While the visual arts and technology development map oppositionally in our culture, there are similarities in work. Visual artists and technology developers imagine, conceptualize, design, and build artifacts and then release them into the world. As part of this work, many artists and technologists develop high levels of conceptualization, technical, and fabrication skill. While artists have always worked with industrial technologies such as paint and pigment chemistry, metalworking equipment, heavy machinery, and kilns, for example, many postindustrial artists are using high technology both as medium and highly-charged cultural material. These artists work with similar materials as technology developers: electronics, computation, robotics, bioengineering materials, and smart materials, for example. Their work often bleeds into technological development as they create new technologies and new interactions with technologies in the course of their projects. This dissertation traces the evolution of the ideas of art and technology from foundations in ancient Greece through the present. There are tensions between technological art, or art that uses high technologies as a medium, and the contemporary art world, as well as between technological art and engineering practice. This dissertation locates technological art along a spectrum between traditional fine art and engineering practice, in a third space of both artistic production and technological R&D. Through examples from my work and the work of others, I surface the dynamics of practice in this third space and how these practices can lead to emergent art and technology.

Este trabalho analisa as relações entre os processos de criação nas áreas da Joalheria e da Arquitetura. Desde o esboço, passando pelos desenhos, croquis, maquetes e até as modernas formas de representação computacional, o processo criativo deve levar em conta sempre fatores como expressão de uma visão particular do mundo e referências e condições estéticas, práticas e históricas. Leva-se em conta o caso do arquiteto Frank Gehry, que desenvolveu projetos de renome em ambas as áreas. Observa-se a trajetória dessas áreas, desde seus primórdios, e as soluções encontradas pelo homem, através do tempo, para a interferência nos objetos e nos espaços, a fim de deixar sua marca e proporcionar progressos na vida humana. Por fim, detalham-se as novas tecnologias empregadas nas criações e representações de formas complexas, com destaque para os softwares em 3D, que propiciam a evolução dos projetos com melhora em custos e prazos nos projetos multimilionários na atualidade. / This research presents the relations among the many process of creation in the jewellery and architecture areas. Starting with the outline, passing on the drawings, sketches and getting through the modern ways of computer representation, the creative process must consider the reasons like a private vision of the world, historical references, esthetic conditions and practices. Frank Gehry developed renowned projects in both areas. The trajetory of these areas can be observed since their beginning. The solutions found by the human being through the time, for the interference in the objects and in many places in order to mark and propose every kind of progress for human lives. Lastly, this research details the new tecnologies which were used in creations and in the complex ways of representation, like the 3D softwares, which range the evolution of the projects, together with the improvement in costs and time for the present multimillionaire projects.

O sistema dos Viewpoints é o ponto de partida para uma investigação teórico-prática que transita por entre a bibliografia desenvolvida por Anne Bogart e a experiência prática em sala de ensaio. O objetivo principal é apontar algumas pistas para o trabalho do ator a partir de três recortes: o mapeamento inicial do sistema, a descrição das práticas realizadas em sala de ensaio e, ainda, a exploração do conceito de escuta-ação enquanto estratégia metodológica para a criação atoral. Os Viewpoints são compreendidos como um dispositivo a ser difundido, e a metodologia procurou friccionar o procedimento em questão com alguns dos temas presentes na cena contemporânea, como a performatividade e o desempenho espetacular. A análise do papel determinante da escuta-ação, na hipótese original da pesquisa, afirma ser a dramaturgia do ator o espaço da experiência, uma atividade permanentemente provisória, propositadamente lacunar e, em suma, ensaística, vista aqui a partir da perspectiva de Jorge Bondía. / The Viewpoints System is the starting point for a theoretical-practical investigation that includes the bibliography developed by Anne Bogart and the practical experience in rehearsals. The main objective of this study is to indicate some signs to the actor\'s work through three approaches: the initial mapping of the system, the description of practices applied in rehearsals, and the exploration of the listeningaction (escuta-ação) concept as a methodological strategy for acting creation. The Viewpoints are understood as a device yet to be disseminated, and the methodology has sought to relate this procedure with some subjects present in the contemporary scene, such as performativity and perfomative performance. The analysis of listenact\'s determinant role, according to the original hypothesis of this research, sustains that the dramaturgy of the actor is the experiencing space, a permanent provisional activity, purposely empty, and essentially essayistic, viewed here from Jorge Bondía\'s perspective.

"Jo Carson lays bare her personal investigation into her own creative process after a spider bite on her back begins a series of life-altering events. Spider Speculations applies cutting edge mind-body science, quantum physics and ancient shamanistic techniques to describe how stories work in our bodies and our lives, and what happens when real stories are used in a public way. Carson, whose ability to capture the spoken word hallmarks her community-based work, sets down this story in her own distinctive voice, interspersing the journey with examples of her performance work. This truly original American book will speak to anyone thinking about art and community or engaging with people's stories"--Publisher description. / https://dc.etsu.edu/alumni_books/1019/thumbnail.jpg

By reflecting upon the works I make and my thoughts surrounding them I've been looking to develop my way of understanding and working with art. By looking at both creative and emotional aspects underlying the artistic process I try to understand what impact they have on both the art and the artist. Through my working process and by writing about my thoughts and emotions during this project I come to the conclusion that this is what can be referred to as a cathartic experience for me.

