Orientador: Pelópidas Cypriano de Oliveira / Banca: Luiz Guimarães Monforte / Banca: Rubens Toledo / Resumo: O presente trabalho equivalente e relatório circunstanciado trata da crítica cinematográfica do ponto de vista da proximidade do crítico em relação ao objeto de análise, levando em conta como principal fundamento da peça cinematográfica a forma como o espectador é tocado.Como recurso é usada uma bibliografia específica sobre cinema e uma filmografia que juntas funcionam como base para a pesquisa. Foram utilizados, ainda, quatro curtas-metragens dirigidos pelo próprio autor entre 2008 e 2010. Um média-metragem documentário foi produzido como trabalho equivalente, onde os conceitos abordados por esta dissertação são exemplificados e discutidos através da pesquisa, sempre tendo como objetivo primário a interação entre espectador e obra / Abstract: The present equivalent work and detailed report treats the cinematographic critic under the point of view of the proximity of the critic in respect to the object of analysis, taking as main basis of the cinematographic play the way that the viewer is reached. As resource it's used a specific bibliography about cinema and a filmography which together work as basis to the research. It were also utilized, four short-cut movies directed by the author himself between 2008 and 2010. A medium-cut documentary was produced as equivalent work, where the studied concepts by this dissertation are exemplified e discussed through the research, always having as primary objective the interaction between viewer and work / Mestre

Orientador: Pelópidas Cypriano de Oliveira / Banca: Kathia Maria Ayres de Godoy / Banca: Anna Cláudia Agazzi / Banca: Marcos Rizzoli / Banca: Oscar Alejandro Fabian D'Ambrosio / Resumo: O resultado final deste trabalho de doutoramento (Tese) apresenta o formato de trabalho Equivalente utilizado como modo de apresentação dos orientandos participantes do grupo de pesquisa "Artemídia e VideoClip". O Relatório Circunstanciado (tese) complementa o Trabalho Equivalente, uma obra de arte no formato de um cubo de 21 cm. Deste cubo principal retiram-se dez cubos gradualmente menores até a medida de 11 cm, projetados e construídos milimetricamente em seus encaixes. Os elementos textuais estão distribuídos em capítulos nas seis faces dos dez cubos, permitindo leitura plurívoca assemelhada a um hiperlink, podendo ser lidos em qualquer ordem nas dez pranchas geradas pela "desconstrução planificada" dos cubos propiciada pela articulação das faces. O encarte, denominado catálogo, contém os elementos pré e pós-textuais do trabalho acadêmico, ressaltando na forma APÊNDICE os protótipos artístico-científicos (duas exposições e duas obras de arte). As obras artísticas são resultantes de pesquisas, trabalhos, discussões e apresentações ocorridas durante todo o processo de estudos sobre arte ciência e tecnologia. A redação artístico-científica utilizada reflete a vivência do autor (artista-pesquisador) em ateliês-laboratórios e também na concepção e materialização, procurando entendimentos e aplicações dos binômios criados (concepção-materialização e intuitivo-racional) e seus respectivos derivados. Utiliza-se a ideia chave de que o ateliê-laboratório é o lugar da experimentação / Abstract: The end result of this doctoral work (thesis) presents the work format equivalent used as submission of the mentees participating in the research group "Artmedia and VideoClip". The Robust report (thesis) complements the work equivalent of a work of art in the shape of a cube of 21 cm. This major hub withdraw Ten cubes gradually lower to the extent of 11 cm, designed and built fractionally in their sockets. The textual elements are divided into chapters on the six faces of the ten cubes, allowing plurivocal reading likened to a hyperlink and can be read in any order in the ten planks generated by "deconstruction planned" cubes made possible by the joint faces. The booklet, called Catalog, containing the elements pre and post-textual academic work, highlighting in Appendix form the artistic and scientific prototypes (two exhibitions and two works of art). Artistic works are the result of research, studies, discussions and presentations that took place throughout the process of studies on art science and technology. The artistic and scientific writing used reflects the author's experience (artist-researcher) in workshops, laboratories and also in designing and delivering, seeking understanding and application of the dichotomies created (design-materialization and intuitive-rational) and their derivatives. It uses the key idea that the studio-laboratory is the place of trial / Doutor

