{"id":28075,"date":"2026-07-12T16:39:23","date_gmt":"2026-07-12T16:39:23","guid":{"rendered":"https:\/\/www.binauralmedia.org\/news?post_type=avada_portfolio&#038;p=28075"},"modified":"2026-07-12T21:36:23","modified_gmt":"2026-07-12T21:36:23","slug":"arte-rural-dialogica","status":"publish","type":"avada_portfolio","link":"https:\/\/www.binauralmedia.org\/news\/arquivo\/portfolio-items\/arte-rural-dialogica","title":{"rendered":"Lu\u00eds Costa: Arte Rural Dial\u00f3gica"},"content":{"rendered":"<div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-1 fusion-flex-container nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row fusion-flex-align-items-flex-start fusion-flex-content-wrap\" style=\"max-width:1144px;margin-left: calc(-4% \/ 2 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#111;padding:28px 32px 34px}\n.dra-biblio h2{font-family:'Georgia',serif;font-size:1.2rem;font-weight:700;color:#111;margin-bottom:16px}\n.dra-bib-list{columns:2;column-gap:26px;list-style:none;padding:0}\n.dra-bib-list li{font-size:.78rem;line-height:1.5;margin-bottom:8px;break-inside:avoid;color:#2a2a2a}\n.dra-bib-id{font-weight:700;color:#555;margin-right:4px;font-size:.7rem;font-family:'Courier New',monospace}\n.dra-footer{background:#111;color:#aaa;padding:14px 32px;font-size:.77rem;display:flex;justify-content:space-between;flex-wrap:wrap;gap:8px;border-radius:0 0 3px 3px}\n.dra-footer a{color:#aaa}\n.dra-footer strong{color:#fff}\n.dra-svg{display:block;width:100%}\n@media(max-width:640px){.dra-essays{grid-template-columns:1fr 1fr}.dra-bib-list{columns:1}.dra-contrib{grid-template-columns:1fr}.dra-header h1{font-size:1.8rem}}\n<\/style>\n<div class=\"dra\">\n<div class=\"dra-header\">\n<p class=\"dra-header-meta\">Lu&#237;s Gomes da Costa &#183; Investigador Doutoral &#183; Universidade de Aveiro \/ ID+ \/ LiDA &#183; 2023&#8211;2026<\/p>\n<h1><em>Arte Rural<\/em> Dial&#243;gica<\/h1>\n<p class=\"dra-header-sub\">Cria&#231;&#245;es Art&#237;sticas Multimodais entre Lugares, Comunidades e Sentidos Rurais do Sul da Europa<\/p>\n<div class=\"dra-tags\">\n    <span class=\"dra-tag\">Investiga&#231;&#227;o Art&#237;stica Baseada na Pr&#225;tica<\/span><br \/>\n    <span class=\"dra-tag\">ID+ &#8212; Instituto de Investiga&#231;&#227;o em Design, Media e Cultura<\/span><br \/>\n    <span class=\"dra-tag\">LiDA &#8212; Laborat&#243;rio em Design e Artes<\/span><br \/>\n    <span class=\"dra-tag\">Binaural Nodar &#8212; Associa&#231;&#227;o Cultural<\/span><br \/>\n    <span class=\"dra-tag\">Rede Tramontana<\/span>\n  <\/div>\n<\/div>\n<div class=\"dra-kw\">\n  <span class=\"dra-kw-lbl\">Palavras-chave<\/span><br \/>\n  <span class=\"dra-kw-item\">Arte em contexto rural<\/span><br \/>\n  <span class=\"dra-kw-item\">Etnografia audiovisual<\/span><br \/>\n  <span class=\"dra-kw-item\">Arte s&#237;tio-espec&#237;fica<\/span><br \/>\n  <span class=\"dra-kw-item\">Etno-poiesis<\/span><br \/>\n  <span class=\"dra-kw-item\">Cinema expandido<\/span><br \/>\n  <span class=\"dra-kw-item\">Instala&#231;&#227;o interativa<\/span><br \/>\n  <span class=\"dra-kw-item\">Di&#225;logo interlocal<\/span>\n<\/div>\n<div class=\"dra-nav\">\n  <a href=\"#pt-intro\">I. Introdu&#231;&#227;o<\/a><a href=\"#pt-arte\">II. Estado da Arte<\/a><br \/>\n  <a href=\"#pt-quadro\">III. Quadro Conceptual<\/a><a href=\"#pt-metodo\">IV. Metodologia<\/a><br \/>\n  <a href=\"#pt-ensaios\">V. Os Nove Ensaios<\/a><a href=\"#pt-instal\">VI. Instala&#231;&#227;o<\/a><br \/>\n  <a href=\"#pt-contrib\">VII. Contributos<\/a><a href=\"#pt-bib\">Bibliografia<\/a>\n<\/div>\n<div class=\"dra-section\" id=\"pt-intro\">\n<div class=\"dra-sec-hdr\">\n<div class=\"dra-sec-num\">I<\/div>\n<div>\n<div class=\"dra-sec-title\">Introdu&#231;&#227;o: Uma Raiz entre Lugares<\/div>\n<div class=\"dra-sec-sub\">O contexto autobiogr&#225;fico, cultural e institucional da investiga&#231;&#227;o<\/div>\n<\/div>\n<\/div>\n<div class=\"dra-info\">\n<div class=\"dra-info-hdr\">Linha Temporal da Investiga&#231;&#227;o<\/div>\n<div class=\"dra-info-body\">\n<svg class=\"dra-svg\" viewBox=\"0 0 720 68\">\n<defs><marker id=\"pt-a1\" markerWidth=\"6\" markerHeight=\"6\" refX=\"5\" refY=\"3\" orient=\"auto\"><path d=\"M0,0 L6,3 L0,6Z\" fill=\"#555\"\/><\/marker><\/defs>\n<line x1=\"30\" y1=\"32\" x2=\"690\" y2=\"32\" stroke=\"#ddd\" stroke-width=\"2\"\/>\n<circle cx=\"70\" cy=\"32\" r=\"20\" fill=\"#111\"\/>\n<text x=\"70\" y=\"28\" text-anchor=\"middle\" font-size=\"9\" fill=\"#fff\" font-family=\"Arial\" font-weight=\"bold\">2004<\/text>\n<text x=\"70\" y=\"40\" text-anchor=\"middle\" font-size=\"8\" fill=\"#ccc\" font-family=\"Arial\">Regresso<\/text>\n<line x1=\"90\" y1=\"32\" x2=\"188\" y2=\"32\" stroke=\"#555\" stroke-width=\"1.5\" marker-end=\"url(#pt-a1)\"\/>\n<circle cx=\"210\" cy=\"32\" r=\"20\" fill=\"#333\"\/>\n<text x=\"210\" y=\"28\" text-anchor=\"middle\" font-size=\"9\" fill=\"#fff\" font-family=\"Arial\" font-weight=\"bold\">2006<\/text>\n<text x=\"210\" y=\"40\" text-anchor=\"middle\" font-size=\"8\" fill=\"#ccc\" font-family=\"Arial\">Binaural<\/text>\n<line x1=\"230\" y1=\"32\" x2=\"328\" y2=\"32\" stroke=\"#555\" stroke-width=\"1.5\" marker-end=\"url(#pt-a1)\"\/>\n<circle cx=\"350\" cy=\"32\" r=\"20\" fill=\"#111\"\/>\n<text x=\"350\" y=\"28\" text-anchor=\"middle\" font-size=\"9\" fill=\"#fff\" font-family=\"Arial\" font-weight=\"bold\">2023<\/text>\n<text x=\"350\" y=\"40\" text-anchor=\"middle\" font-size=\"8\" fill=\"#ccc\" font-family=\"Arial\">Doutorament.