This thesis presents drawing as epistemology for morphology through the development and dissemination of drawing practices that extend understanding of, and engagement with, the diversity of natural form. The interpretation of the term ‘morphology’ is based on Goethe’s original concept (1792) of morphology as the ‘study of form and formative process’. This research is situated in the context of the emerging fields of ‘Drawing Research’, ‘Art/Science’ and the cross-disciplinary domain where contemporary art practice and education intersect (the ‘educational turn’). Led by drawing practice, the methodology encompasses a set of experimental approaches including interdisciplinary collaboration, museum collection study, workshop design, and exhibition making. This mixed method approach is conducted within the context of scientific institutions like the Natural History Museum and Imperial College, London to address two research questions. The first asks what contribution an artist can make, especially through drawing in collaboration with scientific practices and instrumentation, on representations and forms of analysis and interpretation that could lead to new understandings of morphology (animal, mineral, vegetable) for both artists and scientists? The second asks what shared morphological characteristics (form and symmetry) of animal, mineral and vegetable species can be identified and represented through the process and object of drawing and whether this research can develop an extra-scientific model of classification that is complementary to the scientific approach? This enquiry has contributed to the development of two interlinked bodies of artistic research (and two new terms and practices) ‘Isomorphology’: the observational study of the shared forms and symmetries of animal, mineral and vegetable species, and ‘Isomorphogenesis’: the systematic representation of dynamic form through drawing. These practices have been shared with artists, natural scientists, students and the general public through participatory workshops, conferences, publications and exhibitions. Early chapters provide examples of drawing as a ‘way of knowing morphology’ in the context of contemporary natural science and mathematics (empirical and conceptual), which are followed by a narrative of the development of ‘drawing as a way of knowing’ in my own artistic practice through the Isomorphology study. The later chapters then discuss the evolution of the Isomorphology concept and practice, as a shift from observation to abstraction first in the ‘Goethe method’ and later in the conceptual study of the dynamic nature of form ‘Isomorphogenesis’ (adding the 4th dimension of time). These chapters build a narrative, towards drawing as epistemology for a dynamic, processoriented morphology. This developmental series of empirical and conceptual drawing practice and theory brings my work with natural science (empirical) and mathematics (conceptual) together. The final chapter documents how this research is then shared as an experimental educational model through the Cornwall Morphology and Drawing Centre project.

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Orientador: Luiz Cesar Marques Filho / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-05T05:58:30Z (GMT). No. of bitstreams: 1 Majzoub_MileneChavezGoffar_M.pdf: 570168 bytes, checksum: dca4c41e37c25e29a81e063491944035 (MD5) Previous issue date: 2005 / Resumo: Nosso estudo propõe uma análise exaustiva das fontes históricas relativas à aplicação dos ordálios durante o reinado de Carlos Magno (768-814). Para tanto, assume uma perspectiva metodológica que associa os pressupostos da história do direito aos questionamentos da história social, investigando o complexo mecanismo de funcionamento do esquema probatório na justiça real carolíngia, explicando como ele se diferencia de acordo com o status social das partes, reproduzindo a organização social e os valores da época / Abstract: Our research deals with a comprehensive analysis of the historical sources pertaining to the use of the ordeals during the reign of Charlemagne (768-814). For such, we opted for a methodological perspective which associates the requisites of the legal history with those of social history. We intend to investigate the complex mechanism of the modes of proof of royal carolingian justice, explaining how they differentiate according to social status, thus reproducing the social organization and values of the age / Mestrado / Historia da Arte / Mestre em História

Submitted by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-03-29T13:33:53Z No. of bitstreams: 1 TESE DEFINITIVA - 21.5.pdf: 16854326 bytes, checksum: b54e504478a4e662677ebc02bd94b947 (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-03-29T13:34:11Z (GMT) No. of bitstreams: 1 TESE DEFINITIVA - 21.5.pdf: 16854326 bytes, checksum: b54e504478a4e662677ebc02bd94b947 (MD5) / Made available in DSpace on 2017-03-29T13:34:11Z (GMT). No. of bitstreams: 1 TESE DEFINITIVA - 21.5.pdf: 16854326 bytes, checksum: b54e504478a4e662677ebc02bd94b947 (MD5) / A presente pesquisa aborda a presença da narrativa História do Imperador Carlos Magno e dos doze pares de França na Encantaria do Tambor de Mina como uma das matrizes influenciadoras do imaginário inserido nessa religião de origem africana. Pertencente à Iyalorixá Mãe Anastácia, o livro teve forte significado para o estabelecimento de sua casa, o Terreiro da Turquia, no século XIX, na cidade de São Luís (MA) e cuja entidade espiritual, recebida pela mãe de santo, Ferrabrás de Alexandria ou Rei da Turquia, deu nome àquele espaço sagrado. O objetivo é analisar, defender e comprovar que foi através da oralidade, e tudo o que está imbricado nela como a performance e o ritmo, que os filhos de santo de Mãe Anastácia conheceram as personagens do livro. Para tanto, autores como Walter Ong, Paul Zumthor e Muniz Sodré trazem os subsídios necessários para nossa tese. Além disso, por ser interdisciplinar, dividimos a tese em três blocos para sintetizar uma pesquisa potencialmente interminável. A primeira parte trata da narrativa em si, de como ela chegou ao Novo Mundo e do imaginário contido na mesma. Na segunda, ingressamos na Encantaria e chegamos ao Terreiro da Turquia. E na terceira e última parte, tratamos da oralidade. Os teóricos utilizados incluem Silvano Peloso, Jacques Le Goff, Mundicarmo e Sérgio Ferretti, Mircea Eliade e Walter Benjamin. / La presente investigación trata de la cuestión de la narrativa História do Imperador Carlos Magno e dos doze pares de França en la Encantaría del Tambor de Mina como una de las matrices que influyeron en el imaginario insertado en esta religión de origen africano. El libro, que pertenece a la Iyalorixá, tuvo fuerte significado para el establecimiento de su casa, el Terreiro da Turquia, en el siglo XIX, en la ciudad de São Luís (MA) y cuya entidad espiritual, recibida por la madre de santo, Ferrabrás de Alexandria o Rei da Turquia, dio nombre a aquel espacio sagrado. El objetivo es analizar, defender y comprobar que los hijos de santo de Mãe Anastácia conocieron la historia y los personajes del libro a través de la oralidad y todo lo relacionado con ella, como el performance y el ritmo. Para ello, autores como Walter Ong, Paul Zumthor y Muniz Sodré traen los aportes necesarios para comprobar esta tesis. Además, por su naturaleza interdisciplinaria y la necesidad de sintetizar una investigación potencialmente interminable, dividimos la tesis en tres partes. La primera trata de la propia narrativa, de su llegada al Nuevo Mundo y del imaginario contenido en ella. En la segunda, entramos en la Encantaría y llegamos al Terreiro da Turquia. Utilizamos varios teóricos para nuestro objetivo entre ellos, Silvano Peloso, Jacques Le Goff, Mundicarmo e Sérgio Ferratti, Mircea Eliade, Walter Benjamin.