This research project explores a direction in the formation of sound and image. In the creation of a series of 'moving paintings' I bring together pieces of moving image and sound using techniques derived from musique concr??te. I have coined the term 'moving painting' to describe these sound/image objects that have grown out of an attention to the form, activity, rhythm and texture of sound and image. This project develops from an understanding that sound and image can be constructed on their own terms as opposed to being organised by specific plot devices. This text offers a context for the formation of these moving paintings and outlines the systems of construction that bring them forth from noise. Firstly, I identify sound and its emergence from noise. Secondly, I address the formation of sound into music within a community. And lastly, I use these ideas to form systems for organising visual imagery. In doing this, I present a series of audiovisual works in which sound and image are woven together to form moving paintings.

Zugl.: München, Univ., Magisterarbeit, 2004 u.d.T.: Niggl, Selima: Pinot Gallizio in München

Zugl.: Heidelberg, Univ., Diss., 2006 u.d.T.: Herzfeld, Gregor: Prozess und Epiphanie

Thesis (A.Mus.D.)--University of Illinois at Urbana-Champaign, 2007. / Source: Dissertation Abstracts International, Volume: 68-11, Section: A, page: 4537. Adviser: Heidi von Gunden. Includes bibliographical references (leaves 128-129) Available on microfilm from Pro Quest Information and Learning.

Cette recherche se propose de mettre en lumière, dans le secteur professionnel de la petite enfance, une lutte de représentations concernant la place de la mère. La première représentation figure une mère toute dévouée, portant finalement la responsabilité exclusive de son tout-petit. La seconde fait entrer en scène une citoyenne, travailleuse et mère, qui partage sa responsabilité éducative avec le père et des tiers sociaux. L’auteure s’attache aussi à montrer que cette lutte, loin d’être seulement présente chez les professionnelles, traverse également des discours légitimés dans le secteur en termes de savoir, et des dispositifs d’action médico-sociale à destination des familles en difficulté. La seconde représentation semble aujourd’hui cohérente avec la réalité sociale du travail, et un projet démocratique, en termes d’égalité de sexe, d’accueil qualitatif des jeunes enfants, de lutte contre les inégalités sociales. Mais elle ne bénéficie pas actuellement, ni d’une véritable légitimité politique, ni de référents théoriques qui articulent suffisamment, d’une part les enjeux d’égalité démocratique entre les citoyen-ne-s, d’autre part les enjeux de santé psychique des tout-petits et de leurs familles. L’auteure vise un dépassement de certains clivages théoriques et idéologiques, afin de construire une théorie politique de la prime éducation, qui contribue à ébranler la légitimité d’un ordre social qui fait porter aux seules citoyennes la responsabilité des jeunes enfants. Cette assignation, réalisée en sourdine, produit de surcroît un renforcement des inégalités criantes, selon l’appartenance sociale, face à l’exercice de la parentalité et de la citoyenneté. / The aim of this research is to bring to light a struggle of representations concerning the place of the mother in the infancy professional sector. The first representation stands for a completely devoted mother, who then assumes the exclusive responsibility for her baby. The second representation figures both a hard-worker-citizen mother who shares her educational responsibility with the father and a social third party. The author pays particular attention to display this struggle as not being only present among professionals but also filling, between the lines, some speeches legitimated in the sector as a “knowledge”. As well as it underlies health centers plans of action for families in trouble. Nowadays, the second representation seems coherent with the social reality of work and with a democratic project, speaking in terms of sexual equality, of qualitative care of youngsters in our society and fight against social disparities. Nonetheless, it can’t be said today that this representation gained a real political legitimity nor theorical references which could hang enough together the two elements at stake: democratic equality between men and women as citizens and psychic health of the infants and their family. The author aims at going beyond some theorical and ideological theories in order to build up a political theory of infant education that could contribute to contest the legitimity of a social order which considers the female citizen as sole responsible for infants. Moreover, this insidious assignment reinforces, depending on social origin, some flagrant disparities in the way of parenting and exercising their citizenship.

The thesis deals with the issue of linking visual representation of a literary work of art, especially with the connection of Karel Teige typographical book envelopes to the poetry collections of Czech authors of the first half of the twentieth century. It focuses on the period of Czech avant-garde and new possibilities and limits of genre, artistic and semiotic definition. Attention is also devoted to contemporary anthology, professional journals and articles, especially by Karel Teig's production, in which he illustrates his concept of modern art. It also includes the marketing and aesthetic-educational character of visual imagery in literature for children and youth.