<\/text>\n<line x1=\"370\" y1=\"32\" x2=\"468\" y2=\"32\" stroke=\"#555\" stroke-width=\"1.5\" marker-end=\"url(#pt-a1)\"\/>\n<circle cx=\"490\" cy=\"32\" r=\"20\" fill=\"#333\"\/>\n<text x=\"490\" y=\"28\" text-anchor=\"middle\" font-size=\"9\" fill=\"#fff\" font-family=\"Arial\" font-weight=\"bold\">24&#8211;25<\/text>\n<text x=\"490\" y=\"40\" text-anchor=\"middle\" font-size=\"8\" fill=\"#ccc\" font-family=\"Arial\">9 Ensaios<\/text>\n<line x1=\"510\" y1=\"32\" x2=\"608\" y2=\"32\" stroke=\"#555\" stroke-width=\"1.5\" marker-end=\"url(#pt-a1)\"\/>\n<circle cx=\"630\" cy=\"32\" r=\"20\" fill=\"#111\"\/>\n<text x=\"630\" y=\"28\" text-anchor=\"middle\" font-size=\"9\" fill=\"#fff\" font-family=\"Arial\" font-weight=\"bold\">2026<\/text>\n<text x=\"630\" y=\"40\" text-anchor=\"middle\" font-size=\"8\" fill=\"#ccc\" font-family=\"Arial\">Defesa<\/text>\n<\/svg><\/div>\n<\/div>\n<div class=\"dra-text\">\n<p>Esta investiga&#231;&#227;o emerge de uma vida de experi&#234;ncia vivida entre mundos urbanos e rurais. Nascido de pais que emigraram de uma regi&#227;o rural para Lisboa, o investigador cresceu a oscilar entre duas realidades &#8212; a periferia multicultural da capital e os vales pristinos do rio Paiva em Viseu D&#227;o Laf&#245;es. Em 2004, um regresso deliberado a esse mundo rural conduziu &#224; funda&#231;&#227;o da <strong>Binaural Nodar &#8211; Associa&#231;&#227;o Cultural<\/strong>, que desde ent&#227;o acolheu mais de 175 artistas e investigadores de mais de 20 pa&#237;ses em resid&#234;ncia art&#237;stica.<\/p>\n<p>Ao longo de duas d&#233;cadas de atividade curatorial, art&#237;stica e editorial no Sul da Europa rural &#8212; incluindo projetos em Espanha, It&#225;lia, Uruguai e Brasil &#8212; o investigador desenvolveu um comprometimento sustentado com a complexidade dos lugares rurais: as suas identidades, transforma&#231;&#245;es e afinidades interlocalistas. Esta investiga&#231;&#227;o doutoral em Cria&#231;&#227;o Art&#237;stica (Universidade de Aveiro \/ ID+ \/ LiDA, 2023&#8211;2026) formaliza essa experi&#234;ncia acumulada numa metodologia baseada na pr&#225;tica.<\/p>\n<div class=\"dra-quote\">&#8220;Esta investiga&#231;&#227;o prop&#245;e uma metodologia de investiga&#231;&#227;o art&#237;stica interlocal, baseada na pr&#225;tica, onde a etno-poiesis e o ensaio audiovisual transformam materiais etnogr&#225;ficos em formas sensoriais e relacionais de conhecimento sobre os territ&#243;rios rurais do Sul da Europa.&#8221;<\/div>\n<p>A quest&#227;o central: <strong>como pode a pr&#225;tica art&#237;stica, atrav&#233;s de uma metodologia interlocal e multimodal, captar e tornar vis&#237;veis as rela&#231;&#245;es &#8212; frequentemente invis&#237;veis &#8212; entre lugares rurais geograficamente distantes mas culturalmente afins?<\/strong> <a href=\"#pt-bib\" class=\"dra-cite\">(Borowiecki et al., 2016; MacClancy, 2015; Figueiredo et al., 2011)<\/a><\/p>\n<\/div>\n<\/div>\n<div class=\"dra-section\" id=\"pt-arte\">\n<div class=\"dra-sec-hdr\">\n<div class=\"dra-sec-num\">II<\/div>\n<div>\n<div class=\"dra-sec-title\">Estado da Arte e Antecedentes<\/div>\n<div class=\"dra-sec-sub\">Pr&#225;ticas art&#237;sticas em contextos rurais e di&#225;logo interlocal<\/div>\n<\/div>\n<\/div>\n<div class=\"dra-text\">\n<p>A investiga&#231;&#227;o situa-se na intersec&#231;&#227;o de quatro campos estabelecidos. Na <strong>etnografia sensorial<\/strong>, o trabalho de Pink <a href=\"#pt-bib\" class=\"dra-cite\">(2015)<\/a> e do Sensory Ethnography Lab de Harvard <a href=\"#pt-bib\" class=\"dra-cite\">(Castaing-Taylor, 1996)<\/a> enquadra uma abordagem que privilegia o conhecimento incorporado e multissensorial sobre a descri&#231;&#227;o textual &#8212; reconhecendo que o investigador n&#227;o reivindica o papel de etn&#243;grafo no sentido disciplinar.<\/p>\n<p>A tradi&#231;&#227;o do <strong>ensaio audiovisual<\/strong> como &#8220;forma que pensa&#8221; <a href=\"#pt-bib\" class=\"dra-cite\">(Corrigan, 2011; Rascaroli, 2017)<\/a> &#8212; exemplificada pelo cinema de planos longos de Hutton em <em>Two Rivers<\/em> <a href=\"#pt-bib\" class=\"dra-cite\">(2001&#8211;2002)<\/a> e pela montagem dial&#233;tica de Russell em <em>Good Luck<\/em> <a href=\"#pt-bib\" class=\"dra-cite\">(2017)<\/a> &#8212; modela como os ritmos sensoriais podem evocar conex&#245;es interlocalistas sem apagar a diferen&#231;a.<\/p>\n<p>A <strong>arte s&#237;tio-espec&#237;fica<\/strong> fornece a &#226;ncora paradigm&#225;tica atrav&#233;s da cr&#237;tica de Kwon &#224; expans&#227;o do campo para al&#233;m de um lugar singular <a href=\"#pt-bib\" class=\"dra-cite\">(2002)<\/a>. Por fim, o <strong>cinema expandido<\/strong> &#8212; de Youngblood <a href=\"#pt-bib\" class=\"dra-cite\">(1970)<\/a> a Akomfrah <a href=\"#pt-bib\" class=\"dra-cite\">(2023)<\/a> e ao debate de Bellour sobre a querela dos dispositivos <a href=\"#pt-bib\" class=\"dra-cite\">(2012)<\/a> &#8212; enquadra a transi&#231;&#227;o dos ensaios lineares para a instala&#231;&#227;o interativa.