Jose Gil

Investiga-se a Improvisação de Dança como experiência de criação imediata da dança, visando compreender este (meta)fenômeno em suas condições de apresentação e especificidades. A pesquisa dá continuidade aos estudos iniciados no Mestrado em Arte (UNICAMP), no qual propomos um conjunto de procedimentos dirigidos à preparação do dançarino-improvisador baseados na experimentação, esvaziamento e em princípios técnicos do movimento corporal, chamado “prática
corporeoenergética”. Neste doutorado, apresentamos uma reflexão do tema nos entrelugares da Dança, Teatro, Filosofia e Educação, a fim de poder contribuir para a elaboração de outros pensamentos sobre as vivências artísticas e pedagógicas da improvisação de dança. Encontramos nas filosofias de José Gil e Gilles Deleuze paisagens conceituais que nos ajudam a pensar o encontro criativo do improvisador com a dança.
Dance Improvisation is investigated as an experience of immediate dance creation, in order to understand this (Meta) phenomenon in its performance conditions and specific. The research gives continuity to the studies initiated during the Master Degree in Arts (UNICAMP), in which we proposed a set of procedures for the preparation of the dancer-improvisor based upon experimentation, emptying, and on technical principles of body movement, called “corporeal-energetic practice”. On this doctor’s degree, we present a reflection on the topic in the spaces between Dance, Theater, Philosophy, and Education, in order to contribute to the elaboration of other thoughts on artistic and pedagogical experience of dance improvisation. We have found on José Gil and Gilles Deleuze philosophy, conceptual landscapes that help us to think the creative conjunction of improvisor and dance.

Corporeity can be shown as an important study element of the relations between individuals, indicating a singular modus for the development of cognitive-affective processes. The aim of this study was to develop a reflection, starting from the analysis of a creative process that involved the realization of a poetic-theatrical experiment, in order to investigate how the dynamics between the word and the subtext were processed, using corporeity as argument for the explanation of the signification process. The thesis that I defend is that corporeity is the element that propitiate the process of signification, and the subtext being the in-between-place of this communication, establishing this dynamic as a pedagogy of the theatrical event. The dramaturgy of corporeity proposes a working way, originating from an intense intimate dynamization between the sensorial, corporeal, affective, aesthetical, esthesical, volitional, synaesthesical and imagery perceptions developed at the moment of the actors’ creative process. The working procedure addressing the dramaturgy of corporeity would also be a methodological alternative for the actors to learn to understand themselves as artists-educators and on how to make their work a potentiator of the link between these two words. In this study, the poetic-theatrical experiment, based on the text Prometheus Chained, by Aeschylus, was carried out as fieldwork, in order to foster the reflexive motes necessary for understanding the moments of aesthetic living, essential to an understanding of how pedagogy of the theatrical event works. With this work, it was possible to elucidate a differentiated way of operating the cognitive-affective processes, which occurs through the relations of corporeity. This fact made it possible to establish a singular means of educational, cognitive-affective processes, detached from traditional meanings in the field of education which usually think of them when focused through cognitive cognitive-encephalic analyzes. Thus, it was possible to observe the experiential relationships that occur during the theatrical event as an important field in the area of education, which has not yet received an explanatory approach as developed in this research.

The scientific and cultural worldview of modernity remains troubled by its neglected and disinherited children: those anomalous and uncanny experiences that violate the canons of positivism and reductive materialism.

But it is precisely the encounter with the anomaly that drives conceptual, theoretical and methodological innovation, those ‘paradigm shifts’ that constitute significant ­ and even, epochal ­ enlargements of our worldview.

Recent calls for the articulation of an ‘ethnography of the invisible’ are guided by a growing recognition of the need to re­-adopt the orphaned children of ethnological research and learn from them what they have to teach us.

Monstrosity and the European Renaissance Man. I explored some publications from Early Modern physicians, as well as some Late Medieval accounts of encounters of monsters, to conclude that monsters and monstrosity have played an important role in managing the relation between categories such as the Natural, the Divine, Man and the artificial, and the distribution of creativity among them. This role was by no means central, but in fact marginal: it was by inhabiting the margins of maps, writings and conceptions that monsters helped to erect the figure of Man as the sole Reader of God.

Entre a miríade de campos de pesquisa em que José Gil se vem debruçando nos últimos anos, o que aqui nos merece particular interesse prende-se com um conjunto de escritos consignados ao tema do “retrato”. Talvez a sua pedra angular assente na defnição mesma de “retrato” como construção de um “eterno” enquanto obsessão estético-metafísica em sobreviver realmente à morte, na justa medida em que este suspende o tempo, torna presente a ausência, “ressuscita” o modelo morto, porque o fxa numa imagem “viva”. Foi em particular esta formulação que motivou a presente entrevista que o Professor José Gil muito amavelmente nos concedeu. Mas mais do que insistir na fxação de uma determinada noção, afrma-se aqui a necessidade de repensá-la, especialmenteno quadro das proundas mutações preconizadas pela arte contemporânea no que ao retrato dizem respeito. Foram abordadas questões da máxima relevância relativamente ao actual debate sobre a temática, e que, de modo muito esquemático, perspectivam criticamente, por exemplo, os motivos da impossibilidade de, hoje, se poder retratar segundo os postulados do retrato clássico, os efeitos da queda da“velha metafísica do Eu, único e idêntico a si mesmo”; as desestruturações avançadas pelo pensamento em torno da Teoria do Género; a desmontagem moderna e contemporânea do retrato; e as vias que, por seu turno, apontam para a sua “reinvenção” na viragem do milénio.

"We want  to describe and understand the nature of mediation created by new media . To understand this change , we base our work on authors such as Carl Jung and Gilbert Simondon . This is a recent area of ​​research focused on new cultural objects created by new communication technologies . The New Media Studies are concerned with the cultural and paradigmatic aspects activated by all forms of computing , not just the network in its social dimension as it happens , in large part , on studies of cyberculture and also in semiotic studies that emphasize the discursive dimension . The unique aspect of the approaches of Carl Jung and Gilbert Simondon is to think about the new mediations between culture and the material side of computing through the concept of individuation . At the end of the text , it is suggested , based on Gilles Deleuze and José Gil , auxiliary notions of agency and captures as an individualtion proces present in mediations of the new digital medium.

Pretende-se descrever e compreender a natureza da mediação criada pelos novos media. Para entender essa mudança, vamos basear o nosso trabalho em autores que inspiram os New Media Studies tais como Carl Jung e Gilbert Simondon. Esta é uma área recente de investigação centrada nos novos objectos culturais criados pelas novas tecnologias de comunicação. Os New Media Studies estão preocupados com os aspectos culturais e paradigmáticos activados por todas as formas de computação, e não apenas pela rede na sua dimensão social como sucede, em grande parte, nos estudos da cibercultura e igualmente nos estudos semióticos que acentuam a dimensão discursiva. O aspecto original das abordagens de Carl Jung e Gilbert Simondon consiste em pensar as novas mediações entre a cultura e o lado material da informática através do conceito de individuação. No final do texto, sugere-se, a partir de Gilles Deleuze e José Gil, noções auxiliares de agenciamento e captura como individuações presentes nas mediações dos novos media digital.
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A personal text where the artist reflects on being part of a recently created artist's association, along with his biographic stories, in a particular tense moment for Portuguese culture, where the coronavirus pandemic revealed fragilities on all communities.

Mainstream contemporary phenomenology understands the phenomenology of movement and dance through ”the lived body” of Merleau-Ponty. This paper rather suggests a phenomenology of movement and dance based on an understanding through ”the danced body” with ability to meta-feeling. It is here argued that we need to use a phenomenology of dance to understand the phenomenon of movement whatsoever. Three dimensions of our bodily dance experience are described: “the body’s centre”, “the danced body” and “the room of the dancer”. A discriminating distinction between eight types of movement experiences is proposed.

To search for Lucio Cardoso and his masterpiece CHRONICLE OF THE MURDERED HOUSE ((https://www.openletterbooks.org/products/chronicle-of-the-murdered-house) )  is to search for a genealogy of destruction, catatrophe and decadence from today to Modernism through a queer and melancholic historiography

Crônica da Casa Assassinada ((https://www.record.com.br/produto/cronica-da-casa-assassinada/)

The aim of this paper is to analyse the concepts used by Gilles Deleuze and Félix Guattari in their elaboration of the notions of plane of immanence and processes of subjectification, which are connected through a complex interrelationship. More specifically, the essay proposes to cross the concept of 'diagram', which Deleuze inherited from the thought of Michel Foucault, with the concept of a life, singular and impersonal. To this end, an argument is made for a concept that can be called the virtual body, where this is understood as something other than a biological or social body, even if this difference remains inscribed within them. Since by virtual body what is intended is not something that someone is – which means it isn't a essence – but something that someone 'owns', it can also be used to think the subject outside the limits of ontology.

