Currículo PiXado – Rasuras, Enquadramentos e Fabulações

Abstract

The following doctorate thesis in Education explores the curriculum as a field of disputes, inscriptions, and erasures, refusing its understanding as a fixed structure or a normative document. The research adopts a post-structuralist approach, conceiving a "methodologizing slip" that embraces multiplicity and errancy as guiding principles. In this displacement, the thesis explores the relationships between Art, Curriculum, and Tagging (Pichação), taking erasure as a methodological and conceptual gesture. The central question that guides it investigates how the logic of tagging, as a gesture of occupation and erasure, can pierce through curricular thought, dislocating its normative senses and reinscribing the curriculum as an open and moving process. To do so, the research is articulated through Fabulation, a way of thinking and a conceptual-narrative device that invents possible realities for the curriculum. This approach is materialized through methodologizing operators: Erasure, understood as a double writing that exposes tensions and exclusions; PiXação (spelled with a capital "X" to demarcate its genuine aesthetic dimension), which emerges as a powerful metaphor and a political gesture; and the Frames of Surveillance, Performativity, and Deconstruction. The frames act as transitory devices to condense the complex relationships among teaching, learning, and knowledge production. The choice of their names is not arbitrary, but responds to the concern of exposing the hidden layers of knowledge, tensioning educational and artistic practices, and questioning the stability of pedagogical certainties. The research unfolds into three fabulations— "The Framed Curriculum (or the Anatomy of a grid)" seen under the Surveillance Frame; "The Trampled Curriculum (or When the Class Plan skids)" seen through the Performativity Frame; and "The PiXed Curriculum (or How to Proceed when the curriculum disappears)" seen under the Deconstruction Frame. The Tagged Curriculum emerges as the central concept, representing a curriculum that is not static, but continuously reconfigures itself, refusing institutional fixity and operating in the outside, in the ephemerality, and in the act of its inscription. The thesis defends Art not as an accessory, but as the essence of curricular reinvention, a subversive practice that questions and erases established forms of knowledge and teaching. In the end, the research presents itself as a gesture of semantic insurgency, inviting to inhabit the unpredictable and to recognize knowledges that do not fit into the lesson plan, but that already exist in the world.