Este estudo busca evidenciar a natureza utópica de A Rosa do Povo, explorando algumas das tensões que envolvem o processo de constituição do sujeito lírico, dentre as quais destaco: a problemática da projeção do sujeito para o espaço público da rua, em poemas que se tornam longos para dar lugar às diferentes vozes da coletividade, face ao resguardo de certa autonomia descompromissada do eu poético; as relações entre lírica e sociedade, diante das exigências político-sociais da década de 1940. Essas tensões são lidas sob o enfoque do conceito da utopia, que possibilita verificar, em cada poema analisado, uma mensagem poética específica, a um só tempo crítica e esperançosa. Ainda que cada composição seja lida como fragmento autônomo, os poemas também se articulam no conjunto da obra, simbolizada pela rosa. A interpretação dessa imagem, que se repete ao longo do livro e condensa a sua multiplicidade temática, permite ao leitor uma visão do todo. Procuramos demonstrar como esse processo de construção poética acaba por evidenciar também o uso simbólico de operações alquímicas, de modo que se possa compreender a obra como uma espécie de utopia alquimista, inserida que está num processo ininterrupto de materialização e desconstrução do canto, a refletir a concepção drummondiana acerca da precariedade do poético. / The purpose of this research is to show the utopic nature of A Rosa do Povo, exploring some of the tensions that involve the development process of the liric subject in which among others I would highlight: the projection of the public space in poems that last long to make possible a multiplicity of voices of colective, in face of the uncompromissed autonomy of the poetic subject; the acqward relationship between liric and society, in face of the social politcs needs of the 1940 forties. These tensions are understood, over the concept of the utopic society, that allows us to verify, in each of the researched poem, a specific poetic message, at the same time critic and full of hope. Even understood as an autonom fragment, each one of the poem gather in the whole of the book, represented by the \"rose\". This image interpretation, that come over all long the book, condense the tematic multiplicity and allows the reader a sight of the whole of the book. We seek to demonstrate how this process of poetic construction ends up also highlighting the symbolic use of alchemical operations so that we can understand the work as a kind of \'alchemist utopia\', part of an uninterrupted process of materialization and deconstruction of the poem, that reflects the drummondianas conception of the precariousness of the poetic.

Trataremos de estabelecer os pontos de relação e contato entre as práticas da pintura medieval e a operatória alquímica, ou, noutras palavras, a relação entre o ateliê e o laboratório alquímico. Investigaremos cuidadosamente algumas receitas para produção de pigmentos presente em manuais de ateliê e técnicas de pintura, situados entre os séculos IX e XVI, procurando indicar como variadas substâncias e ingredientes foram igualmente empregados e manipulados por pintores e alquimistas em busca de perscrutarem os segredos da matéria e realizarem suas Obras. Em um segundo momento, procuraremos explicitar a maneira como pintores e alquimistas se relacionavam com seus ingredientes e operações. Desamparados de conhecimentos cientificamente complexos e sem possuírem sofisticados instrumentos de medição, estes artífices exploraram inúmeras substâncias e realizaram suas obras contando apenas com seus cincos sentido corpóreos tato, paladar, olfato, visão e audição. É, pois, essa dimensão corpórea e sensível que garantirá uma longa série de profundos e sutis conhecimentos sobre as substâncias trabalhadas por esses artífices, e que nos permitirá refletir sobre a dimensão da Arte-Educação. Assim, orientados por uma compreensão fenomenológica, indicaremos como as práticas de ateliê e do laboratório alquímico configuram-se como itinerários de formação que possibilitam a realização e refinamento de uma Educação de Sensibilidade. / In a way to establish the touching points and the relationship between the medieval painting practices and alchemical operationd, or, in other words, the relationship between the artistc studio and the alchemical laboratory, it will be carefully investigate some recipes for pigments production in studio manuals and painting techniques located between the ninth and sixteenth centuries, seeking to show how painters and alchemists used and manipulated various substances and ingredients while tryed to unraveld the secrets of matter and perform their Works. Secondly, it will be explained how painters and alchemists were related to their ingredients and operations. Destitute of complex scientifically knowledge and without having sophisticated measuring instruments, these craftsmen explore numerous substances and performed their works with only the five tangible sense - touch, taste, smell, sight and hearing. Therefore, this body and sensitive dimension that will ensure a long series of deep and subtle knowledge of the substances worked by these artificies, it will allow us to reflect on the extent of Art Education. Therefore, guided by a phenomenological understanding, it will indicate how the studio practices and alchemical laboratory are configured as learning itinerary (training route) that enable the performance and refinement of the Education of the sensitivity.