<\/p>\n<\/div>\n<\/div>\n<div class=\"dra-section\" id=\"pt-quadro\">\n<div class=\"dra-sec-hdr\">\n<div class=\"dra-sec-num\">III<\/div>\n<div>\n<div class=\"dra-sec-title\">Desenvolvimento Conceptual<\/div>\n<div class=\"dra-sec-sub\">Dualidade s&#237;tio-espec&#237;fica, etno-poiesis e o ensaio audiovisual como dispositivos epistemol&#243;gicos<\/div>\n<\/div>\n<\/div>\n<div class=\"dra-info\">\n<div class=\"dra-info-hdr\">Dualidade S&#237;tio-Espec&#237;fica<\/div>\n<div class=\"dra-info-body\">\n<svg class=\"dra-svg\" viewBox=\"0 0 500 200\">\n  <circle cx=\"185\" cy=\"100\" r=\"80\" fill=\"#f4f4f2\" stroke=\"#555\" stroke-width=\"1.5\"\/>\n  <circle cx=\"315\" cy=\"100\" r=\"80\" fill=\"#f4f4f2\" stroke=\"#555\" stroke-width=\"1.5\"\/>\n  <clipPath id=\"pt-vc\"><circle cx=\"315\" cy=\"100\" r=\"80\"\/><\/clipPath>\n  <circle cx=\"185\" cy=\"100\" r=\"80\" fill=\"#e0e0de\" stroke=\"none\" clip-path=\"url(#pt-vc)\"\/>\n  <text x=\"154\" y=\"96\" text-anchor=\"middle\" font-size=\"13\" font-weight=\"bold\" fill=\"#111\" font-family=\"Arial\">Lugar A<\/text>\n  <text x=\"154\" y=\"112\" text-anchor=\"middle\" font-size=\"10\" fill=\"#555\" font-family=\"Arial\">PT \/ ES \/ IT<\/text>\n  <text x=\"346\" y=\"96\" text-anchor=\"middle\" font-size=\"13\" font-weight=\"bold\" fill=\"#111\" font-family=\"Arial\">Lugar B<\/text>\n  <text x=\"346\" y=\"112\" text-anchor=\"middle\" font-size=\"10\" fill=\"#555\" font-family=\"Arial\">PT \/ ES \/ IT<\/text>\n  <text x=\"250\" y=\"95\" text-anchor=\"middle\" font-size=\"9.5\" font-style=\"italic\" fill=\"#333\" font-family=\"Arial\">terceiro<\/text>\n  <text x=\"250\" y=\"109\" text-anchor=\"middle\" font-size=\"9.5\" font-style=\"italic\" fill=\"#333\" font-family=\"Arial\">lugar<\/text>\n  <text x=\"250\" y=\"190\" text-anchor=\"middle\" font-size=\"9\" fill=\"#888\" font-family=\"Arial\">&#8592; intervalo relacional &#8594;<\/text>\n<\/svg>\n<\/div>\n<\/div>\n<div class=\"dra-pills\">\n<div class=\"dra-pill\">\n<div class=\"dra-pill-title\">Dualidade S&#237;tio-Espec&#237;fica<\/div>\n<div class=\"dra-pill-text\">Cada obra estabelece di&#225;logos entre dois contextos rurais geograficamente distintos mas culturalmente afins, criando &#8220;terceiros lugares&#8221; nos interst&#237;cios atrav&#233;s de justaposi&#231;&#227;o e parataxe. <a href=\"#pt-bib\" class=\"dra-cite\">(Costa &amp; Duarte, 2025; Baptista, 2016; Kwon, 2002)<\/a><\/div>\n<\/div>\n<div class=\"dra-pill\">\n<div class=\"dra-pill-title\">Etno-poiesis<\/div>\n<div class=\"dra-pill-text\">Transforma&#231;&#227;o criativa de materiais etnogr&#225;ficos em formas art&#237;sticas po&#233;ticas que devolvem ag&#234;ncia est&#233;tica e pol&#237;tica &#224;s comunidades participantes. <a href=\"#pt-bib\" class=\"dra-cite\">(Hymes, 1981, 2003; Gaiger, 2009; Bishop, 2012)<\/a><\/div>\n<\/div>\n<div class=\"dra-pill\">\n<div class=\"dra-pill-title\">Taskscape \/ Paisagem de Tarefas<\/div>\n<div class=\"dra-pill-text\">Os lugares rurais como configura&#231;&#245;es din&#226;micas resultantes da intera&#231;&#227;o cont&#237;nua entre pr&#225;ticas humanas, paisagens, mem&#243;rias e temporalidades. <a href=\"#pt-bib\" class=\"dra-cite\">(Ingold, 2000; Cresswell, 2014)<\/a><\/div>\n<\/div>\n<div class=\"dra-pill\">\n<div class=\"dra-pill-title\">Objetos de Fronteira<\/div>\n<div class=\"dra-pill-text\">Arquivos, mapas, vest&#237;gios materiais e hist&#243;rias orais que funcionam simultaneamente como evid&#234;ncia etnogr&#225;fica e mat&#233;ria-prima po&#233;tica. <a href=\"#pt-bib\" class=\"dra-cite\">(Star &amp; Griesemer, 1989; Groot &amp; Abma, 2021)<\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"dra-text\">\n<p>Esta investiga&#231;&#227;o inscreve-se na investiga&#231;&#227;o art&#237;stica baseada na pr&#225;tica: os quadros te&#243;ricos n&#227;o s&#227;o aplicados externamente como grelhas anal&#237;ticas &#8212; s&#227;o operacionalizados como dispositivos ativos que orientam diretamente o trabalho de campo, a capta&#231;&#227;o audiovisual, a montagem e a instala&#231;&#227;o. <a href=\"#pt-bib\" class=\"dra-cite\">(Barrett &amp; Bolt, 2007; Bolt, 2007)<\/a><\/p>\n<p>O lugar &#233; entendido &#8212; seguindo o <em>Dasein<\/em> de Heidegger <a href=\"#pt-bib\" class=\"dra-cite\">(1927\/1962)<\/a> &#8212; como modo de ser-no-mundo, enquanto Didi-Huberman <a href=\"#pt-bib\" class=\"dra-cite\">(2026)<\/a> garante que a investiga&#231;&#227;o resiste a no&#231;&#245;es de origens fixas: o lugar &#233; din&#226;mico, poroso e relacional.<\/p>\n<div class=\"dra-quote\">&#8220;A pr&#225;tica n&#227;o &#233; a aplica&#231;&#227;o da teoria, mas um modo de pensamento em si mesma.