<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0185-1276</journal-id>
<journal-title><![CDATA[Anales del Instituto de Investigaciones Estéticas]]></journal-title>
<abbrev-journal-title><![CDATA[An. Inst. Investig. Estét]]></abbrev-journal-title>
<issn>0185-1276</issn>
<publisher>
<publisher-name><![CDATA[Universidad Nacional Autónoma de México, Instituto de Investigaciones Estéticas]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0185-12762016000100087</article-id>
<title-group>
<article-title xml:lang="en"><![CDATA[Sensorial, Supra-Sensorial, Hélio-Sensorial. Analyzing Oiticica in Action]]></article-title>
<article-title xml:lang="es"><![CDATA[Sensorial, suprasensorial. Hélio-sensorial. Análisis de Oiticica en acción]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Hinterwaldner]]></surname>
<given-names><![CDATA[Inge]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="A01">
<institution><![CDATA[,University of Basel  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Switzerland</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>06</month>
<year>2016</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>06</month>
<year>2016</year>
</pub-date>
<volume>38</volume>
<numero>108</numero>
<fpage>87</fpage>
<lpage>122</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S0185-12762016000100087&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S0185-12762016000100087&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S0185-12762016000100087&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract: This contribution addresses the group of works of the Parangolés which the Brazilian artist Hélio Oiticica developed between 1964 and 1978 following theoretical excursions into the psychology of play, psychoanalysis, religious cults, and Op art. For Oiticica, these capes for interactive use offer possibilities of creative expression. By analyzing the film documents showing the artist operating the Parangolés, it becomes evident that expressivity is mainly destined for the participant himself/herself. Oiticica calls it auto-sensation and seeks to reach the supra-sensorial. It is an experiment using the entire body specially the sensory organs. This individualizes his artistic proposals which demand immersive self-investment and the enjoyment of pure sensations, preferably prior to any conceptualization. Structures and colors in constant motion with a defocused attention lead to a kind of overload that dims out an identifying, distanced position and promotes a trance-like immersion.]]></p></abstract>
<abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen: Este texto estudia el conjunto de trabajos de los Parangolés que el artista brasileno Hélio Oiticica desarrolló entre 1964 y 1978 a partir de incursiones teóricas en la psicología del juego, del psicoanálisis, de los cultos religiosos y el arte Op. Para Oiticica estas capas de uso interactivo ofrecen posibilidades de expresión creativa. Mediante el análisis de una película documental que muestra al artista usando un parangolé, se evidencia que la expresividad está destinada principalmente al participante mismo. Oiticica lo llama autosensación e intenta alcanzar lo suprasensorial. Es un experimento que emplea todo el cuerpo y especialmente los órganos sensoriales. Esto singulariza sus propuestas artísticas que requieren del participante una inmersión en sí mismo y disfrutar de las sensaciones puras, preferiblemente antes de cualquier conceptualización. Las estructuras y colores en constante movimiento conducen con una atención desenfocada a una especie de sobrecarga que atenúa una postura distanciada identificable para promover así una inmersión comparable a un trance.]]></p></abstract>
<kwd-group>
<kwd lng="en"><![CDATA[Parangolé]]></kwd>
<kwd lng="en"><![CDATA[Brazilian art]]></kwd>
<kwd lng="en"><![CDATA[creativity]]></kwd>
<kwd lng="en"><![CDATA[perceptual experiment]]></kwd>
<kwd lng="en"><![CDATA[immersion]]></kwd>
<kwd lng="en"><![CDATA[primordial perception]]></kwd>
<kwd lng="en"><![CDATA[Holi-Festival]]></kwd>
<kwd lng="es"><![CDATA[Parangolé]]></kwd>
<kwd lng="es"><![CDATA[arte brasileño]]></kwd>
<kwd lng="es"><![CDATA[creatividad]]></kwd>
<kwd lng="es"><![CDATA[experimento perceptible]]></kwd>
<kwd lng="es"><![CDATA[inmersión]]></kwd>
<kwd lng="es"><![CDATA[percepción primordial]]></kwd>
<kwd lng="es"><![CDATA[el Festival Holi]]></kwd>
</kwd-group>
</article-meta>
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