{"id":611,"date":"2021-04-16T13:03:51","date_gmt":"2021-04-16T15:03:51","guid":{"rendered":"http:\/\/sites.usp.br\/ciclocuratorial\/?p=611"},"modified":"2023-08-11T21:41:22","modified_gmt":"2023-08-12T00:41:22","slug":"webinario-curadoria-em-debate-a-pesquisa-em-museus-universitarios-2","status":"publish","type":"post","link":"https:\/\/ciclocuratorial.mac.usp.br\/?p=611","title":{"rendered":"Webin\u00e1rio &#8220;Curadoria em debate: a pesquisa em museus universit\u00e1rios&#8221;"},"content":{"rendered":"<h1><span style=\"color: #64c4d2;\"><strong>Webin\u00e1rio &#8220;Curadoria em debate: a pesquisa em museus universit\u00e1rios&#8221;<\/strong><\/span><\/h1>\n<hr class=\"no_line\" style=\"margin: 0 auto 30px;\"\/>\n\n<p>Este webin\u00e1rio aborda desafios da pr\u00e1tica curatorial em museus universit\u00e1rios, de diversas tipologias, com a participa\u00e7\u00e3o de palestrantes do Brasil e do exterior. Trata-se de atividade integrante do Projeto Tem\u00e1tico FAPESP \u201cColetar, Identificar, Processar, Difundir. O ciclo curatorial como produ\u00e7\u00e3o de conhecimento\u201d, que re\u00fane docentes e pesquisadores do Museu de Arte Contempor\u00e2nea, Museu Paulista, Museu de Zoologia, do Museu de Arqueologia e Etnologia e do Instituto de F\u00edsica &#8211; todos da USP &#8211; e do Instituto de Artes da Unicamp.<\/p>\n<p><strong>Evento gratuito, sem necessidade de inscri\u00e7\u00e3o pr\u00e9via.<\/strong><br \/>\nTransmiss\u00e3o em portugu\u00eas ao vivo pelo Youtube.<\/p>\n<p>20\/5\/2021 &#8211; <strong> <a href=\"https:\/\/www.youtube.com\/watch?v=tlKimENmP4w\" target=\"_blank\" rel=\"noopener\">Link de acesso Dia 1<\/a><\/strong><br \/>\n21\/5\/2021 &#8211; <strong> <a href=\"https:\/\/www.youtube.com\/watch?v=6mClP9BpVT4\" target=\"_blank\" rel=\"noopener\">Link de acesso Dia 2<\/a><\/strong><\/p>\n<p>Os participantes receber\u00e3o declara\u00e7\u00e3o mediante preenchimento da lista de presen\u00e7a, cujo link ser\u00e1 disponibilizado no chat durante a realiza\u00e7\u00e3o de cada mesa.<\/p>\n<p>Informa\u00e7\u00f5es: <a href=\"mailto:curadoriaemdebate@gmail.com\">curadoriaemdebate@gmail.com<\/a><\/p>\n<h4><hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n<\/h4>\n<h4><span style=\"color: #64c4d2;\"><strong>Programa\u00e7\u00e3o<\/strong><\/span><\/h4>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<h4><span style=\"color: #64c4d2;\"><strong>20 de maio de 2021 &#8211; quinta-feira<\/strong><\/span><\/h4>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<p><strong>14h | Abertura<\/strong>: Ana Magalh\u00e3es (MAC USP)<br \/>\n<a name=\"mesa1\"><\/a><strong>14h15-16h | Mesa 1 &#8211; Curadoria digital<br \/>\n<\/strong>Esta mesa pretende debater as tecnologias digitais como instrumento de produ\u00e7\u00e3o de conhecimento em face a acervos de grande escala e em crescente expans\u00e3o, bem como as estrat\u00e9gias de disponibiliza\u00e7\u00e3o de cole\u00e7\u00f5es para o p\u00fablico e estabelecimento de pr\u00e1ticas colaborativas de identifica\u00e7\u00e3o e significa\u00e7\u00e3o<\/p>\n<ul>\n<li>Palestrantes:<br \/>\n<strong>Corrie Saux Moreau (Cornell University)<\/strong> <a href=\"#corriesauxmoreau\">[bio]<\/a><br \/>\nCompartilhando o poder das cole\u00e7\u00f5es atrav\u00e9s da digitaliza\u00e7\u00e3o <a href=\"#resumo1\">[resumo]<\/a><br \/>\n<strong>Dalton Lopes Martins (UnB)<\/strong> <a href=\"#daltonlopesmartins\">[bio]<\/a><br \/>\nO desafio da mem\u00f3ria em tempos de cultura digital: dos objetos digitais \u00e0s redes sem\u00e2nticas <a href=\"#resumo2\">[resumo]<\/a><br \/>\n<strong>Bruno Moreschi (FAU USP)<\/strong><a href=\"#brunomoreschi\">[bio]<\/a><br \/>\nA desmaterializa\u00e7\u00e3o n\u00e3o est\u00e1 exposta \u2013 Arte e tecnologia como parte estruturante (ou desestruturante) de pr\u00e1ticas curatoriais<a href=\"#resumo3\">[resumo]<\/a><\/li>\n<li>Mediadora: Solange Lima (MP USP)<\/li>\n<li>Debatedora: Ana Carolina Maciel (IA COCEN Unicamp)<\/li>\n<\/ul>\n<p><a name=\"mesa2\"><\/a><strong>16h20-18h | Mesa 2 &#8211; Intera\u00e7\u00f5es disciplinares: tecnologias de identifica\u00e7\u00e3o<br \/>\n<\/strong>No \u00e2mbito das universidades, a supera\u00e7\u00e3o de barreiras disciplinares mostra-se como um desafio para que os museus se tornem laborat\u00f3rios para a constru\u00e7\u00e3o de metodologias capazes de qualificar suas cole\u00e7\u00f5es. A mesa se prop\u00f5e a discutir em que medida o desenvolvimento e integra\u00e7\u00e3o de diferentes tecnologias t\u00eam permitido a utiliza\u00e7\u00e3o de ferramentas eficazes na conserva\u00e7\u00e3o e identifica\u00e7\u00e3o de acervos museais.<\/p>\n<ul>\n<li>Palestrantes:<br \/>\n<strong>Cynthia Schwarz (Yale University)<\/strong><a href=\"#cynthiaschwarz\">[bio]<\/a><br \/>\nPatrim\u00f4nio cultural e colabora\u00e7\u00e3o: Conserva\u00e7\u00e3o na Universidade de Yale <a href=\"#resumo4\">[resumo]<\/a><br \/>\n<strong>Carlos Appoloni (UEL)<\/strong><a href=\"#carlosappoloni\">[bio]<\/a><br \/>\nO Laborat\u00f3rio de F\u00edsica Nuclear Aplicada e o trabalho com cole\u00e7\u00f5es museais <a href=\"#resumo5\">[resumo]<\/a><\/li>\n<li>Mediadora: Ana Magalh\u00e3es (MAC USP)<\/li>\n<li>Debatedora: M\u00e1rcia Rizzutto (IF USP)<\/li>\n<\/ul>\n<h4><hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n<\/h4>\n<h4><strong><span style=\"color: #64c4d2;\">21 de maio de 2021 &#8211; sexta-feira<\/span><\/strong><\/h4>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<p><a name=\"mesa3\"><\/a><strong>14h-15h50 | Mesa 3 &#8211; Saberes compartilh\u00e1veis, alteridades e pol\u00edticas curatoriais\u00a0<\/strong><br \/>\nA partir das inflex\u00f5es propostas pelos estudos decoloniais, esta mesa aborda a pr\u00e1tica da curadoria compartilhada, examinando em que medida ela contribui para o reconhecimento, valoriza\u00e7\u00e3o e difus\u00e3o da diversidade de comunidades humanas, de saberes, vis\u00f5es de mundo e lugares de fala, questionando narrativas oficiais, euroc\u00eantricas e verticalizadas.<\/p>\n<ul>\n<li>Palestrantes:<br \/>\n<strong>Mar\u00edlia Cury (MAE USP)<\/strong><a href=\"#mariliacury\">[bio]<\/a><br \/>\nMuseologia Cr\u00edtica, Museologia Social e Museologia Compartilha na pauta da descoloniza\u00e7\u00e3o <a href=\"#resumo6\">[resumo]<\/a><br \/>\n<strong>Gustavo A. Ortiz Serrano (MAC Bogot\u00e1)<\/strong><a href=\"#gustavoortiz\">[bio]<\/a><br \/>\nA espiral digital, curadoria durante e p\u00f3s-pandemia <a href=\"#resumo7\">[resumo]<\/a><br \/>\n<strong>Maria Dulce Gaspar <\/strong><a href=\"#mariadulcegaspar\">[bio]<\/a> e <strong>Cilcair Andrade (MN UFRJ)<\/strong> <a href=\"#cilcairandrade\">[bio]<\/a> e <strong>Claudia Vitalino (UNEGRO) <\/strong><a href=\"#claudiavitalino\">[bio]<\/a><br \/>\nA\u00e7\u00f5es dial\u00f3gicas e viv\u00eancias compartilhadas \u2013 o cotidiano da Educa\u00e7\u00e3o Patrimonial para a legitima\u00e7\u00e3o dos espa\u00e7os de mem\u00f3ria <a href=\"#resumo8\">[resumo]<\/a><strong><br \/>\n<\/strong><\/li>\n<li>Mediadora: Maria Isabel Landim (MZ USP)<\/li>\n<li>Debatedor: Camilo de Mello Vasconcellos (MAE USP)<\/li>\n<\/ul>\n<p><a name=\"mesa4\"><\/a><strong>16h10-18h | Mesa 4 &#8211; Repatria\u00e7\u00e3o de acervos e a\u00e7\u00f5es de repara\u00e7\u00e3o <\/strong><br \/>\nAs reivindica\u00e7\u00f5es de propriedade de bens culturais, que foram retirados de seus territ\u00f3rios de origem, intensificaram-se nos \u00faltimos anos e impuseram novos desafios e reflex\u00f5es aos museus contempor\u00e2neos. O objetivo desta mesa \u00e9 discutir a repatria\u00e7\u00e3o e restitui\u00e7\u00e3o de bens culturais, bem como a responsabilidade \u00e9tica e jur\u00eddica dos museus frente a tais demandas.