Orientador: Rosangela da Silva Leote / Banca: Sérgio Roclaw Basbaum / Banca: Wladimir Farto Contesini de Mattos / Banca: Luisa Angélica Paraguai Donati / Banca: José Paiani Spaniol / Resumo: Esta tese de doutorado parte da hipótese de que a incorporação consciente do acaso no processo criativo artístico que envolve a arte sonora é um elemento fundamental para a configuração de uma estética própria na atualidade. Para testar esta hipótese, foi analisada a aplicação do acaso nas artes sonoras a partir do século XX e suas implicações na produção de linguagem baseada neste conceito utilizando dispositivos computacionais. Como consequência deste estudo, foi proposto o desenvolvimento e a implementação de uma instalação sonora, chamada Anthemusa, na qual foram aplicados os preceitos do acaso como elemento principal de criação artística / Abstract: This doctoral thesis develops from the hypothesis that the conscious incorporation of chance in sound art's creative process is a key element in the configuration of its aesthetic. In order to test this hypothesis, we analyse twentieth century sound art and its use of computational devices. As a consequence of this study, we propose the development of a sound installation entitled Anthemusa that, invariably, applies the precepts of chance as its central element / Doutor

Orientador: José Eduardo Ribeiro de Paiva / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T18:40:10Z (GMT). No. of bitstreams: 1 Damasio_Aton_M.pdf: 1433176 bytes, checksum: 559ab853d1a7ff12fed78b2c6d88dba1 (MD5) Previous issue date: 2014 / Resumo: O projeto propõe um estudo para constatar como o uso de tecnologias digitais está inserido nos cursos de Licenciatura em Música nas Universidades dos Estados de São Paulo e Rio de Janeiro. A pesquisa foi efetuada apenas em Instituições Públicas, tanto federais, quanto estaduais. O trabalho foi estruturado seguindo uma diretriz que incluiu métodos quantitativos e qualitativos de pesquisa. Entre os procedimentos, foram realizadas entrevistas e a aplicação de um questionário com professores que atuam nos cursos de Licenciatura em Música das universidades incluídas na pesquisa / Abstract: The project proposes a study to see how the use of digital technologies is inserted in the courses of Degree in Music at the Universities of the states of São Paulo and Rio de Janeiro. The research was carried out only in public institutions, both federal, and state. The work was structured following a directive that included quantitative and qualitative research methods. Among the procedures, interviews were conducted and the application of a questionnaire to teachers who work in the Bachelor of Music courses of universities included in the survey / Mestrado / Fundamentos Teoricos / Mestre em Música

As human beings we are designed and created in a fabric that is profound and complex. We are built with a framework where mind and body work in a concerted effort to maintain our lives automatically. A deep and defining part of our existence as humans is not just the innate desire to live but to live in consistent well-being--emotionally, physically, and mentally. I believe when we incorporate our knowledge of human physiology into our creative process then we allow ourselves a greater opportunity to create an authentic connection with our intended audience. My work during the past three years has been rooted in the study of these philosophical and scientific principles. I created a series of visual experimentations that aim to assist in my understanding of human beings at an emotional and biological level. Armed with a deep desire to understand humanity, my goal is to create work that fosters positive change and has significant impact in the world. My past and present research has been focused on human emotions, the intuitive creative process and the relationship between technology and establishing social identity.

Thesis (M. Tech. Design technology) -- Central University of Technology, Free State, 2011 / This dissertation outlines a procedural scanning process using the portable ZCorporation ZScanner® 700 and provides an overview of the developments surrounding 3D scanning technologies; specifically their application for archiving Cultural Heritage sites and projects. The procedural scanning process is structured around the identification of 3D data recording variables applicable to the digital archiving of an art museum’s collection of sculptures. The outlining of a procedural 3D scanning environment supports the developing technology of 3D digital archiving in view of artefact preservation and interactive digital accessibility. Presented in this paper are several case studies that record 3D scanning variables such as texture, scale, surface detail, light and data conversion applicable to varied sculptural surfaces and form. Emphasis is placed on the procedural documentation and the anomalies associated with the physical object, equipment used, and the scanning environment. In support of the above, the Cultural Heritage projects that are analyzed prove that 3D portable scanning could provide digital longevity and access to previously inaccessible arenas for a diverse range of digital data archiving infrastructures. The development of 3D data acquisition via scanning, CAD modelling and 2D to 3D data file conversion technologies as well as the aesthetic effect and standards of digital archiving in terms of the artwork – viewer relationship and international practices or criterions of 3D digitizing are analysed. These projects indicate the significant use of optical 3D scanning techniques and their employ on renowned historical artefacts thus emphasizing their importance, safety and effectiveness. The aim with this research is to establish that the innovation and future implications of 3D scanning could be instrumental to future technological advancement in an interdisciplinary capacity to further data capture and processing in various Cultural Heritage diagnostic applications.

