Este trabalho se propõe a investigar manifestações de paisagem em espaços residuais do tecido urbano. Trata-se de espaços irresolutos, sem escala ou forma definidas - desde fissuras ínfimas povoadas por gramíneas no asfalto até grandes glebas ociosas -, recolhidos pela natureza que neles se expressa de maneira originária. Nas cidades contemporâneas, onde a natureza parece não ter aco-lhimento se não em áreas propositadamente reservadas a ela, os espaços indecisos, não intencionais, ou que não se definem, a priori, por nenhum propósito ou finalidade, constituem um território de oportunidades e de refúgio para a diversidade. O campo empírico para a investigação das referidas manifestações ou experiências paisagísticas são, especialmente, as áreas de topografia mo-vimentada e urbanização relativamente recente situadas entre o vale do Tietê e a Serra da Cantareira, na cidade de São Paulo. Mediante o reco-nhecimento sensível de seu caráter e de seu temperamento, visa-se ao des-velamento de paisagens possíveis, embora improváveis, na cidade contem-porânea. / This study aims to investigate possibilities of landscape in residual spaces of the urban fabric. These are unresolved spaces, without definite scale or form - from tiny fissures populated by grasses on the asphalt to large idle lands -, taken up by the nature that is expressed in them in an original way. In contemporary cities, where nature is not welcome except in spaces intentionally reserved for it, undecided, unintentional spaces con-stitute a territory of opportunity and refuge for diversity. The empirical field for the investigation of these manifestations or landscape experiences are especially the areas of complex topography and relatively recent urbanization located between the Tietê valley and the Serra da Cantareira, in the city of São Paulo. Through the sensitive recog-nition of his character and his temperament, it is proposed the unveiling of possible, though unlikely, landscapes in the contemporary city.

Cette thèse CIFRE, effectuée au Laboratoire LCPI avec les partenaires Alcatel-Lucent Bell Labs France et Strate Collège, explore le concept de l'expérience esthétique des concepteurs dans le contexte de l'innovation et du travail pluridisciplinaire.Un des intérêts actuels de la recherche en design se focalise sur l'expérience utilisateur (UX) et propose des modèles et des méthodes pour comprendre ce concept pour la conception. D'autres études récentes portent sur l'expérience esthétique dans les organisations. Au travers d'une approche Recherche-Action, nous prolongeons la connaissance sur l'expérience esthétique avec un changement de perspective, de l'expérience de l'utilisateur vers l'expérience des concepteurs. Dans une étude qualitative et quantitative nous modélisons le concept de l'expérience esthétique dans un département de recherche. Notre terrain est constitué de projets pluridisciplinaires de l'Applications Research Domain (APPRD), le département pluridisciplinaire de Alcatel-Lucent Bell Labs. Nous étudions les projets les plus riches, mémorables, transformateurs - ceux qui ont donné lieu à des expériences esthétiques dans le travail des concepteurs, pour comprendre quel est le lien entre ces projets, les pratiques design et la culture d'innovation. Finalement nous proposons un modèle de l'expérience esthétique dans ce contexte et nous montrons de premières implications pour déclencher ce type d'expérience dans un département multidisciplinaire de R&D. / This thesis, conducted at Alcatel-Lucent Bell Labs France under the supervision of LCPI Laboratory and Strate Collège, explores the concept of aesthetic experiences in an R&D department.One of the current interests of design research explores the concept of User eXperience (UX) and provides frameworks and methods to observe, describe and generate a rich product experience. Other recent studies focus on the aesthetic experience in organizations. Using an Action-Research approach, we extend the knowledge on aesthetic experiences through a new perspective: rather than looking at the users' experience, we framework the experience of multidisciplinary R&D teams through a qualitative and quantitative study. Our experimentation field consists of multidisciplinary projects from the Applications Research Domain (APPRD) - the multidisciplinary department of Alcatel-Lucent Bell Labs. We study the most memorable projects - those that trigger aesthetic experiences in the work experience of research-engineers. Our goal is to understand what is the link between aesthetic experience feelings, design practices and aspects of the innovation culture. Finally, we propose a descriptive framework of aesthetic experience in this context and we show first implications to trigger this type of experience in a multidisciplinary R&D department.

