Made available in DSpace on 2015-05-14T12:11:44Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1047503 bytes, checksum: 230ab0e07e1af73b32377f25c5f1c2eb (MD5) Previous issue date: 2011-10-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This essay aims to understand how the thoughts about art and poetry are articulated in Martin Heidegger's (1889 1976) philosophy, by reading the lectures The origin of the work of art and Hölderlin and the essence of poetry. In Heidegger s work, art and poetry are analized totally separated from aesthetics appreciation and the literary critics, because the philosopher takes distance of dealing with art as a human Being's object of subjective appreciation. In Heidegger's fundamental ontology the work of art is seen in its own being. Allowing the work of art s Being a work of art, that it'll appear in its essence. The work of art, more than a subject of consideration, is seen here as a favored place where truth happens. The work of art is the place where truth happens, characterizing itself by not being covered. That happens because in the work of art a conflict between World and Earth. presents itself The world appears as an historical world, and the earth as the inhuman. in essence These are two opposing forces facing each other in a essential conflict in the work of art where one rises and shows up itself in the presence of the other. The truth appears in the strife of this conflict, essentially in the work of art. The truth as the uncovered being allows the being to show itself as it is. This way of unveiling the being is what the greeks called Téchne, an authentic production where the Being presents itself. Art is also found in the Téchne sphere, and the poetry, as the being s unveiled composition by the word, is, to Heidegger, a higher way of Téchne because it projects the human Being to the opening where is inlightment and concealment. By the poetic saying the being is named for the first time. Such naming is an unveiled say, which is only possible to be said by that ones hearing the Being, which are, according to Heidegger, the poets. They mediate an original relationship that long ago was lost, because they put themselves between the ones who waves the being's truth, the gods, and the ones to whom, for having a constituted language, these waves are accessible, the men. The poets are the guardians of these waves and have the mission of announcing them to an historical people, founding the poetic dwelling between men. / A presente dissertação busca compreender de que modo se articula o pensamento acerca da arte e da poesia na filosofia de Martin Heidegger (1889-1976), mediante a leitura das conferências A origem da obra de arte e Hölderlin e a essência da poesia. A analítica acerca da arte e da poesia em Heidegger se dá de maneira totalmente desvinculada da apreciação estética e da crítica literária, pois o filósofo se distancia de qualquer maneira de lidar com a arte enquanto objeto de apreciação subjetiva do ser humano. Na ontologia fundamental de Heidegger, a obra de arte é vislumbrada em seu puro deixar-ser. É deixando que a obra seja obra, que esta poderá mostrar-se em sua essência. A obra, mais que uma coisa no sentido de um mero objeto para apreciação, é tratada aqui como lugar privilegiado do acontecimento da verdade. A obra de arte se configura como lugar do acontecimento da verdade, se caracterizando como o não-estar-encoberto do ente. Isto ocorre por que pela obra se apresenta um mundo em conflito com a terra. O mundo aparece como mundo histórico e a terra como o inumano em sua essência. Estas são duas forças opostas que se confrontam num combate essencial na obra de arte no qual um eleva-se e mostra-se tal qual é perante o outro. É na contenda deste combate que a verdade aparece essencializando-se na obra de arte. A verdade como não-encobrimento do ente proporciona a este último apresentar-se tal qual é. Este modo de apresentar o ente é o que os gregos chamavam Téchne, isto é, uma pro-dução autêntica onde o ser do ente se presenta. A arte também encontra-se no âmbito da Téchne, e a poesia, enquanto composição desveladora do ente pela palavra é, para Heidegger, o modo mais elevado da Téchne na medida em que projeta o ser-humano para o aberto no qual se encontra clareira e encobrimento. Pelo dito poético o ente é nomeado pela primeira vez. Tal nomear é um dizer desvelador, que só é possível de ser dito por aqueles que estão na ausculta ao ser, que, segundo Heidegger, são os poetas. Estes intermedeiam uma relação originária que há muito se perdeu, pois se colocam entre os que acenam para a verdade do ente, os deuses, e aos que, por serem constituídos de linguagem, tais acenos podem ser acessíveis, os homens. Os poetas são os guardiões destes acenos e possuem por missão anunciá-los a um povo histórico, fundando o habitar poético entre os homens.

