Thesis (D.W.S.)--Institute for Worship Studies, 2003. / Abstract. Includes bibliographical references (leaves 126-130).

Made available in DSpace on 2014-06-11T19:22:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-05-29Bitstream added on 2014-06-13T19:48:46Z : No. of bitstreams: 1 farias_ds_me_ia.pdf: 3149410 bytes, checksum: 5f4f71cfbe4345cc4461b576afca02d1 (MD5) / Esta dissertação tem por objetivo a análise e a investigação acerca da hipótese de convergência de linguagens nas artes visuais: cinema, vídeo, teatro, por meio de suportes orgânicos e tecnológicos com o uso da internet ou não. Foram apresentados e analisados obras de teatro como, a Companhia Phila7, Teatro Para Alguém, La Fura dels Baus, a peça teatral Descrição de Imagem - DDI de Heiner Müller, o Cinema Vivo do cineasta Alexandre Carvalho, o filme SuperBarroco da cineasta Renata Pinheiro, o filme Lixo de Cabeceira de Peter Greenaway, o docmentário 33 de Kiko Goifman, o filme a Bruxa de Blair dos diretores Daniel Myrick, Eduardo Sánchez, a Shadow Art de Tim Noble e Sue Webster, A Câmera Obscura de Abelardo Morell e a Ópera Dido e Aeneas de Henry Purcell. Para o embasamento teórico, foram resgatadas considerações a respeito do pensamento complexo, a questão do dispositivo, da convergência, do hipertexto, do rizoma, a questão do virtual, do hibridismo, com o intuito de demonstrar a confluência existente entre diferentes linguagens. Por isso, recoremos às ideias de Edgar Morin, Arlindo Machado, Lúcia Santaella, George Landow, Pierre Lévy, Gilles Deleuze, Felix Guattari, Heiner Müller, Henry Jenkins, Serguei Eisenstein, Umberto Eco, Katia Maciel, Urbano Nobre Nojosa, Pollyana Ferrari, Agnus Valente, entre outros. O trabalho: Convergência de linguagens nas artes visuais: cinema, vídeo e internet, evidencia as modificações ocorridas no campo dos dispositivos de comunicação e das linguagens aqui abordadas, e suas repercussões no âmbito das artes e no espaço sócio cultural da contemporaneidade / Esta disertación tiene como objetivo el análisis y la investigación sobre la hipótesis de la convergencia de las lenguajes en las artes visuales: cine, video, teatro a través de soportes orgánicos y tenológicos que utilizan Internet o no. Fueron analisados y presentados como obras de teatro, la Compañía Phila7, Teatro Para Alguém, La Fura dels Baus, la obra Descripción Imagen - DDI Heiner Müller, Live Cinema cineasta Alexandre Carvalho, la película SuperBarroco cineasta Renata Pinheiro, la película The Pillow Book de Peter Greenaway. el documental 33 Kiko Goifman la película The Blair Witch directores Daniel Myrik, Eduardo Sánchez, Shadow Art - Arte Sombra de Tim Noble y Sue Webster, la cámara oscura de Abelardo Morell, la Ópera Dido y Eneas de Henry Purcell. Por los antecedentes teóricos, fueron rescatados consideraciones sobre el pensamiento complejo, la cuestión de la convergencia, dispositivo, el hipertexto, la rizoma, la cuestión de la hibridación virtual para demonstrar la confluencia entre diferentes lenguajes. Por lo tanto, utilizamos las ideas de Edgar Morin, Arlindo Machado, Lucia Santaella, George Landow, Pierre Lévy, Gilles Deleuze, Félix Guattari, Heiner Müller, Henry Jenkins, Sergei Eisenstein, Umberto Eco, Katia Maciel, Urbano Nobre Nojosa, Pollyana Ferrari, Agnus Valente entre otros. Trabajo: La convergencia de las lenguajes en las artes visuales: cine, video, teatro y internet, evidencia los cambios en el campo de los dispositivos de comunicación y lenguajes dicutidos aquí, y sus repercusiones en las artes y el espacio socio-cultural contemporáneo

