José Loures
Artista multimídia, professor de Histórias em Quadrinhos, e produtor cultural.
Doutor em Artes pela Universidade de Brasília (UnB). Mestre em Arte e Cultura Visual pela Universidade Federal de Goiás (UFG). Especialista em Docência na Educação Profissional, Técnica e Tecnológica pelo Instituto Federal de Goiás (IFG). Graduado em Artes Visuais pela Universidade Federal de Goiás (UFG). Licenciado em Formação Pedagógica Para Graduados Não Licenciados pelo Instituto Federal de Goiás (IFG).
Pesquisador no Coletivo Interdisciplinar de Pesquisa em Games (CIPEG) e Comunidades Virtuais (IFBaiano).
Trabalha na linguagem da arte computacional, histórias em quadrinhos, webarte, fake arte e gamearte. Também pesquisa sobre transhumanismo, videogames, jogos de tabuleiro, cibercultura, sexualidade e práticas divinatórias.
Mais informações em: www.joseloures.com
Doutor em Artes pela Universidade de Brasília (UnB). Mestre em Arte e Cultura Visual pela Universidade Federal de Goiás (UFG). Especialista em Docência na Educação Profissional, Técnica e Tecnológica pelo Instituto Federal de Goiás (IFG). Graduado em Artes Visuais pela Universidade Federal de Goiás (UFG). Licenciado em Formação Pedagógica Para Graduados Não Licenciados pelo Instituto Federal de Goiás (IFG).
Pesquisador no Coletivo Interdisciplinar de Pesquisa em Games (CIPEG) e Comunidades Virtuais (IFBaiano).
Trabalha na linguagem da arte computacional, histórias em quadrinhos, webarte, fake arte e gamearte. Também pesquisa sobre transhumanismo, videogames, jogos de tabuleiro, cibercultura, sexualidade e práticas divinatórias.
Mais informações em: www.joseloures.com
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Papers by José Loures
The diffusion of information in games collides with structures that establish over time the authority of historians. The games, in this context, make emerge the challenge of thinking the relation between gaming and the work of the historian on the comprehension of the present time, which in the case of the French Revolution portrayed on Assassin’s Creed Unitymakes emerge a specific vision concerning the past. Furthermore, considering games as signs of technological transformations that helpedsewing sociocultural aspects of contemporaneity, the current research proposes a case study which highlights critical perspective on the narrative in order to provide
pedagogical intentionality on the promotion of a History teaching committed with reflexiveness, adding to these contexts an understanding of a narrative that is not an absolute historical truth.
The present article presents reflections on perspectives of the use of digital games in Arts teaching.This research explores experiences where the rolesof artist, player, teacher, and student converge. The text presents a personal report about processes, possibilities, and challenges for the teacher who applies games for the teaching-learning of Visual Arts. In this context, authors who are references inthe following perspectivesare approached: The creative possibilities of gameart from Lúcia Leão (2005), Suzete Venturelli and Mario Maciel (2007); the relevance and presence of games in culture from Johan Huizinga (2013); the possibilities of digital games in teaching from Lynn Alves (2008) and Jaderson Souza (2016); the current immersion and interactivity in digital games from Oliver Grau (2007), Gustavo Audi (2016), Alexandre Carrieri and Pablo Gobira (2012); Stuart Hall (1997), Zygmunt Bauman (2003), and Vilém Flusser (1963) in order to discuss the contact with others. Furthermore, Christus Nóbrega et al. (2011) are presented, to approach experiences and problematizations on teaching Visual Arts with digital games.
The article aims at the theoretical-methodological triad formulated by: 1) the BDSM culture and games; 2) the character Lady Dimitrescu from Resident Evil: Village, of 2021; and 3) memes and their impact on the post-modern society under the Memetics perspective. It starts from the connection between these references resulting on the massification and sharing of a niche culture that leads the underground to mainstream, pointing out a game and a character as driving force of this process. As methodology, it carries out a classic case study as well as highlights a Participation Observation. It demonstrates how a way between consuming pop culture throughout games and a massification of a niche culture is able to justify this media as an image and imaginary technology.
PALAVRAS-CHAVE: Bruna Mazzotti; José Loures; alteridade; autobiografia; processo criativo.