<\/p>\n<ul>\n<li>Palestrantes:<br \/>\n<strong>Rodrigo Christofoletti (UFJF) <\/strong><a href=\"#rodrigochristofoletti\">[bio]<\/a><br \/>\nRestitui\u00e7\u00e3o como repara\u00e7\u00e3o hist\u00f3rica: o que vale para um, vale para todos? <a href=\"#resumo9\">[resumo]<\/a><br \/>\n<strong>Beno\u00eet de L&#8217;Estoile (\u00c9cole Normale Sup\u00e9rieure, Paris)<\/strong> <a href=\"#benoitlestoile\">[bio]<\/a><br \/>\nRestituindo, reivindicando, compartilhando: alguns desafios para museus etnogr\u00e1ficos <a href=\"#resumo10\">[resumo]<\/a><br \/>\n<strong>Antoine Gournay (Sorbonne Universit\u00e9)<\/strong> <a href=\"#antoinegournay\">[bio]<\/a><br \/>\nObras de arte asi\u00e1ticas em museus: Tesouros nacionais, mas de quem? <a href=\"#resumo11\">[resumo]<\/a><\/li>\n<li>Mediador: Helouise Costa (MAC USP)<\/li>\n<li>Debatedor: Paulo C\u00e9sar Garcez Marins (MP USP)<\/li>\n<\/ul>\n<p><strong>18h-18h15 | Encerramento:<\/strong> Carlos Roberto F. Brand\u00e3o (MZ USP)<\/p>\n<p>___________________<\/p>\n<h4><hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n<\/h4>\n<h4><span style=\"color: #64c4d2;\"><b>Informa\u00e7\u00f5es<\/b><\/span><\/h4>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<h4><a name=\"corriesauxmoreau\"><\/a><strong><span style=\"color: #64c4d2;\"> Corrie Saux Moreau<\/span><\/strong><\/h4>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<p><span style=\"font-weight: 400;\">Professora dos Departamentos de Entomologia e de Ecologia e Biologia Evolutiva na Cornell University, EUA, e diretora e curadora da Cole\u00e7\u00e3o de Insetos da mesma universidade. Dra. Moreau fez gradua\u00e7\u00e3o e mestrado na San Francisco State University, doutorado em Biologia Evolutiva pela Harvard University e foi pesquisadora na University of California. Foi eleita membro da Entomological Society of America (2020), da AAAS (2018), da National Academy of Sciences USA (2016), da National Geographic Explorer (2014), e nomeada Mulher de Impacto pela National Geographic Society (2018). Al\u00e9m de ter duas esp\u00e9cies nomeadas em sua homenagem: a vespa <\/span><i><span style=\"font-weight: 400;\">Glyptapanteles corriemoreauae<\/span><\/i><span style=\"font-weight: 400;\"> e o fungo <\/span><i><span style=\"font-weight: 400;\">Ophiocordyceps corrie-moreauae<\/span><\/i><span style=\"font-weight: 400;\">. Dra. Moreau desenvolve pesquisas sobre a evolu\u00e7\u00e3o e diversifica\u00e7\u00e3o das formigas e suas bact\u00e9rias simbiontes, utilizando ferramentas moleculares e gen\u00f4micas para responder perguntas sobre a origem das esp\u00e9cies e a coevolu\u00e7\u00e3o de mecanismos de benef\u00edcio m\u00fatuo. Ainda, estuda o papel que a biogeografia, as caracter\u00edsticas evolutivas e a simbiose exercem nos processos macroevolutivos para buscar entender de uma forma mais ampla os padr\u00f5es evolutivos que regem a vida. Al\u00e9m de apaixonada pela ci\u00eancia, Dra. Moreau \u00e9 comprometida com a\u00e7\u00f5es que promovem a equidade no campo da ci\u00eancia e com a divulga\u00e7\u00e3o da ci\u00eancia de forma ampla para toda a sociedade. Mais em: <\/span><a href=\"https:\/\/www.moreaulab.entomology.cornell.edu\/\" target=\"_blank\" rel=\"noopener\"><span style=\"font-weight: 400;\">https:\/\/www.moreaulab.entomology.cornell.edu\/<\/span><\/a><\/p>\n<p><em>Dr. Moreau is the Martha N. and John C. Moser Professor of Arthropod Biosystematics and Biodiversity at Cornell University in the Departments of Entomology and Ecology and Evolutionary Biology, USA. She is also the Director and Curator of the Cornell University Insect Collection. Dr. Moreau completed her undergraduate and Master&#8217;s degrees at San Francisco State University, has PhD in Evolutionary Biology from Harvard University and was a Miller Fellow at the University of California. She was elected a Fellow of the Entomological Society of America in 2020, an AAAS Fellow in 2018, a Kavli Fellow of the National Academy of Sciences USA in 2016, a National Geographic Explorer in 2014, and highlighted as a Woman of Impact by the National Geographic Society in 2018. In addition she has two species named after her. Dr. Moreau&#8217;s research on the evolution and diversification of ants and their symbiotic bacteria couples field-based research with molecular and genomic tools to address the origin of species and how co-evolved systems benefit both partners. Also, she pursues questions on the role of biogeography, trait evolution, and symbiosis in shaping macroevolutionary processes to better understand broad-scale evolutionary patterns of life. In addition to her passion for scientific research, Dr. Moreau is also engaged with efforts to promote science communication and increase diversity in the sciences. More info: <a href=\"https:\/\/www.moreaulab.entomology.cornell.edu\/\" target=\"_blank\" rel=\"noopener\">https:\/\/www.moreaulab.entomology.cornell.edu\/<\/a><\/em><\/p>\n<p><a href=\"#mesa1\">&lt; voltar<\/a><\/p>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<h4><a name=\"resumo1\"><\/a> Comunica\u00e7\u00e3o: Compartilhando o poder das cole\u00e7\u00f5es atrav\u00e9s da digitaliza\u00e7\u00e3o<strong><br \/>\n<\/strong><em>Talk title: Unlocking the power of collections through digitization<\/em><\/h4>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<p>Cole\u00e7\u00f5es de Hist\u00f3ria Natural nos possibilitam responder a quest\u00f5es que n\u00e3o poderiam ser respondidas de outra forma. Atrav\u00e9s da digitaliza\u00e7\u00e3o, do compartilhamento e do acesso livre e gratuito das informa\u00e7\u00f5es contidas nos esp\u00e9cimes depositados nessas cole\u00e7\u00f5es, n\u00f3s podemos responder a quest\u00f5es atuais e urgentes, como: o impacto das esp\u00e9cies invasoras sobre as esp\u00e9cies nativas, e a diminui\u00e7\u00e3o da biodiversidade e dos servi\u00e7os ecol\u00f3gicos no cen\u00e1rio das mudan\u00e7as clim\u00e1ticas. Por\u00e9m, a digitaliza\u00e7\u00e3o do acervo \u00e9 uma tarefa intensa que demanda muitas horas. N\u00e3o apenas as ag\u00eancias de financiamento devem apoiar a curadoria, digitaliza\u00e7\u00e3o e moderniza\u00e7\u00e3o dos acervos, mas todos devemos encontrar maneiras criativas para alavancar os esfor\u00e7os da comunidade cient\u00edfica para promover a ci\u00eancia e o movimento \u201copen science\u201d. Os acervos das cole\u00e7\u00f5es dos museus s\u00e3o bens p\u00fablicos e fontes de informa\u00e7\u00f5es de extrema relev\u00e2ncia, neste sentido os profissionais que trabalham nesses locais devem promover o acesso amplo e gratuito das pe\u00e7as que comp\u00f5em o acervo ao mesmo tempo que protegem esses bens que s\u00e3o insubstitu\u00edveis e possuem valor inestim\u00e1vel para a ci\u00eancia.<\/p>\n<p><em>Natural history collections have the capacity to address questions that cannot be answered in any other way. Through the digitization and freely sharing of information we can address some of the most pressing questions of our time including the impacts of invasive species on native communities to loss of species and ecological services through climate change. But digitization is labor intensive and time consuming. Not only must funding agencies support the curation, digitization, and modernization of museum collections, but we must find creative ways to leverage community science efforts and promote open science. Museum collections are among the most important public resources and museum professionals must work to make these resources openly available while also protecting these invaluable and irreplaceable scientific assets.