This ethnography explores the underground art world in Portland, Oregon by showing how a Portland area artist collective, Oregon Painting Society, navigates their art world. Participant observation, in-depth interviews, and a short latent content analysis triangulate data to show the features and values of the underground art world. Using Becker's concept of art worlds, I show how artists working outside of a traditional art career in a commercial gallery system do their work by exploring how Portland's art world is structured and sustained. I find that group work, cooperation, and resource sharing in a vibrant neighborhood based social network enables artists to substitute resources usually provided by gallery representation and sustain their ability to make artwork without financial support. This is a network that rejects the competitive structure of the commercial system and runs more smoothly the more artists participate in it. I also explore the reasons for Portland's particular ability to support this kind of environment, citing geographic proximity to other art cities, DIY cultural roots, neighborhood structure, affordable city amenities, and a creative class population.

伊底帕斯解答斯芬克斯之謎，同時拯救了人民的恐慌，但亦使自己陷入更驚駭的悲痛之中，這表現了斯芬克斯之謎本身蘊含歧義的意義；海德格繼《存有與時間》後的重要作品〈藝術作品起源〉中提出，可以發現與展開存有整體的是藝術作品，藝術作品的起源－藝術乃是謎，此謎可為謎，筆者認為即是海德格試圖說的處在拒絕被我們穿透的情況下才得以彰顯的「大地」之說，換言之，斯芬克斯之謎與藝術之謎的歧義是來自大地本身的狀態，由此，筆者以同時交織這兩件作品中謎的意義，作為本論文獨特的創作方式，如此寫作的安排是由於，一、筆者將伊底帕斯王的故事，作為海德格所強調的「藝術作品是存有物之真理的置入」的偉大作品，來理解海德格想要努力說而又難以說的〈起源〉中大地蘊含的深層意義。二、相較於單以海德格個人作品的論述，並連結評論者對〈起源〉的闡釋，以伊底帕斯之悲劇作為真理置入其中的藝術作品，除了要以蘊含真理的作品將大地意義拉出比〈起源〉本身未說出而更為廣大的理解領域外，同時也使海德格難懂的〈起源〉更為平易近人些。三、如此，除了闡釋與理解〈起源〉之大地，同時本文亦以此方式創建與表達出使大地成為大地的實踐意義。 論文前兩章是將海德格於三十年代使用「大地」一詞的來源詳加說明，首章即是由一個故事開始說起，繼之筆者將伊底帕斯故事中分為三部曲，相應於〈起源〉中三大段落的方式進行。首先，第一部曲是伊底帕斯解答斯芬克斯之謎語，這相應於〈物與作品〉中海德格說明傳統哲學對物之為何之解答，形同為走至娶母般的悲劇之中，但卻又富含歧義的蘊義。第二部曲是伊底帕斯通過祭司之語才發現自己到底是誰的轉折，而這連繫著人與神的祭司之語即為〈起源〉中的第二大段－〈作品與真理〉中所強調的，藝術作品乃可開展出存有整體之意義，最後，當伊底帕斯自掘雙目，浪跡天涯之際，以自身生命保持著大地的無可穿透的張顯狀態，即呈現了〈真理與藝術〉中所要闡釋的此有使大地成為大地。 在論文最後一章中，除了回應評論者們對大地諸多相異的看法外，筆者說明此論文的排序是要突顯起源就是其呈現，呈現的無非就是來自起源。起源的豐沛元素就由此有所擁有的世界中呈現，換言之，此文所展開的，只是開始創建我們自身故事的序幕。 關鍵詞：Heidegger、earth、the Origin of Work of Art、Oedipus

The thesis is dedicated to a postmodern use of symbol and sign. It is based on set definitions of major terms in the fine art and maps the space between a word and a picture as well as impersonal understanding of computer-generated codes. Didactic part enables to work with symbol and sign in art education. An analytical and syntactical thinking, the knowledge of the art history and the ability of intellectual fabrication are the basic ideas of the thesis. Art works, that use multilevel symbol expressions and are formally based on a postmodern thinking, are introduced in a practical part of the thesis.