Cette thèse est le résultat du processus de recherche avec six contextes familiaux, intégrants d'un quartier de la banlieue urbaine de la commune de Rio Grande/ RS, ayant comme cible d'analyse: "comprendre comment certains groupes de familles des milieux populaires structurent leurs pratiques et logiques de soin/éducation des petits enfants". Pour ce faire j'ai utulisé comme référence théorique et méthodologique, la recherche qualitative de caractère éthnographique, en réalisant une intense immersion dans le quartier, dans les foyers et dans d'autres contextes vécus par les enfants et leurs familles, cherchant à vivre et découvrir la diversité et complexité du quotidien de chaque famille étudiée. J'ai utilisé comme instrument de recherche, l'observation participante et des entreviews mi-structurées. La discussion des données produites a été réalisée à partir d'une vision analytique des "contextes familiaux". Dans cette étude, l'éducation des petits enfants a été comprise à partir de deux dimensions: Socialisation et soins. Les logiques et les sens de l'éducation des petits emergent des príncipes subjectifs, qui sont construits à partir de l'histoire des adultes responsables de leur éducation, ainsi que des "dispositions" élaborées au long de la trajectoire, des experiences sociales, culturelles, scolaires et familiales. Les logiques sont ainsi faites par la médiation des principes objectifs, elaborés à partir de la matérialité concrète, c'est-à-dire, des conditions du travail, l'emploi, le revenu et logement, qui se configurent dans l'organisation du contexte familial, liés aux conjonctures économiques et, principalement, du travail des adultes. Dans cette thèse, les "contextes familiaux" sont presentés comme "profils", essayant de retraiter des réalités sociales relativement singuliers et leurs invariances á l'égard de l'éducation des petits enfants. Après l'analyse des six profils étudiés, certains traits communs sont tissés, en engageant la logique de la culture familiale et la logique de la culture adultocentrique. Dans ce sens, la thèse a cherché de faire une analyse de la pratique effective des relations et interactions sociales entre les familles et les enfants, comme possibilité de reconnaissance d´autres logiques pour l'éducation de ces derniers, au détriment de la fixation d'un "idéal" ou modèle "hegemonique", qui a caracterisé les politiques publiques pour l'éducation des enfants au Brésil, en particulier pour les enfants des couches populaires. À partir des logiques qui sont enlacées, je définis l'éducation enfantile comme une politique sociale, communautaire, intégrée et éducative, ainsi que la possibilité d'établir des relations entre la famille et l'école, basées sur le principe de la confrontation, dans le but de "partager" l'éducation des petits enfants. / Esta tese é o resultado do processo de pesquisa com seis contextos familiares integrantes de um bairro da periferia urbana do município de Rio Grande/RS, tendo como foco de análise "compreender como alguns grupos de famílias dos meios populares estruturam suas práticas e lógicas de cuidado/educação das crianças pequenas". Para isso foi utilizado como referencial teórico e metodológico a pesquisa qualitativa de cunho etnográfico, realizando uma intensa imersão no bairro, nas casas e nos demais contextos vividos pelas crianças e suas famílias, em suas diversidades e complexidade do cotidiano de cada contexto familiar pesquisado. Foram utilizadas como instrumento de pesquisa a observação participante e entrevistas semiestruturadas. A discussão dos dados produzidos foi realizada a partir do foco analítico dos "contextos familiares". Neste estudo, a educação das crianças pequenas foi compreendida a partir de duas dimensões: Socialização e Cuidado. As lógicas e os sentidos da educação das crianças pequenas emergem de princípios subjetivos, que são construídos a partir da historicidade dos adultos responsáveis pela sua educação, bem como das "disposições" elaboradas ao longo da trajetória, das vivências sociais, culturais, escolares e familiares que vivenciam As lógicas também são mediadas por princípios objetivos, elaborados a partir da materialidade concreta, isto é, das condições de trabalho, emprego, renda e moradia, que se configuram na organização do contexto familiar, vinculados às condições econômicas e, principalmente de trabalho dos adultos. Nesta tese, os "contextos familiares" são apresentados como "perfis", buscando retratar realidades sociais relativamente singulares e suas invariâncias no que diz respeito à educação das crianças pequenas. Ao analisar as lógicas dos seis perfis pesquisados, alguns traços em comum são tecidos, envolvendo a lógica da cultura familiar e a lógica da cultura adultocêntrica. Neste sentido, a tese buscou fazer uma análise da prática efetiva dos relacionamentos e interações sociais entre as famílias e as crianças, como possibilidade de reconhecimento de outras lógicas para a sua educação, em detrimento da fixação de um "ideal" ou modelo "hegemônico" que tem caracterizado as políticas públicas para a Educação Infantil brasileira, em especial para as crianças das camadas populares. A partir das lógicas que são tramadas, a educação infantil é apontada como uma política social, comunitária, integrada e educativa, bem como a possibilidade de estabelecer, alicerçadas no princípio da "confrontação", relações entre família e escola, com o objetivo de "compartilhar" a educação das crianças pequenas.

