Deafspace in Cyberspace: The use of digital technologies as cyberactivism by deaf artists

Detalhes bibliográficos
Autor(a) principal: Garcia, Maria Izabel dos Santos
Data de Publicação: 2022
Outros Autores: Cabral, Rebeca Garcia
Tipo de documento: Artigo
Idioma: por
Título da fonte: Conversas & Controvérsias
Texto Completo: https://revistaseletronicas.pucrs.br/ojs/index.php/conversasecontroversias/article/view/42097
Resumo: Currently, about 152 million Brazilians use the Internet, being considered the fifth most connected country in the world. In this virtual world, the deaf have become an increasingly user group of this communication tool. Those who master only LIBRAS (Brazilian Sign Language) as a means of communication – the vast majority – tell their stories and report their world views from a gesture-visual linguistic modality, whose main form of apprehension is the production of the imagery text. In general, the sign languages of each country are still unwritten, that is, they do not have a consecrated form of spelling, in part because of their three-dimensionality. In this way, social networks made it possible for the deaf to use sign language not only to communicate with their peers, but also to spread the social movement itself among non-deaf people. Thus, this article intends to draw a debate between the study of digital technologies and the recent use of social networks by deaf artists in the visibility of the social movement of this group through their artistic productions. To this end, we will use the concept of “deafspace” in dialogue with cyberspace and the possibilities of producing cyberactivism.
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spelling Deafspace in Cyberspace: The use of digital technologies as cyberactivism by deaf artistsDeafspace no Ciberespaço: O uso das tecnologias digitais como ciberativismo por artistas surdosCyberactivismDeafspaceVisual cultureDeaf culturesCyberfactCiberativismoDeafspaceCultura visualCulturas surdasCiberacontecimentosCurrently, about 152 million Brazilians use the Internet, being considered the fifth most connected country in the world. In this virtual world, the deaf have become an increasingly user group of this communication tool. Those who master only LIBRAS (Brazilian Sign Language) as a means of communication – the vast majority – tell their stories and report their world views from a gesture-visual linguistic modality, whose main form of apprehension is the production of the imagery text. In general, the sign languages of each country are still unwritten, that is, they do not have a consecrated form of spelling, in part because of their three-dimensionality. In this way, social networks made it possible for the deaf to use sign language not only to communicate with their peers, but also to spread the social movement itself among non-deaf people. Thus, this article intends to draw a debate between the study of digital technologies and the recent use of social networks by deaf artists in the visibility of the social movement of this group through their artistic productions. To this end, we will use the concept of “deafspace” in dialogue with cyberspace and the possibilities of producing cyberactivism.Atualmente cerca de 152 milhões de brasileiros usam a internet, sendo considerado o quinto país mais conectado à rede no mundo. Nesse mundo virtual, os surdos vêm se tornando um grupo cada vez mais usuário dessa ferramenta comunicacional. Aqueles que dominam somente a Língua Brasileira de Sinais (Libras) como meio de comunicação – grande maioria – contam suas histórias e relatam suas visões de mundo a partir de uma modalidade linguística gesto- -visual, cuja principal forma de apreensão é a produção do texto imagético. Em geral, as línguas de sinais de cada país ainda são ágrafas, ou seja, não possuem uma forma de grafia consagrada, em parte por conta de sua tridimensionalidade. Desse modo, as redes sociais possibilitaram aos surdos o uso da língua de sinais não só na comunicação com seus pares, mas também na difusão do próprio movimento social em meio às pessoas não surdas. Assim, o presente artigo pretende traçar um debate entre o estudo das tecnologias digitais e o recente uso das redes sociais pelos artistas surdos na visibilidade do movimento social desse grupo através de suas produções artísticas. Para tal, utilizaremos o conceito do “espaço surdo” (deafspace) em diálogo com o ciberespaço e as possibilidades de se produzir ciberativismo.Editora da PUCRS - ediPUCRS2022-03-08info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://revistaseletronicas.pucrs.br/ojs/index.php/conversasecontroversias/article/view/4209710.15448/2178-5694.2022.1.42097Conversas & Controvérsias; Vol. 9 No. 1 (2022): Single Volume; e42097Conversas & Controvérsias; v. 9 n. 1 (2022): Volume Único; e420972178-569410.15448/2178-5694.2022.1reponame:Conversas & Controvérsiasinstname:Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS)instacron:PUC_RSporhttps://revistaseletronicas.pucrs.br/ojs/index.php/conversasecontroversias/article/view/42097/27423Copyright (c) 2022 Conversas & Controvérsiashttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessGarcia, Maria Izabel dos SantosCabral, Rebeca Garcia2023-02-06T13:09:24Zoai:ojs.revistaseletronicas.pucrs.br:article/42097Revistahttps://revistaseletronicas.pucrs.br/ojs/index.php/conversasecontroversias/indexPUBhttps://revistaseletronicas.pucrs.br/ojs/index.php/conversasecontroversias/oaiteresa.marques@pucrs.br2178-56942178-5694opendoar:2023-02-06T13:09:24Conversas & Controvérsias - Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS)false
