Vol. 14 No. 30 (2024): Jan-Abril

View Vol. 14 No. 30 (2024): Jan-Abril
Published: 2024-04-01

Full Issue

Dossiê

  • Apresentação ao Dossiê Memória, techné e demora

    Carlos Henrique Falci, Mariana Petry Cabral, Alexandre Romariz Sequeira
    1-10

  • From Snapshot to Anachrony Photography as a Tool of Delay in the Production of a Melancholy of the Present

    Taila Idzi, Maria do Carmo De Freitas Veneroso
    11-41
    DOI: https://doi.org/10.35699/2238-2046.2024.48805

  • The Sketch is a Time’s Scrawl

    Renata Froan, João Vilnei de Oliveira Filho
    42-58
    DOI: https://doi.org/10.35699/2238-2046.2024.48718

  • Time Crossings in Scientific Research Between the Objectivity of Deadlines and the Subjectivity of Knowledge

    Luis Mauro Sá Martino, Ângela Cristina Salgueiro Marques
    59-85
    DOI: https://doi.org/10.35699/2238-2046.2024.48799

  • Tradition and Innovation Teaching Experience and Artistic Exploration of Crochet Through Computing

    André Luiz Silva, Soraya Aparecida Alvares Coppola
    86-109
    DOI: https://doi.org/10.35699/2238-2046.2024.48572

  • Uncertain insights

    Diego Belo
    110-130
    DOI: https://doi.org/10.35699/2238-2046.2024.48669

  • Women, Wind and Geo-graphy

    Elisa Rezende Quintero
    131-145
    DOI: https://doi.org/10.35699/2238-2046.2024.48803

  • Gabriela Mureb Totem and Engine

    Vinicius Portella Castro
    146-162
    DOI: https://doi.org/10.35699/2238-2046.2024.48796

  • About Art, Technique and Time Ritxòkòs

    Cássia Macieira
    163-179
    DOI: https://doi.org/10.35699/2238-2046.2024.48682

Articles - Open section

  • From the Problem of Space to Criticism of Representation Approaches Between Carl Einstein and Antonin Artaud

    Cássio Gulherme Barbieri
    180-206
    DOI: https://doi.org/10.35699/2238-2046.2024.48040

  • Ways of Making (Art) The Designer-like, the Montage Maker, the Proposer

    Artur Correia de Freitas
    207-232
    DOI: https://doi.org/10.35699/2238-2046.2024.48106

  • Reinvention of a Gesture Drawing and Its Origins

    Flávio Roberto Gonçalves
    233-246
    DOI: https://doi.org/10.35699/2238-2046.2024.47874

  • Biocultural Memory as a Sign in the Art of the Brazilian Amazon

    Elloane Carinie Gomes e Silva, Bruno de Oliveira da Silva
    247-271
    DOI: https://doi.org/10.35699/2238-2046.2024.45357

  • The Graffiti on Belém’s River (PA) The Visual Sign of Art on Combu Island

    Will Montenegro Teixeira, Lucilinda Ribeiro Teixeira, José Ferreira Junior
    272-309
    DOI: https://doi.org/10.35699/2238-2046.2024.45234

  • This Life is a Carnival The Dialogue Between the Teatro da Madrugada by Carlos Machado and the Revelry of Rio de Janeiro

    Maximiliano Marques, Felipe Ferreira
    310-337
    DOI: https://doi.org/10.35699/2238-2046.2024.48019

  • Pathways of Poverty and Inequality Art as an Instrument of Resistance

    Hemetério Araújo, Solonildo Almeida da Silva
    338-378
    DOI: https://doi.org/10.35699/2238-2046.2024.48205

  • The Configuration of Tragicity in Blood Wedding Death Stages

    Elisana De Carli
    372-384
    DOI: https://doi.org/10.35699/2238-2046.2024.48430

  • Steven Spielberg’s Technical-Subjective Dialectic Analysis of the Opening Sequence of the Film The Fabelmans (The Fabelmans, USA, 2022)

    Rafael Fava Belúzio
    385-402
    DOI: https://doi.org/10.35699/2238-2046.2024.48143