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Esta dissertação tem o objetivo de analisar a experiência artística que ex-alunos do Projeto Guri tiveram após 15 anos desta vivência. A pesquisa foi realizada no pólo de Taubaté, com os alunos que ingressaram no Guri entre os anos de 1999 a 2004, período no qual, a direção deste projeto sociocultural era feita diretamente pela Secretaria de Cultura do Estado de São Paulo. Foram investigados quais os conhecimentos aprendidos mais identificados pelos egressos; analisado se o Projeto Guri colaborou para a inclusão social por meio da música; e verificou-se se há diferença entre as falas de quem permaneceu mais tempo em relação a quem usufruiu menos do programa. A metodologia utilizada foi a pesquisa bibliográfica e documental, seguida de análise do discurso de um grupo focal e de cinco entrevistas individuais. Esta análise foi feita por meio da categorização das falas do ex-alunos do Projeto Guri, ao buscar compreender a construção de sentido que estes egressos formaram para expressar esta experiência. Foi possível notar que os saberes mais identificados pelos egressos referem-se aos conhecimentos transversais à arte, tais como convívio social e relações de amizade. Com isso, o pressuposto norteador do Projeto Guri, no caso, a inclusão social por meio da música, foi atingido. Percebeu-se, no decorrer das entrevistas, que, no período de recorte da pesquisa, os alunos não eram apenas crianças nem adolescentes em situações vulneráveis, visto que a sede do Projeto Guri ficava em uma região nobre de Taubaté. Contudo, observa-se uma alteração do perfil do público do projeto, quando as aulas deixam de ser no centro do município, e passam a ocorrer em uma região mais periférica. A percepção dos ex-alunos que participaram por mais tempo do projeto, em relação aos que ficaram menos tempo, foi notável. Em todas as entrevistas é destacado o acesso à arte, tanto para o individuo beneficiário quanto para a família, mesmo esta sendo público-espectador. Além disso, o sentimento de afeto com o Guri fica muito mais evidente entre os participantes que tiveram mais de 3 anos de participação no projeto. Notou-se que a experiência no Projeto Guri possibilitou a todos um ambiente de convívio social, trocas, aprendizagens e acesso a arte aos alunos e suas famílias. Identificamos que 9 dos 11 participantes desta pesquisa perceberam uma mudança na trajetória de suas vidas, profissionalização na música e definição do curso de graduação. Entende-se que o Projeto Guri teve uma influência significativa na vida dos participantes, mesmo não tendo atuado na área mais vulnerável da cidade, ao ampliar os horizontes de possibilidades de suas vidas / This dissertation aims to analyze the artistic experience that Projeto Guri alumni had after 15 years of this experience. The research was carried out in the Taubaté cluster, with the students who entered the Guri between 1999 and 2004, which during this time the direction of this socio-cultural project was made directly by the Culture Secretariat of the State of São Paulo. It was investigated which were the most identified knowledges by the graduates; analyzed whether the Projeto Guri contributed to social inclusion through music; and it was verified if there was a difference between the speeches of those who stayed longer in relation to those who enjoyed less of the program. The methodology used was the bibliographical and documentary research, followed by analysis of the discourse of a focal group and five individual interviews. This analysis was done by means of the categorization of the statements of the alumni of the Projeto Guri, when trying to understand the construction of meaning that these graduates formed to express this experience. It was possible to notice that the most identified knowledge by the graduates refers to the knowledge transversal to the art, such as social contact and friendly relations. With this, Projeto Guri guiding presupposition, in this case, social inclusion through music, was reached. During the interviews, it was noticed that, during the period of research, students were not only children or adolescents in vulnerable situations, since the headquarters of Projeto Guri was in a noble region of Taubaté. However, there is a change in the profile of the public of the project, when classes cease to be in the center of the municipality, and occur in a more peripheral region. The perception of the alumni who participated more of the project, compared to those who stayed less time, was remarkable. In all the interviews, the access to art is highlighted, both for the individual beneficiary and for the family, even being a public spectator. In addition, the feeling of affection with Guri becomes much more evident among participants who have had more than 3 years of participation in the project. It was noted that the experience in the Projeto Guri allowed everyone an environment of social interaction, exchanges, learning and access to art for students and their families. We identified that 9 of the 11 participants in this study perceived a change in the trajectory of their lives, professionalization in music and definition of the undergraduate course. It is understood that the Projeto Guri had a significant influence on the life of the participants, even though it did not act in the most vulnerable area of the city, expanding the possible horizons of their lives

In this thesis, the role and the significance of the Kantian theory of art and concept of genius in Kant&rsquo / s system is examined. In this examination, it is aimed to answer the question of the meaning of being human in Kant&rsquo / s system through art and artist. To this end, Kant&rsquo / s consideration of art from the spectator&rsquo / s standpoint and ignorance of artist&rsquo / s perspective are criticized. In conformity with this criticism, throughout the thesis, depending on Kant&rsquo / s conceptualization of the genius, the artist&rsquo / s perspective and artistic experience are tried to be exhibited. In order to understand and interpret the artist&rsquo / s perspective, the meaning of the concepts of nature and freedom that arise along with the concept of genius is clarified. By considering the effects of the freedom and the natural necessity on genius, it is asserted that since the necessity of the naturally endowed talent of genius and the freedom of the productive act of genius cause to the one and the same act, the creative activity of genius refers to the unity of all the dualities in the Kantian system and hence to the completeness of the system. As a result of this claim, art, which arises from the dual nature of human, becomes the way to unite this duality.