Through its portfolio of practical case studies and its engagement with critical thinking from a range of disciplines, the PhD investigates the following key question: what are the technical, aesthetic and conceptual impacts of using binaural technology to create a soundscape? ‘Using binaural technology’ implies users and users are essentially at the heart of this impact because users mediate the technical and aesthetic aspects of binaural technology and also inherently shape the theoretical ideology of this technology. By analysing users’ interactions with binaural technology from a social constructivist perspective, this thesis gains rich insights into the impact of using binaural technology when creating soundscapes. Chapter One explores sound artists’ and field recordists’ work that use binaural technology for the shared purpose of documenting urban soundwalks. The first case study “Audio Postcards” is also informed by questions drawn from acoustic ecology, socio-political theories on the practices of everyday life and the challenges that arise in finding, recording and preserving ‘soundmarks’. Chapter Two outlines practitioners’ applications of binaural technology to create an intimate connection to an art piece such as theatre director David Rosenberg’s productions. Peter Salvatore Petralia’s concept of headspace is applied to the chapter’s case study: “From Austria To America” to further understand binaural technology’s psychoacoustic effects. Chapter Three studies the impact of social groups who use binaural technology to record classical music performances. Traditional stereo and binaural classical music recording conventions are shaped in a new direction in two case studies: “Point of Audition” and “From Page to Stage”. Questions of ‘fidelity’ also arise from this creative practice. The outcomes of this reflective binaural practice unearth deep layers of understanding. This thesis discovers the impact of binaural technology moves beyond the effect it has on a listener to realise this recording practice also impacts a recordist’s decisions in the field and a sound artist’s creative choices when crafting soundscapes. The beneficial impact of binaural technology including its inconspicuous nature, the ability to imprint an artist’s subjective signature on recordings and its lifelike immersive qualities in playback are revealed through practice and reflection. Representing the real, the role of artist and point of audition are also themes explored throughout each chapter. Ultimately, insights gained are woven together as a means of constructing an original theoretical framework for an under-theorised subject: understanding how social user groups shape the impact of using binaural technology when creating soundscapes.