La notion d’orphisme est née à la veille de la Première Guerre mondiale. Forgée par Guillaume Apollinaire, elle lui sert à désigner l’art nouveau et audacieux de ses amis-peintres, notamment ceux réunis autour de Robert Delaunay. Cependant, dès cette époque, le terme, utilisé de manière imprécise par le poète, pose problème. Depuis, les controverses se multiplient et durant le siècle qui nous sépare de l’invention de ce nom tout ce qui touche à l’orphisme a été remis en cause, jusqu’à son existence même. Prenant position contre cette attitude, nous proposons dans cette thèse d’envisager la production et les conceptions artistiques de l’époque sous un angle nouveau. En nous défaisant des étiquettes traditionnelles de nombreux « -ismes », nous prenons – selon la suggestion d’Apollinaire – le mythe d’Orphée comme un outil permettant de réanalyser l’art du début du XXème siècle. Cette relecture (des parcours des artistes, de leurs sources d’inspiration, des rapports entre différents centres artistiques et acteurs de la scène artistique), ainsi qu’une analyse comparative des œuvres ont pour but de démontrer que ce que nous appelons l’« orphisme » ne fut pas un concept artificiel, appliqué de manière parfaitement arbitraire à la somme des trajectoires – quelques peu accidentelles et indépendantes les unes des autres – de différents artistes, mais plutôt une évolution logique et cohérente, dont l’ampleur et l’impact sur la postérité ne furent jamais appréciés à leur juste valeur. En utilisant le mythe d’Orphée comme fil conducteur structurant notre analyse, nous mettons donc en évidence les grandes lignes de l’évolution du phénomène auquel Apollinaire a donné le nom d’orphisme : les origines et l’interprétation du terme et de la conception mêmes, le contexte historique et artistique de l’apparition et de l’évolution du mouvement, les rapports entre ses différents acteurs, les sources d’inspiration des artistes et enfin une évolution stylistico-chronologique de cette tendance. / The notion of Orphism was born on the eve of the World War II. Forged by Guillaume Apollinaire, it served him to describe a new and bold art of his friends, especially those concentrated around Robert Delaunay. However, the notion was already troublesome back then: ill-defined and unclear, it was used by the poet in a vague way. Since then, the controversies continue to mount and in a century that elapsed since the invention of the notion, everything concerning Orphism is questioned, even its very existence. Contesting this negationist approach, we propose in this thesis to analyze the artistic production and conceptions of this period under a new light. We are distancing ourselves from the traditional labels of “-isms” and we are using the Orpheus myth – as suggested by Apollinaire – as a tool which allows us to reanalyze the art from the beginning of the 20th century. This new analysis – of artists’ career paths, their fascinations, relationships between different artistic centers and between people involved in this avant-garde – and the comparative analysis of artworks serves to prove that what we call Orphism is not an artificial concept, applied in an arbitrary manner to the somewhat accidental and independent career paths of different artists. On the contrary, Orphism is a logical and consistent evolution, whose true importance and impact was never fully appreciated. By using the Orpheus myth as a guiding thread, we are bringing to light the main lines of the evolution of Orphism: the origins and interpretation of the notion and the conception, the historical and artistic context in which the movement was born and was evolving, the relationships between its actors, artists’ inspirations and, last but not least, the stylistic evolution of Orphism over the time.

