Dança experimental e psicologia social contemporânea: subjetivações nas cocriações com animais
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Data
2017-10-17
Autores
Milioli, Danielle [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
O argumento desta tese situa-se na composição entre criação em dança experimental com animais e pesquisa em Psicologia Social. Propomos que a ampliação da noção de sujeito e subjetivação, na articulação das Epistemologias Feministas nos Estudos de Ciência, Tecnologia e Sociedade, em especial, os debates e pesquisas em torno dos Estudos Animais, potencializa tanto a Psicologia quanto a dança no tocante ao desenvolvimento de noções de sujeito e de subjetivação ampliadas que abarquem agenciamentos humanoanimais. Não se trata de um alargamento simples nem para a dança com a tradição da figura do dançarino e da dançarina humanos, nem para a Psicologia Social - externa aos contextos experimentais controlados do laboratório - cujo foco vem sendo as subjetividades humanas. Longe de uma relação experimentalista com animais, o que convidamos a pensar é numa experimentação no sentido forte do termo, ou seja, em sua multiplicidade. Na dança-pesquisa nos conectamos a prática feminista de contar e recontar histórias parciais das relações entre humanos e animais que funcionem como brechas nas histórias únicas que excluem os animais como atuantes das suas tramas, para encontrar modos de fala não antropocêntricos (DESPRET; STENGERS, 2012). Há muitas histórias acontecendo nas margens parcialmente domadas. Há muitas histórias sendo gestadas nos encontros entre humanos e não humanos que não necessariamente subentendem dominação, não necessariamente criam parentescos humano-animal fronteiriços. Contá-las é, para nós, engendrar transformações nos modos de viver individuais e coletivos que estamos criando; é inserir-se, enquanto pesquisadores e pesquisadoras em Psicologia Social, nas naturezasculturas que nos afetam e que, por isso, não podemos mais ignorar.
This argument thesis is situated in the composition between creation in experimental dance with animals and research in Social Psychology. We propose that the expansion of the subject and subjectification notion, in the articulation of Science Feminist Epistemologies, Technology and Society Studies, especially the debates and researches around Animal Studies, potentiates both Psychology and dance in the development of subject and subjectification amplified notion that embrace human-animal assemblages. It is not a simple enlargement for dance with the tradition of the human dancer and dancer, nor for Social Psychology - external to the controlled experimental contexts of the laboratory - whose focus has been the human subjectivities. Far from an experimental relationship with animals, what we invite to think is an experimentation in the strong sense of the term, that is, in its multiplicity. In the dance-research we connect the feminist practice of telling and retelling partial histories of human-animal relations that function as gaps in unique histories that exclude animals as actors in their plots to find nonanthropocentric modes of speech (DESPRET; STENGERS, 2012). There are many stories happening on the partially tamed banks. There are many stories being gestated in encounters between humans and nonhumans that do not necessarily imply domination, do not necessarily create borderline human-animal kinship. Counting them is for us to engender transformations in the individual and collective modes of living that we are creating; is to insert themselves, as researchers and researchers in Social Psychology, in the naturescultures that affect us and that, therefore, we can no longer ignore.
This argument thesis is situated in the composition between creation in experimental dance with animals and research in Social Psychology. We propose that the expansion of the subject and subjectification notion, in the articulation of Science Feminist Epistemologies, Technology and Society Studies, especially the debates and researches around Animal Studies, potentiates both Psychology and dance in the development of subject and subjectification amplified notion that embrace human-animal assemblages. It is not a simple enlargement for dance with the tradition of the human dancer and dancer, nor for Social Psychology - external to the controlled experimental contexts of the laboratory - whose focus has been the human subjectivities. Far from an experimental relationship with animals, what we invite to think is an experimentation in the strong sense of the term, that is, in its multiplicity. In the dance-research we connect the feminist practice of telling and retelling partial histories of human-animal relations that function as gaps in unique histories that exclude animals as actors in their plots to find nonanthropocentric modes of speech (DESPRET; STENGERS, 2012). There are many stories happening on the partially tamed banks. There are many stories being gestated in encounters between humans and nonhumans that do not necessarily imply domination, do not necessarily create borderline human-animal kinship. Counting them is for us to engender transformations in the individual and collective modes of living that we are creating; is to insert themselves, as researchers and researchers in Social Psychology, in the naturescultures that affect us and that, therefore, we can no longer ignore.
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Palavras-chave
Subjetivações, Animais, Social psychology, Psicologia social, Dança experimental, Experimental dance, Subjectification, Animals