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / A presente pesquisa objetivou investigar a potencialidade pedagÃgica do improviso cÃnico- -musical como experiÃncia artÃstica no Ãmbito escolar a partir da percepÃÃo dos sujeitos participantes do processo, entendendo que esse saber pode trazer contribuiÃÃes para uma prÃtica pedagÃgica significativa no que se refere ao ensino e aprendizagem de arte no ensino mÃdio. O trabalho teve como referÃncia os estudos sobre experiÃncia formativa de Jorge Larrosa (2002, 2011, 2015), bem como se apoiou nas propostas de improvisaÃÃo de Augusto Boal (2010, 2012) e Hans-Joachim Koellreutter (1997). O contexto da pesquisa de campo foram as aulas de arte da 1 sÃrie do ensino mÃdio de uma escola estadual do CearÃ, bem como os encontros com um grupo formado com alunos de outras sÃries, turmas e turnos da mesma escola. O mÃtodo utilizado foi a pesquisa-aÃÃo, tendo como principais instrumentos de coleta de dados a entrevista semiestruturada e gravaÃÃes audiovisuais dos encontros. A partir da interpretaÃÃo do discurso dos sujeitos foram encontradas trÃs categorias para anÃlise: abertura do currÃculo: liberdade para expressar-se criativamente; expressÃo da subjetividade e alteridade na formaÃÃo artÃstica; e motivaÃÃo. Constatou-se que o improviso cÃnico-musical revelou mÃltiplas potencialidades pedagÃgicas, dentre as principais: apropriaÃÃo do conhecimento de forma integral a partir da unificaÃÃo das linguagens musical e cÃnica; estÃmulo a novas percepÃÃes da realidade e à criatividade; e motivaÃÃo para o aprendizado proporcionado pelo aspecto lÃdico dos jogos. / This research aimed to investigate the pedagogical potential of improvisation cÃnico- -musical as artistic experience in schools from the perception of the subjects participating in the process, understanding that this knowledge can bring contributions to a significant pedagogical practice in relation to teaching and learning art in high school. The work had as reference studies on formative experience of Jorge Larrosa (2002, 2011, 2015) and was based on improvisation proposals Augusto Boal (2010, 2012) and Hans-Joachim Koellreutter (1997). The field research context were the art classes of the 1st year of high school of a state school of CearÃ, as well as meetings with a group formed with students from other series, classes and shifts the same school. The method used was action research, the main instruments of semi-structured interview data collection and audiovisual recordings of the meetings. From the interpretation of the subjects discourse we found three categories for analysis: Opening of the curriculum: freedom to express themselves creatively; expression of subjectivity and otherness in artistic training; and motivation. It was found that the scenic-musical improvisation revealed multiple pedagogical potential, among the main ones: appropriation of knowledge in full from the unification of musical and scenic languages; encouraging new perceptions of reality and creativity; and motivation for learning provided by the playful aspect of the games.

