Um veado apenas

antigenealogia da arte rupestre

Abstract

I propose an anti-genealogy of rock art, shifting the focus from the hierarchical and formalist taxonomic classifications (the arborescent model) prevalent in Brazilian archaeology toward an analysis grounded in Deleuze, Guattari, and Bergson’s concepts of the rhizome and duration. Traditional approaches seek generalizations, formal recurrences, and cultural identities. In contrast, anti-genealogy seeks the singularity of the making, the lines of flight, and difference, treating the figure as an open map.
This method is applied to the analysis of the rock painting of a deer ('o galheiro' [the antlered one]) at Lapa do Boi (Diamantina, MG). I bypass the final form, focusing instead on mapping the movement of paint application (effluence, confluence, and course). To achieve this, I seek to generate maps from specific properties described in situ. The analysis reveals that the 'fluidity' of the making is endowed with a rhythm of pulsatile intensity, considering the duration of its creation. The mapping demonstrates the potential of treating durations as movement and space as an expression of processes of differentiation.