The current study presents theoretical reflections carried out from the artworks: O Duplo (Bruna Mazzotti and Lucas Mazzotti) and Micro_transa_ção (José Loures). Both touch the Autobiographical field in Visual Arts, through drawings and photography made with daily elements with ordinary objects that posteriorly had their relevance increased. It also approaches matters in what concern affects and the meeting with the other and ourselves in periods of social distance. In addition, it discusses how entwined perspectives and lives create new meanings and poetic potentialities.
KEYWORDS: Bruna Mazzotti; José Loures; alterity; autobiography; creative process
The doctoral thesis defends the hypothesis that sexuality is present in all aspects of the development of a video game: concept, visual aspects, production, narrative, gameplay, advertising, and in the relationship with the community of players/users. Considering it, the research carries out an interdisciplinary analysis considering authors of History, Philosophy, Sociology, Advertising, and Art. The title of the current research comes from the term “Homo Ludens” stated by Johan Huizinga (2012), now operating in a sexual context and presenting a new branch of the human species. The research is essentially developed accomplishing analysis, theoretical discussions, and interviews. In the first chapter, a historical research is carried out on the games Mystique launched for the Atari 2600, and consequently the controversies and reception of the first games with adult content. I discuss the influence of the “Rule 34” as well as the various representations of the character Pac-Man. In addition, it presents interviews with the artists EUDETENIS, Heitor Amatsu, and ApocalipseJack, whom carry out commissions of sexual content concerning video game characters. Finally, it represents the modifications to the games as an action in the search of representativeness and how it turned into a profitable business. In the second chapter the research discusses how sexuality in games is intrinsically related to the graphic evolution in video games. Therefore, it analyses the series of games God of War, Dragon Age, Mass Effect, and The Witcher. Following, I invite the journalist Clarice França to discuss questions about male chauvinism, misogyny and maltreatment on social media. Finally, I discuss how video game advertising benefits from sex appeal in its advertising campaigns according to the categorization of Tom Reichert (2002). In the third chapter, gameart is highlighted as the moment that contemporary art falls in love with video games. In this context, it works with artists whose approach concerns sexuality by appropriating the language of games in their poetics. Consequently, the artists Suzete Venturelli, Edgar Franco, and Nicolau Chaud are interviewed on their creative process and share predictions about the video game universe. In the fourth and last chapter, the research carries out the application of a survey with 1121 participants about the flirt between sexuality and video games. From the responses of the participants and a data mining, the research converges to when sexuality in games overflows and affects everyday life. Moreover, it addresses pornography in video games as a phenomenon of hyper-reality in our daily lives. Cosplay as an embodiment of video game characters, and an interview with cosplayer Marcela Campos. Additionally, concerns about a discussion of how a tired society is culminating in the search for narcissistic affection. Finally, the thesis ends with an interview with Lola Waifu, an escort who serves clients while wearing videogame characters cosplay.
The article proposes to discuss pornography in video games in a scenario of hyper-reality. Thus, cases of images produced through games are presented that have reached a more than real level according to the concept developed by Jean Baudrillard. In this context, to debate how pornographic representations of video game characters migrated to our daily lives with Japanese pornographic comics through ahegao. And finally, to present and problematize the process of community creation of the character Bowsette: fanarts, comics, cosplay, modifi-cations and pornographic productions.
El artículo propone discutir la pornografía en videojuegos en un escena-rio de hiperrealidad. Así, se presentan casos de imágenes producidas a través de juegos que han alcanzado un nivel más que real según el concepto desarrollado por Jean Baudrillard. En este contexto, debatir cómo las representaciones porno-gráficas de personajes de videojuegos migraron a nuestro día a día con los cómics pornográficos japoneses a través de ahegao. Y finalmente, presentar y problema-tizar el proceso de creación comunitaria del personaje Bowsette: fanarts, cómics, cosplay, modificaciones y producciones pornográficas.
The article aims at the discussion of video games as a path to fulfillment of gaps between human relations. In an exhausted society, the search for affection through others as a reaffirmation of its own beliefs and reality. This environment, on the other hand, has been constantly reenforced on the context of the pandemic corona virus. Furthermore, video games and its players are embedded in a hyper-reality that offers web dating. Moreover, the authors relate answers of a survey carried out with 1121 participants concerning video games and sexuality, carrying out the spotlight on the co-splay in a post-human context. Additionally, the article contextualizes an interview with Lola Waifu, an adult escort who serves her customers wearing video games characters cosplays.
