O laboratório da liberdade: horizontes da poética de Eduardo Kac

Abstract

The present doctoral dissertation entitled “O laboratório da liberdade: horizontes da poética de Eduardo Kac” (The laboratory of Freedom: horizons of Eduardo Kac's poetics) addresses the aspects of the biopoetry, artistic current developed by of the Brazilian poet Eduardo Kac, focusing on the perspectives of the poetic text inserted in the machinic and digital environment, as well as on the ethical and aesthetic problematizations arising. of relationships between biological beings and the techno- scientific environment in the sphere of bioart production. That way, we study the bioproductions of Kac considering the semiotic relationships they establish in the artistic context. Contemporary, discussing the semiotic properties that the aesthetic sign incorporates in the face of machinic becomings and technological evolution. New production procedures emerge within the cultural context that mark the biotechnological advent with respect to the reproducibility tools and the multiplicity of circulation supports of the artistic object. In biopoetry, poiesis is understood as a subject and not only as an object of art. The posthuman perspective is understood as the representation of the context of hybrid semioses as well as the sociocultural transformations of the contemporaneity, given their dynamicity and considering the increasingly perspective from the forceful man-machine interface. The methodological path of production of this research runs through a production of three chapters. In the first one, we studied the relationships that establish biopoetry and ecocriticism, punctuating it as a biopoetry, as a poetic current, which uses aesthetic and semiotic horizons, in addition to the relationship with new methods, pressing for new approaches and methods of reception. In this context, it is emphasized that the theories of literature have limitations to address the dynamics that biopoetry, considering its semiotic properties, expands the vanguard of poetic doing as well as thinking about literature. Next, we research Eduardo Kac's production lines from visual, digital and perfomatic poetics to the development of his poetics made from living organisms, telepresence art and genetic manipulation technology, analyzing the aesthetic and theoretical horizons that substantiate his poiesis. Finally, in the third chapter of this work, an analytical study is carried out in the light of the Guattarian chaosmosis and theoretical writings in the field of conceptual art about the main productions of Kac that integrate the aesthetic perspective of biopoetry, especially the productions “Genesis”, “Microrobot” and “Cypher”, establishing that Kac’s biopoetry configured as an autopoiesis that is designed as avant-garde within poetic art.