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Castiel Vitorino Brasileiro; transmutation; interspecific relations.
Based on a critique of humanistic education, and understanding humanism as the structuring basis of white, heteronormative, and patriarchal Western society, an architecture that supports the idea of the exceptionality of the human being, and following the example of artists who work in the field of contemporary art today, this thesis seeks to comment, question, and perhaps point out a possible gap that may contribute to the current educational crisis. Through the poetic production of Castiel Vitorino Brasileiro, artist, writer, transvestite, black woman, and psychologist, who offers us a powerful imagery and narrative dispute, by affirming transmutation as the design of life, in her refusal of the idea of permanence, she centralizes transformation as the foundation of existence, with perishability being the essential condition of life. Castiel's studies on interspecific relationships break down the separation between human and non-human, proposing a way of life in which humans, plants, spirits, waters, and other beings coexist in networks of affection, care, and mutual learning. There are no hierarchies in these relationships: there is exchange, listening and covibration between different forms of life. Our effort here is to weave a listening, a sensitive and relational dialogue, not to analyze the artist's works as objects to be deciphered, but to allow ourselves to be affected, to allow them to interrupt the knowledge that is thought to be ready-made. This thesis does not fit the work into predetermined categories, but recognizes the work as a co-author of thought, operating as a body that feels, listens and moves. Here the work ceases to be an “object of analysis” and becomes a companion on the journey. I intertwine Castiel's visual and narrative production with Conceição Almeida's fable, which defends education as an experience of diversity. Diversity is understood here as vital, that which makes life on planet Earth possible. Artistic practices can be paths to a complex education, sustained by the multi-referentiality inherent to contemporary art, in the learning of interspecific relationships and in the acceptance of transmutation as a design of life. I selected three works by Castiel and a set of five works in which plants participate: Corpoflor, A cambonagem e o fogo acelerada, Eclipse: espaço perichível de liberdade and the set formed by: Um martelo de eleven horas, Julite, Novos antigos, Plantas que curam and comigo-ninguém-pode. In developing this thesis, I adopt a rhizomatic logic, exploring the issues and materialities present in the works and in the otherness that permeates Castiel's production and, more broadly, in a significant part of recent contemporary Brazilian art production. What brings these artists together is their commitment to challenging the structures of colonial societies, questioning the idea of identity, destabilizing dominant discourses, and proposing new ways of existing. Their works are full of vigor and delicacy. The final considerations point to an education that has interspecific relationships and transmutation at its center, translating into a sensitive and radical practice, in which learning is a gesture of deep listening to the diversity that sustains life on planet Earth. Castiel's poetic practice inspires an education that welcomes the experience of diversity and, therefore, as movement, as passage, as a performance of life in its infinite possibilities. A pedagogy of intimacy with perishability, in which one learns from the earth and the winds, from the memories of the moon, the fungi and the flowers, from that which insists on living despite the violence of the norm. In this invitation, knowledge is not power, but bond, a call to share, care and coexist.