Made available in DSpace on 2015-04-14T14:23:28Z (GMT). No. of bitstreams: 1 446304.pdf: 4279013 bytes, checksum: eeaaa9ce566b3ea9bbb95e30daaa3aec (MD5) Previous issue date: 2012-12-20 / This dissertation presents the results of research carried out in order to observe how the teaching of Contemporary Art, has developed in practice, with the goal of raising possible potential for education in this area. First, realize a cut of artists and works, seeking to build a boundary for what can be understood as Contemporary Art, supported mainly by the theories of Cauquelin Anne and Arthur Danto, and, following the references of Terry Eagleton and Thierry de Duve on aesthetic experience. Target a special look for the productions of artists Leonilson, H?lio Oiticica and Arthur Bispo do Rosario, which formed the basis for the observed teaching projects for research. Then I present an overview of the theories that have been guiding the teaching of contemporary art, having as main references the theories of John Dewey, Arthur Efland, Luiz Guilherme Vergara, Mirian Celeste Martins and Ana Mae Barbosa, thinking precisely the articulation between field theory and practice.For field research, classes were accompanied by two teachers of municipal schools of Porto Alegre, who work in this discipline. One operates in the EJA, and another in the final grades of elementary school, in both cases the audience is mostly teenagers, from the outskirts of the city. The observations took place in the period between April and September 2012, for a total of 28 meetings in which teachers developed teaching projects on contemporary art-related visits to exhibitions, and concluding with events representing the students' productions, occurred in schools. Data analysis was developed based on observation and search for points of power projects, taking into consideration the benchmarks of Pierre Bourdieu and Michel Foucault. I use the metaphor of the labyrinth as a way of representing both the complexity existing in the teaching of contemporary art, as in contemporary art / Esta disserta??o apresenta o resultado da pesquisa desenvolvida com o intuito de observar o modo como o ensino da Arte Contempor?nea, tem se desenvolvido na pr?tica, com o objetivo de levantar poss?veis potencialidades para educa??o nesta ?rea. Primeiramente, realizo um recorte de artistas e obras, na busca por construir uma delimita??o para o qu? pode ser compreendido como Arte Contempor?nea, amparada principalmente pelas teorias de Anne Cauquelin e Arthur Danto, e, acompanhando os referenciais de Terry Eagleton e Thierry de Duve sobre experi?ncia est?tica. Destino um olhar especial para as produ??es dos artistas brasileiros Leonilson, H?lio Oiticica e Arthur Bispo do Ros?rio, os quais formaram a base para os projetos de ensino observados para a pesquisa. Em seguida, apresento um apanhado das teorias que tem sido norteadoras do ensino da arte contempor?neo, tendo como principais referenciais as teorias de John Dewey, Arthur Efland, Luiz Guilherme Vergara, Mirian Celeste Martins e Ana Mae Barbosa, pensando justamente na articula??o entre o campo da teoria e o da pr?tica.Para a pesquisa de campo, foram acompanhadas as aulas de duas professoras da Rede Municipal de Ensino de Porto Alegre, que atuam nesta disciplina. Uma delas atua na EJA, e a outra nas s?ries finais do Ensino Fundamental, em ambos os casos o p?blico ? composto principalmente por adolescentes, provenientes da periferia da cidade. As observa??es ocorreram no per?odo compreendido entre abril e setembro de 2012, somando um total de 28 encontros, nos quais as professoras desenvolveram projetos de ensino sobre arte contempor?nea, relacionados com visitas ? exposi??es, e, encerrando com eventos representativos das produ??es dos alunos, ocorridos nas escolas. A an?lise dos dados foi desenvolvida com base na observa??o e busca de pontos de pot?ncia dos projetos, levando em considera??o os referenciais de Pierre Bourdieu e Michel Foucault. Utilizo a met?fora do Labirinto como modo de representar a complexidade existente tanto no processo de ensino contempor?neo da arte, como na arte contempor?nea

