Abstract
This contribution addresses the group of works of the Parangolés which the Brazilian artist Hélio Oiticica developed between 1964 and 1978 following theoretical excursions into the psychology of play, psychoanalysis, religious cults, and Op art. For Oiticica, these capes for interactive use offer possibilities of creative expression. By analyzing the film documents showing the artist operating the parangolés, it becomes evident that expressivity is mainly destined for the participant himself/herself. Oiticica calls it auto-sensation and seeks to reach the supra-sensorial. It is an experiment using the entire body specially the sensory organs. This individualizes his artistic proposals which demand immersive self-investment and the enjoyment of pure sensations, preferably prior to any conceptualization. Structures and colors in constant motion with a defocused attention lead to a kind of overload that dims out an identifying, distanced position to promotes a trance-like immersion.