BARBOSA, Pedro Henrique Araújo. O improviso cênico-musical na qualidade de experiência artística na escola. 2016. Dissertação (Mestrado Profissional em Artes) - Universidade Federal do Ceará, Instituto de Cultura e Arte, Programa de Pós-Graduação Profissional em Artes, Fortaleza, 2016 / Submitted by Pedro Rogério (profartesufc@gmail.com) on 2016-07-15T12:55:32Z No. of bitstreams: 1 2016_Dis_PHABarbosa.pdf: 703519 bytes, checksum: 1aefabdaf26551ec06316f26a55c8273 (MD5) / Approved for entry into archive by Maria Josineide Góis (josineide@ufc.br) on 2016-07-15T12:57:14Z (GMT) No. of bitstreams: 1 2016_Dis_PHABarbosa.pdf: 703519 bytes, checksum: 1aefabdaf26551ec06316f26a55c8273 (MD5) / Made available in DSpace on 2016-07-15T12:57:14Z (GMT). No. of bitstreams: 1 2016_Dis_PHABarbosa.pdf: 703519 bytes, checksum: 1aefabdaf26551ec06316f26a55c8273 (MD5) Previous issue date: 2016 / This research aimed to investigate the pedagogical potential of the scenic-musical improvisation as an artistic experience in schools from the perception of the participating subjects in the process, understanding that this knowledge can bring contributions to a significant pedagogical practice in relation to teaching and learning of art in high school. The work had as reference Jorge Larrosa’s studies on formative experience (2002, 2011, 2015), and relied on Augusto Boal (2010, 2012) and Hans-Joachim Koellreutter’s (1997) improvisation proposals. The field research context were the art classes of the first year of high school from a state school of Ceará and meetings with a group formed with students from other grades, classes and shifts of the same school. The method used was action research and had a semi-structured interview and audiovisual recordings of the meetings as main instruments of data collection. Three categories for analysis were found from the interpretation of the subjects’ discourse, such as: opening of the curriculum: freedom to express themselves creatively; expression of subjectivity and otherness in artistic formation; motivation. It was found that the scenic-musical improvisation revealed multiple pedagogical potential, among the main ones: appropriation of full knowledge from the unification of musical and scenic languages; encouraging new perceptions of reality and creativity; motivation for learning provided by the playful aspect of the games / A presente pesquisa objetivou investigar a potencialidade pedagógica do improviso cênico- -musical como experiência artística no âmbito escolar a partir da percepção dos sujeitos participantes do processo, entendendo que esse saber pode trazer contribuições para uma prática pedagógica significativa no que se refere ao ensino e aprendizagem de arte no ensino médio. O trabalho teve como referência os estudos sobre experiência formativa de Jorge Larrosa (2002, 2011, 2015), bem como se apoiou nas propostas de improvisação de Augusto Boal (2010, 2012) e Hans-Joachim Koellreutter (1997). O contexto da pesquisa de campo foram as aulas de arte da 1ª série do ensino médio de uma escola estadual do Ceará, bem como os encontros com um grupo formado com alunos de outras séries, turmas e turnos da mesma escola. O método utilizado foi a pesquisa-ação, tendo como principais instrumentos de coleta de dados a entrevista semiestruturada e gravações audiovisuais dos encontros. A partir da interpretação do discurso dos sujeitos foram encontradas três categorias para análise: abertura do currículo: liberdade para expressar-se criativamente; expressão da subjetividade e alteridade na formação artística; e motivação. Constatou-se que o improviso cênico-musical revelou múltiplas potencialidades pedagógicas, dentre as principais: apropriação do conhecimento de forma integral a partir da unificação das linguagens musical e cênica; estímulo a novas percepções da realidade e à criatividade; e motivação para o aprendizado proporcionado pelo aspecto lúdico dos jogos.

La présente recherche a pour but d’étudier le rôle du temps dans les expériences artistique et esthétique relatives à la performance artistique. Cette étude porte sur les œuvres et les pratiques de la performance du XXe et du début du XXIe siècles, allant des premières manifestations publiques des avant-gardes historiques jusqu’à la performance augmentée par l’intégration des nouvelles technologies de l’enregistrement, de l’information et de la communication. Partant de l’hypothèse de l’efficience du composant temporel de la performance, il s’agit tout d’abord de démontrer que la structure temporelle de la performance fait l’objet d’une élaboration artistique réfléchie et que le temps peut être considérée comme « matériau » ou « milieu » de l’œuvre-performance. Les analyses de la dimension temporelle des œuvres particulières révèlent également son pouvoir d’agir sur le vécu de tous les protagonistes réunis au sein de la performance-événement et sa capacité de les impliquer à différents degrés dans le processus de la concrétisation de l’œuvre-performance. Ces différentes fonctions du temps, son « activité » et son mode opératoire sont analysés au cours de cette recherche en tant qu’ « agentivité du temps dans la performance ». À l’issue de ces investigations, le temps apparaît comme l’un des facteurs ontogénétiques de l’œuvre-performance fondant sa spécificité, et comme l’une de ses qualités intrinsèques susceptible de déterminer les conduites artistique et esthétique de l’artiste et du spectateur, au point de les rendre interchangeables. / The objective of the present research is to investigate the role of time in artistic and aesthetic experiences pertaining to performance art. This paper focuses on the performance works and practices of the 20th and early 21st centuries, ranging from the first public performances of historical avant-garde movements to the performance augmented through the use of the latest recording, information processing and communication technologies. Starting with the hypothesis of the efficiency of a performance’s temporal component, we first demonstrate that the temporal structure of a performance is the matter of well-thought-out artistic design, and that time can be regarded as the medium, or “milieu” of a performance work. Moreover, analyses of the temporal dimension of individual performance works reveal how time can affect the real-life experience of all the protagonists taking part in the performance-event, involving them, to varying degrees, in the process through which the performance comes into being as a work of art. These multiple functions of time, its “activity” and modus operandi are discussed throughout this study as “agency of time in performance”. The research shows that time turns out to be one of the ontogenetic, specificity-conferring factors of a performance work, and also one of its intrinsic qualities which is likely to determine the artist’s and spectator’s artistic and aesthetic attitudes to such an extent that they become interchangeable.