Made available in DSpace on 2015-04-14T13:38:31Z (GMT). No. of bitstreams: 1 436287 - Anexo A.pdf: 15904692 bytes, checksum: 6dfb5d1033e2ec5c78c6f2d478cea870 (MD5) Previous issue date: 2011-01-05 / This work addresses issues relating to the creative process in producing a poetic and artistic writing, in its verbal and physical aspects in the composition of a book-object. Consisting of an essay followed by the original typewritten piece of literary work, here are exposed some of the heuristic processes of creation today, as well as an analysis on the current status of strictly editorial matters. The work also accompanies extensive documentation regarding the different stages of writing, as well as an audio recording featuring selected passages from the work read in the author's own voice. / Este trabalho aborda quest?es relativas ao processo criativo na produ??o de um texto po?tico e art?stico, tanto acerca de sua escrita verbal, quanto aos aspectos f?sicos na composi??o de um objeto-livro. Composto de um ensaio seguido dos originais datiloscritos de uma obra liter?ria, encontram-se aqui expostos alguns dos processos heur?sticos da cria??o hodierna, bem como uma an?lise do atual estatuto das quest?es propriamente editoriais. Acompanha tamb?m extensa documenta??o, em imagens, das etapas de sua escritura, assim como o registro, em ?udio, de passagens selecionadas da obra na voz do pr?prio autor.

Submitted by Setor de Tratamento da Informa??o - BC/PUCRS (tede2@pucrs.br) on 2016-06-06T17:50:40Z No. of bitstreams: 1 DIS_CAROLINE_WEIBERG_COMPLETO.pdf: 5420054 bytes, checksum: 5f799064c4b46c0ec183f8b1178c0f09 (MD5) / Made available in DSpace on 2016-06-06T17:50:40Z (GMT). No. of bitstreams: 1 DIS_CAROLINE_WEIBERG_COMPLETO.pdf: 5420054 bytes, checksum: 5f799064c4b46c0ec183f8b1178c0f09 (MD5) Previous issue date: 2016-02-25 / Conselho Nacional de Pesquisa e Desenvolvimento Cient?fico e Tecnol?gico - CNPq / This dissertation has the objective of finding relations between experiences with contemporary art and openings to alterity. For that, it explores the aspects of the interpretative openness of contemporary art, connected to its lack of canons and to the loosening of rules, as it ties the experience with contemporary art to possible openings to the other. Brings, as an element to help think the articulations between experiences with contemporary art and openings to alterity, references to previous professional experiences and specifically to the empirical field of this research, accomplished with students of a second year of elementary school, of the public network of the Porto Alegre municipality, in the year 2015. With this class, during a period of four months, was worked the language of drawing, with greater focus to a kind of drawing that furthers itself from the drawing understood as standard in the school culture: the representative drawing, faithful to the model and, because of it, pretty. We analyzed, above all, the experimentations with drawings, activities that associate the drawing to the trace, to the course, giving it status of process and not final work. Explore other ways of drawing, proposing other possibilities of comprehending the drawing and, consequently, other possibilities of understanding itself and the world, was the way found to, who knows, provide openings to alterity. Takes as theoretical horizon the hermeneutics philosophy of Hans-Georg Gadamer, which does not applies as method, but as a theory of the understanding that explores the reflexive dynamic between the strange and the familiar, shifting the interpretative horizons of the subjects as it produces experiences. Goes along the path of understanding the art class as a laboratory of negotiation, providing situations that make possible for the subjects to operate from a work of art (or work made in class) and produce meaning over it. As the meaning of things are not given, but attributed in distinctive ways by each subject, the negotiated attitude comes to amplify the possibilities of connection between subjects and artworks. The negotiation is comprehended as encounters between artwork(s) and subject(s) which lead the subjects to review their positions, provoking a new thinking about what was taken as given, establishing new possibilities to what could already be fixed. / Esta disserta??o tem como objetivo buscar rela??es entre