A temporalidade compõe as ações do indivíduo no mundo, portanto, a subjetividade assume papel importante, pois a partir dela é que o tempo ganha sentido e significado. Assim, a percepção subjetiva do tempo torna-se fundamental para a concepção da realidade, traçando uma distinção entre o decurso temporal dos muitos eventos vivenciados ao longo da vida, o que implica que o processamento da informação temporal é imprescindível no cotidiano. Um campo de pesquisa que tem se dedicado a investigações sobre o tempo subjetivo é a Nova Estética Experimental, que estuda obras de arte ou outros fenômenos estéticos através de experimentos, nos quais atributos das obras são manipulados, visando verificar quais são seus efeitos sobre algum aspecto do comportamento do indivíduo. Nas artes, a artista plástica Lygia Clark considerava que a obra só teria significado na relação com o espectador através de sua manipulação; deste modo, ela cria a série Bichos, que são esculturas que modificam suas configurações em resposta à ação do espectador, isto é, podem ser exploradas manualmente. O tempo subjetivo se altera em função da densidade de movimento percebido. Uma obra de arte em que seu movimento é induzido por manipulação pode alterar o tempo subjetivo. Questiona-se qual seria a influência da atividade exploratória destas obras sobre a experiência temporal e como essa relação se daria em condições nas quais os participantes apresentassem alterações dos padrões motores, como os observados em pessoas com Doença de Parkinson (DP). Assim, a proposta deste trabalho foi examinar os efeitos da manipulação de uma obra de arte móvel sobre o tempo subjetivo em indivíduos que apresentam o diagnóstico de DP. No experimento 1, estudantes de pós-graduação julgaram modelos de obras de arte da série Bichos de Lygia Clark, para os atributos: Complexidade, Regularidade, Quantidade de Material, Interesse e Agradabilidade. Os julgamentos mostraram que os estímulos apontados com maior quantidade de material foram considerados com maior nível de complexidade e interesse, no entanto, com menor nível de agradabilidade; por outro lado, os estímulos avaliados com menor quantidade de material foram indicados com menor nível de complexidade e interesse, entretanto, com maior nível de agradabilidade. Este resultado foi importante para a determinação dos estímulos que foram utilizados no experimento 2. Participantes com diagnóstico de DP e participantes sem a doença manipularam duas reproduções, alteradas no número de faces, de obras da série Bichos de Lygia Clark e realizaram a estimação temporal verbal da duração de suas manipulações. O manuseio foi registrado sendo analisadas quatro categorias comportamentais: Tocar, Movimentar, Soltar e Deslocar o estímulo. A análise da atividade exploratória dos participantes revelou que os participantes com DP tocam e soltam mais os estímulos e os movimentam e deslocam menos em relação aos participantes sem a doença. As estimações temporais realizadas pelos participantes apontaram que a manipulação de uma obra de arte móvel altera a percepção subjetiva de tempo. Todos os participantes superestimaram o tempo de manipulação dos estímulos, no entanto, os indivíduos com DP apresentaram uma menor superestimação quando comparados aos participantes sem a doença. / The temporality makes up individuals actions in the world, therefore, subjectivity plays an important role, because time makes sense and meaning based on it. Thus, the subjective perception of time is fundamental to the conception of reality, drawing a distinction between the temporal course of the many events experienced throughout life, which implies that processing of temporal information is essential in daily life. A field of research that has been devoted to research on the subjective time is the New Experimental Aesthetics, studying works of art or other aesthetic phenomena through experiments in which some attributes of the works are handled in order to verify which are their effects on some aspects of individuals\' behavior. In the field of arts, the artist Lygia Clark considered that the work would only have meaning in relation to the spectator through their manipulation; thus she creates the \"Bichos\" series, which are sculptures that modify its settings in response to the action of the viewer, that is, can be operated manually. The subjective time changes depending on the density perceived movement. A work of art in which its movement is induced by manipulation can change subjective time. One wonders what would be the influence of the exploration activities of these works on the temporal experience and how this relationship would be in conditions in which participants present changes in their motor patterns, as seen in people with Parkinson\'s disease (PD). Thus, the purpose of this study was to examine the effects of the manipulation of a work of mobile art on subjective time in people who have a diagnosis of PD. In experiment 1, graduate students judged models of works of art from the series \"Bichos\" by Lygia Clark, for rating the following attributes: Complexity, Regularity, Material Amount, Interest and Agreeableness. Trials showed that the stimuli that indicated larger amount of material were considered with a higher level of complexity and interest, however, with lower level of agreeableness; On the other hand, the stimuli evaluated as having less material were also indicated with lower complexity and interest, however, with higher levels of agreeableness. This result was important to determine the stimuli that were used in experiment 2. Participants diagnosed with PD and participants without the disease manipulated two reproductions of some works from the series \"Bichos\" by Lygia Clark with the number of faces altered, and performed a verbal estimation of the temporal duration of their manipulations. The handling was recorded and four behavioral categories were analyzed: Touch, Move, Displace works position, and Drop the piece of art (stimulus). The analysis of the exploratory activity of the participants showed that those with PD touched and dropped more the stimulus, and, in contrast, they moved and displaced it less than the participants without the disease. The time estimates made by the participants pointed out that handling the work of mobile art altered the subjective perception of time. All participants overestimated the handling time of the stimuli, however, subjects with PD showed a lesser overestimation than participants without the disease.

