Finding equilibrium in forms, colour-form combinations and images has long been a concern of mine. I recognise a persistent manner of working within my art practice that utilises geometry, mathematics and colour to arrive at compositions that have a sense of beauty and equilibrium. Abstraction has been of significant interest to me and the three collections of work that I developed during my Master of Fine Arts studies - 'Colour:Form:Ratio', 'Photography-Free Zone' and 'Construction-Abstraction' - illustrate the different ways I have applied my interests in abstraction. Until the completion of the 'Colour:Form:Ratio' painting series my approach to abstraction was cerebral and self-reliant. While I was satisfied with results of my initial investigations and experimentation with abstract forms in painting I felt that the work lacked a social connection. I thus became interested in addressing what I perceived as this shortfall in my abstract painting. A new body of photographic work that had been evolving in parallel to my painting practice seemed to offer a solution. I realised that the photographs could be used to construct a new version of abstract composition. The images shared a similar colour and geometrical configuration to that illustrated in the 'Colour:Form:Ratio' Series. With this breakthrough, I began 'painting by eye', replacing my brush and palette with the camera and using it to capture and frame colours and geometric forms from my surrounding environment. In order to test my new methodology of arriving at abstract compositions extracted from the world around me, I selected two communally shared spaces - the gallery/museum and the construction site - as the sourcing ground for my photographs. The result of my experimentation has been two collections of work: 'Photography-Free Zone' and 'Construction-Abstraction'. Both series reflect my experience of the gallery/museum space and the construction site while illustrating the transferral of my painting process to the photographic medium. The most favourable realisation I made in the process of making these works was that the subject matter I captured with the camera possessed aesthetic and theoretical qualities in keeping with my former painted artistic vocabulary, despite being removed from the physical act of painting.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-27T17:16:28Z No. of bitstreams: 1 DISSERTAÇÃO GILDON OLIVEIRA.pdf: 867409 bytes, checksum: dd0642398da5e91dc5020ee1669f6006 (MD5) / Approved for entry into archive by Marly Santos (marly@ufba.br) on 2018-08-27T18:39:36Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO GILDON OLIVEIRA.pdf: 867409 bytes, checksum: dd0642398da5e91dc5020ee1669f6006 (MD5) / Made available in DSpace on 2018-08-27T18:39:36Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO GILDON OLIVEIRA.pdf: 867409 bytes, checksum: dd0642398da5e91dc5020ee1669f6006 (MD5) / Esta dissertação tem como ação fundamental a construção da narrativa dramática ficcional para o teatro Vermelho rubro amoroso... profundo, insistente e definitivo! e uma reflexão crítica do processo de criação da peça teatral considerando uma investigação teórica sobre o gênero dramático melodrama e a composição de estratégias de produção de efeitos emocionais. Neste trabalho, são configuradas diretrizes para um exercício de construção da fábula em que o dramaturgo se dispôs a compor estratégias de produção de efeitos emocionais, em especial os modos de relação entre a expressão das emoções das personagens e a convocação, através da dramaturgia, da disposição emocional do espectador, considerando a apreciação como uma experiência que envolve a subjetividade humana em diversas dimensões, sendo a dimensão emocional com as possíveis reações afetivas de um apreciador, o interesse maior deste estudo. / This dissertation is the construction of the fundamental action dramatic narrative fiction to theater Red crimson love ... deep, persistent and permanent! and a critical reflection of the process of creating the play considering a theoretical investigation of the dramatic genre of melodrama and composition strategies to produce emotional effects. In this work are set guidelines for building exercise fable in which the playwright was willing to compose strategies to produce emotional effects, especially the relationship between the modes of expression of the emotions of the characters and the call through the drama, the emotional disposition the viewer considering the appraisal as an experiment that involves human subjectivity in various dimensions and the emotional dimension with the possible emotional reactions of a connoisseur, the interest of this study.

Orientador: Denise Hortência Lopes Garcia / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-17T10:46:29Z (GMT). No. of bitstreams: 1 Sanches_AlexandreMartinello_M.pdf: 2454741 bytes, checksum: 42344a7fc245405b1c43b64ea90be21e (MD5) Previous issue date: 2009 / Resumo: Neste trabalho propomos desenvolver um modelo para a criação de obras audiovisuais. Inicialmente, apresentamos um levantamento de algumas abordagens referentes à utilização da relação audiovisual e destacamos conceitos advindos dos domínios em separado. Com relação ao domínio do sonoro apresentamos algumas características e interpretações do termo "Som" pelo viés dos compositores e teóricos Pierre Schaeffer e Michel Chion. Da área visual, pontos e características são abordadas através do viés de Rudolf Arnheim, Lúcia Santaella, Winfried Nöth e Jacques Aumont. Na parte destinada ao audiovisual são abordadas linhas de pensamento referentes à sinestesia, ao Fenômeno da Multisensorialidade de Edward L. Marks e do Contrato Audiovisual e Transsensorialidade de Michel Chion. A escolha de qual abordagem referente ao audiovisual utilizamos em nosso trabalho teórico e prático é definida através da crítica dos conceitos apresentados durante a recapitulação teórica e da elaboração de estudos. Estas escolhas podem ser resumidas na busca por estruturar e dar unidade a obra através de resultados perceptivos e parâmetros pertencentes à própria relação audiovisual; na utilização de eventos sonoros e eventos visuais fixados (gravados); e da observação das influências que ocorrem quando há sobreposição ou justaposição de "sons" e "imagens" a partir da idéia de contrato audiovisual de Michel Chion. Os estudos estão divididos em dois volumes com três estudos cada: "Estudo dos Objetos Audiovisuais Vol. I" contendo os estudos "Facture", "Overlapping" e "Density" e "Estudo dos Objetos Audiovisuais Vol. II" contendo os estudos "Synchrèse", "Aimantation Spaciale" e "Ritmo" / Abstract: The objective of this study is to develop a model for the creation of audiovisualworks through morphological qualities. Initially, a survey of some approaches related to the usage of the audiovisual relation and concepts from each of the areas are highlighted. From the sound area, some characteristics and interpretations of the term "sound" are presented, following the works of composers and theoreticians Pierre Schaeffer and Michel Chion. From the visual area, points and characteristics are approached following the works of Rudolf Arnheim, Lúcia Santaella, Winfried Nöth and Jacques Aumont. On the part related to audiovisual, lines of thought related to synesthesia, Edward L. Marks' Multisensoriality Phenomenon and Michel Chion's Audiovisual Contract and Transensoriality. The choice of which approach related to audiovisual is used in this theoretical and practical study is defined through the critics of the concepts presented during the theoretical recapitulation and of the study elaboration. These choices may be summarized by the search of a restructuring and unifying of the work through perceptive results and parameters belonging to the very audiovisual relation; by the usage of sound events and visual events fixated (recorded); and by the observation of influences which occur when there is overlapping of "sounds" and "images" from the idea of Michel Chion's audiovisual contract. The practical studies are divided into two volumes, with three studies each: "Estudo dos Objetos Audiovisuais Vol. I", containing the studies of "Facture", "Overlapping" and "Density" and "Estudo dos Objetos Audiovisuais Vol. II", which contain the studies of "Synchrèse", "Aimantation Spaciale" and "Ritmo" / Mestrado / