In recent decades, the training of Visual Arts teachers has been crossed by socio-cultural demands resulting from advances in the conquest of rights for groups that have long been left on the margins. For example, access to visual arts studies in hospital classes, in schools that serve young offenders and in Specialized Educational Service (AEE) adressed to high abilities/ giftedness students. This Research Project was designed with reference to the study by Nogueira (2021) which deals with Specialized Educational Service (AEE) offered to students with High Abilities/Giftedness (AH/SD) and the effects of AEE on entry into the higher education course . AEE is a free supplementary service, offered in Resource Rooms, organized by specific areas. For the study presented here, the Resource Rooms chosen are those that are part of the network of the State Department of Education of the Federal District (DF) in several Administrative Regions of the DF. Among which, it focused on Specific Resource Rooms - Visual Arts. The research question that guides the study is: To what extent do the teaching and learning processes promoted in the Visual Arts Resource Rooms of basic education reflect on the entry into the undergraduate course by students with AH/SD who graduated from AEE? To answer it, the following general objective was defined: Analyze the relationship between the supplementary education promoted by the AEE, via the Specific Resource Room – Visual Arts, and the entry into higher education by students with AH/SD in the area of Art or in related areas. And the following specific objectives (a) Verify the perceptions of graduates about educational supplementation and curricular enrichment in the teaching and learning processes offered by the Visual Arts Resource Room and the contributions of supplementation and processes for the entry of a higher education; and, (b) Analyze the effects of educational supplementation promoted by AEE, via the Specific Resource Room – Visual Arts, on admission to higher education in the area of Art or related areas. The methodological design was outlined by the assumptions of the qualitative approach with the use of the questionnaire instrument, applied by Nogueira (2021) with adaptations, and semi-structured interview procedures. It is expected that the results of this study can contribute to the initial training of visual arts teachers to work in basic education and to the increase in after-school care for resource room graduates, especially when they enter higher education courses in the area in question, or similar ones.

This research arises from the desire to establish a poetic relationship with the landscape of my city, Itapoã. From this starting point, I investigate the geographical limits and urban spaces of Itapoã in terms of their possibilities of influencing artistic practice in comparison with the planned space of Brasília's pilot plan. The text begins with the search for a deeper understanding of the architecture of Itapoã, seeking to explore its forms and reimagine them in dialogue with the spatiality of the capital, Brasília. The objective is to conduct a poetic-aesthetic study, collecting images and materials to serve as creative vectors for sculptural works of art, inspired and, at times, based on local constructive principles. Throughout the thesis, terms such as "white cube", "framework" and "construction/deconstruction" are frequently used to offer theoretical support to the research and to guide the poetic arrangement of the chapters. Likewise, these metaphors also aim to help understand the expansion of pictorial space and promote debate about the borders between cities. Finally, I explore some interventions in the spaces of Brasília and discuss how these sculptural intervention practices allow us to recover lost habits from direct experience, in addition to creating tensions in controlled spaces

About 245 million years ago, around the Permian-Triassic period, a celestial body of large proportions fell to Earth. What remains of it? Its fragments disappeared like dust. But its scar in space lingers for a long time among rivers, mountains, and cities. From the meeting between the star and the ground and between the body and the crater it generated, the cosmic qualities of the landscape can be perceived along with a possible writing of the stars. The artist-researcher then proposes occupying the place of a detective investigator through the collection of clues from this collision by the creation a dossier composed of notes, fragments, and reports.

This research consists of two dissertation-pieces written from real experiences lived by
Diego Bresani. The works aim to investigate and analyze the making of the photographic
portrait when it occurs in radical situations, considering as a central point of their
reflections the portrait as an event of multiple layers, complex relationships that vary
depending on the situation in which it is performed. Two specific situations were
developed in this research. The first theatrical piece, “A dance in the mud”, deals with
the experience that the photographer lived in doing portraits of contemporary Brazilian
Far-right politicians. The second play, “The bark of the dead master”, consists of the
author's report on the experience of photographing the funeral of his master and friend,
theater director Hugo Rodas.

This theoretical-practical research investigates the specificities of places as propelling agents in the realization of works and - in their unfolding - the displacements that occur during the artistic processes, both through technology and through discursive and narrative aspects in reinterpretations of the environment and of those who inhabit them. By establishing relations between the graphication (spelling) of the self-subjectivity) and of worlds (‘otherx’), estrangement, questioning of the self and of what is seen are revealed; alterity is experienced and the construction of heterotopies and places other becomes possible. It is intended to cover how the poetic work, inserted in a specific place, is articulated and defined through its properties, such as those of technological origin, qualities or meanings produced and related between an “object”, a “place” or an “event” and the resulting displacements. The methodology engulfs the appropriation of the concept of site specificity, in the derivative functional site, in an interweaving with Cartography and poetic considerations of chance, used in actions that depart from the specificities and contexts of places through the use of digital technologies. The theoretical contributions of Miwon Kwon, James Meyer, Gilles Deleuze, Félix Guattari and Michel Foucault were fundamental in the elaboration of this dialogue between theory and practice. The dissertation is divided into four parts: the first presents a brief historical context of site specificity and its methodological articulation with Cartography. The second addresses site specificity as the place of subjectivity, while the third is as a space of invisibility, represented by political bodies in the documentary video art Tran-flying, the video-performance There are many layers and the video art piece The Paradise is for everyone. At last, in the fourth part, site specificity is placed in dialogue with nature and the cycles of life and death through the video and animation Samsara and the photographical series Offertory and Body animal.

In this research, the agencies formed in the refuge of children living in the CCBB Occupation, located in Brasília, Federal District, were investigated when this children were forced to the territorial displacement, caused by the eviction action carried out by the Government of the Federal District during the Covid-19 virus pandemic. Ethnography research practices were carried out, in a qualitative and rhizomatic manner, with children and adults in the CCBB Occupation over a year in the research field. The investigation justifies the study of Art, Non-formal Education and Political Activism as possible agencies for the refuge of children. The practice of field research was intermediated by the role of social educator and activist at the Escola do Cerrado (E.C. or escolinha do cerrado), a collective and Association created within the CCBB Occupation by children, their families and social activists. The research aims to question whether the experience in the Occupation of the CCBB, with the Escola do Cerrado and, mainly, with the children linked to these situations can present ways of planning/systematizing educational proposals to act in the emergency refuge of these and other children in analogous situations when their common territories are under threat or conflict and seek support for real problems when dealing with homelessness and forced displacement.

This research takes on everyday representations made by homeless people that live in Universidade de Brasília’s neighbourhood. Anchored in anthropological research and in investigation based in arts I question images as part of the formation of an account and its relation with everyday life tactics. For these purposes I analyze photos taken by the investigation participants together with own notebook, field drawings through diagrams proposed as tools of analisis and production of everyday accounts from the participants and learning and lenguage processes that occurred in the exercise with photography and image.

This work reports on artistic research that has as its object the attempt to create memories, based on the artist's experience of instability due to the constant changes of address in her life. It discusses the ways in which images and/or artmaking can favor the production of an autobiographical memory, derived from the sensation of the body falling. Here, the fall is understood because of instability and at the same time a place for an imaginary journey, in which the intersections and poetic possibilities of the imaginary, memory and displacement will be investigated.

Compiling travelogs, while-walking-texts, diaries, photographs, drawings and maps, ‘In the night that encloses, to walk in the penumbra’ is constituted by the repeated practice of crossing a specific space in the city of Goiânia, inscribed in the Jaó, Santa Genoveva and Jardim Guanabara sectors, since the notably gloomy period of the COVID-19 Pandemic. The research is developed, therefore, through the poetic gesture of walking, a method that allows the investigation of the various layers of this spatiality, which was extracted from its supposed banality. In this sense, the landscape, the urban histories of these and other sites, the artist’s memories, raised during the experience with the path, and everyday events are examined, scrutinizing the ways of walking at night - and also in the days - faced with a panorama of political, social, intersubjective and family instabilities and the persistent anti-democratic threat, which seems to be linked to a recent past.

This dissertation proposes an analysis of cases of itinerant art museums associated with the exhibition 'Esto no es un museo/ Isto não é um museu.' This analysis is constructed through three layers of investigation: the first layer is specifically dedicated to the exhibition act, drawing upon studies of walking as an aesthetic practice (Careri, 2013), institutional critique (Fraser, 2008), and exhibition models articulated by Post-critical Museology (Dewdney; Dibosa; Walsh, 2013). The second layer seeks to map audience dynamics, drawing from Warner's formulations (2016), Audience Studies, and the concept of a 'distributed museum' by Dewdney, Dibosa, and Walsh (2013). The third layer focuses exclusively on cultural mediation, informed by the work of Larrosa (2017), Hoff (2014), and Hoff and Honorato (2018), as well as research in the field of itinerancy, such as Xavier (2012) and Gonzalez (2022). Curated by Martí Peran, the exhibition that defines the sample of cases investigated in this research was held at the Centro Cultural São Paulo (CCSP) in 2015. This exhibition may represent one of the most significant efforts in cataloging mobile artifacts conceived as alternative instruments to the art institution. Consequently, this research aims to contribute to meaningful and potentially broader analyses of itinerancy in the context of visual arts, with a focus on the acts of instituting and mediating in mobile artifacts, which hint at a potential cultural democracy.

The University of Brasília's Sequential Evaluation Program (PAS-UnB), implemented in 1996, is part of the daily lives of many high school students and teachers in the Federal District region. This Master's dissertation follows a narrative research approach with an autobiographical aspect that articulates and unites a theoretical-reflective study on the reverberations caused by PAS-UnB in teaching work. It involves an analysis of the personal journey and the consequences of choices made along this path. Viewing my journey as a teacher, as an individual in a constant learning process within this teaching role, I examine Tardif's propositions (2001, 2014) regarding teaching knowledge and the concept of teaching work as outlined by Tardif and Lessard (2014). I seek to highlight the specificities of knowledge and teachers' own work of the visual arts teachers. Understanding the process of constructing and consolidating the Sequential Evaluation Program applied in the Federal District is crucial. This research aims to explore the state of the art of PAS-UnB, connecting it with episodes from my experience as a student and in practice as a teacher influenced by PAS-UnB.Interwoven with narrative sections, this text is guided by the concepts of teaching autonomy by Contreras (2012), reflective teacher by Schön (2001), delving into the complexity of Liberating Education by Freire (2021), and the construction of the teacher's identity as a historical-cultural subject, based on Vygotsky (2003, 2005). The expectation is to stimulate discussions on these issues, in order to spark discussions on how we can focus pedagogical practice for the sequential evaluation program applied in the Federal District while respecting the pedagogical autonomy of visual arts teachers, prompting a careful look of the intricacies of the pedagogical work within this category.

This practical-theoretical research aims to explore the intersection of art, fashion design, and computational and electronic technologies, with the goal of deepening studies on the development of computational and electronic poetic expressions, supported by textile materiality. Through a transdisciplinary approach that incorporates art in the creation of artistic work, design in the development of a conceptual design product, and computation as a tool and materiality for artifact construction. In this sense, the research aims to contribute to the theoretical and practical development of electronic textile poetic creations in the field of art and technology, through the practical and conceptual exploration of inventive processes within the scope of fashion design and computational art.

The imaginaries and elements that define the identity of social groups are configured from symbolic structures that are products of language, which are disseminated through cultural manifestations, which function as collective memory devices within the semiosphere. This research aimed to analyze how the artistic production of Libia Posada contrasts with the hegemonic discourses on Colombian identity, through the semiotic analysis of the works “Evidencia Clínica (2007)” and “Signos Cardinales (2008)”, generating a reflection from the theoretical-methodological perspective proposed by the Semiotics of Culture. As a result, this analysis is structured into four components: the first deals with
motivation and the research problem as an introduction. The second, evidence the conceptual theoretical delimitations of the thesis in which the concepts of culture, semiosphere, identity and
portrait, are defined, as well as the relationship between art and medicine that is characteristic of the production of the Colombian artist. The symbolic structures that intertwin and define the artist´s poetics ate worked on in the third component, and in the last component reflection are presented that show how Posada´s works question, instigate and cast doubt on the discourses that, about territory, identity, the condition of human, have marked the history of the Colombian people. This process of analysis opens the possibility of thinking about the works as devices for the social recognition of those who have been systematically made invisible, denied, and erased from the social and political history of the country, through the discourses that are born in the institution and are naturalized in the everyday.

This thesis presents an overview of the transformations undergone by animation throughout its history and from the perspective of animation spaces and researcher's memories related to a lifetime of contact with the technique. It seeks to prove the existence of a field belonging to animation and in which, due to technological advances, goes beyond its current condition, giving new meaning to processes such as the state of the spectator, entitled Transanimation. It denotes Transanimation as an expressive tool, close to a poetic manifestation through associations with theories and works and from a research that has as a background, personal experiences related to the conviviality and the deepening of the technique together with its technological developments of the interactive animation and, later, with the human body. The basis was based on the analysis of theorists such as Walter Benjamin, DidiHuberman, André Parente, Sérgio Nesteriuk, Alan Cholodenko, Lúcia Santaella, Donna Haraway and on the artistic and literary works of the artists Zaven Paré, and Suzete Venturelli, among others who developed during the research.

The photographer Zofia Rydet (1911-1997) produced one of the most highlighted works of Polish contemporary art and photography history: Zapis Socjologiczny 1978- 1990 (Sociological Record 1978-1990). In Sociological Record, Ryder sets out to create the most comprehensive photographic register of Polish household life during the period that coincides with the last third of the Polish People’s Republic (1944- 1989). Rydet’s photographs presented in this thesis belong to that record, which is organised according to the cycles of the photographer’s artistic journey. In the discussion of the main research question, photographs from the Ludzie we Wnetrzach (People Indoors) are referenced: pictures of people inside their homes, surrounded by plenty of objects. This research investigates the links between people and their objects, which are always present in the photographs of the Sociological Record, therefore creating an inseparable whole in order to compose a narrative of a country - Poland -, during a specific moment in its history, which spans from the end of the 1960s until the beginning of the 1990s, during which the Sociological Record was conceived and actualized. Photography, art and visual and material culture; time, history and memory emerge throughout the reflections evoked by this research, which bases itself on the historical method, with support from phenomenology and contributions from philosophy, anthropology and sociology. This thesis comprises an introduction, three main chapters and final remarks. Chapter 1 approaches photography as a method for producing images, as well as professionals that employ its techniques in their daily work. Chapter 2 describes Rydet’s personal and professional journey in the context of Europe and Poland, especially during the second half of the 20th century. Chapter 3 is dedicated to studying the Sociological Record, considering the intertwining between character and object, the undertaking of the project, the Polish villages that were photographed, the photographer’s methods and the organization of the collection as an archive. We conclude by presenting the final remarks, followed by the references.

This thesis examines the theoretical frictions between science and poetic thinking within the context of visual arts. It argues for drawing as a poetic, political, and pedagogical instrumental concept, associating it with the notion of survival. However, it strives to distance drawing as much as possible from its anthropo- and logocentric determinations, that is, its reliance on verbal, discursive, and exclusively human language. The author presents a series of visual and textual essays that explore historical, aesthetic, philosophical, and scientific references, as well as personal experiences in art projects, research, and curatorial work. The central aim of this thesis is to demonstrate how drawing can be understood as an open, practical, and categorically heterogeneous instrument that cultivates a non-determining survival of knowledge.

The research sought to analyze the relation between spirituality and materiality in the works and the theory of Wassily Kandinsky (1866-1944), starting from the understanding of the concepts of mimesis and abstraction. This investigation assumes that these two concepts are not theorized by the history of art as universal and, for the artist, are related to the expression of his inner content in matter. To do so, transposing the metaphysics that involves this inner content into the realm of the visible requires an incessant dialog with the ambiguity of matter. In Late Antiquity, the egyptian philosopher Plotinus (203-270 AD) adopted an anti-Platonic stance on art, while Kandinsky, in the first decade of the 20th century, resorted to the traces of Byzantine art and the art of Russian native peoples to establish a syntax of his own. In this investigation, ways of understanding Kandinsky's theoretical and artistic expression are evidenced, considering Plotinus' metaphysics, analyzing images in order to perceive diverse elements belonging to the processes of creation. Thus, it is based on treatises from Plotinus' Enneads, on Kandinsky's textual and visual works, on texts which are used as mediators, such as Johann Wolfgang von Goethe's Doctrine of Colors [1810], and with the current critical fortune of both Plotinus and Kandinsky, which permeate the theme of the research. We seek to establish that there is an understanding in which spirituality acts in an intrinsic way in Kandinsky's artistic and theoretical production. Thus, in three chapters, we intend to scrutinize the syntax formulated by the artist, conjecturing interpretative possibilities for his works, in order to blur the oppositions between mimesis, abstraction, spirituality and materiality. By admitting the deliberately spiritual gaze on the plural associations made by Kandinsky, it will be possible to propose a non-Western look on the Russian artist's works and speculate whether the artist can be considered a Neoplatonist of Modern Art.

"In-between: Exile as a place of invention" is an investigation into a work of poetry carried out in exile and migration, it is a reflection on creation as the work of what emerges from relationships and events during displacement. Having the experience of exile as a power of invention and resistance, the multiple margins of this crossing are the beacons with which the artist draws her map: The wandering body that maps new territories, incorporating the idea of cartography, proposed by Deleuze and Guattari, among others, as a device, which is both theoretical and procedural. The Voice as an inscription embodied in the story that seeks to narrate the experience and tell other stories that go beyond the hegemonic narrative of the world. The act of becoming a sorceress, when the artist puts her sensitive body into operation to open up the forces and act in the world and, finally, the relationship with otherness, the construction of the other's identity as a way of understanding one's own. These categories intertwine and complement each other in the distance travelled, the movement is guided by the song of the sirens.

The Kween of Scotland is a legal entity constituted by norms developed during the Master’s in Visual Arts at the University of Brasília. Based on the observation of some power projects, such as the guilt as a mechanism of racial disaccountability and the sovereignty as an exercise of necropolitics in the global South, I mapped this territory from the maternal inheritance of my surname and inhabited it with Organs that try to control themselves: the Prime Minister (Executive Power), Apostolic Ecumene (Judicial Power) and Venerable Master Mason (Legislative Power). Through institutional (self)criticism and dialogue with other artist-researchers, I propose an experiment of interdisciplinarity between Visual Arts and Law.

This research proposes to investigate how the esthetic experiences fostered, within the Artistic Connection Teaching Project (PECA), contributed to the enhancement  of the critical look and to the stimulation of artistic practice among the student-artists assisted in the High Skills Resource Room and Giftedness (SRAH/SD) from Brazlândia in Federal District (DF) during the pandemic period, through the analysis of students' imagery productions and their dialogue with the works. The artistic productions of these young people are the unfolding of virtual interactions with artists and their pieces in a context of social isolation, in which the project was used as a link to bring together artists from several parts of the country, abroad and students from public school system in DF. For this purpose, the research leans towards dialogue with Paulo Freire (2019; 2020) and Bell Hooks (2017; 2020) in the analysis of the project as a liberating practice and criticality promoting, with authors such as Joseph Renzulli (2004; 2014), Howard Gardner (1995); Ângela Virgolim (2005), Eunice Alencar and Denise Fleith (2001; 2009) who discuss the concept of high abilities/giftedness, based on studies which surround the concepts of experience, presented by Jorge Larrosa (2002; 2021) and John Dewey ( 2010). Such authors are references to the design of dialogic relationships in this research, which chooses A/r/tography as a methodological approach to analyze the creative techniques involving artists, students and my practice as an artist-teacher-researcher referenced by Belidson Dias and Rita Irwin (2013).

In this work-text, we present the creation of 30 “pandemic performance protocols for later”, accompanied by quotations and references in performances and other artistic and non-artistic actions carried out in the city, or not; bringing an affective and personal mapping according to aesthetic approximations of different natures of these protocols with other artists, collectives, works, and actions mentioned, and of the approximations of these protocols among them. We also present a report of one of the protocols carried out. In addition to presenting works and actions that approach, the way they are arranged brings a narrative that translates part of the thinking of this mapping and the construction of knowledge that bases, influence, and provokes it.

Cultural mediation is a field of education in visual arts that mainly acts on museums and is affected by the conflicts and possibilities of that institution. This research comes from the understanding of cultural mediation as an autonomous, critical and creator field of activity. It reflects on the debates surrounding critical mediation, as discussed by researchers such as Mônica Hoff and Carmen Mörsch, and on Carla Akotirene’s concept of intersectional feminism, to think about the possibilities of action on cultural mediation in a context of gender inequality in art and museums to find the field of a feminist cultural mediation and its political-pedagogical role.

Beyond gathering bibliographical research, this dissertation uses experience reports to materialize the experience of cultural mediation in research. This developed into a concept of map-dissertation, through fragmented writing and path-reading as a metaphor of cultural mediation, which has as a proposition, to exercise the poetic-pedagogical research possibilities of this profession.

Lastly, this investigation has found that feminist cultural mediation needs a process of the self and of collective politization, one that develops not only through gender issues in museums, but also through several oppressions and power relationships which determine and influence the art/public/museum dynamic.

This research moves through waters, sometimes sinking, sometimes seeking for air.

The investigations of this work were elaborated in a practical-theoretical path, from sets of essays and poems, implying in daydreams about the word, language, image, observation of objects and collections, these understood as fragments for the construction of a body of work and research.

The current and past writings, what came before and after, the floating pages, the real and imagined images, the post-collected objects in pockets, turns and turns around the same axis and the walk looking for something.

These issues, built between 2020 and 2022, weave the dissertation towards the artist’s relationship with different languages and the artwork itself.

This study investigates the main strategies of the compilation of Sérgio Carvalho’s collection and the mechanisms used by the collector for its promotion. After a theorical investigation regarding a contemporary subject and also the promotion mechanisms of art objects, we hereby present a curatorial discourse that shows and hightlights this path. This study focuses on a contemporary subject from a fragmentary condition seeking relations between the uncanny (das unheimliche) and the ways the artists project themselves in the objects of the collection. Located in Brasília – DF, Carvalho’s collection is composed of more than two thousand and six hundred pieces of art made by two hundred and nineteen contemporary artists (mostly Brazilians), therefore becoming one of the biggest private collection of contemporary brazilian art.  Nowadays, the collection is being institucionalized and, soon, it will be available to researchers and to the public.

The study investigates the interactive perspectives of verbivocovisual poetics in technological
arts based on the embodiment of the user agent, under concepts of the human corporeity in
Merleau-Ponty, the affordances in James Gibson's and the enaction inFrancisco Varella. The
research methodology is based on the phenomenology of cyberception through the analysis of
phenomenological strata expanded and adapted for the context of cyberculture. The research
also presents a summary of the artistic practice carried out during the study and analysis of
works by other artists. Notes are made on issues related to perception and emotional aspects of
bodily interaction with the art technological’s work with verbivocovisual poetics and its affective
interfaces.

This thesis aims to contribute for the conservation of the aesthetic intention of computational artworks. Computational artworks represent a threshold between artistic and scientific activities and that represents a different way of reflecting on the world and on cultural products called technologies. For today's society in which computational processes are increasingly hybridized, with increasingly "natural" interfaces, the computational artworks are the result of the translation of algorithms into a machine language and this is a point of reflection on how we human beings we relate to these codes and translations between our will (intention) and sensory results (computational works of art). Artists who use Programming Languages in their artworks must pay attention to the nature of technology that always walks towards its obsolescence in order to evolve into a new version of itself, this leads us to a problem in historical preservation of the computational work of art that until then has resulted in the loss of many of these works that can no longer be executed on current computers and whose original hardware and software are no longer found. It is up to the artist to be concerned not with technological maintenance, but with the preservation of poetic instruction, that is, we must find a way to make clear the aesthetic intentions of artists with their creations. This thesis presents a suggestion of a protocol for the aesthetic conservation of computational works from historical and ontological reflections that demonstrate the relationship between technologies and the message that each work intends to provide. Therefore, it is divided into two parts: The first one called “What to retain? What to keep?” presents the first three chapters (“A history of Computational Art”, “The Art and Technologies of Information and Computing” and “An ontology of Computational Art”) and aims to reflect on the formative processes of Computational Art and the essence of it, to understand what should be preserved. The second part “How to retain? How to save?” with the fourth chapter (“Experiences in Conservation of Works in Unstable Media”) and fifth chapter (“Protocol for the Conservation of Computer Art Work”), they discuss practical conservation experiences, specific theories for this problem and the presentation of the C7Art model, which receives this name because it is derived from Model C4 but uses a minimum of seven levels and is intended for use in artistic objects. The fifth chapter also presents the tests carried out with the protocol in the EVO_CIRCUITO (Media Lab/UnB) and FUTURE VOICES (SN4TP/UdK) works.

This thesis presents itself as a way of producing materiality, archive, investigation and
epistemological status of interpresence performances intertwined with other theoretical and
artistic references. The questions that motivate this research are: a) What is the interpresence
as an estesiological sensation? b) Is it possible to provoke a sensation of interpresence when
creating performances with the use of devices incorporated on clothes? c) Can technological
devices mediate and amplify the expressive/sensorial capacities of the interpresence in
performance art? These questions lead to the goals of this research: as a general objective, we
chose to investigate the interpresence as an aesthetic notion that is supported by esthetics and
that provokes the creation of performances, in which the performer's body presents itself as an
interface that shares the sensitive in the physical space and in cyberspace; and as a specific
objective, we chose to create performances that incorporate technological devices in clothing as
a potency to feel the interpresence. In this way, the methodology of invention was constituted as
a strategy for the elaboration of the interpresence performances, combining performative
research and Merleau-Ponty's phenomenological method. The data of the study were collected
through notebooks, image files, videos, and cartographic sheets of the performances. Use was
made of appropriation, collage, remix, plagiocombination, and arrastão to create garments that
incorporate technological devices used for the realization of three performance groups created
between the years 2018 and 2022, namely: Group 1) arts performances that seek to reconfigure
bodily presence and non-presence through networked technological devices; Group 2) arts
performances that occupy physical space and cyberspace to constitute interpresence through
the Ministry of Sensible Territories (MITESE); Group 3) art performances that configure
interpresence as an expression of the Sensible State (ESTASE). As a conclusion of the thesis,
it is understood that the interpresence performances that incorporate technological device as a
potency of feeling on the border between physical space and cyberspace offer malleability that
redraws contours between nature and culture, between organism and machine, through an
experience of the performer body as interface, symbiosis, hybridization, interconnection of
sensitive sharing.