Esta dissertação é uma proposta de reflexão acerca do pensamento plástico de Waltercio Caldas, sob a inscrição do problema teórico da hospitalidade absoluta, segundo Jacques Derrida. Tal abordagem ambiciona refletir sobre o campo das esculturas instaladas ao ar livre, enfatizando suas distintas contribuições do que se poderia denominar de \"fundação de lugares de hospitalidade absoluta\" - como se houvesse em suas obras a tentativa de desatar os nós entre as palavras espaço e lugar, apresentando quando, por elas, acontece a transmutação de um para outro. A proposta é a de que, nas oito obras que aqui serão tratadas (O formato cego, Escultura para o Rio, Omkring, Jardim Instantâneo, Espelho rápido, Espelho sem aço, Momento de fronteira e Software), Caldas nos oferece um pensamento genuinamente arquitetônico, sendo pensado o problema da arquitetura quanto o do \"ter lugar\", segundo reflexão de Derrida. Assim, as obras de Waltercio Caldas cumprem a longa tradição do conceito de cidade tão bem manifesta pela palavra arquitetura. Recorte espacial, ou ainda, sobreposição de espaços para onde se dirigem os homens em busca de acolhimento. Mesmo as obras de Caldas que se encontram fora das áreas urbanas afirmam a ideia de cidade a partir da noção de que aquele que chega merece ser absolutamente acolhido antes mesmo de dizer seu nome. / This essay brings a proposal for reflection on the plastic thinking of Waltercio Caldas, under the perspective of the theoretical problem of the absolute hospitality, according to Jacques Derrida. Such approach aims to consider about the open air sculpture fields, emphasizing their distinct contributions on what could be called foundation of absolute hospitality places - as though there was in his works the attemptive to untie the knot between the words space and place, demonstrating when, because of the sculpture\'s influence, happens the transmutation of one to the other. The main idea is that on the eight analyzed works (O formato cego, Escultura para o Rio, Omkring, Jardim Estantâneo, Espelho rápido, Espelho sem aço, Momento de fronteira and Software), Caldas offers us genuinely architectonic thinking, considering architecture\'s problem of \"having a place\", according to Derrida. Thus, the works of Waltercio Caldas fulfill the long tradition that make the concept of city so well expressed by the word architecture. Spatial area, or yet, overlapping of spaces to where are driven men in search of reception. Even Calda\'s works that are located outside urban areas reinforce the idea of city under the notion that anyone that may come deserves to be absolutely welcomed even before speaking their name.