&#8221; &#8212; Bolt, 2007, pp. 27&#8211;34<\/div>\n<\/div>\n<\/div>\n<div class=\"dra-section\" id=\"pt-metodo\">\n<div class=\"dra-sec-hdr\">\n<div class=\"dra-sec-num\">IV<\/div>\n<div>\n<div class=\"dra-sec-title\">Metodologia<\/div>\n<div class=\"dra-sec-sub\">Da etnografia multissituada ao ensaio audiovisual &#8212; uma abordagem emp&#237;rico-po&#233;tica<\/div>\n<\/div>\n<\/div>\n<div class=\"dra-info\">\n<div class=\"dra-info-hdr\">Arquitetura Epistemol&#243;gica &#8212; Investiga&#231;&#227;o Baseada na Pr&#225;tica<\/div>\n<div class=\"dra-info-body\">\n<svg class=\"dra-svg\" viewBox=\"0 0 720 96\">\n<defs><marker id=\"pt-a2\" markerWidth=\"6\" markerHeight=\"6\" refX=\"5\" refY=\"3\" orient=\"auto\"><path d=\"M0,0 L6,3 L0,6Z\" fill=\"#555\"\/><\/marker><\/defs>\n<text x=\"360\" y=\"10\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#888\" font-family=\"Arial\">TODAS AS FASES S&#195;O BASEADAS NA PR&#193;TICA &#8212; A TEORIA TRADUZ-SE EM DECIS&#213;ES CRIATIVAS CONCRETAS<\/text>\n<rect x=\"4\" y=\"15\" width=\"126\" height=\"72\" rx=\"2\" fill=\"#f4f4f2\" stroke=\"#bbb\"\/>\n<text x=\"67\" y=\"40\" text-anchor=\"middle\" font-size=\"8.5\" font-weight=\"bold\" fill=\"#111\" font-family=\"Arial\">PARADIGMA<\/text>\n<text x=\"67\" y=\"55\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#555\" font-family=\"Arial\">Investiga&#231;&#227;o<\/text>\n<text x=\"67\" y=\"67\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#555\" font-family=\"Arial\">Baseada na Pr&#225;tica<\/text>\n<line x1=\"130\" y1=\"51\" x2=\"146\" y2=\"51\" stroke=\"#555\" stroke-width=\"1.2\" marker-end=\"url(#pt-a2)\"\/>\n<rect x=\"148\" y=\"15\" width=\"126\" height=\"72\" rx=\"2\" fill=\"#f4f4f2\" stroke=\"#bbb\"\/>\n<text x=\"211\" y=\"35\" text-anchor=\"middle\" font-size=\"8.5\" font-weight=\"bold\" fill=\"#111\" font-family=\"Arial\">APROXIMA&#199;&#195;O<\/text>\n<text x=\"211\" y=\"50\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#555\" font-family=\"Arial\">Fenomenologia +<\/text>\n<text x=\"211\" y=\"62\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#555\" font-family=\"Arial\">Etn. Sensorial +<\/text>\n<text x=\"211\" y=\"74\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#555\" font-family=\"Arial\">Multissituada<\/text>\n<line x1=\"274\" y1=\"51\" x2=\"290\" y2=\"51\" stroke=\"#555\" stroke-width=\"1.2\" marker-end=\"url(#pt-a2)\"\/>\n<rect x=\"292\" y=\"15\" width=\"126\" height=\"72\" rx=\"2\" fill=\"#ddd\" stroke=\"#666\" stroke-width=\"1.5\"\/>\n<text x=\"355\" y=\"40\" text-anchor=\"middle\" font-size=\"8.5\" font-weight=\"bold\" fill=\"#111\" font-family=\"Arial\">CONHECIMENTO<\/text>\n<text x=\"355\" y=\"55\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#333\" font-family=\"Arial\">Ensaio AV +<\/text>\n<text x=\"355\" y=\"67\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#333\" font-family=\"Arial\">Etno-poiesis<\/text>\n<line x1=\"418\" y1=\"51\" x2=\"434\" y2=\"51\" stroke=\"#555\" stroke-width=\"1.2\" marker-end=\"url(#pt-a2)\"\/>\n<rect x=\"436\" y=\"15\" width=\"126\" height=\"72\" rx=\"2\" fill=\"#f4f4f2\" stroke=\"#bbb\"\/>\n<text x=\"499\" y=\"40\" text-anchor=\"middle\" font-size=\"8.5\" font-weight=\"bold\" fill=\"#111\" font-family=\"Arial\">VALIDA&#199;&#195;O<\/text>\n<text x=\"499\" y=\"55\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#555\" font-family=\"Arial\">Instala&#231;&#227;o<\/text>\n<text x=\"499\" y=\"67\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#555\" font-family=\"Arial\">Interativa<\/text>\n<line x1=\"562\" y1=\"51\" x2=\"578\" y2=\"51\" stroke=\"#555\" stroke-width=\"1.2\" marker-end=\"url(#pt-a2)\"\/>\n<rect x=\"580\" y=\"15\" width=\"136\" height=\"72\" rx=\"2\" fill=\"#ccc\" stroke=\"#666\" stroke-width=\"1.5\"\/>\n<text x=\"648\" y=\"35\" text-anchor=\"middle\" font-size=\"8.5\" font-weight=\"bold\" fill=\"#111\" font-family=\"Arial\">CONTRIBUTO<\/text>\n<text x=\"648\" y=\"50\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#333\" font-family=\"Arial\">Dualidade S&#237;tio-Esp.<\/text>\n<text x=\"648\" y=\"62\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#333\" font-family=\"Arial\">+ Etno-poiesis<\/text>\n<text x=\"648\" y=\"74\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#333\" font-family=\"Arial\">+ Ensaio Espacializ.<\/text>\n<\/svg><\/div>\n<\/div>\n<div class=\"dra-text\">\n<p>A metodologia segue uma abordagem <strong>emp&#237;rico-po&#233;tica<\/strong> desenvolvida dentro de um campo operativo dial&#243;gico. O investigador n&#227;o &#233; etn&#243;grafo no sentido disciplinar: esta dimens&#227;o quase-etnogr&#225;fica existe apenas no espa&#231;o da pr&#225;tica art&#237;stica &#8212; cinema experimental, ensaio audiovisual e instala&#231;&#227;o. <a href=\"#pt-bib\" class=\"dra-cite\">(Castaing-Taylor, 1996)<\/a><\/p>\n<\/div>\n<div class=\"dra-steps\">\n<div class=\"dra-step\">\n<div class=\"dra-step-num\">1<\/div>\n<div>\n<div class=\"dra-step-title\">Trabalho de Campo Multissituado<\/div>\n<div class=\"dra-step-text\">Dois lugares rurais de PT\/ES\/IT selecionados por crit&#233;rios afetivos. Imers&#227;o multissensorial: grava&#231;&#245;es, fotografias, entrevistas in situ, recolha de arquivo e objetos. O deslocamento f&#237;sico entre os dois lugares &#233; ele pr&#243;prio metodol&#243;gico. <a href=\"#pt-bib\" class=\"dra-cite\">(Falzon, 2009)<\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"dra-step\">\n<div class=\"dra-step-num\">2<\/div>\n<div>\n<div class=\"dra-step-title\">Etnografia Sensorial e Fenomenol&#243;gica<\/div>\n<div class=\"dra-step-text\">Microfones binaurais, hidrofones, microfones de contacto, planos longos e incorporados. Capta&#231;&#227;o de texturas sonoras: ferramentas, vento, ritmos de trabalho, dialetos. <a href=\"#pt-bib\" class=\"dra-cite\">(Merleau-Ponty, 1945\/2012; Heidegger, 1927\/1962; Pink, 2015)<\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"dra-step\">\n<div