The goal of this thesis was to show the basic issues of copyright in the area of works of art with pointing out a special treatment, which is paid to these works on the basis of specific characteristics resulting from the nature of a work of art. The main specifics are immediate connection of works with its material expression. The introduction of thesis outlines the concept of copyright and its sources. It deals with main principles of copyright and an author as a person.This chapter also includes a part devoted to the subject of copyright, which is author's work, and a part devoted to characteristic features of a work of art. The following chapter is devoted to the rights of the author, which arise by creating of a work of art and subsequently during the use of the work. It contains a division of rights to the personality and property ones in which it devotes to the right to use the work of art and mainly to the right to remuneration during resale of it. The Copyright Act provides to use a work of art without authorization granted by an author and these issues are dealt with mainly in the chapter of constructive use of the works of art. The License Agreement providing the right to use a work is the basic institute in law enforcement. A properly drafted licence contract prevents possible disputes...

Estudo da possibilidade de restauro urbano da cidade patrimônio cultural. Reforça o caráter artístico da cidade, reconhece a sua materialidade através da percepção espacial, e identifica condições físicas de espaços urbanos. Discute suas transformações para a preservação. Adota, como estudo de caso, Serro (MG) reconhecendo sua natureza artística. Interpreta a teoria do restauro de Cesare Brandi focando o espaço urbano percebido, a partir da leitura da cidade antiga brasileira, através dos princípios artísticos de Camillo Sitte. Conclui que a cidade passa por transformações que podem comprometer sua condição artística, necessitando, desta forma, de ações de preservação apropriadas. / Study of possibility of the restore urban of the patrimony city. It reinforces the artistic character of the city, it recognizes your materiality through the space perception and it identifies physical conditions of urban spaces. It discusses your transformations for the preservation. The city of Serro (MG) was used as case study due its artistic nature. This study interprets the Cesare Brandi´s theory of restoration applied the urban space, and this urban space is interpreted through analysis of the brasilian old city (colonial city), according to artistic principles of Camillo Sitte. Like this we ended that the city changes and this change can to alter its artistic nature, imposing apropriate preservation action.

Esta tese investiga a Ideia e o modo como ela se realiza na obra de arte segundo a Estética de Hegel. No primeiro capítulo, o conceito de Ideia é apresentado nas três formas em que o mesmo se realiza segundo a Lógica enquanto Ciência do Conceito em Hegel. No segundo capítulo, procura-se estabelecer alguns pressupostos históricos da analogia entre belo e organismo e como esta mesma analogia pode ser reencontrada na Estética de Hegel. No terceiro capítulo, mostra-se como a ação também pode ser outra forma de interpretação e elemento estruturador da Ideia realizada na obra de arte. No quarto capítulo, apresenta-se o silogismo (e o juízo) como possível forma de explicação das diversas formas de arte. No quinto capítulo, as duas formas de realização da Ideia, enquanto vida e ação, são apresentadas como duas formas diferentes de expressão da Ideia realizadas respectivamente nas obras de arte das formas particulares de arte clássica e romântica. / This thesis investigates the idea and the way it is realized in the work of art according to Hegel\'s Aesthetics. In the first chapter the concept of idea is presented in three forms as it realizes itself according to the Logic as the Science of Concept in Hegel. In the second chapter, we try to establish some historical presuppositions of the analogy between beauty and organism and how this same analogy can be rediscovered in Hegel\'s Aesthetics. In the third chapter, it is shown how the action could also be another form of interpretation and structuring element of the idea realized in the artwork. The fourth chapter presents the syllogism (and judgment) as a possible form of explanation of the different particular forms of art. In the fifth and concluding chapter, the two forms of realization of the idea, as life or action, are presented as two different forms of expression of the idea realized respectively in the particular forms of art of classical and romantic arts.