For years, game companies have been using different programs for the creation of the newest most inspiring games. A short presentation about different programs used for game art is provided with key aspects in developing art for games in character production. One aim is to showcase the potential of open-source programs. Two projects with two different characters were created for games testing the workflow between open-source, free application and also commercial programs. The results of the projects are discussed and then the document focuses on explaining what the negative side of open-source programs is and why they should not be used. After the discussion, a conclusion is made explaining the similarities and differences between open-source and commercial programs.

This Master’s thesis shall attempt to reconcile the notion of the spiritual with that of the aesthetic by focusing on the influence of 16th century German mystic Jakob Böhme, with the 19th century cultural movement of German Romanticism. Böhme’s mysticism outlined a spiritual paradigm that fused alchemy with Christianity wherein the properties of nature are inherently led by a spiritual desire towards unity with God. It is through the process of spiritual desire that unity unveils itself. Consequently, Böhme’s mysticism influenced later generations of spiritual thought, including German Romanticism. Within Romanticism, Friedrich von Hardenberg, know by his pen name Novalis, developed a philosophy and aesthetic theory that expanded away from the philosophical ideas of the Enlightenment. This new philosophy focused on the subjective experience and how revelation of the self was to be experienced through creative introspection, as a consequence of encountering and interacting with the other. Novalis‘ philosophy incorpterated religious motifs and spirituality to assert that it was through creative striving that spiritual revelation was to be achieved from within oneself. Caspar David Friedrich was a Romantic landscape painter whose work focused on the notion of humanity in the face of nature. Friedrich often painted landscapes as an allegory for Christian values and religious inquiry that becomes an existential introspection through nature. Through comparative analysis I shall demonstrate how the ideas and works of Novalis and Caspar David Friedrich correlate with the spiritual mysticism of Böhme that represent the greater discourse that is spirituality itself. / Graduate / 2021-04-24

Dangerous Instincts is a collection of poems unified thematically by recurring and interstitial questions of the wilderness, the natural sciences - particularly astrophysics - the occult, and the mythic universe. These poems explore the mystical implications of the natural world and its meaning in the aesthetic consciousness, particularly in a highly secular century. Implied is the poet’s selfdiscovery and search for the divine. The collection emerges, not simply as interpretation, but a means of coming to terms with the fear of and compulsion to question the universe, and through those questions find illumination in the ordinariness of lived life and in the mystery and magic of complex phenomena. As a whole, the work is largely lyrical; occasionally it calls upon forms such as the villanelle and ekphrasis as deliberate formal poetic experiments. Sometimes the images are familiar recreations of creation myths and forest fires, and sometimes they range into as private and esoteric a realm as occult rituals, Scottish fairytale, and quantum entanglement. Dangerous Instincts is divided into five sections that explore the physical realm in terms of distances: from outward to inward, from heights to depths, and from beyond the speaker’s understanding to intrinsically self-reflexive poems written to amplify my notion that at the heart of poetry is myth.