Notre travail consiste en une étude de l’ekphrasis dans l’écriture de Claude Simon. Il part de l’hypothèse selon laquelle la compréhension de sa nature et de son rôle permettrait d’éclairer des aspects fondamentaux du fonctionnement du texte, révélateurs de l’esthétique du roman simonien dans son ensemble. Pour ce faire, nous commençons par mettre en évidence le caractère ambivalent, paradoxal et subversif de l’ekphrasis simonienne, qui ne constitue pas systématiquement une interruption de la narration, ni une description d’oeuvre d’art. Tirant les conséquences du changement de perspective qu’impose le texte de Claude Simon, nous démontrons qu’il est tributaire du rôle crucial joué par le regard dans la détermination des objets ekphrastiques, objets investis de tout le punctum projeté en eux par le sujet. L’importance du motif du passage du temps, de son incidence sur l’ekphrasis en ce qu’il oriente le choix de ses objets et infléchit sa forme, constitue l’étape suivante de notre étude. Nous précisons le lien ontologique unissant temps et ekphrasis en analysant le caractère ruiniforme de cette dernière. Ce cheminement nous conduit enfin à faire apparaître les collisions entre différentes temporalités suscitées par l’ekphrasis, la nature auratique de l’objet ekphrastique ainsi que la façon dont l’ekphrasis crée tout un système de mises en résonnance entre différentes parties du roman. Ainsi se révèle le rôle essentiel de l’ekphrasis dans la structure, la dynamique et la forme du récit. / This work focuses on ekphrasis in Claude Simon’s writings. It is based on the assumption that by analyzing the nature and role of ekphrasis in Simon’s texts, one could reveal some fundamental aspects of the texts’ functioning and shed light on the esthetics of Simon’s novels as a whole. To do so, this thesis first analyzes the ambivalent, paradoxical and subversive nature of Simon’s ekphrasis, which does not necessarily consist in an interruption of the narrative flow or in the description of a work of art. The thesis goes on to try and identify how Simon’s writing forces us to depart from traditional perspectives on ekphrasis. The change is shown to reside in the importance of the subject’s eye when it comes to determining ekphrastic objects and to granting them a certain emotional load, the punctum. Subsequently, the motif of the passing of time is studied, from the point of view of how it impacts ekphrasis, influencing the choice of ekphrastic objects as well as its formal design. The essential relationship between time and ekphrasis is therefore investigated, with emphasis on its connection to ruins and decay. Finally, exploring the clashes between the various temporalities simultaneously called by ekphrasis allows us to identify the element of aura in the nature of ekphrastic objects. This reveals ekphrasis as a coherent system of echoes and relationships between different parts of the novel, a system which plays a crucial role in terms of the structure, the dynamic and the form of the narration.

The notion of information space (iSpace) is that a collective context of transmitters and receivers can serve as a medium to share, exchange, and apply data and knowledge between a group of human beings or software agents. Inhabiting this space requires a perception of its dimensions, limits, and an understanding of the way data is diffused between inhabitants. One of the important aspects of iSpace is that it expands the limits of communication between distributed designers allowing them to carry out tasks that were very difficult to accomplish with the diverse, but not well integrated current communication technologies. In architecture, design team members, often rely on each others' expertise to review and problem solve design issues as well as interact with each other for critic, and presentations. This process is called Collaborative Design. Applying this process of collaboration to the iSpace to serve as a supplementary medium of communication, rather than a replacement for it, and understanding how design team members can use it to enhance the effectiveness of the design process and increase the efficiency of communication, is the main focus of this research. The first chapter will give an overview of the research and define the objectives and the scope of it as well as giving a background on the evolving technological media in design practice. This chapter will also give a summary of some case studies for collaborative design projects as real examples to introduce the subject. The second chapter of this research will study the collaborative design activities with respect to the creative problem solving, the group behaviour, and the information flow between members. It will also examine the technical and social problems with the distributed collaboration. The third chapter will give a definition of the iSpace and analyze its components (epistemological, utilitarian, and cultural) based on research done by others. It will also study the impact of the iSpace on the design process in general and on the architectural product in particular. The fourth chapter will be describing software programs written as prototypes for this research that allow for realtime and non-realtime collaboration over the internet, tailored specifically to suit the design team use to facilitate distributed collaboration in architecture. These prototypes are : 1. pinUpBoard (realtime shared display board for pin-ups) 2. sketchBoard (realtime whiteboarding application with multisessions) 3. mediaBase (shared database management system) 4. teamCalendar (shared interactive calendar on the internet) 5. talkSpace (organized forums for discussions) / Applied Science, Faculty of / Architecture and Landscape Architecture (SALA), School of / Graduate

The thesis deals with the issue of authentic or inauthentic work of art in the context of philosophy of authentic / inauthentic mode of existence (Dasein) as it was developed by Martin Heidegger in his Time and Being. The reason for addressing this issue is an effort to open the possibility of understanding authenticity or inauthenticity of individual Dasein in the manner which grasps it in the act of its performance, i.e. as a singular event. Thinking of authentic / inauthentic work of art demonstrates the limits of approach which understands authenticity only as certain originality or "selfness" which should belong to something authentic or inauthentic, almost like its accident. This thesis is therefore concerned with what is revealed if the concept of authenticity is transposed to a work of art. Since it is the subject who can make the act of performance of authenticity happen, the author and the recipient of the authentic / inauthentic work of art are problematized as well. When dealing with the work of art with respect to its temporality (historicality) or its being, the thesis also provides room for the issue of perception of the work of art. The resemblance of the author and the recipient is thus revealed and so is the necessity to learn to see not only artworks as such but to see them...

