1.jpeg 731w, https://mleuolzb84yi.i.optimole.com/cb:LHMg.d4d/w:768/h:1075/q:mauto/f:best/https://osmargoncalves.com.br/wp-content/uploads/2022/08/p1.jpeg 768w, https://mleuolzb84yi.i.optimole.com/cb:LHMg.d4d/w:9/h:12/q:mauto/f:best/dpr:2/https://osmargoncalves.com.br/wp-content/uploads/2022/08/p1.jpeg 9w" sizes="(max-width: 214px) 100vw, 214px" />															</div>
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		</section>
				</div>]]></content:encoded>
					
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		<item>
		<title>O que pode a fotografia hoje? Notas sobre a experimentação e o lúdico nas obras de Rosângela Rennó e Alexandre Sequeira. (in Imagens e Alteridades)</title>
		<link>https://osmargoncalves.com.br/en/o-que-pode-a-fotografia-hoje-notas-sobre-a-experimentacao-e-o-ludico-nas-obras-de-rosangela-renno-e-alexandre-sequeira-in-imagens-e-alteridades/</link>
					<comments>https://osmargoncalves.com.br/en/o-que-pode-a-fotografia-hoje-notas-sobre-a-experimentacao-e-o-ludico-nas-obras-de-rosangela-renno-e-alexandre-sequeira-in-imagens-e-alteridades/#respond</comments>
		
		<dc:creator><![CDATA[rafael]]></dc:creator>
		<pubdate>Thu, 25 Aug 2022 12:47:02 +0000</pubdate>
				<category><![CDATA[Publicações]]></category>
		<guid ispermalink="false">https://osmargoncalves.com.br/?p=1167</guid>

					<description><![CDATA[O que pode a fotografia hoje? Notas sobre a experimentação e o lúdico nas obras de Rosângela Rennó e Alexandre Sequeira. (in Imagens e Alteridades)]]></description>
										<content:encoded><![CDATA[<div data-elementor-type="wp-post" data-elementor-id="1167" class="elementor elementor-1167">
						<section class="elementor-section elementor-top-section elementor-element elementor-element-280ba31 elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="280ba31" data-element_type="section" data-e-type="section">
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					<h2 class="elementor-heading-title elementor-size-default">What can photography do today? Notes on experimentation and playfulness in the works of Rosângela Rennó and Alexandre Sequeira</h2>				</div>
				</div>
				<div class="elementor-element elementor-element-69622b7 elementor-widget elementor-widget-text-editor" data-id="69622b7" data-element_type="widget" data-e-type="widget" data-widget_type="text-editor.default">
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									<p>(in Imagens e Alteridades)</p>								</div>
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															<img loading="lazy" decoding="async" width="187" height="269" src="https://mleuolzb84yi.i.optimole.com/cb:LHMg.d4d/w:187/h:269/q:mauto/f:best/https://osmargoncalves.com.br/wp-content/uploads/2022/08/download.png" class="attachment-medium size-medium wp-image-1151" alt="" srcset="https://mleuolzb84yi.i.optimole.com/cb:LHMg.d4d/w:187/h:269/q:mauto/f:best/https://osmargoncalves.com.br/wp-content/uploads/2022/08/download.png 187w, https://mleuolzb84yi.i.optimole.com/cb:LHMg.d4d/w:8/h:12/q:mauto/f:best/dpr:2/https://osmargoncalves.com.br/wp-content/uploads/2022/08/download.png 8w" sizes="(max-width: 187px) 100vw, 187px" />															</div>
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					<wfw:commentrss>https://osmargoncalves.com.br/en/o-que-pode-a-fotografia-hoje-notas-sobre-a-experimentacao-e-o-ludico-nas-obras-de-rosangela-renno-e-alexandre-sequeira-in-imagens-e-alteridades/feed/</wfw:commentrss>
			<slash:comments>0</slash:comments>
		