experi?ncias com arte contempor?nea e aberturas ? alteridade. Para isso, explora os aspectos de abertura interpretativa da arte contempor?nea, ligados ? sua falta de c?nones e ao afrouxamento de regras, assim como vincula a experi?ncia com arte contempor?nea ? poss?veis aberturas ao outro. Traz, como elemento para ajudar a pensar as articula??es entre experi?ncias com arte contempor?nea e aberturas ? alteridade, refer?ncias ? experi?ncias profissionais anteriores e especificamente ao campo emp?rico desta pesquisa, realizado com alunos de um segundo ano do ensino fundamental de uma escola da rede p?blica municipal de Porto Alegre no ano de 2015. Com esta turma, durante um per?odo de quatro meses, foi trabalhada a linguagem do desenho, com maior enfoque a um tipo de desenho que se afasta do desenho entendido como padr?o na cultura escolar: o desenho representativo, fiel ao modelo e, por isso mesmo, bonito. Analisamos, sobretudo, as experimenta??es com desenhos, atividades que associam o desenho ao rastro, ao percurso, dando a ele status de processo e n?o de trabalho final. Explorar outras maneiras de desenhar, propondo outras possibilidades de compreender o desenho e, por consequ?ncia, outras possibilidades de compreender a si e ao mundo, foi a maneira encontrada para, quem sabe, proporcionar aberturas ? alteridade. Toma-se como horizonte te?rico a hermen?utica filos?fica de Hans-Georg Gadamer, que n?o se aplica enquanto m?todo, mas como teoria da compreens?o que explora a din?mica reflexiva entre o estranho e o familiar, deslocando os horizontes interpretativos dos sujeitos ao passo que produz experi?ncias. Vai no caminho de entendimento da aula de arte como sendo um laborat?rio de negocia??o, propiciando situa??es que possibilitem que os sujeitos operem a partir de uma obra de arte (ou trabalho realizado em aula) e produzam sentido sobre ela. Como os sentidos das coisas n?o s?o dados, e sim atribu?dos de maneiras distintas por cada sujeito, a atitude negociadora surge para ampliar as possibilidades de rela??o entre sujeitos e obras. A negocia??o ? entendida como encontros entre obra(s) e sujeito(s) que levem os sujeitos a reverem seus posicionamentos, provocando um novo pensar sobre o que era tido como dado, estabelecendo nossas possibilidades para o que poderia j? estar fixado.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-03-09T19:18:26Z No. of bitstreams: 1 IsaiasDaSilvaRibeiro_TESE.pdf: 17017388 bytes, checksum: 40e82cb7c7997b904870bc4290ff1630 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-03-10T22:13:35Z (GMT) No. of bitstreams: 1 IsaiasDaSilvaRibeiro_TESE.pdf: 17017388 bytes, checksum: 40e82cb7c7997b904870bc4290ff1630 (MD5) / Made available in DSpace on 2017-03-10T22:13:35Z (GMT). No. of bitstreams: 1 IsaiasDaSilvaRibeiro_TESE.pdf: 17017388 bytes, checksum: 40e82cb7c7997b904870bc4290ff1630 (MD5) Previous issue date: 2016-09-12 / A tese aqui apresentada estuda a rela??o entre arquitetura e arte, tendo como estudo de caso os pavilh?es expositivos do Instituto Cultural Inhotim, localizado na cidade de Brumadinho, Minas Gerais. A investiga??o procurou responder ? seguinte quest?o: Como vem se estabelecendo a rela??o entre arquitetura e artes visuais no Instituto Inhotim? A partir do problema apresentado, outras quest?es foram elaboradas para o desenvolvimento da pesquisa: Em que medida as caracter?sticas formais das obras de artes visuais conduziram o processo de concep??o dos projetos dos pavilh?es de car?ter permanente do Instituto Inhotim? Os espa?os expositivos do Instituto Inhotim apresentam caracter?sticas que os diferenciam de projetos de arquitetura museol?gica elaborados para outras institui??es? Que aspectos lhes s?o espec?ficos? O estudo busca, a partir da an?lise dos pavilh?es expositivos daquela institui??o, relacionar as caracter?sticas morfol?gicas, funcionais e materiais das edifica??es com as obras de arte contempor?nea (de car?ter permanente) e o di?logo entre arquiteto e artista durante o processo projetual. Para tanto, foi feita a an?lise dos pavilh?es permanentes ? luz do discurso dos arquitetos e artistas envolvidos no processo projetual. Pretendeu-se, com este estudo, trazer uma contribui??o acerca da produ??o da arquitetura contempor?nea brasileira, abrindo, assim, novos