En el proceso de comunicación diario, respetamos diversas prácticas y roles convencionales, en un sentido de interacción (de comportamientos, actitud, conducta, imagen) con otros. En el caso del actor profesional, además de la interacción en su vida cotidiana, debe trabajar también en su personaje con los de la obra a encarnar, desarrollando una capacidad de interactuar una variedad de roles semejantes a los de su vida cotidiana, al punto de tornar autónomo al personaje que encarna, convirtiéndose en un experto de la interacción. Dicha autonomía se genera durante los procesos de construcción del personaje al emplear métodos que procuran hacerlo creíble para la puesta en escena a representar. Dichos métodos, provienen de las corrientes de actuación moderna, muy empleadas entre los actores profesionales contemporáneos dada la flexibilidad del método, y suelen llevarlos a posibles confusiones entre su andar cotidiano, y su propio trabajo dramatúrgico. El objetivo de este trabajo es llegar a comprender la complejidad del proceso de comunicación en el quehacer profesional del actor, veremos a través de la investigación, que los actores profesionales corren el riesgo de desdoblar el personaje que interpretan a la dimensión de su vida diaria. / Trabajo de investigación

The master's thesis deals with the marketing potential of the recent art work fairs. The aim of the thesis was to analyse the potential of the fair trades with the emphasis on the benefits of participation for the Czech private galleries in such fairs. The thesis also deals with the fair as one of the communication mix tools, which shall serve to achieve the marketing and communication goals and presents the relationships between the participants in the art work market. The advantages of the participation in recent art work fairs were analysed through the method of interview comparison with the gallery owners and employees. The analytical part covers the analysis of the participation of a Czech private gallery in an international recent art fair and presents the barriers of entry for Czech galleries in such fairs. With regard to the results of the analysis the measures were recommended that would lead to more effective usage of the marketing potential of the recent art fairs.

The objective of this dissertation is to establish the notion that art can serve to create and communicate an awareness of the interconnectedness between people and nature. This study debates the theoretical similarities and differences in attitudes toward the planet as interpreted in the artworks of pre-history shamans and traditional societies, 20th century land and urban artists and contemporary environmentally concerned artists. The comparative findings suggest that attitudes of anthropocentricism, greed and power and a denial of Pantheism associated with agriculture, industrial and technological developments, have changed the human-nature symbiosis found in early societies. The creative component of this study has employed the processes of etching and embossing, digital image manipulations and the juxtaposition and layering of images to establish visual metaphors that communicate interconnectedness. Sculptures, billboards, prints and photographs as artworks of the conscience intend to shift socially and personally constructed perceptions from human-centeredness toward a symbiotic worldview. / Art History, Visual Arts & Musicology / M.A. (Visual Arts)

This paper centres in and around words. I have incorporated words into my recent work in a variety of ways including drawing, Letraset, sound and fiction writing. The philosophical questions which arise through any use of language and the various ways of adopting these questions and words within a 'visual art' context is considered in a number of ways. These include The Voyager Interstellar Space Mission which was humankind's first attempt to communicate with other hypothesized populations, conceptual word-incorporating artists, writers of fiction and philosophers within whose work can readily be found an extreme vigilance towards language. Alongside this word exploration I will consider other processes through which I've made and continue to make, works of art. These processes include drawing and film/video. My drawings (which sometimes include words) will be addressed in terms of a crossover between the drawn line and words found in Raymond Carver's story Cathedral. This story made me think about what it means to 'be led' by somebody and how I'm led (by myself or perhaps those mysterious 'populations' the Voyager team of thinkers had in mind) when drawing. It also marks an interesting point in my discussion of a state of being 