		
			</item>
		<item>
		<title>Warburg e Benjamin: o inacabamento e a montagem como métodos de conhecimento (junto com Gabriela Reinaldo / in: Revista E-compós)</title>
		<link>https://osmargoncalves.com.br/en/warburg-e-benjamin-o-inacabamento-e-a-montagem-como-metodos-de-conhecimento-junto-com-gabriela-reinaldo-in-revista-e-compos/</link>
					<comments>https://osmargoncalves.com.br/en/warburg-e-benjamin-o-inacabamento-e-a-montagem-como-metodos-de-conhecimento-junto-com-gabriela-reinaldo-in-revista-e-compos/#respond</comments>
		
		<dc:creator><![CDATA[rafael]]></dc:creator>
		<pubdate>Thu, 25 Aug 2022 12:46:59 +0000</pubdate>
				<category><![CDATA[Publicações]]></category>
		<guid ispermalink="false">https://osmargoncalves.com.br/?p=1168</guid>

					<description><![CDATA[Warburg e Benjamin: o inacabamento e a montagem como métodos de conhecimento (junto com Gabriela Reinaldo / in: Revista E-compós)]]></description>
										<content:encoded><![CDATA[<div data-elementor-type="wp-post" data-elementor-id="1168" class="elementor elementor-1168">
						<section class="elementor-section elementor-top-section elementor-element elementor-element-6872055 elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="6872055" data-element_type="section" data-e-type="section">
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					<h2 class="elementor-heading-title elementor-size-default">Warburg and Benjamin: unfinishedness and montage as methods of knowledge</h2>				</div>
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				<div class="elementor-element elementor-element-58ac8cf elementor-widget elementor-widget-text-editor" data-id="58ac8cf" data-element_type="widget" data-e-type="widget" data-widget_type="text-editor.default">
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									<p>(junto com Gabriela Reinaldo / in: Revista E-compós)</p>								</div>
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		</div>
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		</section>
				<section class="elementor-section elementor-top-section elementor-element elementor-element-613d809 elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="613d809" data-element_type="section" data-e-type="section">
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															<img loading="lazy" decoding="async" width="250" height="300" src="https://mleuolzb84yi.i.optimole.com/cb:LHMg.d4d/w:250/h:300/q:mauto/f:best/https://osmargoncalves.com.br/wp-content/uploads/2022/08/f42e231a73c76e0bdf0718aa643783ab.jpeg" class="attachment-medium size-medium wp-image-1152" alt="" srcset="https://mleuolzb84yi.i.optimole.com/cb:LHMg.d4d/w:640/h:767/q:mauto/f:best/https://osmargoncalves.com.br/wp-content/uploads/2022/08/f42e231a73c76e0bdf0718aa643783ab.jpeg 640w, https://mleuolzb84yi.i.optimole.com/cb:LHMg.d4d/w:250/h:300/q:mauto/f:best/https://osmargoncalves.com.br/wp-content/uploads/2022/08/f42e231a73c76e0bdf0718aa643783ab.jpeg 250w, https://mleuolzb84yi.i.optimole.com/cb:LHMg.d4d/w:10/h:12/q:mauto/f:best/dpr:2/https://osmargoncalves.com.br/wp-content/uploads/2022/08/f42e231a73c76e0bdf0718aa643783ab.jpeg 10w" sizes="(max-width: 250px) 100vw, 250px" />															</div>
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					<wfw:commentrss>https://osmargoncalves.com.br/en/warburg-e-benjamin-o-inacabamento-e-a-montagem-como-metodos-de-conhecimento-junto-com-gabriela-reinaldo-in-revista-e-compos/feed/</wfw:commentrss>
			<slash:comments>0</slash:comments>
		
		
			</item>
		<item>
		<title>A encenação na fotografia – montando cenas e contando histórias (in revista galáxia)</title>
		<link>https://osmargoncalves.com.br/en/a-encenacao-na-fotografia-montando-cenas-e-contando-historias-in-revista-galaxia/</link>
					<comments>https://osmargoncalves.com.br/en/a-encenacao-na-fotografia-montando-cenas-e-contando-historias-in-revista-galaxia/#respond</comments>
		
