<?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>2184-1284</journal-id>
<journal-title><![CDATA[Vista. Revista de Cultura Visual]]></journal-title>
<abbrev-journal-title><![CDATA[Vista]]></abbrev-journal-title>
<issn>2184-1284</issn>
<publisher>
<publisher-name><![CDATA[Centro de Estudos de Comunicação e Sociedade]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2184-12842025000102007</article-id>
<article-id pub-id-type="doi">10.21814/vista.6281</article-id>
<title-group>
<article-title xml:lang="pt"><![CDATA[Colocando os Óculos: Apontamentos Sobre Cosmotécnica do Vestir na Obra Nordeste Futurista]]></article-title>
<article-title xml:lang="en"><![CDATA[Putting on the Glasses: Cosmotechnics of dressing in Nordeste Futurista]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Sorbille]]></surname>
<given-names><![CDATA[Lara Victoria]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Acom]]></surname>
<given-names><![CDATA[Ana Carolina]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidade Federal da Integração Latino-Americana  ]]></institution>
<addr-line><![CDATA[Foz do Iguaçu ]]></addr-line>
<country>Brasil</country>
</aff>
<aff id="Af2">
<institution><![CDATA[,Universidade Estadual do Oeste do Paraná  ]]></institution>
<addr-line><![CDATA[Foz do Iguaçu ]]></addr-line>
<country>Brasil</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>01</month>
<year>2025</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>01</month>
<year>2025</year>
</pub-date>
<numero>15</numero>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_arttext&amp;pid=S2184-12842025000102007&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_abstract&amp;pid=S2184-12842025000102007&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_pdf&amp;pid=S2184-12842025000102007&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo O artigo analisa as duas primeiras faixas do álbum visual Nordeste Futurista da artista Luana Flores, explorando como a indumentária e a direção de arte são elementos fundamentais da instauração do &#8220;futurista&#8221; que a narrativa da obra projeta no território, desafiando representações estereotipadas do Nordeste brasileiro. Através da lente da cosmotécnica (Hui, 2020), o estudo examina como a obra de Flores dissolve esteticamente a suposta oposição entre as tecnologias ancestrais e contemporâneas, em diálogo com culturas quilombolas e indígenas da região. A análise concentra-se na indumentária para tal, como elemento na construção de um discurso estético que desafia imaginários coloniais de subdesenvolvimento, também se apropriando do imaginário futurista do cinema de ficção científica clássica. Nesta investigação, a tecnologia do vestir é pensada como &#8220;cosmotécnica&#8221;, teoria proposta pelo filósofo Yuk Hui (2020): que se refere à tecnologia manifesta de diferentes formas, pois sempre surge e carrega embutida em si cosmologias e contextos específicos, questionando a visão de uma tecnologia única e universal, mais ou menos &#8220;avançada&#8221;. O artigo perpassa o uso de artefatos vestíveis como, por exemplo, óculos de realidade virtual, chapéus de palha trançada e tecidos como a chita, demonstrando como estes elementos carregam significados culturais e históricos, ao mesmo tempo que são ressignificados em um contexto &#8220;futurista&#8221;. A partir da quebra da neutralidade da colonialidade do ver (Barriendos, 2019), trazemos algumas representações visuais do Nordeste brasileiro, que foram historicamente distorcidas para justificar práticas de dominação. Ao trazer a estética do álbum visual Nordeste Futurista para análise, buscamos provocar uma ruptura com o imaginário estandardizado sobre a região Nordeste do Brasil, que dialoga com o imaginário subdesenvolvido da América Latina, enfatizando a potencialidade cultural local e a importância de reconhecermos cosmotécnicas indígenas e quilombolas no nosso cotidiano e na construção de futuros possíveis.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract This article analyses the first two tracks of the visual album Nordeste Futurista (Futuristic Northeast) by artist Luana Flores, exploring how clothing and art direction are fundamental elements in establishing the &#8220;futuristic&#8221; narrative that the work projects onto the territory, challenging stereotypical representations of the Brazilian Northeast. Through the lens of cosmotechnics (Hui, 2020), the study examines how Flores&#8217; work aesthetically dissolves the supposed opposition between ancestral and contemporary technologies in dialogue with quilombola and Indigenous cultures of the region. The analysis focuses on clothing as an element in the construction of an aesthetic discourse that challenges colonial imaginaries of underdevelopment, also appropriating the futuristic imagery of classic science fiction cinema. In this investigation, clothing technology is thought of as &#8220;cosmotechnics&#8221;, a theory proposed by philosopher Yuk Hui (2020) that refers to technology manifested in different forms, as it always emerges and carries within itself specific cosmologies and contexts, questioning the vision of a single, universal technology that is more or less &#8220;advanced&#8221;. The article examines the use of wearable artefacts such as virtual reality glasses, woven straw hats and fabrics such as chita (floral printed cotton), demonstrating how these elements carry cultural and historical meanings while at the same time being re-signified in a &#8220;futuristic&#8221; context. Challenging the neutrality of coloniality of seeing (Barriendos, 2019), we present some visual representations of the Brazilian Northeast that have been historically distorted to legitimise practices of domination. By analysing the aesthetics of the visual album Nordeste Futurista, this study seeks to disrupt the standardised imagery of the Northeast region of Brazil, which dialogues with the underdeveloped imagery of Latin America, emphasising the local cultural potential and the importance of recognising Indigenous and quilombola cosmotechnics in our daily lives and the construction of possible futures.]]></p></abstract>
<kwd-group>
<kwd lng="pt"><![CDATA[Nordeste Futurista]]></kwd>
<kwd lng="pt"><![CDATA[tecnologia do vestir]]></kwd>
<kwd lng="pt"><![CDATA[cosmotécnica]]></kwd>
<kwd lng="pt"><![CDATA[estética]]></kwd>
<kwd lng="en"><![CDATA[Nordeste Futurista]]></kwd>
<kwd lng="en"><![CDATA[clothing technology]]></kwd>
<kwd lng="en"><![CDATA[cosmotechnics]]></kwd>
<kwd lng="en"><![CDATA[aesthetics]]></kwd>
</kwd-group>
</article-meta>
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