O presente trabalho traz um levantamento de como a arte aparece nos escritos de Jung, ressaltando seu papel na elaboração da teoria junguiana. Para tanto, foi feita uma pesquisa nos índices gerais das chamadas obras completas de Jung partindo de termos como: arte, artístico, literatura, pintura, etc. Também foram consultadas algumas obras de Jung que não se encontram em tal compilação. Como a arte perpassa a vida e a obra de Jung de diferentes maneiras, foi necessário situar tais encontros em relação aos outros pontos teóricos da psicologia analítica. Os dados encontrados foram organizados nos seguintes agrupamentos: a obra de arte entendida pela psicologia analítica; a arte nos textos iniciais de Jung: concepções em transformação; a relação da arte com os conceitos de complexo e de anima; Jung espectador; territórios vizinhos à arte (criatividade, uso de recursos expressivos na terapia e analogias entre arte e análise); e algumas considerações sobre estética. Constatou-se, por um lado, que a temática artística embasou o pensamento junguiano, dando apoio à consolidação de uma psicologia que se volta para a incomensurabilidade da psique e que extrapola os limites metodológico e epistemológico da ciência moderna. Por outro lado, a psicologia analítica tem abertura e escopo teórico para olhar fenômenos artísticos. Nesse sentido, o trabalho apresenta, com base no levantamento aqui traçado e em algumas contribuições de autores pós-junguianos, reflexões sobre as especificidades da articulação entre a psicologia analítica e a arte, enfatizando o caráter simbólico da experiência artística e ressaltando que o encontro da arte com a psicologia analítica pode garantir que haja espaço psíquico para o desconhecido, para o não óbvio e não familiar. Desta forma, abrem-se possibilidades para o desenvolvimento de um padrão de alteridade e eventual ampliação de consciência / This work presents a survey on how art appears in Jung\'s writings, emphasizing its role in the construction of his theory. Therefore, a research focusing terms related to art, such as: art, artistic, literature, painting, etc., was made in the general indexes of Jung\'s Collected Works. Some of Jung\'s other texts were also taken into account. As art permeates Jung\'s life and work in different ways, it was necessary to relate what was found to others theoretical aspects of Analytical Psychology. The data found on this research were organized according to the following themes: the work of art understood by Analytical Psychology; art in Jungs early texts: changing conceptions; the relation of art to the concepts of complex and anima; Jung as an spectator of works of art; neighboring areas of art (creativity, the use of expressive resources in therapy, and analogies between art and analysis); and some considerations about aesthetics. Jungian thoughts fundamentals included the artistic subject supporting the consolidation of a psychology concerning the incommensurability of the psyche and going beyond the methodological and epistemological limits of modern science. On the other hand, Analytical Psychology has an openness as well as a theoretical scope to consider artistic phenomena. In this sense, based on the survey here realized and also on contributions of some post-Jungians authors, the paper presents reflections concerning the specificities of the articulation between Analytical Psychology and art, emphasizing the symbolic aspect of the artistic experience and highlighting the encounter between art and Analytical Psychology as a way to ensure that there is psychic space for the unknown and for contributing to the development of a pattern of alterity and possible expansion of consciousness