<\/em><\/p>\n<p><a href=\"#mesa1\">&lt; voltar<\/a><\/p>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<h4><span style=\"color: #64c4d2;\"><a style=\"color: #64c4d2;\" name=\"brunomoreschi\"><\/a><strong>Bruno Moreschi<\/strong><\/span><\/h4>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<p>Bruno Moreschi \u00e9 pesquisador e artista multidisciplinar. P\u00f3s-doutorando da Faculdade de Arquitetura e Urbanismo da USP, doutor em Artes pela Universidade Estadual de Campinas (UNICAMP), com bolsa da Capes, e passagem na University of Arts of Helsinki (Kuva Art Academy), Finl\u00e2ndia (CIMO Fellowship). Suas investiga\u00e7\u00f5es acad\u00eamicas e art\u00edsticas est\u00e3o relacionadas \u00e0 desconstru\u00e7\u00e3o de sistemas e \u00e0 decodifica\u00e7\u00e3o de seus procedimentos e pr\u00e1ticas sociais \u2013 incluindo aqui (mas n\u00e3o s\u00f3) experi\u00eancias no sistema das artes visuais e seus espa\u00e7os. Atualmente realiza experi\u00eancias no campo da Intelig\u00eancia Artificial, em processos de engenharia reversa para a realiza\u00e7\u00e3o de pr\u00e1ticas expandidas de cr\u00edtica institucional e estudos sobre camadas humanas presentes no treinamento e manuten\u00e7\u00e3o de infraestruturas digitais contempor\u00e2neas. Projetos reconhecidos por bolsas, exposi\u00e7\u00f5es e institui\u00e7\u00f5es como Van Abbemuseum, 33\u00aa Bienal de S\u00e3o Paulo, Pr\u00eamio Rumos, Funarte, Capes e Fapesp. Atualmente \u00e9 pesquisador do projeto Histories of AI: Genealogy of Power (Universidade de Cambridge), pesquisador s\u00eanior do Center for Arts, Design and Social Research (CAD+SR) e um dos coordenadores do GAIA\/C4AI\/Inova USP &#8211; grupo de pesquisadores de diferentes \u00e1reas que atua na constru\u00e7\u00e3o de m\u00e9todos democr\u00e1ticos, art\u00edsticos e experimentais no campo de programa\u00e7\u00e3o, aprendizado de m\u00e1quina e Intelig\u00eancias Artificiais. Mais em: <a href=\"https:\/\/brunomoreschi.com\/\" target=\"_blank\" rel=\"noopener\">https:\/\/brunomoreschi.com\/<\/a><\/p>\n<p><em>Dr. Bruno Moreschi is a researcher and multidisciplinary artist. Postdoctoral fellow at the Faculty of Architecture and Urbanism at the S\u00e3o Paulo University (USP), he holds a PhD in Arts obtained at the Campinas State University (UNICAMP), and exchange at the University of Arts of Helsinki (Kuva Art Academy), Finland (CIMO Fellowship). His academic and artistic investigations are related to the deconstruction of systems and the decoding of their procedures and social practices \u2013 including here (but not only) experiences in the visual arts system and its spaces of legitimation. He currently conducts experiments in the field of Artificial Intelligence, in reverse engineering processes to carry out expanded practices of institutional critique and studies on human layers present in the training and maintenance of contemporary digital infrastructures. Projects recognized by scholarships, exhibitions and institutions such as Van Abbemuseum, 33rd Bienal de S\u00e3o Paulo, Rumos Award, Funarte, Capes and FAPESP. He is currently a researcher on the Histories of AI: Genealogy of Power (Cambridge University), senior researcher at the Center for Arts, Design and Social Research (CAD+SR) and one of the coordinators of GAIA \/C4AI\/Inova USP, a group of researchers from different fields in the construction of democratic, artistic and experimental methods in the use of programming, machine learning and Artificial Intelligences.<\/em><\/p>\n<p><a href=\"#mesa1\">&lt; voltar<\/a><\/p>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<h4><a name=\"resumo3\"><\/a>Comunica\u00e7\u00e3o: A desmaterializa\u00e7\u00e3o n\u00e3o est\u00e1 exposta \u2013 Arte e tecnologia como parte estruturante (ou desestruturante) de pr\u00e1ticas curatoriais<strong><br \/>\n<\/strong><em>The dematerialization is not exposed \u2013 Art and technology as a structuring (or de-structuring) part of curatorial practice<\/em><\/h4>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<p><span style=\"font-weight: 400;\">Desde as vanguardas do in\u00edcio do s\u00e9culo XX e, mais intensamente, na arte conceitual a partir da d\u00e9cada de 1970, culminando no atual contexto marcado por agenciamentos algor\u00edtmicos, a pr\u00e1tica art\u00edstica passa por um processo de desmaterializa\u00e7\u00e3o ainda em curso (Zanini, 2018): de uma l\u00f3gica objetual para pr\u00e1ticas expandidas como a de infiltra\u00e7\u00f5es em sistemas tecnol\u00f3gicos. Diante dessa expans\u00e3o do campo art\u00edstico, como a curadoria pode ser tamb\u00e9m repensada? A partir de projetos j\u00e1 realizados pelo autor, como a cria\u00e7\u00e3o de um arquivo digital n\u00e3o tradicional da 33 Bienal de S\u00e3o Paulo, e de conceitos defendidos por pensadores como Waldemar Cordeiro e \u00c1lvaro Vieira Pinto, esta apresenta\u00e7\u00e3o busca evidenciar possibilidades para que a pr\u00e1tica curatorial v\u00e1 al\u00e9m da l\u00f3gica de \u201cexpor\u201d arte e tecnologia, considerando esse subcampo como poss\u00edvel aliado para expans\u00f5es na curadoria de exposi\u00e7\u00f5es e seus arquivos produzidos.<\/span><\/p>\n<p><em>Since the vanguards in the early 20th century and more intensely in the conceptual art in the seventies culminating in the current context marked by algorithmics, the artistic practice has been experiencing a process of dematerialization (Zanini, 2018): from objects to expanded practices such as those with infiltrations into technological systems. Given this expansion of the artistic field, how can curatorial practices be rethought? Based on projects already carried out by the author, such as the creation of a non-traditional digital archive of the 33rd Bienal de S\u00e3o Paulo, and based on concepts outlined by thinkers such as Waldemar Cordeiro and \u00c1lvaro Vieira Pinto, this presentation intends to highlight possibilities for the curatorial practice to go beyond the logic of \u201cexhibiting\u201d art and technology, considering this subfield as a possible ally for expansions in the curation of exhibitions and their produced archives.<\/em><\/p>\n<p><a href=\"#mesa1\">&lt; voltar<\/a><\/p>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<h4><a name=\"daltonlopesmartins\"><\/a><strong><span style=\"color: #64c4d2;\">Dalton Lopes Martins<\/span><\/strong><\/h4>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<p><span style=\"font-weight: 400;\">Professor no curso de Biblioteconomia e do Programa de P\u00f3s-gradua\u00e7\u00e3o em Ci\u00eancia da Informa\u00e7\u00e3o PGGCinf da Faculdade de Ci\u00eancia da Informa\u00e7\u00e3o (FCI) na Universidade de Bras\u00edlia (UnB). \u00c9 tamb\u00e9m professor permanente no Programa de P\u00f3s-Gradua\u00e7\u00e3o em Estudos da Condi\u00e7\u00e3o Humana (PPGECH) da Universidade Federal de S\u00e3o Carlos. Possui gradua\u00e7\u00e3o em Engenharia El\u00e9trica pela Universidade Estadual de Campinas (2002) e mestrado em Engenharia da Computa\u00e7\u00e3o pela mesma universidade (2004). Doutor em Ci\u00eancias da Informa\u00e7\u00e3o pela USP (2009-2012), trabalhando com o tema de mapeamento, an\u00e1lise estrutural e din\u00e2mica de Redes Sociais em ambientes digitais distribu\u00eddos. Pesquisa sobre os temas objetos e reposit\u00f3rios digitais, acervos digitais e estrat\u00e9gias de interoperabilidade de sistemas de informa\u00e7\u00e3o, dados abertos ligados, ci\u00eancia de dados e aprendizagem de m\u00e1quina com \u00eanfase na an\u00e1lise de objetos digitais. Coordena o projeto de pesquisa Tainacan &#8211; software livre para a constru\u00e7\u00e3o social de reposit\u00f3rios digitais &#8211; parceria com o Instituto Brasileiro de Museus (IBRAM), a Funda\u00e7\u00e3o Nacional de Artes (FUNARTE) e o Instituto do Patrim\u00f4nio Hist\u00f3rico e Art\u00edstico Nacional (IPHAN).<\/span><\/p>\n<p><em>Professor at the Bras\u00edlia University (UNB) and at the S\u00e3o Carlos University (PPGECH). He holds a bachelor&#8217;s degree in Electrical Engineering and a Master&#8217;s degree in Computer Engineering, both from Campinas State University (UNICAMP), and a PhD in Information Sciences obtained at the S\u00e3o Paulo University. Dr. Martins&#8217;s research on the digital objects, repositories and collections, and the interoperability strategies of information systems, linked open data, data science and machine learning with an emphasis on the analysis of digital objects. He coordinates the Tainacan research project &#8211; a free software for the social construction of digital repositories &#8211; in partnership with the Instituto Brazilian Institute of Museums (IBRAM), the National Arts Foundation (FUNARTE) and the National Historic and Artistic Heritage Institute (IPHAN).