Thesis (MA)--Stellenbosch University, 2000 / ENGLISH ABSTRACT: In this thesis I look at the impact of technology on the concept of sculpture. However, I am more concerned with the principles behind technological change as influence, than looking at high-technology advances. A key issue that I address is the consideration of changes in society and art, and I ask the question, to what extent does three-dimensional art remain in any traditional sense 'sculpture'? It is my objective to show these changes, indicated by the transition from an object-oriented to a systems-oriented approach in art leading to a redefinition of the concept of sculpture. Although I deal with my practical work as a separate part in the thesis, there is a close integration and mutual objectives between the practical and theoretical components. The transition occurring in sculpture can directly be traced to the technological advances in society. Scientific knowledge in any period of history reflects the way people understand their world, thus affecting human perceptions of the natural world and in turn influencing artistic creation. In Chapter One, attention is given in general to some of these scientific discoveries, for example the shift from classical science to an organismic approach with its focus on the interconnectedness of all things. Also of importance is the beginning of Chaos Theory, introducing the element of chance. In Chapter Two, more specific changes in the concept of art and sculpture are dealt with. Referring to some important predecessors earlier in the zo" century. I look at art becoming an interactive system, and find the interrelationship between sculpture and architecture useful in illustrating this, because of the foregrounding of the concept of space. In Chapter Three, I examine the different way that artists deal with the issues of urbanity', for example, the Minimalists putting emphasis on the idea of sculpture as an infinitely malleable category. Shifting definitions of urbanity were responses to specific new conditions in the environment, for example, as seen in the changing features of the city. Chapter Four deals with contemporary artists' response to these conditions, starting with examples of an object-oriented approach to sculpture, moving step by step towards a different systems-oriented approach. To conclude, I speculate on all the possibilities that the virtual environments that modern computers allow us to create may for the first time open up. We are at the beginning of a new century full of promise to artists in all fields. / AFRIKAANSE OPSOMMING: In hierdie tesis kyk ek na die impak van tegnologie op die konsep van beeldhou. Maar, ek is egter meer geintereseerd in die invloed van die beginsels agter tegnologiese verandering as in die gebruik van uiters gevorderde tegnologiese instrumente. 'n Belangrike aspek vir my is die wyse waarop die veranderinge in die samelewing afgedruk work op kuns. Derhalwe vra ek tot watter mate drie-dimensionele kuns op enige tradisionele wyse steed as 'beeldhou' beskou kan word? Dit is my doelwit om hierdie veranderinge uit te wys, soos gesien kan word in die transformasie vanaf 'n objek-gerigte benadering na 'n sisteem-gerigte benadering tot die konsep van beeldhou. Hoewel ek die praktiese werk as 'n aparte deel van die tesis hanteer, is daar in nabye integrasie met gemeenskaplike doelwitte tussen die praktiese en teoretiese komponente. Die transformasie in beeldhou kan direk verbind word met die tegnologiese vooruitgang in die samelewing. Wetenskaplike kennis van enige tydperk, is 'n indikasie van die wyse waarop die mense hulomgewing verstaan. Dus affekteer dit mense se persepsie van die natuur, en in reaksie die persepsie van die kunstenaar. In hoofstuk een, word aandag gegee in die algemeen aan sommige van hierdie wetenskaplike ontdekkings, byvoorbeeld die skuif vanaf klassieke wetenskap na 'n organismiese benadering met sy fokus op die integrasie van alle dinge. Ook belangrik is die onstaan van Chaos Teorie wat klem plaas op die onvoorspelbaarheid van dinge. In hoofstuk twee kyk ek na meer spesifieke veranderinge in die konsep van kuns in die algemeen, asook beeldbou. Daar word terugverwys na sommige belangrike kunstenaars aan die begin van die 20ste eeu. Klem word geplaas op kuns as interaktiewe sisteem, en ek vind die interverhouding tussen beeldhou en argitektuur as 'n belangrike voorbeeld, as gevolg van die benadering tot die konsep van ruimte. Hoofstuk drie ondersoek die verskeie wyses waarop beeldhouers kyk na kwessies soos verstedeliking, byvoorbeeld die Minimaliste met hul beklemtoning van die idee van beeldhou as manipuleerbare kategorie. AI hierdie veranderinge is 'n reaksie op spesifieke nuwe kondisies binne die samelewing, byvoorbeeld soos gesien in die veranderende kenmerke van stede. Hoostuk vier deel dan spesifiek met hedendaagse beeldhouers se reaksie op hierdie kondisies, met die doelom voorbeelde te bespreek van van 'n objek-gerigte benadering tot beeldhou asook 'n sisteem-gerigte benadering tot beeldhou. Om af te sluit, spekuleer ek oor al die nuwe moontlikhede wat 'virtuele realiteif, daar gestel deur die moderne rekenaars, aan beeldhou kan bied. Ons staan aan die begin van 'n nuwe eeu vol potensiaal vir kunstenaars op alle gebiede.

Technologies and Artworks: An Interdisciplinary Exploration through Ihde and Latour discusses and applies the phenomenological framework described by the philosopher of science and technology Don Ihde, in his text Technology and the Lifeworld, in relation to recent artworks of sculpture and performance that incorporate technologies. The study considers closely Ihde’s embodiment, hermeneutic, and alterity variants for the purpose of developing conceptual tools to investigate the complicated human-technology relationships present in the works considered. A subsequent discussion of psychasthenia and its relationship to Ihde’s embodiment variant demonstrates the limitations of Ihde’s approach and the need for additional sources in order to create a more comprehensive study. Additionally, this study draws on Bruno Latour’s text Science in Action, and in particular on his concepts of modalities and black boxes in order to contrast to and complement Ihde’s approach. The dissertation concludes with a discussion of the relationship between art and research, the increase in doctoral programs that accept or are designed for artists, a reflection on the effect of this study on the author’s own art practice, and the productive tension between the different processes involved in research and art.

Orientador(a): Rosangela da Silva Leote / Banca: José Spaniol / Banca: Almir Almas / Resumo: Nesta dissertação, eu discuto algumas das relações entre arte, ciência e tecnologia a partir da conexão entre o papel e a eletrônica. O foco da dissertação é como o papel, tecnologia ancestral, pode ganhar outras aplicações, especialmente na arte, ao se conectar a sistemas de código aberto para robótica. O conhecimento teórico e experimental sobre o tema converte-se na produção de uma série de objetos cinéticos apresentados em uma exposição junto com o texto final desta dissertação, que contém também um tutorial abrindo o código das obras realizadas, permitindo a sua replicação por outras pessoas / Abstract: In this text, I discuss relations between art, science and technology starting from the connection between paper and electronics. The focus is how paper, ancestral technology, can gain other applications, especially in art, when connecting to open source systems for robotics. Theoretical and experimental knowledge on the subject compose a series of kinetic objects presented in an exposition along with the final text of this dissertation, which also contains a tutorial opening the code of the works carried out, allowing their replication by other people / Mestre