caminhos para estudiosos interessados no campo de projeto de arquitetura de museus e espa?os expositivos, tendo como enfoque as rela??es entre arte e arquitetura. As conclus?es da pesquisa indicam que, no panorama dos espa?os projetados para a arte no Brasil, o Inhotim se apresenta como um caso ?nico. O Inhotim se configura a partir de uma expografia que inclui o acervo exibido em parte ?ao ar livre? (esculturas, por exemplo) entre a vegeta??o do parque e outras obras (como instala??es e pinturas) s?o abrigadas em edifica??es projetadas atrav?s de parcerias entres arquitetos e artistas. Nesta perspectiva, a arte contempor?nea, que agrupa uma gama de processos art?sticos, encontra neste museu, um campo aberto para concretiza??o das mais diversas proposi??es nesse universo de cria??o. No que se refere aos projetos dos pavilh?es para exposi??o permanente, outros aspectos s?o valorizados, al?m das caracter?sticas morfol?gicas das obras de arte, como, por exemplo, os temas e materiais utilizados pelos artistas em suas obras. Para finalizar, podemos afirmar que no Inhotim, e mais diretamente nos remetendo ao conjunto arquitet?nico museol?gico em constitui??o, a arquitetura que vem sendo produzida, espec?fica para abrigar obras de arte contempor?nea, ? in?dita no campo do museu-parque de arte. A parceria entre arquiteto e artista conduz ? produ??o de um projeto ?nico de arquitetura que objetiva a prote??o e exibi??o do acervo, em especial de instala??es. / The thesis presented here studies the relationship between architecture and art, taking as a case study the exhibition pavilions of the Inhotim Institute, located in Brumadinho, Minas Gerais. The research sought to answer the question: How has been establishing the relationship between architecture and visual arts in Inhotim Institute? From the presented problem, other issues have been prepared for the development of the research: To what extent the formal characteristics of the visual arts works led the design process for projects of permanent pavilions of the Inhotim Institute? The exhibition spaces of the Instituto Inhotim have characteristics that differentiate them of museum architecture projects designed to other institutions? What aspects are specific to them? The study aims, based on an analysis of exhibition pavilions institution, links the materials, morphological and functional characteristics of the buildings to the works of permanent contemporary art and the dialogue between architect and artist during the design process. Therefore, it was made the analysis of the architectural design of the permanent pavilions to the view of the architects and artists involved in the design process. This study intended to make a contribution on the Brazilian contemporary architecture production, thereby opening new ways for researches interested in museums architecture design field and exhibition spaces, with the focus on the relationship between art and architecture. The research's conclusions point that the panorama of spaces designed for art in Brazil, we can say that the Inhotim is presented as a single case. Inhotim is shaped from a expography in which part of the collection is exhibited "outdoors" (sculptures, for example) on the green areas of the park and other works (such as installations and paintings) are housed in designed buildings by partnerships between architects and artists. In this perspective, contemporary art, which brings together a range of artistic processes, finds in Inhotim, an open field for implementation of various proposals in this creative universe. In the case of design project of the pavilions for permanent exhibition, other aspects are valued, in addition to the morphological characteristics of works of art, for example, the themes and materials used by artists in their works. Finally, we can say that in Inhotim, and more directly referring to the museum architectural complex in constitution, specific architecture that has been produced to house works of contemporary art, it?s unprecedented in the museum-park art knowledge. The partnership between architect and artist leads to the production of a single architecture project that aims to protect and display the collection in special installations works.