'without words.' In addition to words an important focus in this paper are the windows through which I've spent a lot of 'my life' looking at 'life pass by' (which are in many ways a physical reality corresponding to the metaphorical 'frame of language'). The time I've spent looking out windows over the past few years has resulted in. several film and video pieces in addition to my latest work (presented as the appendix of this paper) which comprises of a series of short stories. The paper opens with a quote by German philosopher Martin Heidegger: "Language is the house of Being. In its home man dwells." The enigmatic broadness of this statement is appropriate to the apprehensive and cautious attitude towards words found throughout the paper (also it mentions 'house' which immediately brings to my mind 'windows')

The objective of this dissertation is to establish the notion that art can serve to create and communicate an awareness of the interconnectedness between people and nature. This study debates the theoretical similarities and differences in attitudes toward the planet as interpreted in the artworks of pre-history shamans and traditional societies, 20th century land and urban artists and contemporary environmentally concerned artists. The comparative findings suggest that attitudes of anthropocentricism, greed and power and a denial of Pantheism associated with agriculture, industrial and technological developments, have changed the human-nature symbiosis found in early societies. The creative component of this study has employed the processes of etching and embossing, digital image manipulations and the juxtaposition and layering of images to establish visual metaphors that communicate interconnectedness. Sculptures, billboards, prints and photographs as artworks of the conscience intend to shift socially and personally constructed perceptions from human-centeredness toward a symbiotic worldview. / Art History, Visual Arts and Musicology / M.A. (Visual Arts)

Thesis (MA)--Stellenbosch University , 2002. / ENGLISH ABSTRACT: This thesis is concerned with a study of the two basic elements of communication, namely image and text. How these basic communication tools function in the genre of the visual narrative with regard to their roles in the comic strip and the artist's book, will be examined. Both genres, the comic book and the artist's book, consist of complex structures regarding their workings in the framework of the visual narrative, and this work explores these complexities by analysing how image and text function in the visual narrative. The area of semiotics is used as a basis on which the arguments in this thesis are built. The principles contained in semiotics act as useful guidelines in the reading and understanding of communication in general, but in this study these principles give focus and structure to the research of especially the comic strip and the artist's book. Concepts that are discussed in depth include the interesting interactions which occur between image and text when they are used together. Signs, icons, symbols and how they function with (or without) text, are also examined. Text can also function as image, and this visualisation of text is explored. The role of concepts like interpretation, perception, the study of images and image-association, are all very important in the visual communicator's eventual success with his/her communication. How these concepts influence the creation and forming of one's visual intelligence and visual literacy, and the eventual effect it has on the process of communication, make up a very important part of this study. These arguments lead to a discussion of the dynamics contained in the visual narrative when looked at from a semiotic perspective. Central to the discussion on the visual narrative in this thesis, is the differentiation between two similar genres: 1) Firstly, a discussion of the functioning of the comic strip medium. Important aspects of this subject are the interactions of image and text, and how the comic medium consists of a unique set of symbols, which influence the specific communication in this genre. 