PALAVRAS-CHAVE: Tarô; misticismo; Brasília; Marlene Godoy.
The work of the artist Marlene Godoy entitled The Tarot of Brasilia (1990) demonstrates her capacity to respond to the problems inherent in the history and news of the federal capital. Many spiritual groups have attracted themselves to the region with the aim of contributing to the development of a new civilization and providing spiritual support to the center of the country's political decisions. Legião da Boa Vontade is part of this context and has received the work of Marlene Godoy in its collection. In order to perform the analysis of the work, we focus on the Tarot in its esoteric aspect and on sources available in the LBV.
KEYWORDS: Tarot; misticism; Brasilia; Marlene Godoy.
THE RELIGIOSUS ETHOS IN ANTIQUITY: THE RITUALISTIC ORIGIN OF BOARD GAMES
Abstract: The article discusses the origin of board games and the change from a ritualistic
character to an object of present-day entertainment. The text presents and problematizes games of ancient civilizations, as for example the Senat Game, the The Royal Game of Ur and the Mancala. Analyzing the three games cited, it is intrinsic to realize that its origin is directly related to the religious ethos in antiquity, representing the way man deals with the divine design. To understand this problem, we approach myth as a device of interconnection between the daily and the supernatural.
Keywords: Board game. Ritual. Myth. Religious ethos.
Palavras chaves: Gamearte, Edgar Franco, sexo, censura
The diffusion of information in games collides with structures that establish over time the authority of historians. The games, in this context, make emerge the challenge of thinking the relation between gaming and the work of the historian on the comprehension of the present time, which in the case of the French Revolution portrayed on Assassin’s Creed Unitymakes emerge a specific vision concerning the past. Furthermore, considering games as signs of technological transformations that helpedsewing sociocultural aspects of contemporaneity, the current research proposes a case study which highlights critical perspective on the narrative in order to provide
pedagogical intentionality on the promotion of a History teaching committed with reflexiveness, adding to these contexts an understanding of a narrative that is not an absolute historical truth.
The present article presents reflections on perspectives of the use of digital games in Arts teaching.This research explores experiences where the rolesof artist, player, teacher, and student converge. The text presents a personal report about processes, possibilities, and challenges for the teacher who applies games for the teaching-learning of Visual Arts. In this context, authors who are references inthe following perspectivesare approached: The creative possibilities of gameart from Lúcia Leão (2005), Suzete Venturelli and Mario Maciel (2007); the relevance and presence of games in culture from Johan Huizinga (2013); the possibilities of digital games in teaching from Lynn Alves (2008) and Jaderson Souza (2016); the current immersion and interactivity in digital games from Oliver Grau (2007), Gustavo Audi (2016), Alexandre Carrieri and Pablo Gobira (2012); Stuart Hall (1997), Zygmunt Bauman (2003), and Vilém Flusser (1963) in order to discuss the contact with others. Furthermore, Christus Nóbrega et al. (2011) are presented, to approach experiences and problematizations on teaching Visual Arts with digital games.
The article aims at the theoretical-methodological triad formulated by: 1) the BDSM culture and games; 2) the character Lady Dimitrescu from Resident Evil: Village, of 2021; and 3) memes and their impact on the post-modern society under the Memetics perspective. It starts from the connection between these references resulting on the massification and sharing of a niche culture that leads the underground to mainstream, pointing out a game and a character as driving force of this process. As methodology, it carries out a classic case study as well as highlights a Participation Observation. It demonstrates how a way between consuming pop culture throughout games and a massification of a niche culture is able to justify this media as an image and imaginary technology.
PALAVRAS-CHAVE: Bruna Mazzotti; José Loures; alteridade; autobiografia; processo criativo.
The current study presents theoretical reflections carried out from the artworks: O Duplo (Bruna Mazzotti and Lucas Mazzotti) and Micro_transa_ção (José Loures). Both touch the Autobiographical field in Visual Arts, through drawings and photography made with daily elements with ordinary objects that posteriorly had their relevance increased. It also approaches matters in what concern affects and the meeting with the other and ourselves in periods of social distance. In addition, it discusses how entwined perspectives and lives create new meanings and poetic potentialities.
