Set'18 Ars Ludens – Arte, Jogo E Lúdico

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Set'18 Ars Ludens – Arte, Jogo E Lúdico ISSN 2183–6973 REVISTA DE CIÊNCIAS DA ARTE N.º6 | SET'18 ARS LUDENS – ARTE, JOGO E LÚDICO ISSN 2183–6973 REVISTA DE CIÊNCIAS DA ARTE N.º6 | SET'18 ARS LUDENS – ARTE, JOGO E LÚDICO Convocarte – Revista de Versão digital gratuita Ciências da Arte convocarte.belasartes.ulisboa.pt Revista Internacional Digital com Comissão Científica Editorial e Revisão Versão impressa de Pares loja.belasartes.ulisboa.pt N.º6, Setembro de 2018 Gabinete de Comunicação e Imagem Tema do Dossier Temático Isabel Nunes e Teresa Sabido Ars Ludens – Arte, Jogo e Lúdico: A Arte (+351) 213 252 108 como Jogo? / L'art comme jeu? / Art as [email protected] play, art as game? Desenho Gráfico Ideia e Coordenação Científica Geral João Capitolino Fernando Rosa Dias Apoio à edição digital Coordenação Científica do Dossier Ricardo Vilhena, Paulo Santos e Temático N.º 6 e 7 − Ars Ludens – Arte, Tomás Gouveia (FBAUL) Jogo e Lúdico Pascal Krajewski Créditos capa N.º 6 Benedetto Buffalino Periodicidade Créditos capa dossier temático N.º 6 Semestral Honoré Daumier, Les Joueurs d’échecs (1863), Paris, Petit Palais Edição FBAUL – CIEBA Produção Gráfica (Secção Francisco d´Holanda e Área de inPrintout – Fluxo de Produçao Gráfica Ciências da Arte e do Património) Tiragem Depósito Legal 150 exemplares 418146/16 Propriedade e Serviços ISSN Faculdade de Belas Artes da 2183–6973 Universidade de Lisboa (FBAUL) Centro de Investigação e Estudos em e-ISSN (Em linha) Belas Artes (CIEBA), secção Francisco 2183–6981 d’Holanda (FH), Área de Ciências da Arte e do Património (gabinete 4.23) Plataforma digital de edição e contactos Largo da Academia Nacional de Belas convocarte.belasartes.ulisboa.pt Artes, 1249-058 Lisboa [email protected] (+351) 213 252 100 belasartes.ulisboa.pt Conselho Científico Editorial e Pares Membros Honorários do Conselho Académicos − N. º6 Científico Editorial (Honorary Advisory Member of the Editorial Scientific Board) Interno à FBAUL Michel Guérin – Professeur Émérite UAM Cristina Azevedo Tavares — FBAUL/CFCUL James Elkins – SAIC Cristina Pratas Cruzeiro – FBAUL/FCSH-NOVA Eduardo Duarte — FBAUL/CIEBA-FH Abreviaturas Fernando António Baptista Pereira – ABCA - Associação Brasileira de Críticos FBAUL/CIEBA-FH de Arte Fernando Rosa Dias — FBAUL/CIEBA-FH CECC/UCP – Centro de Estudos em Margarida Calado — FBAUL/CIEBA-FH Comunicação e Cultura da Universidade Católica Portuguesa Externo à FBAUL CFCUL – Centro de Filosofia das Ciências Angela Ancora da Luz – UFRJ da Universidade de Lisboa António Quadros Ferreira – Professor CIEBA – Centro de Investigação e Emérito da FBAUP Estudos em Belas Artes António Trinidad ESAD.CR – Escola Superior de Arte e Delinda Collier – SAIC Design das Caldas da Rainha Isabel Nogueira – UC FBA-UGR – Faculdad de Bellas Artes, Joana Cunha Leal — FCSH-NOVA Universidad de Granada Jorge Martins Rosa – UNL FBAUL – Faculdade de Belas Artes da José Francisco Alves – Membro de Universidade de Lisboa ICOM e AICA FCSH-NOVA – Faculdade de Ciências Juan Carlos Ramos Guadix — FBA-UGR Sociais e Humanas da Universidade Mário Caeiro – ESAD.CR/LIDA e CECC/UCP Nova de Lisboa Mark Harvey – UA (NZ) FH – Secção Francisco d’Holanda do Pascal Krajewski – CIEBA CIEBA Pedro Roxo – UNL ICOM – Conselho Internacional de Raquel Henriques da Silva — FCSH-UNL Museus (Brasil) Rita Macedo — FCT-UNL SAIC - School of the Art Institute of Sylvie Coellier – UAM Chicago Martin Patrick UFRJ – Professora da Universidade Julienne Preston Federal do Rio de Janeiro UA (NZ) – University of Auckland (New Zealand) UAM - Université d'Aix-Marseille Índice CONVOCARTE N.