<\/em><\/p>\n<p><a href=\"#mesa1\">&lt; voltar<\/a><\/p>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<h4><a name=\"resumo2\"><\/a>Comunica\u00e7\u00e3o: O desafio da mem\u00f3ria em tempos de cultura digital: dos objetos digitais \u00e0s redes sem\u00e2nticas<strong><br \/>\n<\/strong><em>The challenge of memory in times of digital culture: from digital objects to semantic networks<\/em><\/h4>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<p><span style=\"font-weight: 400;\">A apresenta\u00e7\u00e3o discutir\u00e1 o significado e a potencialidade da transforma\u00e7\u00e3o de objetos sociais em objetos digitais. Entendendo o digital como a forma\u00e7\u00e3o de redes em potencial, discutir\u00e1 as diferentes estrat\u00e9gias e formas pr\u00e1ticas com as quais a contemporaneidade tem se apropriado da Internet como eixo central de socializa\u00e7\u00e3o. Observar a cultura e a produ\u00e7\u00e3o da mem\u00f3ria a partir da maneira como esses objetos digitais s\u00e3o constru\u00eddos, enredados e socializados torna-se um aspecto singular de atua\u00e7\u00e3o em rede e das novas possibilidades de cria\u00e7\u00e3o culturais. Discute e problematiza esse desafio para as institui\u00e7\u00f5es de mem\u00f3ria e para a constru\u00e7\u00e3o de sentido social no s\u00e9culo XXI.<\/span><\/p>\n<p><em>This presentation will discuss the meaning and the potentiality of the transformation of social objects into digital objects. Understanding the digital as the formation of potential networks, the presentation will consider the different strategies and practical forms with which the contemporaneity has been appropriating the internet as the central axis of socialization. Observing the culture and the production of memories from the perspective in which these objects are constructed, tangled and socialized, it becomes a singular aspect of network actions and of the new possibilities for cultural creation. Therein lies the challenge for memory centers and for the construction of a social meaning in the 21st century.<\/em><\/p>\n<p><a href=\"#mesa1\">&lt; voltar<\/a><\/p>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<h4><a name=\"cynthiaschwarz\"><\/a><strong><span style=\"color: #64c4d2;\">Cynthia Schwarz<\/span><\/strong><\/h4>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<p><span style=\"font-weight: 400;\">Cindy Schwarz \u00e9 Conservadora de Pintura Associada S\u00eanior da Galeria de Arte da Universidade de Yale, onde trabalha desde 2008. Ela se concentra na conserva\u00e7\u00e3o da cole\u00e7\u00e3o de pintura moderna e contempor\u00e2nea da galeria, e publicou suas pesquisas sobre as obras de Francis Picabia, Hedda Sterne e Amedeo Modigliani ali depositadas. Ela tamb\u00e9m possui ampla experi\u00eancia na conserva\u00e7\u00e3o de pintura mural estadunidense, e no tratamento estrutural de pinturas em tela. No momento, ela est\u00e1 coeditando uma publica\u00e7\u00e3o que sair\u00e1 em breve pela Getty Publication intitulada <\/span><i><span style=\"font-weight: 400;\">Conserving Canvas<\/span><\/i><span style=\"font-weight: 400;\">, a qual trar\u00e1 mais de 70 ensaios apresentados no simp\u00f3sio de mesmo nome, ocorrido em 2019.<\/span><\/p>\n<p><em>Cindy Schwarz is a Senior Associate Conservator of Paintings at the Yale University Art Gallery, where she has worked since 2008. She focuses her efforts on the conservation of the Gallery\u2019s modern and contemporary paintings collection and has published research on works in the collection by Francis Picabia, and Hedda Sterne, and Amedeo Modigliani. She also has extensive experience in the conservation of American mural paintings and the structural treatment of canvas paintings. She is currently co-editing the forthcoming Getty Publication Conserving Canvas featuring over 70 essays presented at the 2019 symposium of the same name.<\/em><\/p>\n<p><a href=\"#mesa2\">&lt; voltar<\/a><\/p>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<h4><a name=\"resumo4\"><\/a>Comunica\u00e7\u00e3o: Patrim\u00f4nio cultural e colabora\u00e7\u00e3o: Conserva\u00e7\u00e3o na Universidade de Yale<strong><br \/>\n<\/strong><em>Cultural Heritage and Collaboration: Conservation at Yale University<\/em><strong><br \/>\n<\/strong><\/h4>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<p><span style=\"font-weight: 400;\">Cynthia Schwarz discorrer\u00e1 sobre a hist\u00f3ria e o desenvolvimento da unidade dedicada \u00e0 conserva\u00e7\u00e3o de objetos de arte da Universidade de Yale. Fundada em 1832, a Galeria de Arte da Universidade de Yale \u00e9 a mais antiga galeria de arte universit\u00e1ria dos Estados Unidos, e iniciou seu primeiro programa de conserva\u00e7\u00e3o em 1915. Atualmente, o Departamento de Conserva\u00e7\u00e3o da Galeria de Arte \u00e9 uma das v\u00e1rias unidades de tratamento de conserva\u00e7\u00e3o<\/span> <span style=\"font-weight: 400;\">e pesquisa da universidade, incluindo o Instituto para a Preserva\u00e7\u00e3o da Heran\u00e7a Cultural. Entretanto, oportunidades para pesquisa colaborativa se estendem para outras unidades da universidade, dentre as quais as Humanidades e as Ci\u00eancias. Estudos de caso ser\u00e3o discutidos quanto \u00e0 an\u00e1lise de trabalhos art\u00edsticos, e tamb\u00e9m quanto ao desenvolvimento de m\u00e9todos de tratamento inovadores.<\/span><\/p>\n<p><em>Cynthia Schwarz will speak about the history and development of the art conservation facilities at Yale University. Founded in 1832, Yale University Art Gallery is the oldest university art gallery in the United States and began its first conservation program in 1915. Today, the Art Gallery\u2019s conservation department is one of several conservation treatment and research facilities at the university, including the Institute for the Preservation of Cultural Heritage. However, opportunities for collaborative research span across the university in both the humanities and the sciences. Case studies will be discussed in both the analysis of works of art and the development of innovative treatment methods.<\/em><\/p>\n<p><a href=\"#mesa2\">&lt; voltar<\/a><\/p>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<h4><a name=\"carlosappoloni\"><\/a><strong><span style=\"color: #64c4d2;\">Carlos Roberto Appoloni<\/span><\/strong><\/h4>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<p><span style=\"font-weight: 400;\">Bacharel em F\u00edsica (1973), Mestrado (1976) e Doutorado (1983) em F\u00edsica Nuclear, todos pela USP, e P\u00f3s-Doutorado em F\u00edsica Nuclear Aplicada pela Universit\u00e0 di Roma La Sapienza (1993). Professor S\u00eanior da Universidade Estadual de Londrina (UEL), leciona e orienta nos cursos de Mestrado e Doutorado em F\u00edsica da UEL. Criou em 1977 e coordenou o Laborat\u00f3rio de F\u00edsica Nuclear Aplicada dessa universidade (<\/span><a href=\"http:\/\/www.fisica.uel.br\/gfna\"><span style=\"font-weight: 400;\">www.fisica.uel.br\/gfna<\/span><\/a><span style=\"font-weight: 400;\">). Tem experi\u00eancia na \u00e1rea de F\u00edsica, com \u00eanfase em M\u00e9todos Experimentais e Instrumenta\u00e7\u00e3o para F\u00edsica Nuclear e Aplica\u00e7\u00f5es com Radiois\u00f3topos, atuando principalmente nos seguintes temas: transmiss\u00e3o e espalhamento de raios gama, fluoresc\u00eancia de raios X, espectrometria gama, microtomografia com raios X e espectroscopia Raman. Tem experi\u00eancia administrativa em comiss\u00f5es e chefias em sociedades cient\u00edficas e universit\u00e1rias. \u00c9 Pesquisador do CNPq n\u00edvel 1B e membro do Comit\u00ea Gestor do Projeto INCT-FNA\/CNPq &#8211; F\u00edsica Nuclear e Aplica\u00e7\u00f5es. Foi membro do Comit\u00ea de Assessoramento de Engenharia e Ci\u00eancias Nucleares CA-EN do CNPq. Realiza v\u00e1rias atividades de divulga\u00e7\u00e3o cient\u00edfica desde o final da d\u00e9cada de 1970, dentre elas uma Coluna Semanal de C&amp;T no Jornal de Londrina (1998-2006) e uma Coluna Radiof\u00f4nica Semanal sobre C&amp;T&amp;I na R\u00e1dio da UEL (2002-2007).