KEYWORDS: Bruna Mazzotti; José Loures; alterity; autobiography; creative process
The doctoral thesis defends the hypothesis that sexuality is present in all aspects of the development of a video game: concept, visual aspects, production, narrative, gameplay, advertising, and in the relationship with the community of players/users. Considering it, the research carries out an interdisciplinary analysis considering authors of History, Philosophy, Sociology, Advertising, and Art. The title of the current research comes from the term “Homo Ludens” stated by Johan Huizinga (2012), now operating in a sexual context and presenting a new branch of the human species. The research is essentially developed accomplishing analysis, theoretical discussions, and interviews. In the first chapter, a historical research is carried out on the games Mystique launched for the Atari 2600, and consequently the controversies and reception of the first games with adult content. I discuss the influence of the “Rule 34” as well as the various representations of the character Pac-Man. In addition, it presents interviews with the artists EUDETENIS, Heitor Amatsu, and ApocalipseJack, whom carry out commissions of sexual content concerning video game characters. Finally, it represents the modifications to the games as an action in the search of representativeness and how it turned into a profitable business. In the second chapter the research discusses how sexuality in games is intrinsically related to the graphic evolution in video games. Therefore, it analyses the series of games God of War, Dragon Age, Mass Effect, and The Witcher. Following, I invite the journalist Clarice França to discuss questions about male chauvinism, misogyny and maltreatment on social media. Finally, I discuss how video game advertising benefits from sex appeal in its advertising campaigns according to the categorization of Tom Reichert (2002). In the third chapter, gameart is highlighted as the moment that contemporary art falls in love with video games. In this context, it works with artists whose approach concerns sexuality by appropriating the language of games in their poetics. Consequently, the artists Suzete Venturelli, Edgar Franco, and Nicolau Chaud are interviewed on their creative process and share predictions about the video game universe. In the fourth and last chapter, the research carries out the application of a survey with 1121 participants about the flirt between sexuality and video games. From the responses of the participants and a data mining, the research converges to when sexuality in games overflows and affects everyday life. Moreover, it addresses pornography in video games as a phenomenon of hyper-reality in our daily lives. Cosplay as an embodiment of video game characters, and an interview with cosplayer Marcela Campos. Additionally, concerns about a discussion of how a tired society is culminating in the search for narcissistic affection. Finally, the thesis ends with an interview with Lola Waifu, an escort who serves clients while wearing videogame characters cosplay.
The article proposes to discuss pornography in video games in a scenario of hyper-reality. Thus, cases of images produced through games are presented that have reached a more than real level according to the concept developed by Jean Baudrillard. In this context, to debate how pornographic representations of video game characters migrated to our daily lives with Japanese pornographic comics through ahegao. And finally, to present and problematize the process of community creation of the character Bowsette: fanarts, comics, cosplay, modifi-cations and pornographic productions.
El artículo propone discutir la pornografía en videojuegos en un escena-rio de hiperrealidad. Así, se presentan casos de imágenes producidas a través de juegos que han alcanzado un nivel más que real según el concepto desarrollado por Jean Baudrillard. En este contexto, debatir cómo las representaciones porno-gráficas de personajes de videojuegos migraron a nuestro día a día con los cómics pornográficos japoneses a través de ahegao. Y finalmente, presentar y problema-tizar el proceso de creación comunitaria del personaje Bowsette: fanarts, cómics, cosplay, modificaciones y producciones pornográficas.
The article aims at the discussion of video games as a path to fulfillment of gaps between human relations. In an exhausted society, the search for affection through others as a reaffirmation of its own beliefs and reality. This environment, on the other hand, has been constantly reenforced on the context of the pandemic corona virus. Furthermore, video games and its players are embedded in a hyper-reality that offers web dating. Moreover, the authors relate answers of a survey carried out with 1121 participants concerning video games and sexuality, carrying out the spotlight on the co-splay in a post-human context. Additionally, the article contextualizes an interview with Lola Waifu, an adult escort who serves her customers wearing video games characters cosplays.
PALAVRAS-CHAVE: Tarô; misticismo; Brasília; Marlene Godoy.
