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Presença que não se Faz Só: potências de afeto no ato de com-por entre corpos ; Presence in Art as Something that is not there by Itself: the affect potencies in the act of com-position between bodies ; La Présence ne se fait pas tout Seule: la puissance de l’affect dans l’acte de composition entre les corps

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This paper was not found in any repository; the policy of its publisher is unknown or unclear.

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Abstract

Este texto apresenta uma abordagem da presença do artista como relação, propondo um olhar sobre o corpo e sobre o deslocamento da noção de presença como uma atribuição prévia do artista, possibilitando a atenção ao que emerge no encontro entre corpos, no aqui e agora. O público é considerado como interlocutor ativo e o artista como aquele que deixa de protagonizar para com-por (por-se com) o espectador, como uma presença-convite, porosa, por meio de uma escuta apurada às configurações do ambiente. Uma articulação entre referências da arte, da filosofia, da antropologia e das ciências cognitivas permite que as diferenças entre presença impositiva e presença partilhada se evidenciem. ; This text presents an approach to the artist presence as a relation by offering a perspective about the body, and also the shift of presence as a non prior assignment from the artist, which allows us to bring attention to what emerges in the encounter between bodies in the here and now. The audience is considered an active partner and the artist is understood as the one that ceases starring to compose (add-with) the viewer, becoming a porous invitation-presence by an accurate perception practice of the environment settings. This combination of art, philosophy, anthropology and cognitive sciences references allows that the differences between an imposing presence and shared presence become apparent. ; Cet article présente une approche à la présence de l’artiste comme une relation en offrant un regard sur le corps et le déplacement de la notion de présence en tant que attribution antérieure de l’artiste, ce qui permet l’attention sur ce qui émerge dans la rencontre entre les corps dans l’ici et le maintenant. Cette étude prend en considération le public comme un interlocuteur actif, et l’artiste ne serait plus le protagoniste de la com-position (position avec) le spectateur, L’artiste est une présence-invitation, poreux, au moyen d’une écoute attentive de ce qui apparaît dans l’expérience. Une combinaison de références de l’art, de la philosophie, de l’anthropologie et de les sciences cognitives met en évidence les différences entre la présence imposante et la présence partagée.