Ritmo e auto-percepção – Performativamente perturbando o Eu prestando atenção à atenção

Autores

  • Gabriela Marramaque Polytechnic University of Lisbon, Lisbon School of Music, CESEM – Pólo IPL — Portugal University of Lisbon, Faculty of Fine Arts – Portugal https://orcid.org/0009-0004-1449-6315
  • Yi Huang Polytechnic University of Lisbon, Lisbon School of Music, CESEM – Pólo IPL — Portugal University of Lisbon, Faculty of Fine Arts – Portugal https://orcid.org/0009-0000-5219-3439
  • Daniel Cardoso Lusófona University, ECATI, CICANT (https://doi.org/10.54499/UID/05260/2025) – Portugal FCSH, NOVA University of Lisbon – Portugal https://orcid.org/0000-0001-7864-7531

DOI:

https://doi.org/10.34619/3b8m-udvd

Palavras-chave:

prática como investigação, biofeedback, tecnomediação, artes performativas, ecologias da atenção

Resumo

A discussão contemporânea sobre a atenção está frequentemente intrinsecamente ligada a julgamentos morais sobre como e em relação ao quê devemos prestar atenção – e à vilificação recorrente das tecnologias de mediação. Através da passagem da crítica à economia da atenção, para um olhar sobre a ecologia da atenção, e considerando o debate pós-estruturalista sobre a ontotecnologia dos seres humanos, compreendemos a centralidade que ocupa a preocupação com a perda de controle sobre o Eu, bem como uma busca pela ênfase sobre a alteridade, ordem e sistematicidade. Isso pode ser visto como uma preocupação com o ritmo da atenção, da vida e dos processos de mediação. A arte, por outro lado, pode ser pensada como um tipo específico de espaço, onde a experimentação com a atenção pode ocorrer, para além dos pressupostos quotidianos e das compreensões hegemónicas sobre como a atenção se deve manifestar. Partindo de uma peça existente, "Bad Touch", e construindo sobre ela uma série de sistemas de feedback tecnologicamente orientados que são particularmente sensíveis a um processo corporal de foco na própria atenção, demonstramos como a perda voluntária de controle – assistida por tecnologias supostamente destinadas a garantir o controle – pode apoiar a nossa reflexão sobre a própria atenção, e sobre como as lógicas binárias em torno de des/atenção, des/controle ou des/humanidade falham em certos contextos; como a perda de ritmo pode ter potencial criativo precisamente porque pode ser derivada de uma recusa deliberada face ao controlo instrumental. Por fim, procuramos refletir sobre o que este trabalho artístico clarifica, no que toca às dicotomias humano/máquina, corpo/mente, artista/obra de arte, e como isso pode reconfigurar o valor da alteridade, encarando-a como uma condição prévia para a mesmidade, e a atenção como um sistema de valorização da alteridade. 

Biografias Autor

Gabriela Marramaque, Polytechnic University of Lisbon, Lisbon School of Music, CESEM – Pólo IPL — Portugal University of Lisbon, Faculty of Fine Arts – Portugal

Gabriela Marramaque is an artist, audiovisual tech, researcher and guest assistant professor at the Lisbon School of Music. Their work focuses on the relationship between performance arts, technology and textiles

Yi Huang, Polytechnic University of Lisbon, Lisbon School of Music, CESEM – Pólo IPL — Portugal University of Lisbon, Faculty of Fine Arts – Portugal

Yi Huang is a percussion artist, researcher, and educator. She is currently a researcher at the CESEM Research Centre and a member of the International Expert Committee of the Belgian National Association for Music and the Arts. She is pursuing a PhD in Performing Arts and Moving Image at the University of Lisbon, where she also serves as an International Student Ambassador, and is a member of the Clamat Percussion Ensemble. From 2017 to 2021, she served as principal percussionist of the Blue Shield Symphony Orchestra at South China Normal University, studying under renowned percussionist Yao Chen of the Guangzhou Symphony Orchestra. During this period, she toured and performed in South Korea as principal percussionist. In 2021, she was admitted to the Hochschule für Künste Bremen, where she studied with percussionist Olaf Tzschoppe, former Berlin Philharmonic member André Kollikowski, and Hamburg Philharmonic principal Jesper Tjærby Korneliusen. While in Germany, she joined the Bremen Percussion Ensemble led by Prof. Tzschoppe, participating in several world premieres and concert tours across Germany, and collaborating with composers and performers from Germany, Denmark, the Netherlands, and Greece. Under the guidance of contemporary music conductor René Gulikers, she also took part in multiple contemporary chamber and orchestral music projects. Yi Huang has performed extensively in China and internationally, including in Lisbon, Berlin, Oldenburg, Seoul, Hamburg, Bremen, Magdeburg, and Graz, gaining substantial experience on the international stage.

Daniel Cardoso, Lusófona University, ECATI, CICANT (https://doi.org/10.54499/UID/05260/2025) – Portugal FCSH, NOVA University of Lisbon – Portugal

Daniel Cardoso, PhD in Communication Sciences at NOVA University of Lisbon. They are an Associate Professor at Lusófona University. They have published over 30 peer-review articles in scientific journals, as well as several book chapters. They have helped to organize over 10 national and international events, and have received several awards. They have been awarded a Marie-Slodowska Curie Fellowship from the European Commission. Their work focuses on Social Sciences, especially Sociology, Psychology, Communication Studies, Gender Studies and Queer Studies. Their last decade of work has often focused on social movements, political change and the conquest for rights around gender and sexuality, both in Portugal and internationally. They are, or have been, involved in several national and international research projects at the intersection of media, politics, and gender-sexual diversity, either as team member, task leader, or consultant. They have worked alongside several dozen academics and activists throughout their career. They have accumulated over a decade of teaching experience in the area of Media Studies, Gender and Sexualities, Psychology, Sociology, and Research Methods, in UG, MA and PhD courses.

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Bad Touch. Casey Cangelosi. Commissioned by Paopun Mu Amnatham, 2013.8:45 mins.

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Publicado

2026-07-31

Como Citar

Marramaque, G., Huang, Y., & Cardoso, D. (2026). Ritmo e auto-percepção – Performativamente perturbando o Eu prestando atenção à atenção. Revista De Comunicação E Linguagens, (64), 105–127. https://doi.org/10.34619/3b8m-udvd

Edição

N.º 64 (2026): Cadências: Movimentos da atenção nas artes e quotidiano

Secção

Artigos

Licença

Direitos de Autor (c) 2026 Gabriela Marramaque, Yi Huang, Daniel Cardoso

Creative Commons License

Este trabalho encontra-se publicado com a Licença Internacional Creative Commons Atribuição 4.0.