Abstract This essay will discuss why one would use a literary text such as Jane Austen’s Pride and Prejudice (1813) in a classroom. There is a certain focus on what Pride and Prejudice might have to offer both male and female students, since research has shown that boys tend to resist reading romantic novels and stories about girls. This essay attempts to show that a gender focused reading of Pride and Prejudice might make it interesting to male students as well, since the way that the unequal relationship between men and women is portrayed concerns them as well as the female students. Regarding the reasons for using literature in the classroom, I will investigate what it is that literary texts can offer to its readers. This essay will argue that reading literature is an aesthetic experience, which is what separates literary texts from other non-literary texts. Aesthetic experiences have to do with the way student’s feel about and experience certain texts, and also with the artistic values of a text. To have an aesthetic experience is very important since the English classroom is a place where the students´ feelings and experiences normally are not given enough neither time nor space. This essay attempts to show that by looking at stereotypical characters in Pride and Prejudice, as well as looking at what qualities in men and women were considered desirable, a very interesting discussion might arise in the classroom, concerning gender roles, and inequality between men and women. A discussion of this sort gives the students an opportunity to question the gender roles we have in today’s society, as well as the relationship between men and women. Keywords: Literature, reading, aesthetic experience, gender, stereotypes.

The main theme of the thesis is the position of the concept of the aesthetic experience on the field of the contemporary esthetics. As the one of the most basic concepts of the modern-age esthetics the esthetic experience was criticized from the different views in the last half century. But at the same time in the last decades, this concept is effort to reinterpret and keep as the meaningful and functional one at the frame of discourse of the esthetic theory from few related reasons (revival of the philosophical pragmatism, re-thinking of the Kant's esthetic theory etc.). The closer topic of the thesis is the defense of the neo pragmatically oriented interpretation of the concept of the esthetic experience in the work of Richard Shusterman. The thesis should point out not only the Shusterman's arguments, which support the sustainability of the pragmatism approach of the esthetic experience's concept, but also the attitudes that prevent the sustaining of this point of view. The attention will be focused mainly on Shusterman's interpretation of Dewey's conception "The art as the experiences" and in the end on Shusterman's theme - Somaesthetics, that related with Dewey's pragmatism too. Key words: aesthetic experience, pagmatism, Richard Shusterman, somaesthetic

Cette thèse pose la question de l’exigence artistique dans les pratiques théâtrales en amateur. On s’appuie principalement sur l’observation de festivals de portée départementale ou nationale, suivant l’hypothèse que ces manifestations favorisent les discussions sur les choix esthétiques. La recherche se déploie autour d’une interrogation : quand une activité artistique se pratique dans un cadre non professionnel, comment s’articulent les objectifs d’amélioration de la qualité des spectacles avec le souci de maintenir un respect mutuel ? Constituée à partir de l’analyse des représentations et des rencontres inscrites à l’affiche des festivals, l’étude a été complétée par des entretiens avec les membres des troupes participantes, des comités d’organisation ou des jurys, dont certains artistes professionnels. On structure les résultats obtenus en s’intéressant d’abord aux conditions dans lesquelles les amateurs satisfont leur passion et en évoquant les moyens et les outils dont ils se dotent collectivement pour y parvenir. Puis on envisage les façons dont les amateurs exercent leur jugement quand il leur faut construire le programme d’un festival. On aborde alors les festivals en les considérant comme des expériences de vie et on considère les valeurs mises en œuvre dans ces aventures humaines. Un dialogue est instauré entre tous ces aspects et différentes conceptions théoriques de l’art, selon que l’accent est placé sur ce qui se passe lors d’une représentation, sur les intentions, sur l’expertise ou sur les effets. On insiste sur la dimension sociale de ces pratiques et sur le fait que le temps disponible est consacré de préférence au plateau, plutôt qu’aux discours / This thesis deals with the question of the artistic demand in amateur theatre practices. It mainly relies on the observation of national or departmental festivals, based on the assumption that these events allow for the debating about aesthetical choices. The research is driven by on the interrogation: when one practises an artistic activity as a non-professional, how to articulate the objectives of improving the quality of the shows with the concern for maintaining a mutual respect? The study analyses performances and group discussions scheduled during the festivals, completed by interviews with some members of companies, or of the organising committees, or of the juries, some of them being professional artists. The results are taken up, in turn, beginning with the conditions under which the amateurs satisfy their passion, including the means they collectively develop and put into action, therefore. Then the ways of assessing one’s taste when having to elaborate the program of a festival are examined. It is then proposed to regard festivals as whole experiences of life and to take into account the values which are at work during these human adventures. All these aspects are put into dialogue together with some theoretical conceptions of art, according to the most significant elements: intentions, expertise, effects. The social dimension of the practices is underlined, as well as the fact that amateurs have rather spend their time on scene, rather that discussing