\u00a0<\/span><\/p>\n<p><em>Bachelor&#8217;s degrees in Physics from USP (1973), MSc and PhD in Nuclear Physics from the same university (1976 and 1983, respectively). Post-doc in Applied Nuclear Physics from Universit\u00e1 di Roma La Sapienza (1993). Professor at Universidade Estadual de Londrina (UEL), he has been teaching and working as advisor in MSc and PhD Physics courses at UEL. In 1977 he built and became the coordinator of the Applied Nuclear Physics Lab at this university (www.fisica.uel.br\/gfna). He is experienced in Physics, with emphasis on experimental methods and instrumentation for nuclear physics and applications with radioisotopes, working mainly in the following subjects: transmission and scattering of gamma rays, X-ray fluorescence, gamma spectrometry, microtomography with X-rays and Raman spectroscopy. He also has administrative experience in commissions and as head of scientific and university societies. He is a level 1B CNPq researcher and a member of the Steering Committee of project INCT-FNA\/CNPq &#8211; Nuclear Physics and Applications. He was a member of CNPq\u2019s Nuclear Sciences and Engineering Advisory Committee (CA-EN). Besides hundreds of science outreach lectures since the late 1970\u2019s, he worked on many continued science outreach activities. Among them, a weekly column in Jornal de Londrina (1998-2006) and a weekly radio column on radio UEL (2002-2007).<\/em><\/p>\n<p><a href=\"#mesa2\">&lt; voltar<\/a><\/p>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<h4><a name=\"resumo5\"><\/a>Comunica\u00e7\u00e3o: O LFNA\/UEL e o trabalho com cole\u00e7\u00f5es museais<strong><br \/>\n<\/strong><em>LFNA\/UEL and its work with museum collections<\/em><\/h4>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<p><span style=\"font-weight: 400;\">A intera\u00e7\u00e3o do Laborat\u00f3rio de F\u00edsica Nuclear Aplicada da UEL com museus brasileiros e a constru\u00e7\u00e3o de uma linguagem integrada de trabalho com seus diversos profissionais come\u00e7ou em 1997 com o MUPA, 2003 com o MAE USP, em 2006 com MHN\/RJ, em 2008 com o MASP e com Grupo de Pintura do Museu do Louvre em 2009, aos quais se seguiram outros museus. Neste percurso temos permanentemente avan\u00e7ado no entendimento e uso de metodologias n\u00e3o destrutivas port\u00e1teis (e outras) na an\u00e1lise de quest\u00f5es da caracteriza\u00e7\u00e3o, documenta\u00e7\u00e3o e conserva\u00e7\u00e3o de acervos museais.<\/span><\/p>\n<p><em>The interaction of UEL\u2019s Applied Nuclear Physics Lab with Brazilian museums and the construction of an integrated working language with their various professionals has started with MUPA in 1997, with MAE USP in 2003, with MHN\/RJ in 2006, with MASP in 2008, and with Grupo de Pintura do Museu do Louvre in 2009. Following these, partnerships with several other museums have been established. In this trajectory we have permanently progressed in the understanding and use of portable non-destructible methodologies (as well as other methodologies) in the analysis of topics related to characterization, documentation, and conservation of museum collections.<\/em><\/p>\n<p><a href=\"#mesa2\">&lt; voltar<\/a><\/p>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<h4><a name=\"gustavoortiz\"><\/a><strong><span style=\"color: #64c4d2;\">Gustavo Adolfo Ortiz Serrano<\/span><\/strong><\/h4>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<p><span style=\"font-weight: 400;\">Artista pl\u00e1stico formado pela Universidade Nacional da Col\u00f4mbia, mestre em museologia pela Universidade de Valladolid (Espanha), atual diretor do Museu de Arte Contempor\u00e2nea de Bogot\u00e1.<\/span><\/p>\n<p><em>Visual artist with a Bachelor&#8217;s degree obtained at the National University of Colombia, Master&#8217;s degree in Museology obtained at the University of Valladolid (Spain), and current director of the Museum of Contemporary Art in Bogot\u00e1.<\/em><\/p>\n<p><a href=\"#mesa3\">&lt; voltar<\/a><\/p>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<h4><a name=\"resumo7\"><\/a>Comunica\u00e7\u00e3o: A espiral digital, curadoria durante e p\u00f3s-pandemia<strong><br \/>\n<\/strong><em>The digital spiral, curatorship in and post pandemic<\/em><\/h4>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<p><span style=\"font-weight: 400;\">Como a estrat\u00e9gia digital implementada h\u00e1 mais de uma d\u00e9cada no Museu de Arte Contempor\u00e2nea de Bogot\u00e1, permitiu enfrentar os desafios da pandemia abrindo novas possibilidades para projetos curatoriais pioneiros na Ibero-Am\u00e9rica e posicionando o museu dentre aqueles com maior audi\u00eancia online.<\/span><\/p>\n<p><em>How the digital strategy implemented for more than a decade in the Museum of Contemporary Art in Bogot\u00e1, allowed to face the challenges of the pandemic and opened new possibilities for pioneering curatorial projects in Ibero-America, and also allowed to position itself as one of the museums with the largest audience online.<\/em><\/p>\n<p><a href=\"#mesa3\">&lt; voltar<\/a><\/p>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<h4><a name=\"mariliacury\"><\/a><strong><span style=\"color: #64c4d2;\">Mar\u00edlia Cury<\/span><\/strong><\/h4>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<p><span style=\"font-weight: 400;\">Professora Associada no Museu de Arqueologia e Etnologia da USP. Coordenadora do InterMuseologias &#8211; Laborat\u00f3rio Interfaces entre Museologias &#8211; Comunica\u00e7\u00e3o, Media\u00e7\u00e3o, P\u00fablicos e Recep\u00e7\u00e3o.<\/span><\/p>\n<p><em>Associate Professor at the Museum of Archeology and Ethnology of the S\u00e3o Paulo University (USP) Coordinator of InterMuseologies &#8211; Laboratory Interfaces between Museologies &#8211; Communication, Mediation, Audiences and Reception.<\/em><\/p>\n<p><a href=\"#mesa3\">&lt; voltar<\/a><\/p>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<h4><a name=\"resumo6\"><\/a>Comunica\u00e7\u00e3o:<span style=\"font-weight: 400;\"> Museologia Cr\u00edtica, Museologia Social e Museologia Compartilhada na pauta da descoloniza\u00e7\u00e3o<br \/>\n<\/span><em>Critical Museology, Social Museology and Shared Museology on the agenda of the decolonization<\/em><\/h4>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<p><span style=\"font-weight: 400;\">A pauta descolonial implica em pr\u00e1ticas, pensamentos e na inser\u00e7\u00e3o de ag\u00eancias culturais antes \u00e0 margem do museu e da museologia. Nesse sentido, discutiremos as interfaces entre museologias\u00a0&#8211; a cr\u00edtica que revela as vozes presentes e ausentes no museu; a social que debate a participa\u00e7\u00e3o de diferentes grupos culturais e identit\u00e1rios e segmenta\u00e7\u00f5es sociais; a compartilhada como a\u00e7\u00e3o negociada nos espa\u00e7os museais. Para a discuss\u00e3o, ser\u00e1 apresentado o projeto de curadoria Resist\u00eancia j\u00e1! Fortalecimento e uni\u00e3o das culturas ind\u00edgenas &#8211; Kaingang, Guarani Nhandewa e Terena.<\/span><\/p>\n<p><em>Decolonial agenda implies practices, thoughts and the insertion of cultural agencies that were previously on the margins of the museum and museology. In this sense, we will discuss the interfaces amongst museology &#8211; the critic interface, that reveals the voices present and absent at the museum; the social interface, that debates the participation of different cultural and identity groups and social segments; the shared interface, as an action negotiated at the museums between the institution and the actors of the exhibition. For the discussion, it will be presented the curatorial project Resist\u00eancia j\u00e1! Fortalecimento e uni\u00e3o das culturas ind\u00edgenas &#8211; Kaingang, Guarani Nhandewa e Terena.