class=\"dra-step-num\">3<\/div>\n<div>\n<div class=\"dra-step-title\">Materiais como Objetos de Fronteira<\/div>\n<div class=\"dra-step-text\">Os materiais recolhidos funcionam simultaneamente como evid&#234;ncia etnogr&#225;fica e mat&#233;ria-prima po&#233;tica, circulando entre contextos disciplinares. <a href=\"#pt-bib\" class=\"dra-cite\">(Star &amp; Griesemer, 1989; Groot &amp; Abma, 2021)<\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"dra-step\">\n<div class=\"dra-step-num\">4<\/div>\n<div>\n<div class=\"dra-step-title\">Etno-poiesis: Transforma&#231;&#227;o Criativa<\/div>\n<div class=\"dra-step-text\">Pesquisa adicional + pensamento lateral + composi&#231;&#227;o eletroac&#250;stica + escrita ensa&#237;stica. O texto n&#227;o explica o campo &#8212; dialoga com ele, respeitando ritmos, pausas e cad&#234;ncias vernaculares. <a href=\"#pt-bib\" class=\"dra-cite\">(Hymes, 1981, 2003; Gaiger, 2009; Bishop, 2012)<\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"dra-step\">\n<div class=\"dra-step-num\">5<\/div>\n<div>\n<div class=\"dra-step-title\">Ensaio Audiovisual: A Montagem como Opera&#231;&#227;o Epistemol&#243;gica<\/div>\n<div class=\"dra-step-text\">Integra&#231;&#227;o de v&#237;deo, paisagens sonoras, narrativas orais, materiais de arquivo e textos po&#233;ticos. O sentido emerge no intervalo entre fragmentos justapostos. <a href=\"#pt-bib\" class=\"dra-cite\">(Corrigan, 2011; Rascaroli, 2017; Bolt, 2006; Baptista, 2016)<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"dra-section\" id=\"pt-ensaios\">\n<div class=\"dra-sec-hdr\">\n<div class=\"dra-sec-num\">V<\/div>\n<div>\n<div class=\"dra-sec-title\">Os Nove Ensaios Audiovisuais<\/div>\n<div class=\"dra-sec-sub\">Nove obras <em>dual site-specific<\/em> conectando comunidades rurais de Portugal, Espanha e It&#225;lia<\/div>\n<\/div>\n<\/div>\n<div class=\"dra-text\">\n<p>Cada ensaio aplica o esquema metodol&#243;gico do cap&#237;tulo 6 &#8212; identificando a tem&#225;tica espec&#237;fica, a tipologia relacional (espelho, contraste, salto\/viagem, analogia) e a forma como cada dimens&#227;o (paisag&#237;stica, etnogr&#225;fica, hist&#243;rica, liter&#225;ria, po&#233;tica) se concretiza naquele encontro interlocal. <a href=\"#pt-bib\" class=\"dra-cite\">(Costa &amp; Duarte, 2025)<\/a><\/p>\n<\/div>\n<div class=\"dra-essays\">\n<div class=\"dra-essay\">\n<div class=\"dra-essay-num\">01<\/div>\n<div class=\"dra-essay-title\">Dois Montes Irm&#227;os<\/div>\n<div class=\"dra-essay-loc\">Pico Sacro (ES) &#8596; Monte de S&#227;o Mac&#225;rio (PT)<\/div>\n<div class=\"dra-essay-theme\">Espiritualidade &#183; Espelho<\/div>\n<\/div>\n<div class=\"dra-essay\">\n<div class=\"dra-essay-num\">02<\/div>\n<div class=\"dra-essay-title\">O Terceiro Rio<\/div>\n<div class=\"dra-essay-loc\">Torrente Bisagno (IT) &#8596; Rio Paiva (PT)<\/div>\n<div class=\"dra-essay-theme\">&#193;gua \/ Mem&#243;ria &#183; Contraste<\/div>\n<\/div>\n<div class=\"dra-essay\">\n<div class=\"dra-essay-num\">03<\/div>\n<div class=\"dra-essay-title\">Canais de &#193;gua e Alimento<\/div>\n<div class=\"dra-essay-loc\">Agro Pontino (IT) &#8596; Gralheira (PT)<\/div>\n<div class=\"dra-essay-theme\">Agricultura &#183; Contraste<\/div>\n<\/div>\n<div class=\"dra-essay\">\n<div class=\"dra-essay-num\">04<\/div>\n<div class=\"dra-essay-title\">Um Conto Asinino<\/div>\n<div class=\"dra-essay-loc\">Zamora (ES) &#8596; Viseu D&#227;o Laf&#245;es (PT)<\/div>\n<div class=\"dra-essay-theme\">Vida Animal &#183; Viagem<\/div>\n<\/div>\n<div class=\"dra-essay\">\n<div class=\"dra-essay-num\">05<\/div>\n<div class=\"dra-essay-title\">Carqueja &amp; Giesta<\/div>\n<div class=\"dra-essay-loc\">Ginestar (ES) &#8596; V&#225;rzea de Calde (PT)<\/div>\n<div class=\"dra-essay-theme\">Etnobot&#226;nica &#183; Contraste<\/div>\n<\/div>\n<div class=\"dra-essay\">\n<div class=\"dra-essay-num\">06<\/div>\n<div class=\"dra-essay-title\">O Tempo da Horta Eterna<\/div>\n<div class=\"dra-essay-loc\">Poggio delle Rose (IT) &#8596; Gafanh&#227;o (PT)<\/div>\n<div class=\"dra-essay-theme\">Horticultura &#183; Analogia<\/div>\n<\/div>\n<div class=\"dra-essay\">\n<div class=\"dra-essay-num\">07<\/div>\n<div class=\"dra-essay-title\">Os Animais da Cria&#231;&#227;o<\/div>\n<div class=\"dra-essay-loc\">Li Massimucc&#235; (IT) &#8596; Raso (PT)<\/div>\n<div class=\"dra-essay-theme\">Pecu&#225;ria &#183; Contraste<\/div>\n<\/div>\n<div class=\"dra-essay\">\n<div class=\"dra-essay-num\">08<\/div>\n<div class=\"dra-essay-title\">Tessitura<\/div>\n<div class=\"dra-essay-loc\">Campotosto (IT) &#8596; V&#225;rzea de Calde (PT)<\/div>\n<div class=\"dra-essay-theme\">Artesanato T&#234;xtil &#183; Viagem<\/div>\n<\/div>\n<div class=\"dra-essay\">\n<div class=\"dra-essay-num\">09<\/div>\n<div class=\"dra-essay-title\">A Noite em Comum<\/div>\n<div class=\"dra-essay-loc\">Penna Sant&#8217;Andrea (IT) &#8596; Negrelos (PT)<\/div>\n<div class=\"dra-essay-theme\">Rituais Calend&#225;ricos &#183; Analogia<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"dra-section\" id=\"pt-instal\">\n<div class=\"dra-sec-hdr\">\n<div class=\"dra-sec-num\">VI<\/div>\n<div>\n<div class=\"dra-sec-title\">&#8220;Interst&#237;cios Rurais&#8221; &#8212; Instala&#231;&#227;o Interativa Multicanal<\/div>\n<div