[ES] La Animación como Arte alquímico y práctica contemplativa mindfulness, es un potenciador de la transformación del "ser" y su consciencia, desarrollando la comunicación consciente y la autorregulación hacia el bienestar. A través del proceso creativo y alquímico de las películas animadas, se puede cultivar la atención plena y una visión holística, fomentando con ello el pensamiento crítico, reflexivo y creativo en busca de la coherencia en las historias que vivimos y las que recreamos. El objetivo principal de esta Tesis Doctoral, es mostrar a la comunidad, la animación como un lenguaje alternativo y práctica mediadora y preventiva, tanto para los individuos como para la sociedad, desde las Artes y la Educación, frente a la desinformación, desorientación y manipulación mediática que actualmente vivimos. La animación así concebida, favorece una mente despierta, atenta, sensible y equilibrada, con un corazón sabio y el animador, se convierte en un un artista chamánico consciente, en un alquimista, cuyo arte será mediador desde el individuo a la comunidad, estableciendo un diálogo abierto para el cuidado emocional y la autorreflexión. Nuestra perspectiva plantea un cambio, pasando de usar la animación como forma de entretenimiento, a utilizarla como una herramienta de aprendizaje neuro artístico, introduciendo aspectos de la Neurociencia en el proceso creativo y transformándola así en un arte neuro plástico, que promueve la neuroplasticidad autodirigida y la inteligencia emocional. Con esta metodología se estimulan valores como la compasión, la empatía y la resiliencia, donde el proceso alquímico de transformación individual, invita a realizar un viaje introspectivo y purificador, conectando la mente y el cuerpo, el individuo con el grupo y la comunidad con el mundo, a través de las historias animadas. Narrativas que pueden idear nuevos héroes y heroínas, independientes y compasivos, que nos ofrezcan otros modos de enfrentar los desafíos de la vida con humor y sabiduría. En el campo del arte en general y dentro de la industria del cine en particular, por el poder que el audiovisual tiene hoy en día sobre la población, es vital cultivar artistas conscientes de los contenidos que producen, por el impacto e influencia que ejercen en ellos mismos/as, y en la sociedad que los consume y cultura a la que los dirigen. La animación es un lenguaje ancestral y fuente de sabiduría que ofrece un espacio sagrado desde el yo para la comunicación e intercambio de información con el otro; puente entre la ciencia y el arte, lo visible y lo oculto, lo espiritual y lo terrenal, lo análogo y tecnológico, donde el límite lo pone solo la imaginación. Entrar en el mundo animado, es entrar en el mundo de los sueños y la Alquimia espiritual, donde todo es posible. / [CA] L'Animació com a Art alquímico i pràctica contemplativa mindfulness, és un potenciador de la transformació de el "ser" i la seua consciència, desenrollant la comunicació conscient i la autorregulación cap al benestar. A través del procés creatiu i alquímico de les películes animades, es pot cultivar l'atenció plena i una visió holística, fomentant en això el pensament crític, reflexiu i creatiu en busca de la coherència en les històries que vivim i les que recreem. L'objectiu principal d'esta Tesis Doctoral, és mostrar a la comunitat, l'animació com un llenguage alternatiu i pràctica mediadora i preventiva, tant per als individus com per a la societat, des de les Arts i l'Educació, front a la desinformació, desorientación i manipulació mediàtica que actualment vivim. L'animació aixina concebuda, favorix una ment desperta, atenta, sensible i equilibrada, en un cor sapient i l'animador, es convertix en un un artiste chamánico conscient, en un alquimiste, l'art del qual serà mediador des del individuo a la comunitat, establint un diàlec obert per al conte emocional i la autorreflexión. La nostra perspectiva planteja un canvi, passant d'usar l'animació com a forma d'entreteniment, a utilisar-la com una ferramenta d'aprenentage neuro artístic, introduint aspectes de la Neurociencia en el procés creatiu i transformant la aixina en un art neuro plàstic, que promou la neuroplasticidad autodirigida i l'inteligència emocional. En esta metodologia s'estimulen valors com la compassió, l'empatia i la resiliencia, a on el procés alquímico de transformació individual, invita a realisar un viage introspectivo i purificador, conectant la ment i el cos, l'individu en el grup i la comunitat en el món, a través de les històries animades. Narrativa que poden idear nous héroes i heroïnes, independents i compassius, que nos oferixquen atres modos d'enfrontar els desafius de la vida en humor i saber. En el camp de l'art en general i dins de l'indústria del cine en particular, pel poder que l'audiovisual té hui en dia sobre la població, és vital cultivar artistes conscients dels continguts que produïxen, per l'impacte i influència que eixercixen en ells mateixos/as, i en la societat que els consumix i cultura a la que els dirigixen. L'animació és un llenguage ancestral i font de saber que oferix un espai sagrat des del yo per a la comunicació i intercanvi d'informació en l'atre; pont entre la ciència i l'art, lo visible i lo amagat, lo espiritual i lo terrenal, lo anàlec i tecnològic, a on el llímit ho posa solament l'imaginació. Entrar en el món animat, és entrar en el món dels somis i l'Alquímia espiritual, a on tot és possible. / [EN] Animation as an alchemical art and mindfulness contemplative practice, is an enhancer of the transformation of the "self" and its consciousness, developing conscious communication and self-regulation towards well-being. Through the creative and alchemical process of animated films, mindfulness and a holistic vision can be cultivated, thereby fostering critical, reflective and creative thinking in search of coherence in the stories we live and those we recreate. The main objective of this Doctoral Thesis is to show the community, animation as an alternative language and mediating and preventive practice, both for individuals and for society, from the Arts and Education, against misinformation, disorientation and the media manipulation that we currently live. The animation thus conceived, favors an awake, attentive, sensitive and balanced mind, with a wise heart and the animator, becomes a conscious shamanic artist, an alchemist, whose art will mediate from the individual to the community, establishing an open dialogue for emotional care and self-reflection. Our perspective proposes a change, going from using animation as a form of entertainment, to using it as a neuro-artistic learning tool, introducing aspects of Neuroscience in the creative process and thus transforming it into a neuroplastic art, which promotes self-directed neuroplasticity and emotional intelligence. With this methodology, values such as compassion, empathy and resilience are stimulated, where the alchemical process of individual transformation invites us to go on an introspective and purifying journey, connecting the mind and the body, the individual with the group and the community with the world, through animated stories. Narratives that can create new heroes and heroines, independent and compassionate, that offer us other ways to face life's challenges with humor and wisdom. In the field of art in general and within the film industry in particular, due to the power that the audiovisual has today over the population, it is vital to cultivate artists who are aware of the content they produce, due to the impact and influence they exert on themselves, and in the society that consumes them and the culture to which they are directed. Animation is an ancient language and source of wisdom that offers a sacred space from the self for communication and exchange of information with the other; bridge between science and art, the visible and the hidden, the spiritual and the earthly, the analogous and technological, where the limit is set only by the imagination. Entering the animated world is entering the world of dreams and spiritual Alchemy, where everything is possible. / Carpe Pérez, IC. (2023). La animación, proceso alquímico y práctica contemplativa para la transformación y la comunicación consciente: Neuro Animáticas [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/193686