This thesis investigates a typology of interiors that evoke the sensation of containing the whole world in miniature. It explores the reverie of something being able to expand as you go deeper; that is, something which seems like it is a complete world, or appears larger than it is. It is about making a space for the mind to rest in, and as it rests, go deeper and thus reach outside of the walls of the space. In a way, it might be about achieving complexity and great depth through small means. The questions that this thesis poses are the following: What kind of spatial reality is being miniaturized? How can something small be large, something flat be deep, somethings imple be complex? How can a whole be greater than its parts? What are the appropriate means of representation for these types of interiors? As a side effect, I think this investigation is ultimately also about the pure joy of creating, and about genuine warmth, empathy, atmosphere, and an inclusive sense of humour, which allows for quirks and flights of fancy.

O que me predisponho a fazer: dialogar com imagens de arte no espaço expositivo e suas formas de reprodução. Promover encontros entre a minha forma de ver (singular) e a multiplicidade de transmissão dos modos de ver (plural). O que pratico: registro fotográfico de desvios do ponto-de-vista padrão (frontal e focado). O que pretendo: ao observador, oferecer o benefício da dúvida (o que é isto que vejo? Como foi feita esta imagem?), deixando a leitura em aberto. No âmbito teórico, acionar uma reflexão sobre a singularidade da experiência artística e a latência de diversas outras leituras possíveis em uma imagem de arte, que vão além da informação imediata fornecida pelo objeto de observação. O que apresento neste estudo: a discussão desta forma de olhar, a partir da análise comparativa entre a minha produção e a de outros artistas, levando em consideração procedimentos como: 1. o processo em abismo e a busca do registro subjetivo; 2. as escolhas, sejam de enquadramento ou valorização de reflexos; 3. a fundamentação teórica e a reflexão sobre a relação observador-obra, reprodução de imagens em contraposição à singularidade do embate com a obra de arte, processo de formação destas imagens, suas formas de utilização e análise de conceitos fundamentais; 4. o pensamento acerca do que é apresentado na presente pesquisa. / That is what I am determined to do: to dialogue with the images of art in the expositive space and their forms of reproductions. To promote meetings between my singular way of seeing it and the many transmitions of the ways of seeing . What I practice: Photography diversions register of the standart point of view (frontal and focal point). What I intend to do: to the observer I offer the doubt benefit (what I see? How was made that image?), leaving the reading open. On theory scope, I intend to set a reflection about the singularity of the artistic experience and the latency of many others possible readings on an art image, that go beyond the immediate information given by the observation object. What I show in this study: a discussion of this way of seeing from the comparative analysis between my production and the analysis of the other artists, considering the procedure as: 1) the process in abyss and the looking for the subjective register, 2) that the hoices must be by squarely or by reflexion's valorization, 3) a theoretical ground and a reflection about connection of observer and the work of art, reproduction of images in contradiction to the singularity comparison with the work of art, the formation process of these images, their ways of uses and analysis of fundamental conceptions and finally 4) the thought about what is in this search.