class=\"dra-sec-sub\">Do tempo ao espa&#231;o &#8212; um meta-terceiro lugar vivo<\/div>\n<\/div>\n<\/div>\n<div class=\"dra-info\">\n<div class=\"dra-info-hdr\">Sistema da Instala&#231;&#227;o<\/div>\n<div class=\"dra-info-body\">\n<svg class=\"dra-svg\" viewBox=\"0 0 720 88\">\n<defs><marker id=\"pt-a3\" markerWidth=\"6\" markerHeight=\"6\" refX=\"5\" refY=\"3\" orient=\"auto\"><path d=\"M0,0 L6,3 L0,6Z\" fill=\"#555\"\/><\/marker><\/defs>\n<rect x=\"4\" y=\"10\" width=\"118\" height=\"68\" rx=\"2\" fill=\"#f4f4f2\" stroke=\"#bbb\"\/>\n<text x=\"63\" y=\"32\" text-anchor=\"middle\" font-size=\"8.5\" font-weight=\"bold\" fill=\"#111\" font-family=\"Arial\">INPUT<\/text>\n<text x=\"63\" y=\"47\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#555\" font-family=\"Arial\">1 sensor Kinect<\/text>\n<text x=\"63\" y=\"59\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#555\" font-family=\"Arial\">at&#233; 4 participantes<\/text>\n<text x=\"63\" y=\"71\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#555\" font-family=\"Arial\">(dados esquel&#233;ticos)<\/text>\n<line x1=\"122\" y1=\"44\" x2=\"138\" y2=\"44\" stroke=\"#555\" stroke-width=\"1.2\" marker-end=\"url(#pt-a3)\"\/>\n<rect x=\"140\" y=\"10\" width=\"118\" height=\"68\" rx=\"2\" fill=\"#f4f4f2\" stroke=\"#bbb\"\/>\n<text x=\"199\" y=\"32\" text-anchor=\"middle\" font-size=\"8.5\" font-weight=\"bold\" fill=\"#111\" font-family=\"Arial\">PROCESSAMENTO<\/text>\n<text x=\"199\" y=\"47\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#555\" font-family=\"Arial\">Motor Unity<\/text>\n<text x=\"199\" y=\"59\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#555\" font-family=\"Arial\">3 estados de<\/text>\n<text x=\"199\" y=\"71\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#555\" font-family=\"Arial\">intera&#231;&#227;o<\/text>\n<line x1=\"258\" y1=\"44\" x2=\"274\" y2=\"44\" stroke=\"#555\" stroke-width=\"1.2\" marker-end=\"url(#pt-a3)\"\/>\n<rect x=\"276\" y=\"10\" width=\"148\" height=\"68\" rx=\"2\" fill=\"#ddd\" stroke=\"#666\" stroke-width=\"1.5\"\/>\n<text x=\"350\" y=\"32\" text-anchor=\"middle\" font-size=\"8.5\" font-weight=\"bold\" fill=\"#111\" font-family=\"Arial\">OUTPUT<\/text>\n<text x=\"350\" y=\"47\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#333\" font-family=\"Arial\">2 ecr&#227;s de v&#237;deo<\/text>\n<text x=\"350\" y=\"59\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#333\" font-family=\"Arial\">54 videoclipes (9 ensaios)<\/text>\n<text x=\"350\" y=\"71\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#333\" font-family=\"Arial\">+ camada sonora ambiente<\/text>\n<line x1=\"424\" y1=\"44\" x2=\"440\" y2=\"44\" stroke=\"#555\" stroke-width=\"1.2\" marker-end=\"url(#pt-a3)\"\/>\n<rect x=\"442\" y=\"10\" width=\"126\" height=\"68\" rx=\"2\" fill=\"#f4f4f2\" stroke=\"#bbb\"\/>\n<text x=\"505\" y=\"32\" text-anchor=\"middle\" font-size=\"8.5\" font-weight=\"bold\" fill=\"#111\" font-family=\"Arial\">SIMB&#211;LICO<\/text>\n<text x=\"505\" y=\"47\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#555\" font-family=\"Arial\">Tecidos de tule<\/text>\n<text x=\"505\" y=\"59\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#555\" font-family=\"Arial\">transl&#250;cidos como<\/text>\n<text x=\"505\" y=\"71\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#555\" font-family=\"Arial\">membranas de mem&#243;ria<\/text>\n<line x1=\"568\" y1=\"44\" x2=\"584\" y2=\"44\" stroke=\"#555\" stroke-width=\"1.2\" marker-end=\"url(#pt-a3)\"\/>\n<rect x=\"586\" y=\"10\" width=\"130\" height=\"68\" rx=\"2\" fill=\"#ccc\" stroke=\"#666\" stroke-width=\"1.5\"\/>\n<text x=\"651\" y=\"32\" text-anchor=\"middle\" font-size=\"8.5\" font-weight=\"bold\" fill=\"#111\" font-family=\"Arial\">META-LUGAR<\/text>\n<text x=\"651\" y=\"47\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#333\" font-family=\"Arial\">Mem&#243;ria + imagina&#231;&#227;o<\/text>\n<text x=\"651\" y=\"59\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#333\" font-family=\"Arial\">+ perce&#231;&#227;o<\/text>\n<text x=\"651\" y=\"71\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#333\" font-family=\"Arial\">+ experi&#234;ncia<\/text>\n<\/svg><\/div>\n<\/div>\n<div class=\"dra-text\">\n<p>A transi&#231;&#227;o do ensaio audiovisual linear para o espa&#231;o instalativo inscreve-se no debate de Bellour sobre os limites do dispositivo cinematogr&#225;fico <a href=\"#pt-bib\" class=\"dra-cite\">(2012)<\/a>. Inspirada na montagem multicanal de Akomfrah <a href=\"#pt-bib\" class=\"dra-cite\">(2023)<\/a>, a instala&#231;&#227;o distribui 54 videoclipes de todos os 9 ensaios por 2 ecr&#227;s, ativados dinamicamente pelo movimento dos visitantes via sensor Kinect e motor Unity.<\/p>\n<\/div>\n<div class=\"dra-states\">\n<div class=\"dra-state\">\n<div class=\"dra-state-title\">Estado Base &#8212; Meta-Paisagem<\/div>\n<div class=\"dra-state-text\">Ambiente audiovisual contemplativo que evoca as qualidades sensoriais das paisagens rurais; paisagens sonoras ambientes convidam &#224; reflex&#227;o.<\/div>\n<\/div>\n<div class=\"dra-state\">\n<div class=\"dra-state-title\">Zona 1 &#8212; Voz Etnogr&#225;fica<\/div>\n<div class=\"dra-state-text\">2 participantes centrais desencadeiam sequ&#234;ncias audiovisuais dial&#243;gicas com vozes rurais sobrepostas; co-cria&#231;&#227;o etnogr&#225;fica entre comunidades.