Made available in DSpace on 2016-07-27T14:18:44Z (GMT). No. of bitstreams: 1 Lucia Kratz de Souza.pdf: 21026097 bytes, checksum: 2e8d3279b71f24fa23c01d1cd359006f (MD5) Previous issue date: 2010-06-17 / The following study was developed with the purpose of analyzing the universe of the Fashion Designer professional that acts specifically on the clothing market, about his/her trajectory, identity, senses and experiences that concerns to his work. It s a case study of descriptive qualitative and exploratory character, developed with 11 Fashion Designers that act on the market of Goiânia, that tried to raise experiences of pleasure-pain, supported on the psychodynamic approach of work. It used individual interviews, which were interpreted through a graphic analysis of the speech. Its specific goals were: 1) to raise the identity and the trajectory of the Fashion Designer professional, the senses of his/her profession, the meanings of art and market, and the work as a creative process; 2) To raise the experiences of the Fashion Designers in relation to the process of work management, analyzing their organization and their work relationships, their conditions and work time; 3) To raise the subjective mobilization of the workers, analyzing the comprehension of their experiences of pleasure-pain and defensive strategies. In relation to the experiences related to their professional identity, their life trajectories, and the senses given by them at work on the art and market relationship, it can be said that Fashion Design is a field that works for money and that the art takes the domain of symbolic and communicative aspects more into consideration than the manufacture and hand abilities. It is also relevant that art and creation are intimately related, according to the view of the interviewed Designers, and that even though it is published art and not pure art , the identification between the art and the work of the designer is significant and positive, even with the conscience of its productive process. In relation to their work organization, it showed some elements that are common experiences of all the people interviewed that didn t pertain to their functional relation: division of work; division of tasks; division of men (leaderships, leaders, etc.); the existence of instruments of evaluation and of quality patterns; and the discrepancy between the prescribed and the real. On the other hand, it showed the lack of standards and patterns of formal procedures; the existence of a long and structured productive process; the high necessity of group/team work; and that they are submitted to an elevated degree of personal judgment, from the company s and from the client s point of view. Among the autonomous and the employed ones, we noticed experiences that are differentiated and not represented by the enterpriser or owners of their own business, as: to deal with the companies that focus on the result rather than on the technical process, and the difficulty to make the owner of the company aware of the real work developed by the Fashion Designer. Now, on what concerns the experiences of the workers subjective mobilization, they are used to minimize their pain, the defensive ideology through contradictory speech. About the pleasure experiences, it shows that the activity of creating fashion is the source of pleasure and the task itself provides balance over the psychological burden, because they are recognized in their own work. This activity, in its own experience is recognized as creative, not overly alienating, producing pleasure. The data showed that the sublimation process experienced by the interviewed participants, that through the freedom of creation, they can deal in a healthy way with the difficulties faced in this field of work. The psychodynamic and the theories related to work, to the creativity and to the Fashion Designer universe proved to be appropriate, relating the process of creation and art with the demands of the consumer market and with the professional practice. It is expected that the understanding and analysis of this study might help the fashion organizations to make strategic choices that allow better results for their teams of collaborators, especially for their Designers. It is also expected that this work might contribute to the humanistic field, on what concerns the psychodynamic work, specifically the psychology / O presente estudo foi desenvolvido com o objetivo de analisar os Designers de Moda, que atuam especificamente na moda vestuária, no que diz respeito à sua trajetória, identidade, sentidos atribuídos ao seu trabalho. Trata-se de um estudo de caso de caráter descritivo e exploratório, desenvolvido com 11 Designers de Moda que atuam no mercado goiano, sendo classificados em três categorias: os autônomos, os funcionários e os empreendedores. Buscouse levantar suas vivências relacionadas ao trabalho, apoiado na abordagem psicodinâmica do trabalho. Seus objetivos específicos foram: 1) Levantar a identidade e a trajetória profissional do Designer de Moda, os sentidos que atribuem à sua profissão, à arte e ao mercado, assim como, seu trabalho como processo criativo. 2) Levantar as vivências dos Designers de Moda em relação ao processo de gestão do trabalho, analisando sua organização, relações, condições de trabalho. 3) Levantar a mobilização subjetiva dos trabalhadores, analisando suas vivências de prazer, sofrimento e estratégias defensivas. Utilizou-se de entrevistas individuais, que foram analisados pela análise gráfica do discurso. No que diz respeito às vivências relacionadas à sua identidade profissional, sua trajetória de vida, e os sentidos atribuídos por eles ao trabalho e em relação à arte e ao mercado, evidenciou-se que a profissão de Designer de Moda serve ao capital e que a arte privilegia mais o domínio de aspectos simbólicos e comunicativos do que as habilidades manuais e artesanais. A arte e a criação estão intimamente relacionadas, na visão dos Designers entrevistados, e que embora seja arte publicada e não arte pura ocorreu a identificação entre a arte e o trabalho do designer. Em relação à organização do trabalho, evidenciaram-se alguns elementos comuns às vivências de todos os entrevistados independente da sua relação funcional: a divisão do trabalho; a divisão das tarefas; a divisão das pessoas (chefias, lideranças, etc); a existência de instrumentos avaliativos e de padrões de qualidade; e a defasagem entre o trabalho prescrito e o real. Por outro lado, evidenciou-se a ausência de normas e padrões de procedimentos formalizados; a existência de um processo produtivo longo e estruturado; a alta demanda por trabalho em grupo/equipe; e o fato de estarem submetidas a um julgamento pessoal, da empresa e do cliente. Em relação às categorias funcionais dos autônomos e empregados, existem vivências um pouco diferenciadas e não representadas pela categoria dos empreendedores ou donos dos seus próprios negócios, como: lidar com as empresas com foco mais no resultado do que no processo técnico, e a dificuldade de conscientização do proprietário da empresa sobre o real trabalho do Designer de Moda. Quanto às vivências de prazer, evidenciou-se que a atividade de criar moda é fonte de prazer e a tarefa em si proporciona equilíbrio sobre a carga psíquica, pois eles se reconhecem no próprio trabalho. Essa atividade é reconhecida como criativa, não excessivamente alienadora e produtora de prazer. Os dados evidenciaram o processo de sublimação vivenciado pelos entrevistados, que através da liberdade de criação, conseguem lidar de forma saudável com as dificuldades enfrentadas neste campo de trabalho. Já com relação à mobilização subjetiva dos trabalhadores, estes utilizam, para minimizar seu sofrimento, a ideologia defensiva através de discurso ideológico que camufla as contradições. A psicodinâmica e as teorias relacionadas ao trabalho, à criatividade e ao universo do Designer de Moda contribuíram para a análise das interfaces entre o processo de criação e arte com as demandas do mercado consumidor e com a prática profissional. A análise deste estudo pode auxiliar as organizações de moda na escolha de estratégias que possibilitem melhores resultados para suas equipes, em especial para os seus Designers.