This work aims to offer a new methodological approach to intellectual exchange in the medieval Mediterranean. In the absence of abundant textual evidence, this work explores the transmission of scientific knowledge from Greek and Arabic into Latin during the eleventh and twelfth centuries through direct textual translation as well as unwritten, typically material, exchanges. It approaches the so-called twelfth-century translation movement of Greek and Arabic science into Latin in three parts, which each touch on a different branch of medieval science that was transmitted into Latin through medieval Sicily. The first part examines paratextual diagrams in medieval manuscripts of the Classical work on mathematics and astronomy, Ptolemy’s Almagest. Working across Latin, Arabic, and Greek, it traces a different route for the transmission of the mathematical diagrams than for the translation of the text itself. In the second part, it moves away from direct translation, turning to the production of Latin pharmaceutical manuals that lack a direct antecedent in another language. For one of these, Circa instans of Matthaeus Platearius, it first considers on both a holistic and granular scale how the Latin text drew on influences in Greek and Arabic that would have been available in Sicily in the twelfth century. This comparison suggests that some information about pharmacology was transmitted orally or experientially. The next section compares the individual substances included in Circa Instans to Latin and Judaeo-Arabic trade records for Sicily during that period, in order to determine whether and how information about these goods as medicines could have moved through trade, which otherwise considered them to be supplemental materials for the textile industry. T he third part is focused on copper, one of the materials mentioned in both pharmaceutical manuals and trade records, which also has a significant presence in extant objects from Norman Sicily. By systematically surveying these extant objects, as well as the treatment of copper in alchemical manuals from the period, this work considers the different information that was conveyed through the material presentation of copper than through its treatment in alchemical treatises. In these analyses, this work demonstrates that a study of medieval science can benefit from: considering a broad range of sources, both in language and medium; navigating carefully through assertions of what the knowledge being transmitted constituted; and reevaluating assumptions about the role that textual translation played in transmitting knowledge of science.