2) Secondly, the genre of the artist's book, and how the medium of the book functions as a unique phenomenon in communication. The systems of meaning contained in the medium of the book are looked at against the light of a semiotic analysis of text and image. This research supports the importance of a semiotic approach as a helpful aid in the interpretation of any piece of communication, but especially that of the comic strip medium and the artist's book. The theories of Charles Peirce, Ferdinand de Saussure, Roman Jakobson, Maurice Merleau-Ponty and Umberto Eco are used as basis of the arguments in this thesis and serve as valuable ground for a useful discourse. The implementation of above mentioned theories lead to an indication of the complexities involved in the special visual language of the comic strip and the artist's book. / AFRIKAANSE OPSOMMING: Hierdie studie is gemoeid met 'n ondersoek na die twee basismiddele of "taal" van kommunikasie, naamlik beeld en teks. Hoe hierdie basiese kommunikasiegereedskap funksioneer in die visuele narratief, met verwysing na veral die komiekstrip en die kunstenaarsboek, word ondersoek. Beide van laasgenoemde genres beskik oor komplekse strukture in hul bestaan binne die raamwerk van die visuele narratief, en hierdie navorsing ondersoek hierdie kompleksiteite deur die funksionering van beeld en teks in die visuele narratief te ontleed. Die area van semiotiek word as basis gebruik waarop die argumente in die tesis gebaseer is. Die beginsels vervat in die rigting van semiotiek tree op as 'n handige hulpmiddel in die lees en verstaan van enige vorm van kommunikasie, maar in hierdie studie verleen dit veral fokus en struktuur aan die navorsing binne die raamwerk van die komiekstrip en kunstenaarsboek. Konsepte wat in diepte bespreek word met die oog op hul uiteindelike funksionering binne die visuele narratief, sluit die interessante interaksies wat ontstaan tussen beeld en teks wanneer hulle saam gebruik word, in. Konsepte soos tekens, ikone en simbole, asook hul werking saam met teks (en afsonderlik daarvan), word bespreek. Teks kan in werklikheid ook as visuele beeld funksioneer, en hierdie "ikonifisering" of "beeldwording" van teks word ondersoek. Die rol van konsepte soos interpretasie, persepsie, beeldherkenning en assosiasie, wat uit hierdie proses van visuele kommunikasie voortspruit, is baie belangrik in die visuele kommunikeerder se uiteindelike sukses met sy/haar poging tot kommunikasie. Hoe hierdie konsepte aanleiding gee tot die skep van 'n persoon se "visuele intelligensie" en "visuele geletterdheid", en die uiteindelike effek wat dit op die proses van kommunikasie het, maak 'n belangrike deel van hierdie navorsing uit. Hierdie konsepte lei tot 'n bespreking van die dinamika van die visuele narratief wanneer daar vanuit 'n semiotiese oogpunt daarna gekyk word. Sentraal tot die bespreking van die visuele narratief in hierdie tesis, kan daar tussen twee ooreenkomstige genres onderskei word: 1) Eerstens is daar 'n bespreking van die funksionering van die komiekstripmedium. Belangrike aspekte van hierdie onderwerp is die funksionering van en interaksies tussen beeld en teks binne die medium, en hoe die stripmedium bestaan uit 'n unieke stel simbole wat die kommunikasie van die werk beïnvloed. 2) Tweedens die genre van die kunstenaarsboek, en hoe die boek as unieke medium funksioneer, word bespreek en ontleed. Die sisteme van betekenis vervat in die visuele narratief betrokke in die boekmedium, word beskou teen die lig van 'n semiotiese ondersoek na die interaksies van die basismiddele beeld en teks. Hierdie navorsing steun die belangrikheid van semiotiek as hulpmiddel in die interpretasie van enige stuk kommunikasie, maar veral in die stripmedium en die kunstenaarsboek. Die studie maak veral gebruik van die teorieë van Charles Peirce, Ferdinand de Saussure, Roman Jakobson, Maurice Merleau-Ponty en Umberto Eco. Die toepassing van bogenoemde teorieë in hierdie studie, lei tot 'n aanduiding van die kompleksiteite vervat in die spesiale "visuele taal" van veral die komiekstrip en die kunstenaarsboek.