Submitted by SBI Biblioteca Digital (sbi.bibliotecadigital@puc-campinas.edu.br) on 2018-03-22T13:48:11Z No. of bitstreams: 1 MATHEUS REIS.pdf: 9573689 bytes, checksum: 131ba12f90e28aafb67423d293a83aa8 (MD5) / Made available in DSpace on 2018-03-22T13:48:11Z (GMT). No. of bitstreams: 1 MATHEUS REIS.pdf: 9573689 bytes, checksum: 131ba12f90e28aafb67423d293a83aa8 (MD5) Previous issue date: 2017-12-14 / With the intensive consumption of natural resources that we have achieved in the 21st century and the recognition of human actions as drivers of socio-environmental exhaustion, it is imperative to investigate ways of interfering in the environments through interaction and transforming these relationships into potentiality. Through this, we search through cartography a relational enunciation approaching of artistic processes and eco-logical practices developed in the Atelier Contagio. From this mapping, are presented fascicles that contribute with a theoretical / conceptual effort to approach some senses present in these practices. / Com o consumo intensivo dos recursos naturais que alcan?amos no s?culo XXI e o reconhecimento das a??es humanas como condutoras do esgotamento socioambiental, ? imprescind?vel investigar modos de interfer?ncia nos ambientes por meio da intera??o e de transformar essas rela??es em pot?ncia. Com isso, busca-se atrav?s da cartogr?fia uma enuncia??o relacional aproximando processos art?sticos e pr?ticas eco-l?gicas desenvolvidas no Atelier Cont?gio. A partir desse mapeamento, apresentam-se fasc?culos que contribuem com um esfor?o te?rico/conceitual para abordar alguns sentidos presentes nessas pr?ticas.

Made available in DSpace on 2014-12-17T13:56:55Z (GMT). No. of bitstreams: 1 RobsonXC_TESE.pdf: 8364530 bytes, checksum: 7f1436ee51fbb9bdf5725cecb3f64336 (MD5) Previous issue date: 2014-03-14 / This thesis nalyzes the wayfinding in Landscape Museum of Contemporary Art (MPAC), based on the Institute of Contemporary Art CACI, Minas Gerais, Brazil and the Museum of Contemporary Art of the Serralves Foundation, Porto, Portugal. The study focuses on the interrelationship of the public/visitors with the landscape, architecture and contemporary art museums in these, in order to understand visual perception and apprehension of such an environment for their users. For both were confronted documentation (visual and written) and people talk. The main hypothesis put forward is that the audience/visitor MPAC appreciates the interrelationship between the natural environment (park/garden) and built environment (the works of contemporary art and the galleries), giving equal value to both. To complement this, a second hypothesis is that during the visit to MPACS, visitors define their paths spontaneously, but strongly influenced by existing visual indicators (maps, signage and striking landscape elements), which facilitate the readability of space, which also contribute to the offered services and the experiences of similar institutions. The analytical basis of the research used the concepts of legibility (LYNCH, 2009), wayfinding (GIBSON, 2009; ARTHUR, PASSINI, 2002; WEISMAN, 1982), Experiential Cotinnum (TUAN, 1985), Space Bound (CRUZ PINTO, 2007) and habitus (BOURDIEU, 1992). Methodologically was used qualitative research (DEMO 2000) by means of a case study (YIN, 2005; STAKE, 1999) and participant observation (WHYTE, 2005). In the two institutions interviews with researchers and curators, behavior observation and questionnaires from employees, trainees, monitors and the public/visitor of the two museums were performed. Although partially referende the initial hypothesis, the research showed that