º 6: — 056 — 188 A LUDENS –ARTE, JOGO E LÚDICO L'enjeu de l'art Se... na intensidade do «Ápice» | ARS LUDENS : L'ART, LE JEU ET — Pascal Krajewski — Annabela Rita LE LUDIQUE | ARS LUDENS: ART, GAME AND PLAY — 069 — 199 The Game Show: exposição Los juegos de naipes. — 007 como experiência de Evolución estética y técnica. EDITORIAL coletividade, consonância e — Bethania Barbosa devir — Marcia Vaitsman — 215 O jogo nos exercícios de — 015 — 089 desenho (notas sobre um DOSSIER TEMÁTICO – A ARTE The Games we (may) Play: contrato oculto) COMO JOGO? | L'ART COMME from Pullllllllllllllllll to Lethes Art — Philip Cabau JEU? | ART AS PLAY, ART AS — Isabel Nena Patim GAME? — 230 — 118 Atividade lúdica como factor — 016 Hôtes de intervenção pedagógica Introdução — Charlotte Serrus — Ana Maria Pessanha — Pascal Krajewski e Fernando Rosa Dias — 130 — 250 «Las Meninas» de Velásquez. A experiência do lugar do — 025 O jogo de personagens, a livro jogo em contexto de Ensaio Visual obra, o artista, o espetador, educação artística — Xana no circuito da simulação — Ana Serra Rocha — Vasco de Brito Costa Mendes Lopes — 032 Ensaio Visual — 150 — Bufalino Benedetto Le Monde comme un Tableau — 261 (Texto de Mário Caeiro) — António Quadros Ferreira CONSELHO CIENTÍFICO EDITORIAL E PARES ACADÉMICOS — 043 — 177 Le jeu dans l'art: la liberté au Narrativas de Carlos Farinha: risque de la vacuité ? semântica e paixão de pinta — Michel Guérin — Mendo Castro Henriques — 264 PROCEDIMENTOS E ORIENTAÇÕES DE PUBLICAÇÃO Editorial «Que mais que um ludo ou jogo é a extensa vida, Em que nos distraímos de outra coisa — Que coisa, não sabemos —; Livres porque brincamos se jogamos, Presos porque tem regras todo jogo; Quem somos? quem seremos? Feliz o a quem surge a consciência Do jogo, mas não toda, e essa dele Em o saber perdê-la». (Ricardo Reis / Fernando Pessoa, 27-10-1932) «Le jeu est le principe de tous les arts» (Anatole France, Le livre de mon ami, 1885) ara estes números Convocarte mantém os seus princípios enquanto revista científica no campo das artes que procura salvaguardar a tradi- P ção dos funcionamentos científicos e intelectuais das artes e humani- dades, expostos e defendidos em editoriais anteriores, dos quais destacamos: a abertura a uma pluralidade de línguas de dimensão europeia, num apelo aos autores para escrever os ensaios nas suas línguas de base cultural, no su- posto que a reflexão não deve trair a sua própria língua; uma revisão de pares que estimule o diálogo e o debate crítico de ideias, e não a suposição de um CONVOCARTE N.