The importance of the aura, the metaphysical element that gives art, artifacts, and other objects of cultural heritage their authenticity, has been heavily contemplated ever since the publication of Walter Benjamin's "The Work of Art in the Age of Mechanical Reproduction." This thesis strives to add to this conversation and expand upon it by delving into the emergence of additive manufacturing, or what is more commonly known as 3D printing, and its relation to museums and other institutions that comprise the public humanities. This technology challenges the auratic properties of an exhibit by first digitizing it onto a computer by scanning it and then uploading this data to a 3D printer, which then proceeds to replicate the scanned exhibit down to incredibly fine details. For museums the possibility that 3D printed replicas, increasingly able to be indistinguishable from the original and capable of being produced in great numbers at ease, replacing their auratic exhibits is a very real possibility to consider. This thesis argues that some museums are responding by despatializing their exhibitions in order to uphold their auratic exhibits, while others are offsetting the potential loss by turning their exhibitions into tactile, multisensory experiences. Either option, which are not mutually exclusive, transforms the traditional museum. This thesis ultimately concludes that it's possible to reconcile the auratic exhibit with the 3D printed replica should these institutions properly adapt. Doing so will allow them to continue fulfilling their mission statements to preserve and promote the auratic exhibits well into the future. / Master of Arts / The emergence of 3D printing in recent years has brought with it many implications for not just society, but also the museums and other institutions that comprise the public humanities. Along with printing out objects designed entirely within a computer, 3D imaging and printing technology can easily process scanned objects that have been digitized onto a computer and then reproduce that object while accurately mimicking the specific features that once made it unique. As they increasingly improve in their ability to print with more and more materials, distinguishing the original from its copies from sight alone brings with it an existential dilemma for museums that rely on the authenticity of the original to draw visitors. If everyone could potentially have their own life-size copy of David thanks to a 3D printer, what fate awaits the original David? This thesis will detail this possible development and how exhibitions are responding. Arguing that some museums are in fact utilizing 3D printers outside the halls of their institutions in order to uphold their original collections, while others are offsetting the potential loss by embracing the reproducibility 3D printers provide to allow visitors to touch and interact with 3D printed copies in multisensory exhibitions. Either option, which are not mutually exclusive, transforms the traditional museum going experience. This thesis ultimately concludes that it’s possible to reconcile the original with a perfectly mimicked copy should these institutions properly adapt, allowing them to fulfill their missions to preserve and promote the originals well into the future.

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2017-02-10T12:49:22Z No. of bitstreams: 1 Luiz Henrique Gehlen_.pdf: 1373955 bytes, checksum: d2ae70201efa0171b1e893a7e77e5b4b (MD5) / Made available in DSpace on 2017-02-10T12:49:22Z (GMT). No. of bitstreams: 1 Luiz Henrique Gehlen_.pdf: 1373955 bytes, checksum: d2ae70201efa0171b1e893a7e77e5b4b (MD5) Previous issue date: 2017-01-10 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A presente dissertação está inserida na linha de pesquisa Mídias e Processos Audiovisuais e tem como objetivo geral discutir a presença sonora a partir do uso de sons acusmáticos no cinema. Nossa argumentação é erigida em consonância com a necessidade de problematizar o som como um elemento expressivo na experiência sensorial do universo das imagens cinematográficas, tendo como horizonte a contribuição estética que as sonoridades técnicas ofertam ao cinema moderno. Para tanto, a fundamentação teórica é construída principalmente com base nos conceitos propostos por Gilles Deleuze, Walter Benjamin, Hans Ulrich Gumbrecht, Didi-Huberman e Michel Chion. No sentido de alcançar nossos objetivos, utiliza-se uma metodologia própria construída qualitativamente com ênfase nos métodos: Intuitivo, scanning, cartografia e na desconexão inspirada em Michel Chion, pelos quais tratamos de autenticar as atualizações da presença sonora – a dimensão da escuta e a presença sonora como potência de atualização dos corpos - na obra A Mulher Sem Piano (2009), filme dirigido por Javier Rebollo que representa a estética emergente do “novo cinema espanhol”. / The present thesis is inserted in the Media and Audiovisual Processes research line, and its general objective is to discuss the sonorous presence, by using of acousmatic sounds in cinema. Our argument is built in consonance with the need to problematize sound as an expressive element in the sensory experience of the cinematographic images universe, taking in consideration the aesthetic contribution that technical sonorities offer to modern cinema. For this, the theoretical foundation is built mainly on the concepts proposed by Gilles Deleuze, Walter Benjamin, Hans Ulrich Gumbrecht, Didi-Huberman and Michel Chion. In order to achieve our objectives, it is used a qualitative methodology built with emphasis on the methods: Intuitive, scanning, cartography and the disconnection inspired by Michel Chion, for which we try to authenticate the updates of the sonorous presence - the dimension of listening and the sonorous presence as a updating potency of the bodies - in the movie The Woman Without a Piano (2009), directed by Javier Rebollo, that represents the emergent aesthetics of the "new spanish cinema".

[pt] O cangaço lampiônico, considerado aqui de 1920 a 1940, se deu entre os vestígios de um sertão arcaico e a incipiência de um sertão moderno. Viveu intensamente a tensão desta transição. Nalguns momentos, paradoxalmente, mostrou-se agarrado ao passado, noutros se lançou sem receios ao futuro e, entre essas investidas guiadas pela violência, pilhagem e vingança da honra maculada, criou uma estética exuberante, afirmativa da vida e moderna. Realizaram uma transgressão de fisionomia arcaizante e transcriaram no sertão os impulsos apolíneos e dionisíacos. Remixaram o arcaico lhe dando ares modernos, e através de intervenções estéticas conferiram a objetos comuns aura e autenticidade. Nos trajes e acessórios, criaram uma moda que ultrapassou os umbrais da indumentária. Na música, incorporaram novas batidas à ritmos tradicionais e criaram o xaxado. Na dança, inovaram com a criação da pisada, dança guerreira e festiva, hoje denominada xaxado. Os cangaceiros se tornaram performáticos de si mesmos. A estética do cangaço influenciou e influencia diversas manifestações artísticas, além de ter se tornado marca cultural da região nordeste do Brasil. / [en] The Lampion cangaço, considered here from 1920 to 1940, it took place between the vestiges of an archaic sertão and the beginnings of a modern sertão. He lived intensely the tension of this transition. At times, he stands himself out clinging to the past, at others he fearlessly launched himself into the future and, among these onslaughts guided by violence, plunder and revenge of the tarnished honor, he created an exuberante, life-affirming and modern aesthetic. They carried out a transgression of archaic physiognomy and transcribed the apollonian and dionysian impulses into the sertão. They remixed the archaic, giving it a modern look, and through aesthetic interventions they gave common objects an aura and authenticity. In costumes and accessories, they created a fashion that went beyond the threshold of clothing. In music, they incorporated new beats to traditional rhythms and created xaxado. In dance, they innovated with the creation of footsteps, a warrior and festive dance, today called xaxado. The cangaceiros became performers of themselves. The cangaço aesthetic has influenced and influences various artistic manifestations, in addition to having become a cultural mark of the northeast region of Brazil.