Resumo:
The thesis entitled “Fucking is an art! ai, ai, prazer! the multiple orgasms of the lôkax from the cu do mundo” asserts itself as a marginal and dissident writing experience that challenges the boundaries of traditional academic production. By rejecting the normalized and rigidly formalized writing that historically regulates scientific practice, the work proposes an investigation that weaves together knowledge and lived experience from a poetic, insurgent, and counter-hegemonic perspective, opening space for the constitution of other possible epistemologies. Defined as a “poetic thesis”. The proposal draws on concepts from queer theory and the performative power of the lôka as a strategy of insurgency, aiming to deconstruct the discursive regimes imposed by heterocisnormativity.In this movement, it aligns with the notion of “dequending coloniality” (THÜRLER, 2022), dismantling the epistemic and methodological frameworks that uphold the modern-colonial logic of knowledge production. The research thus configures itself as an aesthetic, ethical, and political exercise in which pleasure, dissidence, and experimentation become practices of thought and writing. The term lôka, developed from the pajubá language, transcends the common connotation of madness and is consolidated as an analytical category and form of self-affirmation. Lôkura is claimed here as a destabilizing force and performative act of linguistic resistance, where transgression and mockery emerge as strategies of subversion against the heterocisnormative system.The figure of the bixa lôka—operator of the lôka aesthetic—does not seek conformity or sanity, but inscribes itself in the centrality of pleasure and an unbound sexuality, constituting a form of re(existence) and liberation of body and life. In this context, bixas are not merely objects of study, but the core of a unique epistemology and a scientific mode of existence. The cu (ass), in turn, is re-signified and elevated to a poetic, artistic, and decolonial symbol of resistance, representing marginalized bodies and territories. More than a bodily signifier, it becomes an act of contestation against the hierarchy of “superior” and “cerebral” knowledge, affirming the value of what lies “down below, in the south”. The “pleasure of being the cu” is thus conceived as a simultaneous gesture of contestation and creation, in which writing emerges as a practice of re(existence) and struggle. The thesis, written in the first person, becomes an act of self-presentation in which the author exposes their body as text, transforming fear into confrontation and life into language. Poetry, in this process, is not limited to writing—it acts as a performance of language, as an act of pleasure, and as an embodied expression of dissident experiences.