<\/em><\/p>\n<p><a href=\"#mesa3\">&lt; voltar<\/a><\/p>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<h4><a name=\"mariadulcegaspar\"><\/a><strong><span style=\"color: #64c4d2;\">Maria Dulce Gaspar<\/span><\/strong><\/h4>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<p><span style=\"font-weight: 400;\">Cientista Social formada pela Universidade Federal Fluminense (1976), mestrado em Antropologia Social pela UFRJ (1984) e doutorado em Arqueologia pela USP (1991). Atualmente \u00e9 Professora Colaboradora Volunt\u00e1ria do Programa de P\u00f3s-Gradua\u00e7\u00e3o em Arqueologia do Museu Nacional\/UFRJ. Tem experi\u00eancias nas \u00e1reas de Arqueologia pr\u00e9 e p\u00f3s-colonial, com destaque para as pesquisas em sambaquis do Rio de Janeiro e Santa Catarina, assim como em projetos de Arqueologia Urbana.\u00a0<\/span><\/p>\n<p><em>Social scientist with a Bachelor&#8217;s degree obtained at the Fluminense Federal University (UFF) (1976), a Master&#8217;s degree in Social Anthropology obtained at the Rio de Janeiro Federal University (UFRJ) (1984) and a PhD in Archeology at the S\u00e3o Paulo University (USP) (1991). She is currently a Volunteer Collaborating Professor at the Post-Graduation Program in Archeology at the National Museum\/UFRJ. She has experience in pre- and postcolonial archeology, with emphasis on sambaquis from Rio de Janeiro and Santa Catarina, as well as in urban archeology projects.<\/em><\/p>\n<p><a href=\"#mesa3\">&lt; voltar<\/a><\/p>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<h4><a name=\"cilcairandrade\"><\/a><strong><span style=\"color: #64c4d2;\">Cilcair Andrade<\/span><\/strong><\/h4>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<p><span style=\"font-weight: 400;\">Arque\u00f3loga formada pela Universidade Est\u00e1cio de S\u00e1 (1990), com especializa\u00e7\u00e3o em Paleopatologias e Paleoepidemiologias na Escola Nacional de Sa\u00fade P\u00fablica S\u00e9rgio Arouca (1991), e Historiadora formada pela Faculdade de Filosofia, Ci\u00eancias e Letras Duque de Caxias (2003), com mestrado (2009) e doutorado (2019) em Arqueologia pelo\u00a0 Museu Nacional\/UFRJ. Tem experi\u00eancias de trabalho voltadas \u00e0 elabora\u00e7\u00e3o e realiza\u00e7\u00e3o de projetos de arqueologia e de educa\u00e7\u00e3o patrimonial, assim como de levantamentos hist\u00f3ricos, de bens tombados, valorados e registrados e \u00e0 patrimonializa\u00e7\u00e3o de bens, express\u00f5es e pr\u00e1ticas culturais.\u00a0<\/span><\/p>\n<p><em>Archaeologist with a Bachelor&#8217;s degree obtained at the Est\u00e1cio de S\u00e1 University (1990), with specialization in Paleopathologies and Paleoepidemiologies at the National College of Public Health S\u00e9rgio Arouca (1991). Bachelor&#8217;s degree in History obtained at the Duque de Caxias College of Philosophy, Sciences and Languague (2003). Master&#8217;s degree (2009) and PhD (2019) in Archeology at the National Museum\/UFRJ. She has experience on Archeology and Heritage Education projects, as well as historical inventories, listed cultural assets and patrimonialization of goods, expressions and cultural practices.<\/em><\/p>\n<p><a href=\"#mesa3\">&lt; voltar<\/a><\/p>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<h4><a name=\"claudiavitalino\"><\/a><strong><span style=\"color: #64c4d2;\">Cl\u00e1udia Vitalino<\/span><\/strong><\/h4>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<p><span style=\"font-weight: 400;\">Historiadora formada pela Universidade Est\u00e1cio de S\u00e1 (2018), Presidente Estadual e Secret\u00e1ria em \u00e2mbito federal da Uni\u00e3o de Negras e Negros pela Igualdade (UNEGRO\/RJ). \u00c9 ativista do Movimento Negro e de Mulheres Negras. Atualmente trabalha no acompanhamento t\u00e9cnico das ru\u00ednas da fazenda Engenho Novo.\u00a0<\/span><\/p>\n<p><em>Historian with a Bachelor&#8217;s degree obtained at the Est\u00e1cio de S\u00e1 University, State President and Federal Secretary of the Black Women and Black Men Union for Equality (UNEGRO\/RJ). She is an activist of the Black Movement and Black Women Movement. Currently working on the technical monitoring of the ruins of the Engenho Novo farm.<\/em><\/p>\n<p><a href=\"#mesa3\">&lt; voltar<\/a><\/p>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<h4><a name=\"resumo8\"><\/a>Comunica\u00e7\u00e3o: A\u00e7\u00f5es dial\u00f3gicas e viv\u00eancias compartilhadas \u2013 o cotidiano da Educa\u00e7\u00e3o Patrimonial para a legitima\u00e7\u00e3o dos espa\u00e7os de mem\u00f3ria<strong><br \/>\n<\/strong><em>Dialogic actions and shared experiences \u2013 daily Patrimonial Education for the legitimization of memory spaces<\/em><\/h4>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<p>A pesquisa arqueol\u00f3gica realizada na regi\u00e3o do Cemit\u00e9rio do Largo de Santa Rita, no centro do Rio de Janeiro,\u00a0 al\u00e9m de suscitar intensas discuss\u00f5es entre as institui\u00e7\u00f5es de gerenciamento da cidade e a comunidade sens\u00edvel, que reconheceu o espa\u00e7o como patrim\u00f4nio que representa sua ancestralidade, demandou informa\u00e7\u00f5es sobre as pr\u00e1ticas de campo e destino dos materiais recuperados, especialmente esqueletos humanos.<\/p>\n<p><em>The archaeological research carried out in the cemetery of Largo de Santa Rita, in Rio de Janeiro downtown, aside from provoking intense discussions between the city&#8217;s management institutions and the community involved that recognized the cemetery as a heritage which represents its ancestry, demanded the necessity of inform openly and clearly about the field practices and the destination of recovered materials, especially human skeletons.<\/em><\/p>\n<p><a href=\"#mesa3\">&lt; voltar<\/a><\/p>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<h4><span style=\"color: #64c4d2;\"><a style=\"color: #64c4d2;\" name=\"rodrigochristofoletti\"><\/a><strong>Rodrigo Christofoletti<\/strong><\/span><\/h4>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<p>Atua na interface entre a Hist\u00f3ria e as Rela\u00e7\u00f5es Internacionais com foco no patrim\u00f4nio cultural. \u00c9 l\u00edder do grupo de pesquisa Cnpq &#8211; Patrim\u00f4nio e Rela\u00e7\u00f5es Internacionais. Pesquisador do LAPA &#8211; Laborat\u00f3rio de Patrim\u00f4nio da UFJF e colaborador do CITCEM &#8211; Centro de Investiga\u00e7\u00e3o Transdisciplinar &#8220;Cultura, Espa\u00e7o e Mem\u00f3ria&#8221; da Faculdade de Letras da Universidade do Porto (FLUP). Atualmente \u00e9 professor de Patrim\u00f4nio Cultural no curso de Hist\u00f3ria da Universidade Federal de Juiz de Fora (UFJF) e leciona no Programa de P\u00f3s Gradua\u00e7\u00e3o da mesma universidade. Possui experi\u00eancia na \u00e1rea de Hist\u00f3ria pol\u00edtica e bens culturais com \u00eanfase em Patrim\u00f4nio Cultural, atuando principalmente nos seguintes temas: patrim\u00f4nio e soft power; bens culturais; tr\u00e1fico il\u00edcito de bens culturais e colecion\u00e1veis criminog\u00eanicos; patrim\u00f4nios da humanidade.<\/p>\n<p><em>Rodrigo Christofoletti research field is History and International Relations focuses<\/em><br \/>\n<em>on cultural heritage. He is Professor at the University of Juiz de Fora (UFJF), leader of<\/em><br \/>\n<em>the research group CNPq \u201cHeritage and International Relations\u201d, researcher of LAPA<\/em><br \/>\n<em>(Heritage Laboratory of UFJF) and collaborator of CITCEM (Transdisciplinary Research<\/em><br \/>\n<em>Center &amp;quot;Culture, Space and Memory&amp;quot;) at the Faculty of Arts of the University of Porto (FLUP). He has experience in the research field of political history and cultural goods<\/em><br \/>\n<em>with emphasis on Cultural Heritage, focusing mainly on the following themes: heritage<\/em><br \/>\n<em>and soft power; cultural goods; illicit trafficking in criminogenic cultural and collectible<\/em><br \/>\n<em>goods; world heritage sites.