The topic of this diploma thesis is the matter of the role of imagination in aesthetic appreciation of nature. Starting points of the inquiry are the concepts of Ronald W. Hepburn, Emily Brady, Marcia Muelder Eaton and others. This work tries to show, in spite of the divergencies of views that the philosophers hold, not only the differences but also similarities of their apprehensions of the role of imagination in aesthetic appreciation of nature. The aim of the thesis is among others to answer the following questions: What are the modes of imaginative activity relating to aesthetic object? What is the difference between execution of imagination in aesthetic experiencing of nature and in experiencing works of art? What is the role of exercise of imagination in developing and preserving sustainable environments? Is the cooperation of imaginative model and science- based model of aesthetic appreciation of nature possible? The first part of the work concerns the presentation of relevant approaches. The second part compares different understandings of the role of imagination in aesthetic appreciation of nature and it answers the question of how imagination relates to the discussed aesthetic object. The following parts of the work focus on answering above-mentioned questions.

This Diploma thesis is dealing with an analysis of the space understood like an interactive phenomenon, which is following our aesthetic enjoyment of a landscape. The description of this phenomenon is examined in the work of an American philosopher Arnold Berleant, but against a background of European phenomenological tradition. As a ground, on which can be an understanding of an experience of space built, will be in our thesis the phenomenological inquiry into the perception of corporeity, mainly in the work of Jan Patočka and Maurice Merleau-Ponty. An interaction between subject and object in the aesthetic experience of landscape is appearing as an completely unique, nondelegable and non-repetitive human experience. For the more concrete insight into this issue is necessary to analyze some factors entering into the aesthetic experience of landscape. The first of all is the factor of engaging our senses as an essential background of every aesthetic experience. The next important step is to study the perception of the space-time, the necessity of the bodily movement and a concrete corporeal engagement, which determines our possibilities of an exploration of such an environment. Landscape can not be moved, we have to come and pass through, where it is allowed. This fact does not mean, that we are...

Orientador: Ana Maria Falcão de Aragão / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-26T15:39:58Z (GMT). No. of bitstreams: 1 Ferreira_LucianaHaddad_D.pdf: 9088647 bytes, checksum: 211fe3e534c4d70eeff591e2aabcdf89 (MD5) Previous issue date: 2014 / Resumo: Ao dialogar com presente texto, o leitor irá se deparar com uma investigação desenvolvida a partir das experiências de um grupo de formação continuada, para o qual foram convidados abertamente professores de Educação Básica que manifestassem interesse em participar de atividades em Educação Estética. A pesquisa analisa o impacto das experiências estéticas vivenciadas pelos participantes a partir das situações cotidianas e das reflexões ocasionadas pela própria prática profissional, colocadas em relação às propostas desenvolvidas nos encontros de formação. Foram produzidos e avaliados dados referentes às percepções das professoras diante das experiências que participam. Para tanto, diversas estratégias de criação e fruição em Arte foram contempladas no processo formativo das docentes, contribuindo também para o estabelecimento de diálogo e a ampliação de seu repertório cultural. Contando com referencial teórico pautado na abordagem Histórico-Cultural, articulo tais pressupostos com contribuições do campo da Filosofia da Educação e de autores que abordam temas referentes à Formação Docente, Reflexividade e Educação Estética. Com o intuito de fazer o entrelaçamento entre tais conceitos e as experiências vividas nos grupos de formação, pautei-me na abordagem qualitativa com utilização de diferentes instrumentos metodológicos, que oferecem múltiplas imagens dos saberes e das experiências dos docentes. Os eixos de análise dos dados dialogam entre si e mostram-se interdependentes, ainda que carreguem características distintas das descobertas e avanços das professoras ao longo da trajetória vivida. Foram analisados especificamente os aspectos referentes aos conhecimentos sensíveis, às construções narrativas, à experiência artística e aos processos reflexivos suscitados, elementos ressaltados pelas próprias professoras como potencialmente formativos. Finalizo o trabalho com as lições perceptíveis no recorte feito, transferindo para o chão da escola as principais constatações observadas ao longo da pesquisa. Sinalizo, assim, ser indispensável o exercício formativo de sensibilização que permitirá ao professor perceber sua potencialidade de atuação cotidiana, produzindo contextos que propiciem a criação e a formação sensível dos alunos. / Abstracr: To fully understand the context of this work, the reader is going to come across a research developed from the experiences of a group of continuing education, to which were invited openly Basic Education teachers who manifest an interest in participating in activities in Aesthetic Education. The research analyzes the impact of aesthetic experiences experienced by participants from daily situations and reflections caused by their professional practice, placed on the proposals developed in training meetings. We've produced and evaluated data regarding the perceptions of teachers on the experiences involved. In order to accomplish my objectives, various strategies of creation and enjoyment in art were covered in the training process of teachers, also contributing to the establishment of dialogue and the expansion of their cultural repertoire. Relying on theoretical framework grounded in a historical-cultural approach, articulate these assumptions with contributions from the field of philosophy of education and authors covering topics related to Teacher Training, Reflexivity and Aesthetic Education. In order to make the entanglement between these concepts and experiences in training groups I guided my work in the qualitative approach using different methodological tools, which provide multiple images of knowledge and experience of teachers. The parameters of analysis are related to each other and are also interdependent, even though they have distinct characteristics of discoveries and advances of the teachers along the trajectory. Specific aspects relating to sensitive knowledge, the narrative constructions, artistic experience and raised reflective processes, elements highlighted by teachers themselves as potentially formative were analyzed. I finish the work with the lessons in noticeable clipping done, by transferring to the school context the main findings observed during the research. I emphasize thus be indispensable formative exercise of awareness that enable the teacher to realize its potential for daily performance, producing contexts conducive to the creation and sensitive training of students / Doutorado / Psicologia Educacional / Doutora em Educação