La réalité que recouvre la notion d’œuvre d'art est complexe et plurielle. Maintes fois remise en question, on lui préfère fréquemment aujourd'hui les termes de "production", "travail", "pièce", "situation". Néanmoins, et malgré les transformations de l'art à l'heure actuelle, peut-on se passer de l’œuvre sans que cet abandon ne relève d'un "extrême artifice"? Nous proposons de l'analyser sous l'angle d'une précarité à la fois intrinsèque et conjoncturelle. L’œuvre est précaire, d'une part, parce qu'elle est un objet de pensée voué à la critique et à la réflexivité depuis son apparition à la Renaissance et sa réception esthétique au dix-huitième siècle. D'autre part, parce qu'elle s'expose aux risques et aux transformations liés aux évolutions de la modernité et de la postmodernité. Une autre forme de précarité, propre à la société contemporaine dans ses fondements capitalistes et technologiques, est interrogée notamment au travers de la production de trois artistes - Pierre Huyghe, Ryan Trecartin et Camille Henrot - dont les œuvres consistent davantage en des champs de relations aux variations multiples qu'en des objets. Quel type d'expérience accompagne la traversée, contingente et fugitive, latérale et fragmentaire, des expositions et des espaces discursifs de ces "œuvres précaires"? / The definition of the artwork is complex and plural. Repeatedly called into question, the terms of "production", "work", "piece", "situation", are frequently preferred nowadays. Nonetheless, and in spite of the current transformations of art, could we do without this notion? Our thesis analyses the work of art from the angle of an intrinsic and temporary precariousness. It is precarious, on one hand, because the work is an object devoted to criticism and reflexiveness ever since its appearance during the Renaissance and its aesthetic reception in the eighteenth century, and on the other hand, because it is exposed to the risks and disruptions of modernity and postmodernity's developments. Another form of precariousness, specific to the capitalist and technological age, is examined through the production of three contemporary artists - Pierre Huyghe, Ryan Trecartin and Camille Henrot. Their works consist more in a field of relations with multiples variations than in objects. What sort of experience should we expect from those exhibitions and discursive spaces of the "precarious work"?

O presente trabalho procura acompanhar a proposta modelar de Theodor W. Adorno, formulada de modo ensaístico e paratáxico na Teoria estética. Visa compreender esse modelo de pensamento, sua atualidade como manifesto crítico e como possibilidade de construção cognitiva não mais voltada a uma racionalidade que se sobrepõe às particularidades do objeto do conhecimento, reprimindo-as em favor da soberania do sujeito. Busca esclarecer como o estético, em Adorno, tornou-se um experimento teórico para apresentar objetos sociais e históricos – as obras de arte – que resistem ao jogo do valor de troca e que, por meio de uma linguagem enigmática e de uma perspectiva utópica, propõem mudanças para o atual estado de coisas. Pretende, ainda, mostrar que a Teoria estética superou os traços desesperançosos e pessimistas que marcavam o discurso de Adorno: a razão humana não está destinada a reprimir-se e a reprimir a natureza e os homens. A obra de arte resiste e, ao resistir, nega. Ao negar, propõe algo que não existe, um não-idêntico, algo que não se sabe o que é. O desejo de algo novo, liberto do peso totalizador da Aufklärung, atravessa a Teoria estética. / This paper is an attempt to study Theodor W. Adorno‟s model proposition formulated in an essay-like and parataxic-like model in his Ästhetische Theorie. The paper pursues a better understanding of Adorno´s thought model, its today‟s actuality both as a criticism manifest and as a possibility of cognitive construction no longer dependent on a rationality that supersedes the particularities of the object under study, inhibiting them in favour of the subject‟s sovereignty. The paper also tries to make it clearer how the concept of esthetics, in Adorno, has become a theoretical experiment to present social and historical objects – works of art – that do not yield vis-a-vis the exchange value game and which, by means of an enigmatic language and of a utopic perspective, propose changes in favour of the present-day status quo. Besides, this paper also tries to show that Adorno‟s Ästhetische Theorie has overcome the hopeless and pessimistic traits that marked Adorno‟s discourse: human nature is not bound to repress itself and to repress nature and men. A work of art resists and, upon resisting, it denies. Upon denying, it proposes something that does not exist, something non-identical, something one does not know what it really is. A desire for something new, free from the totalizing weight of the Aufklärung permeates the Ästhetische Theorie.