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If diversity has been a hallmark of Brazilian cinema after resumption, this multiplicity of proposals can be found in a rarely addressed aspect of such production: the parties that happen in movies. Of the traditional celebrations of Brazilian imagination, and the revision of post-1960s hedonism, coming to look for new urban events, parties end up not only mirroring somewhat the general panel of Brazilian contemporary, but also become true emblems that reflect the characteristics of certain thematic works. At the same time, we think on how that path, starting from the religious ceremony of Central Station (1996) and arriving at the orgies of A Concepção (2005), may contribute to the discussion on diversity and the meanings of festivals in Brazil. [ABSTRACT FROM AUTHOR]

Starting form one of the most remarkable characteristics of cyber art, "interactivity", in a context of generalized hybridization of the procedures and technological devices available in the current hypertechnological era, this article will emphasize the festive dimension within contemporary artistic practices, especially in its technological and digital components. In order to take both its "creationist" and "reflexionist" aspects into consideration, the proposed interpretation will start with the questions introduced by classical anthropology about festivity: What does the community establish in cyber art? Which kind of community is established there and what is sacrificed in digital or cybernetic art? These questions are articulated with the discussion proposed by Hans-Georg Gadamer and Richard Schechner about the task of building the reflexive game, present in the piece of art as such. The purpose is to, throughout the article, gradually present the peculiarity of the experience of "the festive" in computing and numerical arts. [ABSTRACT FROM AUTHOR]