<\/em><\/p>\n<p><a href=\"#mesa4\">&lt; voltar<\/a><\/p>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<h4><a name=\"resumo9\"><\/a>Comunica\u00e7\u00e3o: Restitui\u00e7\u00e3o como repara\u00e7\u00e3o hist\u00f3rica: o que vale para um, vale para todos?<br \/>\n<em>Restitution as historical reparation: do the same rules apply to everyone?\u00a0<\/em><\/h4>\n<h4><hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n<\/h4>\n<p>Demandas por restitui\u00e7\u00e3o de bens culturais (adquiridos l\u00edcita ou ilicitamente) t\u00eam gerado nas \u00faltimas d\u00e9cadas agendas de reflex\u00e3o sobre o tema. A gest\u00e3o desses acervos \u00e9 apenas uma das diversas a\u00e7\u00f5es que espa\u00e7os museais t\u00eam enfrentado diante dessa novidade tem\u00e1tica. Esta fala busca refletir sobre restitui\u00e7\u00f5es e repatria\u00e7\u00f5es de acervos localizados do hemisf\u00e9rio sul, fornecendo um panorama dos desafios que se colocam aos museus latino-americanos (com \u00eanfase nos brasileiros), marcados pela concentra\u00e7\u00e3o de acervos etnol\u00f3gicos e etnogr\u00e1ficos, pouca tradi\u00e7\u00e3o na din\u00e2mica de devolu\u00e7\u00f5es e muita resist\u00eancia \u00e0s novas requisi\u00e7\u00f5es, que crescem a cada ano. Por outro lado, parte desses museus integram um coletivo que vem se avolumando como solicitantes de devolu\u00e7\u00e3o de acervos. Para abarcar introdutoriamente esta tem\u00e1tica ser\u00e3o apresentados casos que mobilizaram museus latino-americanos a responder \u00e0 demanda crescente de visibilidades, antes pouco presentes na agenda internacional. Tomaremos assim, os casos de alguns museus brasileiros, mexicanos e peruanos, trip\u00e9 que concentra parte significativa, dos casos de solicita\u00e7\u00e3o de restitui\u00e7\u00e3o, repatria\u00e7\u00e3o e devolu\u00e7\u00e3o de bens culturais no hemisf\u00e9rio sul.<\/p>\n<p><em>Demands for restitution of cultural goods ( lawfully or illegally acquired) have generated agendas for reflection on the subject in recent decades. The management of these collections is just one of the several actions that museum spaces have confronted in the face of this thematic novelty. This talk aims to reflect on restitution and reparation of collections located in the southern hemisphere, providing an overview of the main challenges faced by the Latin American museums (with emphasis on Brazilians), marked by the concentration of ethnological and ethnographic collections, limited tradition in the dynamics of returns and by the resistance to the increasing new requisitions. On the other hand, some of these museums are part of a collective that has been growing as applicants for the return of collections. To introduce this thematic, this talk will present cases that mobilized Latin American museums to respond to the growing demand for visibilities, an uncommon subject present in the international agenda, focusing on some Brazilian, Mexican and Peruvian museums, the tripod that concentrates a significant part of the cases of request for restitution, repatriation, and return of cultural goods in the southern hemisphere.<\/em><\/p>\n<p><a href=\"#mesa4\">&lt; voltar<\/a><\/p>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<h4><a name=\"antoinegournay\"><\/a><span style=\"color: #64c4d2;\"><strong>Antoine Gournay<\/strong><\/span><\/h4>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<p><span style=\"font-weight: 400;\">\u00a0<\/span><span style=\"font-weight: 400;\">Antoine Gournay \u00e9 professor de arte e arqueologia do Extremo-Oriente na Universidade de Sorbonne, Paris, e foi curador no <\/span><i><span style=\"font-weight: 400;\">Mus\u00e9e Cernuschi<\/span><\/i><span style=\"font-weight: 400;\"> \u2013 Museu de Artes Asi\u00e1ticas da cidade\u00a0 e Paris. Seus trabalhos de pesquisa centram-se principalmente na hist\u00f3ria da arquitetura e dos jardins do Leste Asi\u00e1tico. \u00c1reas de interesse relacionadas incluem pintura de paisagem na China, na produ\u00e7\u00e3o e uso de cer\u00e2micas e mobili\u00e1rio, na arqueologia dos cultos religiosos do Leste Asi\u00e1tico, bem como estudos sobre museus e patrim\u00f4nios.\u00a0<\/span><\/p>\n<p><em>Antoine Gournay is Professor in Far Eastern Art and Archaeology at Sorbonne <\/em><em>Universit\u00e9, Paris, and a former Curator at the Mus\u00e9e Cernuschi \u2013 the City of Paris <\/em><em>Museum of Asian Art. His research field focuses on the history of East Asian <\/em><em>architecture and gardens. Related fields of interest include landscape painting in China, <\/em><em>the production and use of ceramics and furniture, the archaeology of religious cults in <\/em><em>East Asia, as well as museum and heritage studies.<\/em><\/p>\n<p><a href=\"#mesa4\">&lt; voltar<\/a><\/p>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<h4><a name=\"resumo11\"><\/a>Comunica\u00e7\u00e3o: Obras de arte asi\u00e1ticas em museus: Tesouros nacionais, mas de quem?<strong><br \/>\n<\/strong><em>East Asian artworks in Museums: whose National Treasures?\u00a0<\/em><strong><br \/>\n<\/strong><\/h4>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<p><span style=\"font-weight: 400;\">Antoine Gournay discutir\u00e1 o posicionamento dos museus franceses em rela\u00e7\u00e3o ao debate sobre a devolu\u00e7\u00e3o de certas obras que se encontram atualmente em cole\u00e7\u00f5es p\u00fablicas, origin\u00e1rias de diferentes pa\u00edses da \u00c1sia, notadamente da China, da Coreia e do Jap\u00e3o. Ele tratar\u00e1 particularmente da problem\u00e1tica relacionada \u00e0s v\u00e1rias defini\u00e7\u00f5es de &#8220;tesouro nacional&#8221; em cada um desses pa\u00edses e das quest\u00f5es que isso suscita em termos de propriedade e circula\u00e7\u00e3o das obras.<\/span><\/p>\n<p><em>Antoine Gournay will discuss the positioning of French museums in relation to the debates on the return of certain works currently in public collections, originally from different countries in Asia, in particular China, Korea, and Japan. He will also deal with the problem of the various definitions of &amp;quot;national treasures&amp;quot; in each of those countries and the questions it raises in terms of the ownership and circulation of works.<\/em><\/p>\n<p><a href=\"#mesa4\">&lt; voltar<\/a><\/p>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<h4><strong><a name=\"benoitlestoile\"><\/a><span style=\"color: #64c4d2;\">Beno\u00eet de L\u2019Estoile<\/span><\/strong><\/h4>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<p>Beno\u00eet de L&#8217;Estoile \u00e9 antrop\u00f3logo, diretor de pesquisa no CNRS (Centre Maurice Halbwachs, CMH), professor da Escola Normal Superior (Paris), e foi professor convidado no Museu Nacional (PPGAS, UFRJ) com uma bolsa do CNPq. Ele trabalhou em uma abordagem comparativa sobre os saberes coloniais e do Estado, sobre os museus de autores e sobre heran\u00e7as coloniais. Ele realizou enquetes de antropologia pol\u00edtica no Brasil, onde publicou notadamente diversos artigos e foi co-organizador de duas obras: Ocupa\u00e7\u00f5es de terra e transforma\u00e7\u00f5es sociais, (com Lygia Sigaud), 2006 e Antropologia em imp\u00e9rios e estados nacionais (org. 2003). Em 2007, publicou Le go\u00fbt des Autres. De l\u2019exposition coloniale aux arts premiers.