Thesis (PhD)--Stellenbosch University, 2012. / Includes bibliography / ENGLISH ABSTRACT: The importance of global and local change and transformation is emphasised through initiatives such as the United Nations Millennium Development Goals (2012) and the Earth Charter Initiatives (2011) for constructing a just, sustainable and peaceful global society. In South Africa, the need for transformation has been underlined by the South African Department of Education in the Education White Paper of 1997 (DOE 1997). At Stellenbosch University, the Pedagogy of Hope (US) project aims to find concrete ways to reflect on historical influences and current SA society. Tremendous progress has been made in transformation regarding legislative policies, but personal transformation within people is proving to be slow. As a response to these realities, a module called Critical Citizenship was introduced for first-­‐ to third-­‐year Visual Communication Design students at the Visual Arts Department at Stellenbosch University. The aim of this research project was to explore the perceptions and attitudes of students, learners and lecturers regarding personal transformation through teaching and learning in the Critical Citizenship module. As a framework for the study, I emphasised the importance of giving consideration to the emotional dimensions of learning (Illeris 2007), meaning considering the learning being (Barnett 2009) as a thinking, feeling and acting person (Jarvis 2006). The objectives of the study were to identify such emotional reactions to the Critical Citizenship module and to establish what the emotional reactions revealed about the immediate and broader context of the teaching and learning context in which students, learners and lecturers learn and teach. I followed an interpretative approach and a case study research design that aimed at exploring and providing an in-­‐depth investigation of the Critical Citizenship module was used. The themes that surfaced from reflections written by students and learners and from group interviews, comprised feeling unprepared for this type of project; feelings of guilt and shame; resistance to this type of project; asymmetry and assimilation, but also feelings of hope. Other responses, suggesting feelings of empathy, privilege, humility, re-­‐ evaluation of priorities and values, sameness and difference, feeling out of a comfort zone and reflecting on blackness and whiteness were also interweaved with the main themes. The results of the research included that taking into consideration the emotional aspects in critical citizenship education is important because we are thinking, feeling and acting beings, but moving beyond emotional reactions toward rational actions is crucial. Critical citizenship cannot be taught in isolation because the context in which it exists plays a vital role and an inclusive critical citizenship curriculum within community interactions for the wider society is suggested. / AFRIKAANSE OPSOMMING: Die belangrikheid van globale en plaaslike verandering en transformasie word beklemtoon deur inisiatiewe soos die Verenigde Nasies se Millennium-­‐ ontwikkelingsdoelwitte (2012) en die Aardemanifes Inisiatiewe (2011) vir die daarstelling van ‘n regverdige, onderhoubare en vreedsame globale gemeenskap. In Suid-­‐Afrika is die behoefte aan transformasie deur die Suid-­‐Afrikaanse Departement van Onderwys deur die Onderwys Witskrif van 1997 (DvO 1997) onderstreep. By die Stellenbosch Universiteit beoog die Pedagogie van Hoop (US) projek om konkrete maniere te verkry om historiese invloede en die huidige SA gemeenskap te oordink. Geweldige vooruitgang in transformasie is reeds ten opsigte van wetgewende beleid bewerkstellig, maar dit blyk dat persoonlike transformasie binne-­‐in mense traag gebeur. ‘n Module genaamd Kritiese Burgerskap is as reaksie tot hierdie realiteit by die Visuele Kunste Departement te Stellenbosch Universiteit ingestel vir eerste-­‐ tot derdejaarstudente in Visuele Kommunikasie Ontwerp. Die doel van die huidige navorsingsprojek was om die persepsies en houdings van studente, leerders en dosente ten opsigte van persoonlike transformasie deur die onderrig en leer van die Kritiese Burgerskap module te ondersoek. As ‘n raamwerk vir die studie het ek beklemtoon dat dit belangrik is om die emotiewe dimensies van leer (Illeris 2007) in ag te neem, wat inagname van die lerende wese (Barnett 2009) as ‘n denkende, voelende en handelende persoon (Jarvis 2006) behels. Die doelwitte van die studie was om emotiewe reaksies op die Kritiese Burgerskap module te identifiseer en vas te stel wat deur sulke emotiewe reaksies ontbloot word ten opsigte van die onmiddellike en breër konteks van die onderrig en leer konteks waarbinne die studente, leerders en dosente leer en onderrig gee. Ek het met ‘n interpretatiewe benadering en lens te werk gegaan en ’n gevallestudie navorsingsontwerp is gebruik. Temas wat na vore gekom het uit refleksies wat deur studente en leerders geskryf is en uit groep onderhoude het die volgende behels: ‘n gevoel van onvoorbereidheid vir dié soort projek; gevoelens van skuld en skaamte; weerstand teen hierdie soort projek; asimmetrie en assimilasie, maar ook gevoelens van hoop. Ander reaksies wat ook met die hooftemas deurvleg was, was verteenwoordigend van gevoelens van empatie, bevoorregting, nederigheid, herevaluering van prioriteite en waardes, eendersheid en verskil, die gevoel van buite die gemaksone te wees en nadenke oor swartheid en witheid. Die resultate van die navorsing het behels dat dit belangrik is om die emotiewe aspekte by die onderrig van kritiese burgerskap in ag te neem omdat ons denkende, voelende en handelende wesens is, maar dat dit van kritieke belang is om verby emosionele reaksies na rasionele handeling te beweeg. Kritiese burgerskap kan nie geïsoleerd onderrig word nie omdat die konteks waarbinne dit bestaan ‘n deurslaggewende rol speel; ‘n inklusiewe kritiese burgerskap kurrikulum binne gemeenskapsinteraksies word vir die breër gemeenskap voorgestel.