		<dc:creator><![CDATA[rafael]]></dc:creator>
		<pubdate>Thu, 25 Aug 2022 12:46:56 +0000</pubdate>
				<category><![CDATA[Publicações]]></category>
		<guid ispermalink="false">https://osmargoncalves.com.br/?p=1169</guid>

					<description><![CDATA[A encenação na fotografia – montando cenas e contando histórias (in Revista Galáxia)]]></description>
										<content:encoded><![CDATA[<div data-elementor-type="wp-post" data-elementor-id="1169" class="elementor elementor-1169">
						<section class="elementor-section elementor-top-section elementor-element elementor-element-4c28f99 elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="4c28f99" data-element_type="section" data-e-type="section">
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				<div class="elementor-widget-container">
					<h2 class="elementor-heading-title elementor-size-default">Staging in photography – setting up scenes and telling stories</h2>				</div>
				</div>
				<div class="elementor-element elementor-element-e62a4aa elementor-widget elementor-widget-text-editor" data-id="e62a4aa" data-element_type="widget" data-e-type="widget" data-widget_type="text-editor.default">
				<div class="elementor-widget-container">
									<p>(in Revista Galáxia)</p>								</div>
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		</div>
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		</section>
				<section class="elementor-section elementor-top-section elementor-element elementor-element-b911394 elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="b911394" data-element_type="section" data-e-type="section">
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				<div class="elementor-widget-container">
															<img loading="lazy" decoding="async" width="213" height="300" src="https://mleuolzb84yi.i.optimole.com/cb:LHMg.d4d/w:213/h:300/q:mauto/f:best/https://osmargoncalves.com.br/wp-content/uploads/2022/08/cover_issue_2039_pt_BR.jpeg" class="attachment-medium size-medium wp-image-1153" alt="" srcset="https://mleuolzb84yi.i.optimole.com/cb:LHMg.d4d/w:320/h:450/q:mauto/f:best/https://osmargoncalves.com.br/wp-content/uploads/2022/08/cover_issue_2039_pt_BR.jpeg 320w, https://mleuolzb84yi.i.optimole.com/cb:LHMg.d4d/w:213/h:300/q:mauto/f:best/https://osmargoncalves.com.br/wp-content/uploads/2022/08/cover_issue_2039_pt_BR.jpeg 213w, https://mleuolzb84yi.i.optimole.com/cb:LHMg.d4d/w:9/h:12/q:mauto/f:best/dpr:2/https://osmargoncalves.com.br/wp-content/uploads/2022/08/cover_issue_2039_pt_BR.jpeg 9w" sizes="(max-width: 213px) 100vw, 213px" />															</div>
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				</div>]]></content:encoded>
					
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			</item>
		<item>
		<title>Reconfigurações do olhar: o háptico na cultura visual contemporânea. (in Revista VISUALIDADES (UFG)</title>
		<link>https://osmargoncalves.com.br/en/reconfiguracoes-do-olhar-o-haptico-na-cultura-visual-contemporanea-in-revista-visualidades-ufg/</link>
					<comments>https://osmargoncalves.com.br/en/reconfiguracoes-do-olhar-o-haptico-na-cultura-visual-contemporanea-in-revista-visualidades-ufg/#respond</comments>
		
		<dc:creator><![CDATA[rafael]]></dc:creator>
		<pubdate>Thu, 25 Aug 2022 12:46:52 +0000</pubdate>
				<category><![CDATA[Publicações]]></category>
		<guid ispermalink="false">https://osmargoncalves.com.br/?p=1170</guid>