<\/p>\n<p><em>Beno\u00eet de L&amp;#39;Estoile is an anthropologist, research director at CNRS (Center Maurice<\/em><br \/>\n<em>Halbwachs, CMH), professor at the Escola Normal Superior (Paris), and was a guest<\/em><br \/>\n<em>professor at the National Museum (PPGAS, UFRJ) with a CNPq grant. His researches<\/em><br \/>\n<em>focus on a comparative approach on colonial and state knowledge, on authors&amp;#39;<\/em><br \/>\n<em>museums and on colonial inheritances. He conducted polls of political anthropology in<\/em><br \/>\n<em>Brazil, where he published several articles and was co-organizer of two books:<\/em><br \/>\n<em>Ocupa\u00e7\u00f5es de terra e transforma\u00e7\u00f5es sociais, (with Lygia Sigaud), 2006 and<\/em><br \/>\n<em>Antropologia em imp\u00e9rios e estados nacionais (org. 2003). In 2007, he published Le<\/em><br \/>\n<em>go\u00fbt des Autres. De l\u2019exposition coloniale aux arts premiers.<\/em><\/p>\n<p><a href=\"#mesa4\">&lt; voltar<\/a><\/p>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<h4><a name=\"resumo10\"><\/a>Comunica\u00e7\u00e3o: Restituindo, reivindicando, compartilhando: alguns desafios para museus etnogr\u00e1ficos<br \/>\n<em>Returning, claiming, sharing: some challenges to ethnographic museums<\/em><strong><br \/>\n<\/strong><\/h4>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<p>O relat\u00f3rio Savoy-Sarr de 2019, que recomenda um vasto processo de \u201crepatria\u00e7\u00e3o do patrim\u00f4nio cultural africano\u201d, atualmente nas cole\u00e7\u00f5es dos museus p\u00fablicos franceses, originou importantes debates na Fran\u00e7a e em toda a Europa. A no\u00e7\u00e3o de restitui\u00e7\u00e3o fica atrelada \u00e0s concep\u00e7\u00f5es jur\u00eddicas herdadas do direito romano. Por\u00e9m, propostas alternativas podem tamb\u00e9m ser exploradas.<\/p>\n<p><em>Talk summary: The 2019 Savoy-Sarr Report, that recommends a vast process of <\/em><em>\u201cAfrican cultural heritage repatriation\u201d currently in the collections of French public <\/em><em>museums, originated important debates in France as well as in all Europe. The notion <\/em><em>of restitution is hitched up to legal conceptions inherited from Roman law. Although <\/em><em>alternative proposals can also be explored.<\/em><\/p>\n<p><a href=\"#mesa4\">&lt; voltar<\/a><\/p>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<h4><span style=\"color: #64c4d2;\"><b>Ficha T\u00e9cnica\u00a0<\/b><\/span><\/h4>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n<p>Museu de Arte Contempor\u00e2nea da Universidade de S\u00e3o Paulo<br \/>\n<strong>Webin\u00e1rio <i>Curadoria em debate: a pesquisa em museus universit\u00e1rios<\/i><\/strong><br \/>\n<strong>Projeto Tem\u00e1tico Coletar, Identificar, Processar, Difundir. O Ciclo Curatorial e a Produ\u00e7\u00e3o do Conhecimento<\/strong><br \/>\nRespons\u00e1vel: Ana Gon\u00e7alves Magalh\u00e3es<br \/>\n20 e 21 de maio de 2021 \u2013 das 14h00 \u00e0s 18h00<\/p>\n<p><b>Organiza\u00e7\u00e3o<br \/>\n<\/b><span style=\"font-weight: 400;\">Helouise Costa [MAC USP]<br \/>\n<\/span><span style=\"font-weight: 400;\">Paulo C\u00e9sar Garcez Marins [MP USP]<br \/>\n<\/span><span style=\"font-weight: 400;\">Helena Carolina Onody [MZ USP]<br \/>\n<\/span><span style=\"font-weight: 400;\">Michelli Cristine Scapol Monteiro [MP USP]<br \/>\n<\/span><span style=\"font-weight: 400;\">M\u00f4nica Antunes Ulyss\u00e9a [MZ USP]<br \/>\n<\/span><span style=\"font-weight: 400;\">Renata Dias Ferraretto Moura Rocco [MAC USP]<\/span><\/p>\n<p><b>Tradu\u00e7\u00e3o Simult\u00e2nea<br \/>\n<\/b><span style=\"font-weight: 400;\">Laura Arruda Mortara &#8211; Sincronia<\/span><\/p>\n<p><b>Equipe de Apoio MAC USP<br \/>\n<\/b><span style=\"font-weight: 400;\">Elaine Maziero [Projeto Gr\u00e1fico]<br \/>\n<\/span><span style=\"font-weight: 400;\">Marilda Giafarov; Marta Cilento; Thiago Santos [Tecnologia de Informa\u00e7\u00e3o]<br \/>\n<\/span><span style=\"font-weight: 400;\">Sergio Wagner de Miranda e Beatriz Berto [Comunica\u00e7\u00e3o \/ Divulga\u00e7\u00e3o \/ Redes Sociais]<br \/>\n<\/span><span style=\"font-weight: 400;\">Sara Vieira Valbon [Divis\u00e3o de Pesquisa]<\/span><\/p>\n<p><b>Iniciativa<br \/>\n<\/b><strong><i>Projeto Tem\u00e1tico Coletar, Identificar, Processar, Difundir. O Ciclo Curatorial e a Produ\u00e7\u00e3o do Conhecimento<\/i><\/strong><b><i><br \/>\n<\/i><\/b><span style=\"font-weight: 400;\">Museu de Arte Contempor\u00e2nea da Universidade de S\u00e3o Paulo [MAC USP]<br \/>\n<\/span><span style=\"font-weight: 400;\">Museu de Arqueologia e Etnologia da Universidade de S\u00e3o Paulo [MAE USP]<br \/>\n<\/span><span style=\"font-weight: 400;\">Museu Paulista da Universidade de S\u00e3o Paulo [MP USP]<br \/>\n<\/span><span style=\"font-weight: 400;\">Museu de Zoologia da Universidade de S\u00e3o Paulo [MZ USP]<br \/>\n<\/span><span style=\"font-weight: 400;\">Instituto de F\u00edsica da Universidade de S\u00e3o Paulo [IF USP]<br \/>\n<\/span><span style=\"font-weight: 400;\">Universidade Estadual de Campinas\u00a0 [Instituto de Artes \/ COCEN]<\/span><\/p>\n<p><b>Realiza\u00e7\u00e3o<br \/>\n<\/b><span style=\"font-weight: 400;\">Museu de Arte Contempor\u00e2nea da Universidade de S\u00e3o Paulo\u00a0<\/span><\/p>\n<p><b>Apoio<br \/>\n<\/b><span style=\"font-weight: 400;\">FAPESP \u2013 Funda\u00e7\u00e3o de Apoio \u00e0 Pesquisa do Estado de S\u00e3o Paulo\u00a0<\/span><\/p>\n<p><b>Parceria<br \/>\n<\/b><span style=\"font-weight: 400;\">Laura Arruda Mortara &#8211; Sincronia<\/span><\/p>\n<p><a href=\"https:\/\/sites.usp.br\/ciclocuratorial\/wp-content\/uploads\/sites\/557\/2021\/04\/REDES-SOCIAIS-GERAL_3.jpg\"><img loading=\"lazy\" class=\"alignnone size-full wp-image-644\" src=\"https:\/\/sites.usp.br\/ciclocuratorial\/wp-content\/uploads\/sites\/557\/2021\/04\/REDES-SOCIAIS-GERAL_3.jpg\" alt=\"\" width=\"541\" height=\"541\" \/><\/a><\/p>\n<hr class=\"no_line\" style=\"margin: 0 auto 15px;\"\/>\n\n","protected":false},"excerpt":{"rendered":"<p>Webin\u00e1rio &#8220;Curadoria em debate: a pesquisa em museus universit\u00e1rios&#8221; Este webin\u00e1rio aborda desafios da pr\u00e1tica curatorial em museus universit\u00e1rios, de diversas tipologias, com a participa\u00e7\u00e3o de palestrantes do Brasil e do exterior. Trata-se de atividade integrante do Projeto Tem\u00e1tico FAPESP \u201cColetar, Identificar, Processar, Difundir. O ciclo curatorial como produ\u00e7\u00e3o de conhecimento\u201d, que re\u00fane docentes e pesquisadores do Museu de Arte Contempor\u00e2nea, Museu Paulista, Museu de Zoologia, do Museu de Arqueologia e Etnologia e do Instituto de F\u00edsica &#8211; todos da USP &#8211; e do Instituto de Artes da Unicamp. Evento gratuito, sem necessidade de inscri\u00e7\u00e3o pr\u00e9via. Transmiss\u00e3o em portugu\u00eas ao<span class=\"excerpt-hellip\"> [\u2026]<\/span><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[19,20],"tags":[],"_links":{"self":[{"href":"https:\/\/ciclocuratorial.mac.usp.br\/index.php?rest_route=\/wp\/v2\/posts\/611"}],"collection":[{"href":"https:\/\/ciclocuratorial.mac.usp.br\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ciclocuratorial.mac.usp.br\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ciclocuratorial.mac.usp.br\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/ciclocuratorial.mac.usp.br\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=611"}],"version-history":[{"count":13,"href":"https:\/\/ciclocuratorial.mac.usp.br\/index.php?rest_route=\/wp\/v2\/posts\/611\/revisions"}],"predecessor-version":[{"id":4008,"href":"https:\/\/ciclocuratorial.mac.usp.br\/index.php?rest_route=\/wp\/v2\/posts\/611\/revisions\/4008"}],"wp:attachment":[{"href":"https:\/\/ciclocuratorial.mac.usp.br\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=611"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ciclocuratorial.mac.usp.br\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=611"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ciclocuratorial.mac.usp.br\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=611"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}