Made available in DSpace on 2016-10-13T14:10:40Z (GMT). No. of bitstreams: 1 MARCIO CASAROTTI.pdf: 4830193 bytes, checksum: c46feeb1c56cb8d1cba23b4187bb2951 (MD5) Previous issue date: 2013-03-19 / Would contemporary art be a product to be contemplated for consumption the same manner that other products and services are? Would its advertisement discourses and broadcasting follow the same strategies as production? Should they have the same information expectations, reverberations and articulation, understanding and meaning? This dissertation starts with perceptions of a differentiation between two territories that, although culturally intertwined as it advances throughout history, require a deeper epistemological proximity in contemporary time. Products and services offer tangible and intangible benefits in a functional, pragmatic and assertive universe. They are propelled for consumption by means of advertisement with less risks of incomprehension or mercantile inefficacy. On the other hand, contemporary art offers a much more open experience in terms of sense and meaning. Works of art, many times are adverse to an instantaneous understanding that labels them and freezes their cosmos of significance. Art, many times, works shaking language dimensions and discourses, the premises and basis of society development, logics and moralities. This research focuses its efforts on investigating the logics of production and advertisement strategies for consumption of contemporary art. In this sense, it focuses on the interaction between contemporary art and the global society of information and consumption, envisioning the understanding of its expression vectors, and how the advertisement speech has been used to communicate for the consumption of art nowadays. This will be discussed by an analyses of the integrated communication of advertisement for the Sao Paulo Biennal of Art in the editions of 2000 and 2010 and other contextual references, and also making reference to the French line of Discourse Analyses, enriched with the theoretical contribution of Rocha (2010) and Carrascoza (2007), among others. / Seria a arte contemporânea um produto a ser comunicado para o consumo, da mesma maneira que os outros produtos e serviços? Os discursos e midiatizações de sua comunicação publicitária deveriam seguir as mesmas estratégias de produção? Ter as mesmas expectativas de informação, reverberação e articulação de compreensão e sentido? Este projeto parte das percepções de uma diferenciação entre dois territórios que, embora culturalmente entrelaçados no avançar da história, requerem uma aproximação epistemológica mais aprofundada na contemporaneidade. Produtos e serviços oferecem benefícios tangíveis e intangíveis, num universo de funcionalidade, pragmatismo e assertividade. E são propulsionados ao consumo por meio de discursos publicitários menos afeitos a riscos de incompreensão ou ineficácia mercantil. Por uma outra visada, a arte contemporânea oferece experiências mais abertas de sensibilização e significação. As obras muitas vezes adversas a uma compreensão instantânea, que as rotulem e imobilizem seu campo de significados, tensionam as dimensões da linguagem e dos discursos, as premissas de funcionamento das sociedades, as lógicas e as moralidades. Esta pesquisa objetiva investigar as lógicas da produção e as estratégias de midiatização da comunicação para o consumo da arte contemporânea. Para tanto, foca a interação entre arte contemporânea e sociedade global de informação e consumo, com o objetivo de compreender seus vetores de expressão, e como o discurso publicitário vem sendo utilizado a serviço da comunicação para o consumo da arte na atualidade. Isso será conduzido por meio da análise da comunicação integrada das peças publicitárias da Bienal de Arte de São Paulo, nas edições entre 2000 e 2010, e outras referências contextuais, referenciando-se em dispositivos da Análise de Discurso de linha francesa, enriquecidos dos aportes teóricos de Rocha (2010) e Carrascoza (2007), entre outros.