Des architectes et artistes ont utilisé la photographie comme outil de la création et de l’analyse en architecture. Ce postulat est à la base de ce projet de thèse qui a pour sujet général la contribution de l’expérience photographique à la pensée en architecture. Ici, la notion d’expérience photographique est comprise dans un sens proche de l’expérience artistique selon le philosophe John Dewey. Dewey considérait l’expérience d’un art comme un outil pédagogique permettant d’apprendre à penser et à développer un sens critique. L’expérience était pour lui une manière d’approcher esthétiquement le monde et de le comprendre en dehors d’un cadre strictement scientifique. Si des travaux de recherche antérieurs ont permis de retracer l’histoire d’expériences photographiques d’architectes, dont Mies van der Rohe, Le Corbusier et Stirling et, aussi, de mieux cerner leurs rôles dans la construction de leur pensée architecturale respective, les origines des expériences photographiques de l’architecte, artiste et théoricien de renom Melvin Charney (1935-2012) et leurs contributions dans la construction progressive de sa pensée n’ont pas été clairement circonscrites. L’objectif spécifique de cette thèse est, en conséquence, de clarifier les contours des expériences photographiques de Charney et offrir une compréhension plus large de leur contribution dans l’histoire de sa pensée. Le dépouillement d’archives personnelles de Charney conservées au Centre canadien d’architecture et l’analyse du contenu de documents produits avant et pendant ses études en architecture ont permis d’identifier pour quels les motifs et sous quelles influences la photographie s’est introduite dans son œuvre. En particulier, mais non exclusivement, ont été mises en relief, dans l’œuvre – déjà largement étudiées - de Charney, des ramifications d’expériences photographiques de László Moholy-Nagy, d’Erich Mendelsohn, de James Stirling, de Walker Evans et d’Edward Ruscha. Enfin, en partie grâce aux apports de ses expériences photographique, Charney a appris de l’environnement bâti et, aussi, à penser sur l’environnement bâti. Plus spécifiquement, cette étude démontre qu’en travaillant avec la photographie Charney a appris à analyser ce qui est déjà là pour mieux comprendre l’origine des formes bâties. Également, la photographie a été omniprésente dans ses approches de la figuration critique de l’environnement bâti, de la réévaluation des bases de la discipline architecturale et de l’enseignement critique de l’architecture – l’architecture étant pour lui une pratique résolument sociale. Plus largement, cette thèse contribue à la connaissance de la production artistique comme stratégie de recherche dans les disciplines de l’architecture et du design de l’environnement et à l’essentielle reconnaissance d’expériences autres, entre art et architecture, comme leviers d’une pensée architecturale critique. / Architects and artists used photography as a tool for creating and analyzing architecture. This postulate is the basis of this thesis project whose general purpose is the contribution of photographic experiences in architectural thinking. Here, the notion of photographic experience is used in a sense comparable to the artistic experience defined by the philosopher John Dewey. Dewey understood the experience of an art as an educational tool to learn to think and develop a critical sense. Experience was for him a way to aesthetically approach the world and understand it outside a strictly scientific framework. If historians have already traced the history of photographic experiments of architects, including Mies van der Rohe, Le Corbusier and Stirling and, also, have identified the roles of photography in the construction of their respective architectural thinking, the origins of photographic experiments by renowned architect, artist and theorist Melvin Charney and their contributions in the progressive construction of his thought have not been clearly circumscribed. The specific purpose of this thesis is, consequently, to clarify the surrounding of Charney's photographic experiences and offer a broader understanding of their contributions in the history of his architectural thinking. Charney's motifs and influences in his photographic experiments and reflections on photography were identified through an investigation into his personal archives held at the Canadian Center for Architecture and the analysis of the content of documents that he produced before and during his studies in architecture. In particular, ramifications in Charney's work of photographic experiments of Laszlo Moholy-Nagy, Erich Mendelsohn, James Stirling, Walker Evans and Edward Ruscha have been revealed. Finally, partly thanks to the contributions of his photographic experiences, Charney learned from the built environment and to think about the built environment. More specifically, this study demonstrates that working with photography Charney has learned to analyze what is already there to better understand the origin of built forms. Also, photography was for him a tool for the critical figuration of the built environment, for the re-evaluation of the bases of the architectural discipline and, moreover, for the critical teaching of architecture. More broadly, this thesis contributes to the knowledge of artistic production as a research strategy in the disciplines of architecture and environmental design and to the essential recognition of other experiences, between art and architecture, as catalyst of a critical architectural thinking.