<\/div>\n<\/div>\n<div class=\"dra-state\">\n<div class=\"dra-state-title\">Zona 2 &#8212; Voz Etno-Po&#233;tica<\/div>\n<div class=\"dra-state-text\">2 participantes laterais ativam orquestra&#231;&#227;o multissensorial completa; ensaios po&#233;ticos amplificados; camadas sensoriais ocultas que ligam lugares ativadas. <a href=\"#pt-bib\" class=\"dra-cite\">(Ranci&#232;re, 2009)<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"dra-section\" id=\"pt-contrib\">\n<div class=\"dra-sec-hdr\">\n<div class=\"dra-sec-num\">VII<\/div>\n<div>\n<div class=\"dra-sec-title\">Pertin&#234;ncia e Contributos<\/div>\n<div class=\"dra-sec-sub\">Estudos Rurais &#183; Etnografia Audiovisual &#183; Investiga&#231;&#227;o Baseada na Pr&#225;tica &#183; Arte Contempor&#226;nea<\/div>\n<\/div>\n<\/div>\n<div class=\"dra-contrib\">\n<div class=\"dra-contrib-item\">\n<div class=\"dra-contrib-title\">Estudos Rurais<\/div>\n<div class=\"dra-contrib-text\">Metodologia interlocal e relacional em alternativa &#224; an&#225;lise de casos isolados; &#8220;terceiros lugares&#8221; atrav&#233;s de montagem po&#233;tica que perturba a temporalidade linear e a localidade singular.<\/div>\n<\/div>\n<div class=\"dra-contrib-item\">\n<div class=\"dra-contrib-title\">Etnografia Audiovisual<\/div>\n<div class=\"dra-contrib-text\">O cinema expandido estende a representa&#231;&#227;o etnogr&#225;fica para al&#233;m dos formatos documentais; produ&#231;&#227;o de conhecimento participativa e imersiva. <a href=\"#pt-bib\" class=\"dra-cite\">(Castaing-Taylor, 1996)<\/a><\/div>\n<\/div>\n<div class=\"dra-contrib-item\">\n<div class=\"dra-contrib-title\">Investiga&#231;&#227;o Baseada na Pr&#225;tica<\/div>\n<div class=\"dra-contrib-text\">Contributo original: dualidade s&#237;tio-espec&#237;fica + etno-poiesis + espacializa&#231;&#227;o interativa do pensamento ensa&#237;stico como quadro metodol&#243;gico integrado. <a href=\"#pt-bib\" class=\"dra-cite\">(Barrett &amp; Bolt, 2007)<\/a><\/div>\n<\/div>\n<div class=\"dra-contrib-item\">\n<div class=\"dra-contrib-title\">Arte Contempor&#226;nea<\/div>\n<div class=\"dra-contrib-text\">O corpo como lugar de produ&#231;&#227;o de significado; conhecimento incorporado que desafia a temporalidade linear. Di&#225;logo com Akomfrah, Hutton e Russell. <a href=\"#pt-bib\" class=\"dra-cite\">(Ranci&#232;re, 2009; Bellour, 2012)<\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"dra-quote\" style=\"margin-top:16px\">&#8220;Investigar com, e n&#227;o apenas sobre os lugares&#8221;<\/div>\n<\/div>\n<div class=\"dra-biblio\" id=\"pt-bib\">\n<h2>Bibliografia Geral<\/h2>\n<ul class=\"dra-bib-list\">\n<li><span class=\"dra-bib-id\">[Akomfrah 2023]<\/span> Akomfrah, J. (2023). <em>Becoming Wind<\/em> [Instala&#231;&#227;o v&#237;deo multicanal]. Schirn Kunsthalle Frankfurt.<\/li>\n<li><span class=\"dra-bib-id\">[Baptista 2016]<\/span> Baptista, J. (2016). Parataxe e pr&#225;ticas art&#237;sticas contempor&#226;neas.<\/li>\n<li><span class=\"dra-bib-id\">[Barrett &amp; Bolt 2007]<\/span> Barrett, E., &amp; Bolt, B. (Eds.). (2007). <em>Practice as Research<\/em>. I.B. Tauris.<\/li>\n<li><span class=\"dra-bib-id\">[Bellour 2012]<\/span> Bellour, R. (2012). <em>La Querelle des dispositifs<\/em>. P.O.L.<\/li>\n<li><span class=\"dra-bib-id\">[Bishop 2012]<\/span> Bishop, C. (2012). <em>Artificial Hells<\/em>. Verso.<\/li>\n<li><span class=\"dra-bib-id\">[Bolt 2006]<\/span> Bolt, B. (2006). <em>Aesthetics and Agency<\/em>.<\/li>\n<li><span class=\"dra-bib-id\">[Bolt 2007]<\/span> Bolt, B. (2007). The Magic is in Handling. In Barrett &amp; Bolt (Eds.), <em>Practice as Research<\/em> (pp. 27&#8211;34). I.B. Tauris.<\/li>\n<li><span class=\"dra-bib-id\">[Borowiecki 2016]<\/span> Borowiecki, K. J. et al. (2016). <em>Cultural Heritage in a Changing World<\/em>. Springer.<\/li>\n<li><span class=\"dra-bib-id\">[Casal 2009]<\/span> Casal, J. (2009). <em>Interlocalismo e din&#226;micas rurais<\/em>.<\/li>\n<li><span class=\"dra-bib-id\">[Castaing-Taylor 1996]<\/span> Castaing-Taylor, L. (1996). Iconophobia. <em>Transition, 69<\/em>, 64&#8211;88.<\/li>\n<li><span class=\"dra-bib-id\">[Chion 2019]<\/span> Chion, M. (2019). <em>Audio-Vision<\/em> (2nd ed.). Columbia University Press.<\/li>\n<li><span class=\"dra-bib-id\">[Corrigan 2011]<\/span> Corrigan, T. (2011). <em>The Essay Film<\/em>. Oxford University Press.<\/li>\n<li><span class=\"dra-bib-id\">[Costa &amp; Duarte 2025]<\/span> Costa, L. G., &amp; Duarte, S. N. (2025). What can places tell each other? [manuscript].<\/li>\n<li><span class=\"dra-bib-id\">[Cresswell 2014]<\/span> Cresswell, T. (2014). <em>Place: An Introduction<\/em>. Wiley-Blackwell.<\/li>\n<li><span class=\"dra-bib-id\">[Didi-Huberman 2026]<\/span> Didi-Huberman, G. (2026). <em>L&#8217;&#201;boulis de l&#8217;&#234;tre<\/em>. Minuit.<\/li>\n<li><span class=\"dra-bib-id\">[Falzon 2009]<\/span> Falzon, M. (2009). <em>Multi-Sited Ethnography<\/em>. Ashgate.<\/li>\n<li><span class=\"dra-bib-id\">[Gaiger 2009]<\/span> Gaiger, J. (2009). <em>Narrativas Est&#233;ticas e Comunidades<\/em>.<\/li>\n<li><span class=\"dra-bib-id\">[Gomes da Costa 2011]<\/span> Gomes da Costa, L., &amp; Gomes da Costa, R. (2011). <em>Tr&#234;s anos em Nodar<\/em>. Nodar.