Jardim-semente e reverberações: uma docência pela singularidade

Abstract

This thesis deals with engendering possible ways to think about teaching based on what touches and affects this teacher/researcher/image collector in the midst of preparing audiovisual essays. These non-linear, moving essays explore the conception, hybridization and production of videos. The encounter with the images and what may come to light in this writing is enhanced, in order to put into action the agencies produced in this plural space of education, in order to contribute to the production of singularities in the educational field. Images of gardens that become worlds of passages or transitions, which concern the minutiae, details of the gardens and many other life encounters. These worlds, which permeate the body, make continuous connections with teaching and life. The following question then arises: What are the reverberations of the seed garden in the midst of teaching through singularity? Questions never cease to provoke people to think about research. It's punching the walls, causing ruptures, finding vents, lines of escape, creating opportunities for folds. This research is thought of as a path that seeks openings for an education that focuses on the strength of what is singular, contradicting the acceptance of what is already established, and that also gives importance to the potential of the image in this process. It is along this path that this research follows and is inserted. Part of the materiality of the research is the process of creating audiovisual essays with contributions from the ‘brand diary’. The investigation uses theorists such as Gilles Deleuze (1983, 1988-1989, 1991a, 1991b, 1992, 1996, 1999, 2002, 2005, 2006, 2011), Félix Guattari and Suely Rolnik (2010), Gilles Deleuze and Félix Guattari (1996a , 1996b, 1996c, 1997), Michel Foucault (1999, 2006, 2017), Jorge Larrosa (2002, 2003, 2004, 2011, 2015), Tatiana Salem Levy (2011), highlighting the concepts of singularity, outside experience and gleaning . The method adopted was biographematics, as it allowed the movement of the problems rehearsed during the production of images. ‘Marcas’ and ‘gleaning’ are two important words for study, as they relate to what moves this teacher/researcher/image collector and which interferes both in the construction of writing and in audiovisual production. As results of this research, the connections, experiments and affections produced in the research process in the midst of teaching and transpositions of its borders stand out. With this study, the reverberations of teaching production were provided as a subject who embraces the possibilities of singularizing his space by developing new meanings for his journey, that is, there is always something different happening at all times that leads to a reinvention of ways of be a teacher.