dc.title.none.fl_str_mv Deafspace in Cyberspace: The use of digital technologies as cyberactivism by deaf artists
Deafspace no Ciberespaço: O uso das tecnologias digitais como ciberativismo por artistas surdos
title Deafspace in Cyberspace: The use of digital technologies as cyberactivism by deaf artists
spellingShingle Deafspace in Cyberspace: The use of digital technologies as cyberactivism by deaf artists
Garcia, Maria Izabel dos Santos
Cyberactivism
Deafspace
Visual culture
Deaf cultures
Cyberfact
Ciberativismo
Deafspace
Cultura visual
Culturas surdas
Ciberacontecimentos
title_short Deafspace in Cyberspace: The use of digital technologies as cyberactivism by deaf artists
title_full Deafspace in Cyberspace: The use of digital technologies as cyberactivism by deaf artists
title_fullStr Deafspace in Cyberspace: The use of digital technologies as cyberactivism by deaf artists
title_full_unstemmed Deafspace in Cyberspace: The use of digital technologies as cyberactivism by deaf artists
title_sort Deafspace in Cyberspace: The use of digital technologies as cyberactivism by deaf artists
author Garcia, Maria Izabel dos Santos
author_facet Garcia, Maria Izabel dos Santos
Cabral, Rebeca Garcia
author_role author
author2 Cabral, Rebeca Garcia
author2_role author
dc.contributor.author.fl_str_mv Garcia, Maria Izabel dos Santos
Cabral, Rebeca Garcia
dc.subject.por.fl_str_mv Cyberactivism
Deafspace
Visual culture
Deaf cultures
Cyberfact
Ciberativismo
Deafspace
Cultura visual
Culturas surdas
Ciberacontecimentos
topic Cyberactivism
Deafspace
Visual culture
Deaf cultures
Cyberfact
Ciberativismo
Deafspace
Cultura visual
Culturas surdas
Ciberacontecimentos
description Currently, about 152 million Brazilians use the Internet, being considered the fifth most connected country in the world. In this virtual world, the deaf have become an increasingly user group of this communication tool. Those who master only LIBRAS (Brazilian Sign Language) as a means of communication – the vast majority – tell their stories and report their world views from a gesture-visual linguistic modality, whose main form of apprehension is the production of the imagery text. In general, the sign languages of each country are still unwritten, that is, they do not have a consecrated form of spelling, in part because of their three-dimensionality. In this way, social networks made it possible for the deaf to use sign language not only to communicate with their peers, but also to spread the social movement itself among non-deaf people. Thus, this article intends to draw a debate between the study of digital technologies and the recent use of social networks by deaf artists in the visibility of the social movement of this group through their artistic productions. To this end, we will use the concept of “deafspace” in dialogue with cyberspace and the possibilities of producing cyberactivism.
publishDate 2022
dc.date.none.fl_str_mv 2022-03-08
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
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status_str publishedVersion
dc.identifier.uri.fl_str_mv https://revistaseletronicas.pucrs.br/ojs/index.php/conversasecontroversias/article/view/42097
10.15448/2178-5694.2022.1.42097
url https://revistaseletronicas.pucrs.br/ojs/index.php/conversasecontroversias/article/view/42097
identifier_str_mv 10.15448/2178-5694.2022.1.42097
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://revistaseletronicas.pucrs.br/ojs/index.php/conversasecontroversias/article/view/42097/27423
dc.rights.driver.fl_str_mv Copyright (c) 2022 Conversas & Controvérsias
http://creativecommons.org/licenses/by/4.0
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2022 Conversas & Controvérsias
http://creativecommons.org/licenses/by/4.0
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Editora da PUCRS - ediPUCRS
publisher.none.fl_str_mv Editora da PUCRS - ediPUCRS
dc.source.none.fl_str_mv Conversas & Controvérsias; Vol. 9 No. 1 (2022): Single Volume; e42097
Conversas & Controvérsias; v. 9 n. 1 (2022): Volume Único; e42097
2178-5694
10.15448/2178-5694.2022.1
reponame:Conversas & Controvérsias
instname:Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS)
instacron:PUC_RS
instname_str Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS)
instacron_str PUC_RS
institution PUC_RS
reponame_str Conversas & Controvérsias
collection Conversas & Controvérsias
repository.name.fl_str_mv Conversas & Controvérsias - Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS)
repository.mail.fl_str_mv teresa.marques@pucrs.br
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