O que me predisponho a fazer: dialogar com imagens de arte no espaço expositivo e suas formas de reprodução. Promover encontros entre a minha forma de ver (singular) e a multiplicidade de transmissão dos modos de ver (plural). O que pratico: registro fotográfico de desvios do ponto-de-vista padrão (frontal e focado). O que pretendo: ao observador, oferecer o benefício da dúvida (o que é isto que vejo? Como foi feita esta imagem?), deixando a leitura em aberto. No âmbito teórico, acionar uma reflexão sobre a singularidade da experiência artística e a latência de diversas outras leituras possíveis em uma imagem de arte, que vão além da informação imediata fornecida pelo objeto de observação. O que apresento neste estudo: a discussão desta forma de olhar, a partir da análise comparativa entre a minha produção e a de outros artistas, levando em consideração procedimentos como: 1. o processo em abismo e a busca do registro subjetivo; 2. as escolhas, sejam de enquadramento ou valorização de reflexos; 3. a fundamentação teórica e a reflexão sobre a relação observador-obra, reprodução de imagens em contraposição à singularidade do embate com a obra de arte, processo de formação destas imagens, suas formas de utilização e análise de conceitos fundamentais; 4. o pensamento acerca do que é apresentado na presente pesquisa. / That is what I am determined to do: to dialogue with the images of art in the expositive space and their forms of reproductions. To promote meetings between my singular way of seeing it and the many transmitions of the ways of seeing . What I practice: Photography diversions register of the standart point of view (frontal and focal point). What I intend to do: to the observer I offer the doubt benefit (what I see? How was made that image?), leaving the reading open. On theory scope, I intend to set a reflection about the singularity of the artistic experience and the latency of many others possible readings on an art image, that go beyond the immediate information given by the observation object. What I show in this study: a discussion of this way of seeing from the comparative analysis between my production and the analysis of the other artists, considering the procedure as: 1) the process in abyss and the looking for the subjective register, 2) that the hoices must be by squarely or by reflexion's valorization, 3) a theoretical ground and a reflection about connection of observer and the work of art, reproduction of images in contradiction to the singularity comparison with the work of art, the formation process of these images, their ways of uses and analysis of fundamental conceptions and finally 4) the thought about what is in this search.

O que me predisponho a fazer: dialogar com imagens de arte no espaço expositivo e suas formas de reprodução. Promover encontros entre a minha forma de ver (singular) e a multiplicidade de transmissão dos modos de ver (plural). O que pratico: registro fotográfico de desvios do ponto-de-vista padrão (frontal e focado). O que pretendo: ao observador, oferecer o benefício da dúvida (o que é isto que vejo? Como foi feita esta imagem?), deixando a leitura em aberto. No âmbito teórico, acionar uma reflexão sobre a singularidade da experiência artística e a latência de diversas outras leituras possíveis em uma imagem de arte, que vão além da informação imediata fornecida pelo objeto de observação. O que apresento neste estudo: a discussão desta forma de olhar, a partir da análise comparativa entre a minha produção e a de outros artistas, levando em consideração procedimentos como: 1. o processo em abismo e a busca do registro subjetivo; 2. as escolhas, sejam de enquadramento ou valorização de reflexos; 3. a fundamentação teórica e a reflexão sobre a relação observador-obra, reprodução de imagens em contraposição à singularidade do embate com a obra de arte, processo de formação destas imagens, suas formas de utilização e análise de conceitos fundamentais; 4. o pensamento acerca do que é apresentado na presente pesquisa. / That is what I am determined to do: to dialogue with the images of art in the expositive space and their forms of reproductions. To promote meetings between my singular way of seeing it and the many transmitions of the ways of seeing . What I practice: Photography diversions register of the standart point of view (frontal and focal point). What I intend to do: to the observer I offer the doubt benefit (what I see? How was made that image?), leaving the reading open. On theory scope, I intend to set a reflection about the singularity of the artistic experience and the latency of many others possible readings on an art image, that go beyond the immediate information given by the observation object. What I show in this study: a discussion of this way of seeing from the comparative analysis between my production and the analysis of the other artists, considering the procedure as: 1) the process in abyss and the looking for the subjective register, 2) that the hoices must be by squarely or by reflexion's valorization, 3) a theoretical ground and a reflection about connection of observer and the work of art, reproduction of images in contradiction to the singularity comparison with the work of art, the formation process of these images, their ways of uses and analysis of fundamental conceptions and finally 4) the thought about what is in this search.