<\/li>\n<li><span class=\"dra-bib-id\">[Groot &amp; Abma 2021]<\/span> Groot, B., &amp; Abma, T. (2021). Boundary objects. <em>IJERPH, 18<\/em>(15).<\/li>\n<li><span class=\"dra-bib-id\">[Heidegger 1962]<\/span> Heidegger, M. (1962). <em>Being and Time<\/em>. Harper &amp; Row. [1927]<\/li>\n<li><span class=\"dra-bib-id\">[Howes 2005]<\/span> Howes, D. (Ed.). (2005). <em>Empire of the Senses<\/em>. Berg.<\/li>\n<li><span class=\"dra-bib-id\">[Hutton 2001]<\/span> Hutton, P. (2001, 2002). <em>Two Rivers<\/em> [V&#237;deo]. 53 min. 16mm.<\/li>\n<li><span class=\"dra-bib-id\">[Hymes 1981]<\/span> Hymes, D. (1981). <em>In Vain I Tried to Tell You<\/em>. UPenn Press.<\/li>\n<li><span class=\"dra-bib-id\">[Hymes 2003]<\/span> Hymes, D. (2003). <em>Now I Know Only So Far<\/em>. Univ. Nebraska Press.<\/li>\n<li><span class=\"dra-bib-id\">[Ingold 2000]<\/span> Ingold, T. (2000). <em>The Perception of the Environment<\/em>. Routledge.<\/li>\n<li><span class=\"dra-bib-id\">[Kaye 2000]<\/span> Kaye, N. (2000). <em>Site-Specific Art<\/em>. Routledge.<\/li>\n<li><span class=\"dra-bib-id\">[Kwon 2002]<\/span> Kwon, M. (2002). <em>One Place After Another<\/em>. MIT Press.<\/li>\n<li><span class=\"dra-bib-id\">[MacClancy 2015]<\/span> MacClancy, J. (Ed.). (2015). <em>Alternative Countrysides<\/em>. Manchester University Press.<\/li>\n<li><span class=\"dra-bib-id\">[Manovich 2001]<\/span> Manovich, L. (2001). <em>The Language of New Media<\/em>. MIT Press.<\/li>\n<li><span class=\"dra-bib-id\">[Merleau-Ponty 1945]<\/span> Merleau-Ponty, M. (1945\/2012). <em>Phenomenology of Perception<\/em>. Routledge.<\/li>\n<li><span class=\"dra-bib-id\">[Pink 2015]<\/span> Pink, S. (2015). <em>Doing Sensory Ethnography<\/em> (2nd ed.). Sage.<\/li>\n<li><span class=\"dra-bib-id\">[Prendergast 2009]<\/span> Prendergast, M. (2009). The Turn to Poetry. <em>Inquiry, 24<\/em>(1), 54&#8211;61.<\/li>\n<li><span class=\"dra-bib-id\">[Ranci&#232;re 2009]<\/span> Ranci&#232;re, J. (2009). <em>The Emancipated Spectator<\/em>. Verso.<\/li>\n<li><span class=\"dra-bib-id\">[Rascaroli 2017]<\/span> Rascaroli, L. (2017). <em>The Personal Camera<\/em>. Wallflower Press.<\/li>\n<li><span class=\"dra-bib-id\">[Russell 2017]<\/span> Russell, B. (2017). <em>Good Luck<\/em> [Filme]. 143 min. 16mm.<\/li>\n<li><span class=\"dra-bib-id\">[Star &amp; Griesemer 1989]<\/span> Star, S. L., &amp; Griesemer, J. R. (1989). Boundary Objects. <em>Social Studies of Science, 19<\/em>(3), 387&#8211;420.<\/li>\n<li><span class=\"dra-bib-id\">[Youngblood 1970]<\/span> Youngblood, G. (1970). <em>Expanded Cinema<\/em>. Dutton.<\/li>\n<\/ul>\n<\/div>\n<div class=\"dra-footer\">\n<div><strong>Lu&#237;s Gomes da Costa<\/strong> &#183; Investigador Doutoral &#183; Universidade de Aveiro \/ ID+ \/ LiDA &#183; 2023&#8211;2026<br \/>Orientadores: Gra&#231;a Magalh&#227;es &#183; Susana Nascimento Duarte &#183; S&#233;rgio Eliseu<\/div>\n<div><a href=\"https:\/\/www.binauralmedia.org\">binauralmedia.org<\/a> &#183; <a href=\"https:\/\/www.archive.binauralmedia.org\">archive.binauralmedia.org<\/a><\/div>\n<\/div>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":28076,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","format":"standard","meta":{"_acf_changed":false,"_bbp_topic_count":0,"_bbp_reply_count":0,"_bbp_total_topic_count":0,"_bbp_total_reply_count":0,"_bbp_voice_count":0,"_bbp_anonymous_reply_count":0,"_bbp_topic_count_hidden":0,"_bbp_reply_count_hidden":0,"_bbp_forum_subforum_count":0,"footnotes":""},"portfolio_category":[1328],"portfolio_skills":[],"portfolio_tags":[],"class_list":["post-28075","avada_portfolio","type-avada_portfolio","status-publish","format-standard","has-post-thumbnail","hentry","portfolio_category-artigos-de-investigacao"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.binauralmedia.org\/news\/wp-json\/wp\/v2\/avada_portfolio\/28075","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.binauralmedia.org\/news\/wp-json\/wp\/v2\/avada_portfolio"}],"about":[{"href":"https:\/\/www.binauralmedia.org\/news\/wp-json\/wp\/v2\/types\/avada_portfolio"}],"author":[{"embeddable":true,"href":"https:\/\/www.binauralmedia.org\/news\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.binauralmedia.org\/news\/wp-json\/wp\/v2\/comments?post=28075"}],"version-history":[{"count":5,"href":"https:\/\/www.binauralmedia.org\/news\/wp-json\/wp\/v2\/avada_portfolio\/28075\/revisions"}],"predecessor-version":[{"id":28122,"href":"https:\/\/www.binauralmedia.org\/news\/wp-json\/wp\/v2\/avada_portfolio\/28075\/revisions\/28122"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.binauralmedia.org\/news\/wp-json\/wp\/v2\/media\/28076"}],"wp:attachment":[{"href":"https:\/\/www.binauralmedia.org\/news\/wp-json\/wp\/v2\/media?parent=28075"}],"wp:term":[{"taxonomy":"portfolio_category","embeddable":true,"href":"https:\/\/www.binauralmedia.org\/news\/wp-json\/wp\/v2\/portfolio_category?post=28075"},{"taxonomy":"portfolio_skills","embeddable":true,"href":"https:\/\/www.binauralmedia.org\/news\/wp-json\/wp\/v2\/portfolio_skills?post=28075"},{"taxonomy":"portfolio_tags","embeddable":true,"href":"https:\/\/www.binauralmedia.org\/news\/wp-json\/wp\/v2\/portfolio_tags?post=28075"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}