					<description><![CDATA[Reconfigurações do olhar: o háptico na cultura visual contemporânea. (in Revista VISUALIDADES &#8211; UFG)]]></description>
										<content:encoded><![CDATA[<div data-elementor-type="wp-post" data-elementor-id="1170" class="elementor elementor-1170">
						<section class="elementor-section elementor-top-section elementor-element elementor-element-525d005 elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="525d005" data-element_type="section" data-e-type="section">
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						<div class="elementor-element elementor-element-ef866c3 elementor-widget elementor-widget-heading" data-id="ef866c3" data-element_type="widget" data-e-type="widget" data-widget_type="heading.default">
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					<h2 class="elementor-heading-title elementor-size-default">Reconfigurations of the gaze: haptics in contemporary visual culture.</h2>				</div>
				</div>
				<div class="elementor-element elementor-element-f5abf97 elementor-widget elementor-widget-text-editor" data-id="f5abf97" data-element_type="widget" data-e-type="widget" data-widget_type="text-editor.default">
				<div class="elementor-widget-container">
									<p>(in Revista VISUALIDADES &#8211; UFG)</p>								</div>
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		</div>
					</div>
		</section>
				<section class="elementor-section elementor-top-section elementor-element elementor-element-87e8295 elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="87e8295" data-element_type="section" data-e-type="section">
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															<img loading="lazy" decoding="async" width="209" height="300" src="https://mleuolzb84yi.i.optimole.com/cb:LHMg.d4d/w:209/h:300/q:mauto/f:best/https://osmargoncalves.com.br/wp-content/uploads/2022/08/cover_issue_1389_pt_BR.jpeg" class="attachment-medium size-medium wp-image-1154" alt="" srcset="https://mleuolzb84yi.i.optimole.com/cb:LHMg.d4d/w:410/h:589/q:mauto/f:best/https://osmargoncalves.com.br/wp-content/uploads/2022/08/cover_issue_1389_pt_BR.jpeg 410w, https://mleuolzb84yi.i.optimole.com/cb:LHMg.d4d/w:209/h:300/q:mauto/f:best/https://osmargoncalves.com.br/wp-content/uploads/2022/08/cover_issue_1389_pt_BR.jpeg 209w, https://mleuolzb84yi.i.optimole.com/cb:LHMg.d4d/w:8/h:12/q:mauto/f:best/dpr:2/https://osmargoncalves.com.br/wp-content/uploads/2022/08/cover_issue_1389_pt_BR.jpeg 8w" sizes="(max-width: 209px) 100vw, 209px" />															</div>
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		</section>
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			</item>
		<item>
		<title>Fotografia e experiência urbana: notas sobre a poética do caos em Eustáquio Neves</title>
		<link>https://osmargoncalves.com.br/en/fotografia-e-experiencia-urbana-notas-sobre-a-poetica-do-caos-em-eustaquio-neves/</link>
					<comments>https://osmargoncalves.com.br/en/fotografia-e-experiencia-urbana-notas-sobre-a-poetica-do-caos-em-eustaquio-neves/#respond</comments>
		
		<dc:creator><![CDATA[rafael]]></dc:creator>
		<pubdate>Thu, 25 Aug 2022 12:46:50 +0000</pubdate>
				<category><![CDATA[Publicações]]></category>
		<guid ispermalink="false">https://osmargoncalves.com.br/?p=1171</guid>