the public/visitor value appears more natural environments, they experience a greater intensity and in addition to the factors listed in the second case, your perception and definition of paths suffer significant influence of emotional relations established with space. Generally the audience/visitor adapts easily to different demands of contemporary art exhibition in the two museums and the built environment (park/garden and museum) interferes with your reading path during the visit, perceived by the public/visitor condition as a factor that favors the enjoyment of works on different mounts (wayfinding), though often become a factor that hinders the legibility of the building and its built environment / Para responder ? pergunta de partida como as pessoas percebem o ambiente de Museus Paisagem de Arte Contempor?nea (MPAC) e se orientam neles? , esta tese investigou a percep??o ambiental de usu?rios de dois museus: o Instituto de Arte Contempor?nea do Inhotim, Minas Gerais, Brasil e a Funda??o de Serralves, Porto, Portugal. O estudo focaliza a interrela??o do p?blico com o espa?o de cada MPAC (conjunto de sua paisagem, arquitetura e arte contempor?nea), focando especificamente quest?es de wayfinding (navegabilidade ambiental), de modo a compreender como tal ambiente ? apreendido pelos visitantes. Para tanto foram confrontadas informa??es provenientes da documenta??o (visual e escrita) das institui??es e dos depoimentos (falas) dos usu?rios. A principal hip?tese defendida ? que o p?blico/visitante de MPAC valoriza a interrela??o entre o ambiente natural (parque/jardim) e o ambiente constru?do (galerias e obras de arte contempor?neas), atribuindo igual valor a ambos. Em complementa??o a esta, uma segunda hip?tese indica que durante a visita aos MPACs, os visitantes definem seus trajetos de maneira espont?nea, por?m fortemente influenciados pelos indicadores visuais existentes (mapas, sinal?tica e elementos marcantes da paisagem), os quais facilitam a legibilidade do espa?o, para o que tamb?m contribuem os servi?os oferecidos e as experi?ncias vivenciadas em institui??es semelhantes. A base anal?tica da pesquisa recorreu aos conceitos de Legibilidade Ambiental (LYNCH, 2009), wayfinding (GIBSON, 2009; ARTHUR, PASSINI, 2002; WEISMAN, 1982), Continuum Experiencial (TUAN, 1985), Espa?o Limite (CRUZ PINTO, 2007) e Habitus (BOURDIEU, 1992). Metodologicamente foi utilizada a pesquisa qualitativa (DEMO, 2000) por meio de estudo de caso (STAKE, 1999; YIN, 2005) e observa??o participante (WHYTE, 2005). Nas duas institui??es foram realizadas entrevistas com pesquisadores e curadores, observa??o de comportamentos e aplica??o de question?rios com o p?blico/ visitante, os funcion?rios, estagi?rios e monitores. A investiga??oreferendou parcialmente a hip?tese inicial, mostrando que o p?blico/visitante aparenta valorizar mais os ambientes naturais, que s?o vivenciados em maior intensidade. Quanto ? segunda hip?tese, al?m dos fatores indicados, a percep??o ambiental e a defini??o de trajetos pelos usu?rios sofre significativa influ?ncia das rela??es emocionais que estabelecem com o espa?o. De maneira geral, em termos de wayfinding verificou-se que o p?blico/visitante: (i) se adapta com facilidade ?s diferentes demandas expositivas da arte contempor?nea nos dois museus; (ii) percebe que a frui??o das obras ? favorecida pelo ambiente vivenciado (espa?o constru?do e parque/jardim), o qual tem interfer?ncia na sua leitura do trajeto durante a visita; (iii) em muitas situa??es, a grande atratividade dos usu?rios pelas obras de arte e pelo parque/jardim dificultam a legibilidade das edifica??es existentes e do seu espa?o interno