Cibergambiarras como quem dá nó em pingo d’água: artes de fazer com as práticas cotidianas da cibercultura

Abstract

The objective of this dissertation, developed within the Graduate Program in Education at the State University of Rio de Janeiro (ProPEd UERJ), was to investigate how inventive student-teacher practices, particularly cibergambiarras, forge learningteaching processes within the everyday contexts of cyberculture. Situated in the research line Everyday Life, Educational Networks, and Cultural Processes, this study drew upon Everyday Life Studies, intertwined with Research-Formation in Cyberculture, composing a methodological journey that unfolded through two investigative fields: the first, during the context of emergency remote teaching amid the Covid-19 pandemic, with FEBF UERJ as the investigative locus over the course of an academic semester; and the second, in a workshop titled "Research-Formation: exploring subversive cybercultural practices in Everyday Life Studies," conducted as part of an Interinstitutional Seminar held after the pandemic. Throughout this trajectory, various devices functioned as investigative and formative windows, through which research data were produced. Among these, the #CIDADESILÊNCIO: #sonsnas/dasredes project, WhatsApp, UERJ's Virtual Learning Environment (AVA), Zoom, the live broadcast Cibergambiarras: ‘practicedthought’ curricula during the Pandemic, and the Photograph a Song mural stand out. Over the course of the investigation, cibergambiarras emerged as a central object of study, transcending mere improvised technical solutions to become practices of cyberculture that reconfigure meanings, transform precarities into potentials, and establish new forms of enunciation. These practices reposition their practitioners, converting scarcity into inventive language and creative resistance. In this process, the research challenges the boundaries between the established and the invented, affirming the potential of everyday life as fertile territory for the creation of knowledge that resists rigid paradigms and continually reinvents itself with each new encounter with the unexpected. In the end, the propositions presented affirm the difficulty of doing what is not yet fully known, recognize the multiplicity of listening as a creative force, and invite us to think of curricula as processes in constant invention, marked by improvisation and experimentation that escape the capture of the established.