Bence Nanay holds, that attention which is focused on one object, and distributed acrossits properties, gives rise to disinterestedness in phenomenal experience, and it therefore is involved in the occurence of the most paradigmatic kind of aesthetic experience.It is for this reason, that Nanay defines this sort of attention as "aesthetic attention". In this thesis, I point out, that Nanay's doctrine does justice to facts and phenomena,and that it succeeds in specifiying one of the necessary conditions, of what he takes as the "paradigmatic kind" of aesthetic experience. Nevertheless, as I go on to argue, Nanay fails to account for dissinterestedness' being insufficient for aesthetic experience, and avoids to ask the question we have been longing to ask, namely whether there is such a thing, as attention which is both necessary and sufficient for aesthetic experience. I, thereafter, provide an answer to this question, according to which aesthetic attention is, essencially, attention which is focused on non-derivative value, in an aesthetic context. In the remaining of the text, I make use of Gestalt theory, and thus explore the relationship between the kind of attention Nanay conceived of as "aesthetic attention", and the kind I define as such.

Orientador: Laan Mendes de Barros / Resumo: A pesquisa desenvolvida e apresentada nesta tese teve como objetivos discutir as transformações que ocorreram e ainda ocorrem na percepção da imagem e da fotografia como narrativas e suas intersecções com o que podemos considerar experiência estética. Especificamente, tomamos como objetivo neste trabalho analisar e discutir a mobgrafia como uma experiência de representação da realidade intrínseca ao fazer fotográfico no meio digital, especialmente nos aplicativos sociais de imagem, além de analisar como a mobgrafia tem alterado a percepção estética e sensível a respeito da imagem como recorte do cotidiano. Para isso, adotou-se como metodologia uma revisão bibliográfica realizada a partir de autores que conceituam a imagem como constitutiva de formas de ver, mostrar e apreender realidades tão diversas quanto os meios pelos quais isso ocorre, bem como a análise de imagens produzidas para o Mobile Photo Festival, que reúne fotografias produzidas exclusivamente por dispositivos móveis. Questões como as partilhas ocorridas nas relações humanas, aspectos políticos da fotografia e posição como janela para realidades supostas foram discutidas sob a perspectiva da mobgrafia, aqui considerada inicialmente sob a definição de ser a imagem fotográfica criada, editada e consumida em dispositivos móveis. Consumida em um sentido muito mais amplo, que implica apropriações e ressignificações próprias da sociedade em rede, interconectada e tendo à sua disposição tecnologia e novos meios pelos q... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The research developed and presented in this thesis aimed to discuss the transformations that have occurred and still occur in the perception of image and photography as narratives and their intersections with what we can consider aesthetic experience. Specifically, we aim at this work to analyze and discuss mobgraphy as an experience of representing the intrinsic reality when making photographs in the digital medium, especially in social image applications, in addition to analyzing how mobgraphy has changed the aesthetic and sensitive perception regarding the image as part of everyday life. To this end, the methodology used has include a bibliographic review based on authors that conceptualize the image as constitutive of ways of seeing, showing and apprehending realities as diverse as the means by which this occurs, as well as the analysis of images produced for the Mobile Photo Festival, which brings together photographs produced exclusively by mobile devices. Issues such as the sharing that took place in human relations, political aspects of photography and position as a window to supposed realities were discussed from the perspective of mobgraphy, here considered initially under the definition of being the photographic image created, edited and consumed on mobile devices. Consumed in a much broader sense, which implies appropriations and resignifications typical of the networked society, interconnected and having at its disposal technology and new means by which changes ... (Complete abstract click electronic access below) / Doutor