Acting within the context of multiple constraints (site, budget, brief, clients, users, public policy and regulation), the urban designer is required to respond to various and sometimes conflicting interests in “ ... the symbolic attempt to express urban meaning in certain urban forms.” (Castells, 1983). In this complex situation some design decisions are determined by the inherited context. However, when a decision cannot be determined this way the designer must make a judgement. These may be made arbitrarily, but it is more likely that the individual uses, for example, experience, education, episodic knowledge, currently accepted paradigms of the field, or theories in urban design to form the bases of judgements, and subscription to them may be explicit or implicit. The research question this thesis addresses is: ‘In which ways might theory be used in the individual design process of urban design?’ Its aim is to explore ways in which theories in urban design influence the process of urban design and the extent to which they may inform design decisions in addition to the other constraints which a designer must consider. The objectives are: to review literature about the relationship between theory and design; to examine the role of theory in the individual creative process of urban design; and to reflect on the process of design in order to conclude how it was informed by theory. A review of literature about the design process and urban design theory considers the current state of knowledge. This provides the context for the investigation. An appraisal of research by design methodologies identifies an approach based upon Donald Schön’s ‘The Reflective Practitioner’ (1983) as a suitable means to address the aims of this research: This is executed through the generation of an urban design and accompanying commentary which records the design activity, followed by an analysis of and reflection on the design and commentary offering insights into the use of theory within the process. Since the research did not require a specific location for the design, a number of alternatives were considered. Croydon (in Greater London) was selected as a place with sufficient scope for an urban design intervention due to the current proposals being pursued by the local authority and the opportunities for redevelopment. The design process is in three sequential parts: a socio-economic, cultural and physical site evaluation; a development framework which is primarily two-dimensional and textual; and a masterplan which is a predominantly three-dimensional, short to medium term spatial possibility for part of the framework area. The commentary that accompanies the design process details each step in the process to build an evidence base of design activity. This describes the actions undertaken and the reasons for those actions. Each entry is then analysed retrospectively according to four categories determined by the interests of the research aim: the type of design activity; the type of influence acting upon it; whether this influence is explicit or implicit; and, where theory appears to have been an influence, what type of theory. Reflection on the urban design, commentary and analysis appears to indicate that theory’s influence in the creative process of urban design is distinctive, although it is subservient to a variety of other influences. Apparently, the more conceptual and strategic the stage of design, the more extensive and explicit theory’s influence is. It appears that in a conscious manner, a theory’s principles can be employed directly or interpreted in a new scenario. Conversely, the more spatial and detailed the stage of design, the more tacit and fragmented theory’s involvement appears to be. It is often implicit, embedded within the guiding principles that the individual designer exercises when generating and evaluating ideas, evidenced in the thought processes and decisions that are made. While these findings are specific to an individual and the way that individual designs and evaluates the design process, they do confirm the use of theory in the urban design process and may act as indicators of trends in the relationship between theory and practice in urban design.

Este trabalho discute o uso da entrevista nos estudos do processo de criação artística. Procura examinar em que medida a conversação com um artista pode contribuir na abordagem de sua obra e como pode ajudar a contar a história da instauração dessa obra. Para tanto, são analisados os trabalhos Vista de Ararit, Quintino e Vaga em campo de rejeito e são entrevistados seus respectivos autores, os artistas plásticos Anico Herskovits, Jailton Moreira e Maria Helena Bernardes. / This paper discusses the use of the interview in the studies of the artistic creative process. It tries to examine to wich extent the conversation with an artist can contribute to the approach to his/her work and how it can be helpful to describe the work’s instauration history. In order to do that, the works Vista de Ararit, Quintino and Vaga em campo de rejeito will be analyzed and their respective artists, Anico Herskovits, Jailton Moreira and Maria Helena Bernardes, are interviewed.