The work of the artist Marlene Godoy entitled The Tarot of Brasilia (1990) demonstrates her capacity to respond to the problems inherent in the history and news of the federal capital. Many spiritual groups have attracted themselves to the region with the aim of contributing to the development of a new civilization and providing spiritual support to the center of the country's political decisions. Legião da Boa Vontade is part of this context and has received the work of Marlene Godoy in its collection. In order to perform the analysis of the work, we focus on the Tarot in its esoteric aspect and on sources available in the LBV.
KEYWORDS: Tarot; misticism; Brasilia; Marlene Godoy.
THE RELIGIOSUS ETHOS IN ANTIQUITY: THE RITUALISTIC ORIGIN OF BOARD GAMES
Abstract: The article discusses the origin of board games and the change from a ritualistic
character to an object of present-day entertainment. The text presents and problematizes games of ancient civilizations, as for example the Senat Game, the The Royal Game of Ur and the Mancala. Analyzing the three games cited, it is intrinsic to realize that its origin is directly related to the religious ethos in antiquity, representing the way man deals with the divine design. To understand this problem, we approach myth as a device of interconnection between the daily and the supernatural.
Keywords: Board game. Ritual. Myth. Religious ethos.
Palavras chaves: Gamearte, Edgar Franco, sexo, censura
PALAVRAS-CHAVE História em quadrinhos. Processo criativo. Pandemia. Artes visuais. Anápolis.
PALAVRAS-CHAVE Programa performativo. Redes sociais. Correspondência. Casal de artistas. Processo criativo.
A proposta do artigo é problematizar as musas de uma contemporaneidade que flerta com a hiper-realidade. Nesse contexto, as personagens de videogames com apelo sexual que migraram do meio digital para novas corporalidades além do planejado por seus desenvolvedores. Assim é discutido como a personagem Liara T'Soni, de Mass Effect (2007-2012), é desprovida de seu lado intelectual ao migrar para páginas pornográficas; como a personagem Lara Croft da franquia Tomb Raider (1996-2018) transitou entre diversas mídias sempre atualizando seu aspecto visual, mas em constante objetificação; E, por fim, o trabalho também apresenta o caso do Afrodite Sex Shop, onde a personagem Afrodite de Smite (2014) estampa a entrada do estabelecimento em Anápolis-GO.
Palavras-chave: Videogames, hiper-realidade, Lara Croft, Liara, Afrodite.
The muses of videogames: a threshold between objectification and hyper-reality
Abstract
The intent of the current article is to problematize the muses of a contemporaneity that flirts with hyper-reality. In this context, the videogames characters with sexual overtones that migrated from the digital environment to new embodiments beyond the planned by its developers. In addition, it discusses how the character Liara T'Soni, from Mass Effect (2007-2012), is extracted from her intellectual attributes while migrating to pornographic pages; as well as the character Lara Croft, from the Tomb Raider game series (1996-2018), in which transited between different medias always updating her visual aspects, however, in constant objectification; and, in closing, the article also presents the case of Afrodite Sex Shop, where the character Afrodite, from Smite (2014), covers the entrance of the establishment in Anápolis-GO.
O artigo apresenta e problematiza as cenas sexuais presentes na série God of
War (2005 – 2018). Discute a funcionalidade da sexualidade em seu gameplay,
e também em aspectos visuais, sonoros e interativos dos jogos do espartano
Kratos. Também aborda a representação de Kratos através da comunidade
LGBT em sites dedicados a artes feitas por fãs, e suas contradições e relações
com a proposta de um protagonista criado para reafirmar a heteronormatividade.
Por fim, apresenta polêmicas envolvendo God of War com temas LGBT e
o posicionamento dos seus criadores.
Palavras-chave: God of War; sexualidade; fanarts; representatividade; heteronormatividade.
Abstract
The article presents and problematizes the sexual scenes present in the series God of
War (2005 - 2018). Discuss the functionality of sexuality in your gameplay,
and also in visual, sound and interactive aspects of the Spartan games
Kratos. It also addresses the representation of Kratos through the community
LGBT on sites dedicated to fan-made arts, and their contradictions and relationships
with the proposal of a protagonist created to reaffirm heteronormativity.
Finally, it presents controversies involving God of War with LGBT themes and
the positioning of its creators.