Artigo de Fernanda Dechatnek publicado na revista Cadernos PetFilosofia, "Filosofia e Ativismo", 2020, vol. 18, No 2. Disponível em: https://revistas.ufpr.br/petfilo/issue/view/3005/showToc
Resumo: Procuramos explorar o potencial das criações humanas visando dar algum prospecto para a questão da entropia e sua irreversibilidade de acordo com as definições da termodinâmica. Para tanto, seguindo a relação de ordem e desordem que explicam a entropia em Erwin Schrödinger, traça-se uma comparação entre os tipos de criação e quais caminhos elas podem tomar em via de acelerar ou retardar a morte térmica do Universo. A partir disso, em via de explorar melhor a atividade neguentrópica da criatividade, utilizando como apoio o artigo de Monique Allain, relaciona-se o modo como a arte consegue ressaltar essa atividade afastando-nos da irreversibilidade do sistema. Neste ponto, o rumo tomado para explicitar a atuação artística são as técnicas de dança dos coreógrafos contemporâneos Pina Bausch e Merce Cunningham, tendo como base a apresentação de ambos pela perspectiva filosófica de José Gil.

Book review: Written by Portuguese philosopher José Gil, this book title aims to be an introduction to the work of French philosopher Gilles Deleuze (1925-1995). I highlight that this book is a valuable introduction to Deleuze encouraging architects and urban planners to read and get inspiration from his work.

Reflecting on the present situation of the Portuguese society, the philosopher José Gil diagnosed what he called the «non inscription» phenomenon. «Non inscription» describes a way of being that doesn’t seem to really value anything. People seem to live as if nothing really happens. And if nothing really happens, then there is no responsibility; then nothing influences life. One can continue like nothing happened. «Non inscription» is a gap between what we think and feel and reality itself. Perhaps this is not exclusively a Portuguese social pathology, but a weakness in modern societies. Where this occurs, no true value reconstruction seems to be possible, because that seems to demand a cultural «inscription» of events. (1. J. Gil: the «non inscription» phenomenon; 2. Social and moral consequences of «non inscription»).

O cineasta português João Canijo tem, desde "Sapatos Pretos", de 1998, cartografado o território português, através de filmes que pesquisam a vida interior das famílias em contextos diversificados. Com uma estrutura narrativa que segue o mesmo padrão, o realizador explora a violência como resultado de um trauma familiar, em que a posição da mulher é constantemente desafiada. Este texto pretende analisar esta problemática, em confronto com a discussão sobre uma representação cultural da identidade nacional e a confirmação de um discurso sobre Portugal, no interior destas narrativas, que remonta a uma ideologia salazarista. Para além disso, argumenta-se sobre a alteração gradual do paradigma estilístico da obra do realizador, culminando numa análise de "Sangue do Meu Sangue" e a sua eminente estética realista.

Este ensaio se propõe a introduzir o ponto de partida de meu próximo projeto de pesquisa Afectos Pictóricos. Para tanto apresentarei o que tem sido chamado de virada afetiva, o conceito de afecto que uso e como afecto pode ser encenado. Talvez isto abra uma perspectiva distinta de entender vários filmes feitos por uma nova geração de diretores conhecido como Cinema Pós-Industrial (MIGLIORIN, 2012a), Cinema de Garagem (IKEDA e LIMA, 2011 e 2012) ou Novíssimo Cinema Brasileiro. Pretendo fazer uma leitura que articule a experiência do leitor e as imagens bem como cinema e pintura na procura de uma encenação de afetos. No fim, analisarei Transeunte (2010) de Eryk Rocha através da encenação do caminhar como gesto, o rosto e o espaço.

This paper is part of an initial exploration of concepts as part of my plan for post-doctoral research. Aims to contribute to a better understanding of phenomena of the technologies of communication and perception, focusing particularly on the screens in situations of social-networking. More precisely, to know these new processes that have the support the new media in their additive effects related to perception. A work that relies on the collaboration of an informal network of researchers around the concept of screen-image, which includes members of the Center for Research of Communication and Society from University of Minho and the University Lusophone (Lisbon).

This article is part of an initial exploration of concepts as part of my plan for post-doctoral research. Aims to contribute to a better understanding of phenomena of the technologies of communication and perception, focusing particularly on the screens in situations of social-networking. More precisely, to know these new processes that have the support the new media in their additive effects related to perception. A work that relies on the collaboration of an informal network of researchers around the concept of screen-image, which includes members of the Center for Research of Communication and Society from University of Minho (Portugal) and the University of Lusophone (Lisbon, Portugal).