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This article, about Cesar Aira and Carlito Azevedo, specially on the text O ABANDONO (2007), as well as in Carlos Azevedo’s Book of Posts (2016), Brazil, Argentina and Latin America come together and gather around a research guided by the desire to investigate theoretical, critical and fictional categories such as hybrid, immaterial and infinite geographies for the management of other categories that may be read as heterogeneous, provisional, instable. The idea of an aesthetics of the absent image, that can project the construction of a scenario amid the B abelian polyphony of the present that is perceived as timeless. Thus, from that specific choice of the work of writers/ poets, the meaning of an argument imagined as an (in)finite conversation is taken ... much in the way Blanchot pleaded.

Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq The writing of this master’s thesis was materialized as I constructed myself in search of experience (LARROSA, 1994, 2003, 2014) about teaching in Visual Arts. I imagined myself as home, making use of Bachelard’s (1998) metaphor, discussed in the educational field by Veiga-Neto (2012). Teaching in Visual Arts has become the main territory in which the research was developed. This teaching was thought in words by the practice of writing (BARTHES, 2004, 2007, 2013) and by the ongoing search for living the experience (VAN MANEN, 2003). Moved by the very own sensitivity of action and the relation established with the other, as collective force, I operated with the concept of friction (CASA NOVA 2008), meaning exchange of signs, of what touches us. The methodology was the research practice itself, the construction of an autobiographical writing in search of reflecting on the conditions and the way I construct myself as a Visual Arts teacher. Supported by Souza (2007, 2014), I develop an analysis, aiming to be simultaneously character and author of my own teaching experience. A escrita desta dissertação se materializou enquanto me construía em busca da experiência (LARROSA, 1994, 2003, 2014) com a docência em artes visuais. Imaginei-me casa, utilizando-me da metáfora trazida por Bachelard (1998) e discutida no âmbito educacional por Veiga-Neto (2012). A docência em artes visuais tornou-se território principal onde a pesquisa se desenvolveu. Docência que foi pensada em palavras pela prática da escrita (BARTHES, 2004, 2007, 2013), e pela busca constante de viver a experiência (VAN MANEN, 2003). Movida pela própria sensibilidade da ação e da relação estabelecida com o(s) outro(s), enquanto força coletiva, operei com o conceito de fricção (CASA NOVA 2008), no sentido de troca, de marcas, daquilo que nos toca. A metodologia foi a própria prática de pesquisa, a construção de uma escrita autobiográfica, em busca de refletir sobre as condições e do modo como me construo professora de artes visuais. Amparada por Souza (2007, 2014), desempenho uma análise buscando ser simultaneamente personagem e autora de minha própria experiência docente.