Keywords: God of War; sexuality; fanarts; representativeness; heteronormativity
The article analyzes censorship in the Visual Arts, through the study of recent cases of artists who work with graffiti, sculpture, installation, performance and games. The text problematizes and categorizes the cases of censorship according to the researchers Maria Castilho Costa, Walter Junior, Wilson Gomes among others. The work relates the censorship in the Visual Arts with the periods of elections in Brazil. It also breaks the stigma of spaces immune to censorship and surveillance, such as the Federal Universities. Finally, he discusses who the sides of this confrontation and their respective characters are, and the role of the artist in a society hostage to a moral and political authoritarianism.
modernos como uma atividade lúdica cada vez mais recorrente no cotidiano dos brasileiros. Partindo do diálogo com três títulos, “Colonizadores de Catan”, “Puerto Rico” e “Mombasa”, pretendemos focar em um ponto-chave, a maneira com que tais artefatos lúdicos abordam a temática da colonização, debatendo sobre uma concepção histórica/ideológica que cristalizam, que aspectos da dominação colonial omitem e como o debate anticolonial por ser importante na análise de tais mídias. Para tal, empregaremos um percurso metodológico ensaístico, de cunho qualitativo, que promove debate acerca da temática em perspectiva crítica e multidisciplinar.
Link para o ebook: https://producao.ciar.ufg.br/ebooks/invencoes/livros/7/capitulos/c09.html
The doctoral thesis defends the hypothesis that sexuality is present in all aspects of the development of a video game: concept, visual aspects, production, narrative, gameplay, advertising, and in the relationship with the community of players/users. Considering it, the research carries out an interdisciplinary analysis considering authors of History, Philosophy, Sociology, Advertising, and Art. The title of the current research comes from the term “Homo Ludens” stated by Johan Huizinga (2012), now operating in a sexual context and presenting a new branch of the human species. The research is essentially developed accomplishing analysis, theoretical discussions, and interviews. In the first chapter, a historical research is carried out on the games Mystique launched for the Atari 2600, and consequently the controversies and reception of the first games with adult content. I discuss the influence of the “Rule 34” as well as the various representations of the character Pac-Man. In addition, it presents interviews with the artists EUDETENIS, Heitor Amatsu, and ApocalipseJack, whom carry out commissions of sexual content concerning video game characters. Finally, it represents the modifications to the games as an action in the search of representativeness and how it turned into a profitable business. In the second chapter the research discusses how sexuality in games is intrinsically related to the graphic evolution in video games. Therefore, it analyses the series of games God of War, Dragon Age, Mass Effect, and The Witcher. Following, I invite the journalist Clarice França to discuss questions about male chauvinism, misogyny and maltreatment on social media. Finally, I discuss how video game advertising benefits from sex appeal in its advertising campaigns according to the categorization of Tom Reichert (2002). In the third chapter, gameart is highlighted as the moment that contemporary art falls in love with video games. In this context, it works with artists whose approach concerns sexuality by appropriating the language of games in their poetics. Consequently, the artists Suzete Venturelli, Edgar Franco, and Nicolau Chaud are interviewed on their creative process and share predictions about the video game universe. In the fourth and last chapter, the research carries out the application of a survey with 1121 participants about the flirt between sexuality and video games. From the responses of the participants and a data mining, the research converges to when sexuality in games overflows and affects everyday life. Moreover, it addresses pornography in video games as a phenomenon of hyper-reality in our daily lives. Cosplay as an embodiment of video game characters, and an interview with cosplayer Marcela Campos. Additionally, concerns about a discussion of how a tired society is culminating in the search for narcissistic affection. Finally, the thesis ends with an interview with Lola Waifu, an escort who serves clients while wearing videogame characters cosplay.
Tive como objetivo investigar a relação entre os fãs e seus ídolos dentro da música, com ênfase no Rock. Identificar o poder do ídolo sobre esse espectador e a “força” que lhe é atribuída. Estudar os santos e altares católicos. Relacionar a veneração dos fãs com seus ídolos, santos e altares. Investigar processos híbridos para a construção de um trabalho artístico. Tudo isso, representado em um objeto artístico que será um jogo de cartas com variadas mídias para a sua construção.
Esses objetivos se estruturaram em decorrência da minha problemática: Qual o critério de se santificar alguém? O que diferencia as imagens que estão em altares, em igrejas e nas casas de pessoas comuns? Porque se apegar às imagens em busca de um objetivo em vida? Qual a relação de minha escolha temática com minha experiência de vida? Como transpor tudo isso para um objeto artístico?