O brincar em uma (in)fância conectada
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Data
2022-02-04
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Universidade Estadual Paulista (Unesp)
Resumo
RESUMO Esta dissertação teve como objetivo analisar criticamente as formas históricas atuais do brincar, em especial quando ele se realiza com aparatos digitais. Foi realizada uma pesquisa bibliográfica e qualitativa que procurou construir uma constelação crítica sobre o brincar de uma infância inserida na cultura cada vez mais mediada por aparatos digitais. O jogo e o brincar foram tomados como fenômenos histórico-sociais, tal como as concepções de infância e de adulto e os brinquedos – os aparatos materiais e simbólicos que dão suporte ao brincar. A hipótese é que na sociedade atual o brincar e o ritualizar estejam sendo substituídos pela relação com aparatos que suprimem de si sua ínsita historicidade, na medida em que se constitui, pela sua mediação, uma condição pós-histórica. O universo das imagens técnicas incita um novo Homo Ludens, que é idêntico a um funcionário que joga segundo regras que não são compreendidas como construções históricas, resultando em um aprofundamento da crise da experiência, denunciada por autores da Teoria Crítica. A constelação crítica organizada neste trabalho ressaltou que o jogo atua em par com o ritual, o primeiro representando a diacronia e o segundo a sincronia nos processos históricos, ambos essenciais à transmissão para as novas gerações da tradição, que por essas mediações é simultaneamente introjetada e transformada. A imersão no jogo por meio de aparatos digitais corresponde a um processo de aceleração social sem mudança real; sujeita adultos e crianças a imperativos capitalistas de exploração da subjetividade para fins de lucro e fetichiza tanto a infância como a idade adulta, tornando a distinção cada vez menos relevante. Para educadores, essas reflexões podem ser relevantes para pensar o espaço que rituais e jogos devem ocupar na educação, desfazendo a ilusão de que se deve educar para o trabalho e a vida adulta quando essas concepções se encontram fetichizadas; também para considerar que o brincar muda suas características de acordo com os aparatos que lhe dão suporte; finalmente, para considerar a necessidade de lidar com temporalidades alternativas ao tempo cronológico vazio e homogêneo na educação.
ABSTRACT This dissertation aimed to critically analyze the current historical forms of playing, especially when it takes place with digital devices. A bibliographical and qualitative research was carried out that sought to build a critical constellation about the play of a childhood inserted in a culture increasingly mediated by digital devices. The game and playing were taken as social-historical phenomena, such as childhood and adult conceptions and toys - the material and symbolic devices that support playing. The hypothesis is that in today's society, playing and ritualizing are being replaced by the relationship with apparatuses that suppress their inherent historicity, insofar as a post-historical condition is constituted through their mediation. The universe of technical images incites a new Homo Ludens, which is identical to an employee who plays according to rules that are not understood as historical constructions, resulting in a deepening of the crisis of experience, denounced by authors of Critical Theory. The critical constellation organized in this work emphasized that the game works in tandem with the ritual, the first representing diachrony and the second synchrony in historical processes, both essential to the transmission process of social acceleration without real change; it subjects adults and children to capitalist imperatives to exploit subjectivity for profit and fetishizes both childhood and adulthood, making the distinction less and less relevant. For educators, these reflections can be relevant to think about the space that rituals and games should occupy in education, dispelling the illusion that one should educate for work and adult life when these conceptions are fetishized; also to consider that playing changes its characteristics according to the devices that support it; finally, to consider the need to deal with alternative temporalities to the empty and homogeneous chronological time in education.
ABSTRACT This dissertation aimed to critically analyze the current historical forms of playing, especially when it takes place with digital devices. A bibliographical and qualitative research was carried out that sought to build a critical constellation about the play of a childhood inserted in a culture increasingly mediated by digital devices. The game and playing were taken as social-historical phenomena, such as childhood and adult conceptions and toys - the material and symbolic devices that support playing. The hypothesis is that in today's society, playing and ritualizing are being replaced by the relationship with apparatuses that suppress their inherent historicity, insofar as a post-historical condition is constituted through their mediation. The universe of technical images incites a new Homo Ludens, which is identical to an employee who plays according to rules that are not understood as historical constructions, resulting in a deepening of the crisis of experience, denounced by authors of Critical Theory. The critical constellation organized in this work emphasized that the game works in tandem with the ritual, the first representing diachrony and the second synchrony in historical processes, both essential to the transmission process of social acceleration without real change; it subjects adults and children to capitalist imperatives to exploit subjectivity for profit and fetishizes both childhood and adulthood, making the distinction less and less relevant. For educators, these reflections can be relevant to think about the space that rituals and games should occupy in education, dispelling the illusion that one should educate for work and adult life when these conceptions are fetishized; also to consider that playing changes its characteristics according to the devices that support it; finally, to consider the need to deal with alternative temporalities to the empty and homogeneous chronological time in education.
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Palavras-chave
Brincar, Infância, Cultura Digital, Jogos, Rituais, Play, Childhood, Digital Culture, Games, Rituals