DODT, Liana Cristina Vilar. Espedito Seleiro: tradição e ofício de um artesão cearense. 2016. 116f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Instituto de Cultura e Arte, Programa de Pós-graduação em Comunicação Social, Fortaleza (CE), 2016. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-08-08T12:32:19Z No. of bitstreams: 1 2016_dis_lcvdodt.pdf: 5191273 bytes, checksum: c4e49096116b4b3cb1cc9090a464dd66 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-08-08T12:33:09Z (GMT) No. of bitstreams: 1 2016_dis_lcvdodt.pdf: 5191273 bytes, checksum: c4e49096116b4b3cb1cc9090a464dd66 (MD5) / Made available in DSpace on 2016-08-08T12:33:09Z (GMT). No. of bitstreams: 1 2016_dis_lcvdodt.pdf: 5191273 bytes, checksum: c4e49096116b4b3cb1cc9090a464dd66 (MD5) Previous issue date: 2016 / This research aims to analyze the craft and the creative process of Espedito Seleiro craftsman. From a historical overview of the northeastern occupation processes of Brazil (Bastide, 1964; Albuquerque Júnior, 2006), from sugarcane to livestock, it became the contextualization “vaqueira” tradition in the state of Ceará and its relationship with the handicraft culture (Cascudo, 1971; Sylvia Porto Alegre, 1994). It was observed the professional trajectory of Espedito Seleiro in the city of Nova Olinda, Ceará, compared with the old craft guilds of the Middle Ages (Santoni Rugiu, 1998; Bardi, 1994). Investigated the creative artisan process, with reference to the aesthetics of the cangaço (Pernambucano de Mello, 2010), in dialogue with some concepts of Semiotics of Culture, such as memory, tradition, translation and border (Lotman, 1996; Ferreira, 2003 Machado, 2003). A lso noted was the appearance of the design in artisan work (Cardoso, 2012) and the use of hands as an essential tool to gesture to make, that reconfigures man's place in nature (Flusser, 1994). As methodology, fieldwork from trips to Nova Olinda during the year 2015 was a methodological tool coupled with readings in the fields of Sociology, Communication and Semiotics of Culture. Being a theme that provokes more questions than answers gives us, we can say that Espedito Seleiro is an artist who is laying on the border between tradition and contemporaneity, updating and translating the craft creative doing. / Esta pesquisa tem por objetivo analisar o ofício e o processo criativo do artesão cearense Espedito Seleiro. A partir de um panorama histórico dos processos de ocupação do Nordeste do Brasil (Bastide, 1964; Albuquerque Junior, 2006), desde a cana-de-açúcar à criação de gado, fez-se a contextualização da tradição vaqueira no estado do Ceará e sua relação com a cultura do artesanato em couro (Cascudo, 1971; Sylvia Porto Alegre, 1994). Foi observada a trajetória profissional de Espedito Seleiro na cidade de Nova Olinda, Ceará, em comparação com as antigas corporações de ofício da Idade Média (Santoni Rugiu, 1998; Bardi, 1994). Investigou-se o processo criativo do artesão, tendo como referência a estética do cangaço (Pernambucano de Mello, 2010), em diálogo com alguns conceitos da Semiótica da Cultura, como memória, tradução da tradição e fronteira (Lotman, 1996; Ferreira, 2003, Machado, 2003). Observou-se ainda o aspecto do design na obra do artesão (Cardoso, 2012) e o uso das mãos como ferramenta essencial ao gesto de fazer que reconfigura o lugar do homem em meio à natureza (Flusser, 1994). Como metodologia, a pesquisa de campo a partir de viagens a Nova Olinda durante o ano de 2015 foi um instrumento metodológico aliado às leituras nos campos da Sociologia, da Comunicação e da Semiótica da Cultura. Sendo uma temática que nos provoca mais questionamentos do que nos fornece respostas, podemos dizer que Espedito Seleiro é um artista que se que coloca na fronteira entre a tradição e a contemporaneidade, atualizando o ofício e traduzindo o fazer criativo.

This choreographic research identifies and examines triggers that can induce flow, as defined by Mihaly Csikszentmihalyi, through a creative process and performance, illuminating a type of experience that supports awareness of flow characteristics in a dance environment. The methodology documents qualitative phases of self-reflection, interviews with current performing artists, and discussions with dancers that assisted in identifying key flow triggers, informing movement explorations that culminated in a new dance piece and performance. Flow triggers identified through this process were imagery, environment, awareness of audience, and touch, which were explored with the aid of aerial hammocks to create a tactile experience for the dancers in the work. By exploring flow triggers within the creative process the performers experienced and reflected upon flow characteristics, often applying personal triggers to find deeper focus within the dance. This study may inform artists and educators interested in a flow experience in their creative process.

Este trabalho discute o uso da entrevista nos estudos do processo de criação artística. Procura examinar em que medida a conversação com um artista pode contribuir na abordagem de sua obra e como pode ajudar a contar a história da instauração dessa obra. Para tanto, são analisados os trabalhos Vista de Ararit, Quintino e Vaga em campo de rejeito e são entrevistados seus respectivos autores, os artistas plásticos Anico Herskovits, Jailton Moreira e Maria Helena Bernardes. / This paper discusses the use of the interview in the studies of the artistic creative process. It tries to examine to wich extent the conversation with an artist can contribute to the approach to his/her work and how it can be helpful to describe the work’s instauration history. In order to do that, the works Vista de Ararit, Quintino and Vaga em campo de rejeito will be analyzed and their respective artists, Anico Herskovits, Jailton Moreira and Maria Helena Bernardes, are interviewed.