º 6 — EDITORIAL CONVOCARTE plano de rigor e autoridade científica indiscutíveis; ou a exigência de rigor na exposição de factos e no uso de conceitos em função de uma intensificação da reflexão das questões, que forneça novas e fecundas perspectivas. Com tais princípios, Convocarte assume o ensejo de partilha e discussão de temas entre investigadores de vários locais, não em função de uma globalização de mesmidade, mas a partir das diferenças e das possibilidades de uma plura- lidade de perspectivas – na linha do perspetivismo de Nietzsche. Apenas su- blinhamos o rigor na argumentação de cada perspectiva que fundamenta os textos, tal como na dimensão documental e iconográfica que os acompanha. As imagens são importantes como documentação, e como tal integradas na composição de página com o texto. Apenas nos ensaios visuais, que expõem um plano criativo que solicitamos directamente a artistas pládticos, e que se apresentam como uma espécie de prelúdio aos ensaios, assumimos a dimen- são integral e dominante da imagem. Por outro lado, fazendo a sua apuração científica com as leituras da Comissão Científica, aConvocarte confia na deontologia dos autores, que apresentam trabalhos originais e que indicam segundo normas as fontes consultadas. 8 Qualquer situação de plágio ultrapassa a deontologia em que Convocarte deseja funcionar e a confiança que deposita nos autores. AConvocarte indi- ca devidamente todos os casos de textos sem revisão de pares (peer review), tal como as situações em que não são originais, mas que foram consideradas boas contribuições para os temas, tendo já apresentado alguns casos nos nú- meros anteriores, sobretudo traduções para a língua portuguesa. Para estes números (nº6 e 7) dos trabalhos de 2018 a revista Convocarte abor- dou a questão lúdica Inspirada na noção de Homo Ludens de Huizinga, pro- pomos uma Ars Ludens, assumindo-a enquanto dimensão humana que atra- vessa as culturas e as produções artísticas. Apesar de nos interessar trabalhar ambas as dimensões em conjunto, defendemos que lúdico e jogo, apesar da proximidade, não são a mesma coisa. O jogo é o instrumento através do qual se manifesta a dimensão lúdica. Mas o jogo pode ter outros efeitos negativos, mais nocivos que não se ajustam à ludicidade, ou até ser seu antónimo. Se o jogo pode também ser vício e derrota, a ludicidade liberta-se enquanto efeito de prazer e de diversão. O jogo é o plano de regras e de objetivos, enquanto palco alternativo às normas da nossa realidade, no interior do qual a ludici- dade se experimenta. Diríamos que o lúdico é o lado bom e prazenteiro do DIAS FERNANDO ROSA efeito do acto de jogar. Mas o lúdico não é exclusivo do jogo. O brinquedo é outro dos seus instrumentos e o brincar outro dos seus verbos privilegiados – e nem sempre brincar e jogar coincidem, porque uma acção apela ao en- tretimento e outra à competição. Apesar das fusões etimológicas, consoante as línguas e suas tradições, as proximidades entre estes termos (lúdico, jogo ou brincadeira) acabam por apresentar nuances a distinguir. Dois autores se destacam no estudo do estudo do jogo e do lúdico. Johan Hui- zinga com Homo Ludens (1938), cuja leitura antropológica procura entender a dimensão lúdica como um primado humano, e um elemento fundador das culturas e das civilizações. E Roger Caillois com Jeux et les Hommes (1958), cuja vertente mais sociológica procura entender as relações entre o humano e o jogo, em afectação mútua, procurando definir e classificar os jogos. Com derivações da Cartas sobre a Educação Estética do Homem de Schiller, o estudo de Huizinga pretende entender «o jogo como elemento da cultura» (e não «na» cultura, como sublinha no seu prefácio), pois trata-se de avaliar o lúdico como questão cultural, ou «determinar até que ponto a própria cul- tura possui um caráter lúdico».
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