Submitted by Andrea Hayashi (deachan@gmail.com) on 2016-06-22T12:26:34Z No. of bitstreams: 1 dissertacao-vinicius-domingues-chamico.pdf: 5850435 bytes, checksum: b04450578273c814b9349d11830ea961 (MD5) / Approved for entry into archive by Andrea Hayashi (deachan@gmail.com) on 2016-06-22T12:27:31Z (GMT) No. of bitstreams: 1 dissertacao-vinicius-domingues-chamico.pdf: 5850435 bytes, checksum: b04450578273c814b9349d11830ea961 (MD5) / Made available in DSpace on 2016-06-22T12:27:31Z (GMT). No. of bitstreams: 1 dissertacao-vinicius-domingues-chamico.pdf: 5850435 bytes, checksum: b04450578273c814b9349d11830ea961 (MD5) Previous issue date: 2014-11-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta pesquisa pretende compreender o conceito de crítica dentro da obra Rua de mão única (Einbahnstrasse) através da análise do funcionamento e da estrutura da escrita empregada por Walter Benjamin chamada: “imagem de pensamento” (Denkbild). Partindo de um procedimento que norteia grande parte dos fragmentos: uma proximidade distanciadora, potencialmente crítica e reflexiva, proporcionada por formas aparentemente irrelevantes (unscheinbaren Formen) e pela polarização de imagens e ideias dissonantes. / This research aims to understand the concept of critic in the work, One Way Street (Einbahnstrasse) by the analysis of the functioning and the structure of writing used by Walter Benjamin named: “though-image” (Denkbild). From a procedure that orients much of the fragments: a proximity distancing, potentially critical and reflective, provided by apparently irrelevant forms (unscheinbaren Formen) and by the polarization of dissonant images and ideas

Submitted by Andrea Hayashi (deachan@gmail.com) on 2016-06-28T14:25:13Z No. of bitstreams: 1 dissertacao-oberdan-quintino.pdf: 31660066 bytes, checksum: 0233f21319b66c6d85809cddb67dd636 (MD5) / Approved for entry into archive by Andrea Hayashi (deachan@gmail.com) on 2016-06-28T14:28:34Z (GMT) No. of bitstreams: 1 dissertacao-oberdan-quintino.pdf: 31660066 bytes, checksum: 0233f21319b66c6d85809cddb67dd636 (MD5) / Made available in DSpace on 2016-06-28T14:28:34Z (GMT). No. of bitstreams: 1 dissertacao-oberdan-quintino.pdf: 31660066 bytes, checksum: 0233f21319b66c6d85809cddb67dd636 (MD5) Previous issue date: 2012-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O célebre ensaio “A obra de arte na era de sua reprodutibilidade técnica” de Walter Benjamin salienta a transformação do conceito de obra de arte sob um viés histórico e de produção. Neste sentido, a reprodutibilidade técnica representa uma ruptura com o conceito tradicional de obra de arte quanto aos elementos espaço-temporais que lhe conferem o caráter de obra original e aurática. Nesse contexto, se inserem a fotografia e o cinema que, devido a suas particularidades técnicas, exigem uma nova forma de percepção e recepção da obra de arte, que Benjamin busca caracterizar por meio do conceito de choque. Movimentos de vanguarda do início do século XX, como dadaísmo e surrealismo, exploraram e anteciparam o efeito de choque em suas opções estéticas. Tais fenômenos artísticos se originaram num momento histórico das sociedades modernas industrializadas e de massas, marcado, entre outros, pelo desenvolvimento acelerado da técnica a partir do século XIX e pela crescente penetração desta na vida cotidiana, o que trouxe alterações comportamentais sob vários aspectos, dentre eles a relação entre a experiência individual e coletiva. / The celebrated essay “The work of art in the age of mechanical reproduction” by Walter Benjamin points out the transformation of the concept of work of art under a historical bias, as well as a bias of production. In that sense, the mechanical reproduction represents a break off the traditional concept of work of art as for the space and time elements that give it the character of an original work with aura. The photography and the cinema are inserted in that context due. The technical characteristics of both of them require a new perception and reception of the work of art. Benjamin characterizes that through the concept of shock. Early twentieth-century avant-garde movements as dadaism and surrealism explored and antecipated the shock effect in their aesthetic options. Those artistic phenomena originated in the modern industrialized and mass societies historical moment characterized by the fast development of the technique from the nineteenth century and the increasing penetration of such a technique in daily life, wich brought with them different changes in behavior, as the relationship between the individual experience and collectiv one.