Brincadeiras cosmopoiéticas: uma proposta de design transdisciplinar e abdutivo

Abstract

In this thesis, I propose to feel, think, and make a transdisciplinary and abductive design, based on the three principles of Complexity: dialogy, which seeks distinction without disjunction; the hologram, which postulates that a part exists in the whole that exists within the part; and the recursivity, which refers to the concomitance of causes and effects in established relations. Thus, a methodological dialogue is sought between Complexity (strategy), pragmatism (abduction) and psychoanalysis (desire). I propose that the similarity between abduction, strategy, and desire resides in all of them being methodological processes capable of perceiving one event while giving meaning to it. In other words, processes that support the becoming as they restrict it. Abduction is elaborated as being simultaneously a proposition and an argument – a dicisign whose interpretant, as future, is coupled to the referred object, retroacting in the past. The interpretant of an abductive proposition which asseverates, negotiates, and expands a perception, giving it force of existence in the language, is named after the quality of lovingness. Then, the subject is included in the knowledge process from a temporal understanding. The cosmopoiesis neologism is developed as a proposal for a design whose core resides in each of the playful subjects which, nevertheless, are coupled to each other based on abductive proposals, inhabiting each other as ideas. In this way, cosmopoietic playing aims at promoting health as an expansion of the playful subjects in languages. In the methodological design proposal, four playful subjects participated in a cosmopoietic playing, which extended over eight months, in thirty meetings lasting approximately one hour and thirty minutes each. In the process of this play, six operational strategies have been signified and can be understood as open laws that regulate singular existences: persistent interactions as a condition for the coupling of the playful subjects; flashlights languages as an expansion strategy in different languages; sudden desires as a process of sharing abductive proposals to be signified, negotiated and expanded in the serpentine of senses, aesthetic questions which allow knowing the subject's knowing process; and live deaths as a dialogical strategy that allows to contemplate death in metaphorical metonymies as interpretant continuations that signify themselves as life, in language.