This study explores the use of modern computer vision methods for object detection in historical images extracted from 16th–17th century printed books containing illustrations of distillation, mining, metallurgy, and alchemical apparatus. We found that the transfer of knowledge from contemporary photographic data to historical etchings proves less effective than anticipated, revealing limitations in current methods like visual feature descriptors, pixel segmentation, representation learning, and object detection with YOLOv8. These finddings highlight the stylistic disparities between modern images and early print illustrations, suggesting new research directions for historical image analysis.

This thesis aims to provide a critique of the conclusions of Gershom Scholem regarding the potential for ‘Gnostic’-Kabbalistic filiation, and to establish whether, in light of the available evidence, Scholem’s arguments (which have yet, to my mind, to be sufficiently challenged) can be reasonably supported. I strive to offer an arguably clearer definition of the relevant taxonomic terms than is often presented in scholarly analyses of this question, whilst also arguing for the applicability to this debate of certain pertinent methodological approaches drawn from the wider school of comparative mythology. As such, I also attempt to establish a clear methodology for judging the probability of the genetic descent of one ‘system’ from another, viz. that perhaps the most logical method for assessing potential similarities between different ‘systems’ is to assume in the first instance that all correspondences identified are essentially coincidental, dismissing this assumption only if one can identify a high level of exactness in these comparisons (such as would render pure coincidence relatively improbable) and/or establish a secure chain of transmission between two sources, a chain which renders the transmission of ideas not only possible but indeed probable. Applying this methodology to certain potential routes by which second century ‘Gnostic’ thought might have been transmitted to the origin point of the medieval Kabbalah, I attempt both to demonstrate the wider applicability of such a methodology beyond the narrow question of ‘Gnostic’-Kabbalistic relationships, and to illustrate the serious difficulties with advancing any of these potential routes as a reliable source for the transmission of ‘Gnostic’ ideas to the Kabbalah. Rather, I argue that it may be more logically defensible, in the absence of clear source evidence, to ascribe such correspondences as are located purely to coincidence, albeit a coincidence perhaps somewhat tempered by certain observations regarding the relative ubiquity of certain concepts and modes of thought.

This master's report addresses the conceptual and material investigations that were explored within my artistic research made at the University of Texas at Austin between 2011 and 2014. These works are a confluence of adornment, sculpture and installation art. These pieces incorporate ancient and contemporary metalworking techniques with raw, organic material. The notion of elegant ornamentation is expanded beyond the body into the adornment of architecture. The potential for transformation and reinvention within found elements is explored within this work. The natural resources I work with have gone through a cycle, which is interrupted when the objects are removed from the earth. I see my process in relationship to alchemical concepts of transmutation. Through manipulation, common matter evolves into precious material. The refined, meticulous craftsmanship conveys a sense of reverence and honor towards the common material. This intervention with the material is an act of preservation and veneration. This work explores my sense of intrigue about the extraordinary potential of mundane materials, and investigates conventional notions of material value. / text