					<description><![CDATA[Fotografia e experiência urbana: notas sobre a poética do caos em Eustáquio Neves (in FOTOGRAFIA CONTEMPORÂNEA: FRONTEIRAS E TRANSGRESSÕES)]]></description>
										<content:encoded><![CDATA[<div data-elementor-type="wp-post" data-elementor-id="1171" class="elementor elementor-1171">
						<section class="elementor-section elementor-top-section elementor-element elementor-element-3a064f3 elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="3a064f3" data-element_type="section" data-e-type="section">
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					<h2 class="elementor-heading-title elementor-size-default">Photography and urban experience: notes on the poetics of chaos in Eustáquio Neves</h2>				</div>
				</div>
				<div class="elementor-element elementor-element-d4aed9d elementor-widget elementor-widget-text-editor" data-id="d4aed9d" data-element_type="widget" data-e-type="widget" data-widget_type="text-editor.default">
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									<p>(in <i>FOTOGRAFIA CONTEMPORÂNEA: FRONTEIRAS E TRANSGRESSÕES</i>)</p>								</div>
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					</div>
		</div>
					</div>
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				<div class="elementor-widget-container">
															<img loading="lazy" decoding="async" width="216" height="300" src="https://mleuolzb84yi.i.optimole.com/cb:LHMg.d4d/w:216/h:300/q:mauto/f:best/https://osmargoncalves.com.br/wp-content/uploads/2022/08/Fotografia-e-experiencia-urbana.jpeg" class="attachment-medium size-medium wp-image-1773" alt="" srcset="https://mleuolzb84yi.i.optimole.com/cb:LHMg.d4d/w:595/h:826/q:mauto/f:best/https://osmargoncalves.com.br/wp-content/uploads/2022/08/Fotografia-e-experiencia-urbana.jpeg 595w, https://mleuolzb84yi.i.optimole.com/cb:LHMg.d4d/w:216/h:300/q:mauto/f:best/https://osmargoncalves.com.br/wp-content/uploads/2022/08/Fotografia-e-experiencia-urbana.jpeg 216w, https://mleuolzb84yi.i.optimole.com/cb:LHMg.d4d/w:9/h:12/q:mauto/f:best/dpr:2/https://osmargoncalves.com.br/wp-content/uploads/2022/08/Fotografia-e-experiencia-urbana.jpeg 9w" sizes="(max-width: 216px) 100vw, 216px" />															</div>
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		</section>
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			</item>
		<item>
		<title>Narrativas Sensoriais: ensaios sobre cinema e arte contemporânea</title>
		<link>https://osmargoncalves.com.br/en/narrativas-sensoriais/</link>
					<comments>https://osmargoncalves.com.br/en/narrativas-sensoriais/#respond</comments>
		
		<dc:creator><![CDATA[rafael]]></dc:creator>
		<pubdate>Tue, 14 Jun 2022 13:09:50 +0000</pubdate>
				<category><![CDATA[Publicações]]></category>
		<guid ispermalink="false">https://osmargoncalves.com.br/?p=112</guid>

					<description><![CDATA[Narrativas Sensoriais: ensaios sobre cinema e arte contemporânea Editora Circuito baixe o livro aqui Narrativas Sensoriais se dedica a pensar uma série de trabalhos contemporâneos que parecem compor uma certa constelação, uma família ainda que instável, no modo como compartilham certas temáticas e modos de abordagem. Trata-se de obras que se sustentam na autonomia da&#8230;&#160;<a href="https://osmargoncalves.com.br/en/narrativas-sensoriais/" class="" rel="bookmark">Read More &#187;<span class="screen-reader-text">Sensory narratives: essays on cinema and contemporary art</span></a>]]></description>
										<content:encoded><![CDATA[<div data-elementor-type="wp-post" data-elementor-id="112" class="elementor elementor-112">
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									<p>Narrativas Sensoriais se dedica a pensar uma série de trabalhos contemporâneos que parecem compor uma certa constelação, uma família ainda que instável, no modo como compartilham certas temáticas e modos de abordagem. Trata-se de obras que se sustentam na autonomia da imagem, que apostam em sua força plástica e fragmentária mais do que na narração ou em qualquer outra articulação de linguagem. Produzidos nos últimos 20 anos, esses filmes e instalações recusam a ideia da arte como representação e afirmam uma compreensão do audiovisual que vai além do “contar histórias”. De fato, se há narrativa nesses trabalhos, trata-se de narrativas mínimas ou incipientes, de formas expressivas ligadas a uma <em>lógica do sensível</em>. Nossa hipótese é de que essas obras põem em jogo narrativas sensoriais, formas expressivas que funcionam através de blocos de sensações, de um sistema de impressões ínfimas, imperceptíveis, daquilo que Leibniz e José Gil (2005) chamaram de <em>pequenas percepções</em>.</p>								</div>
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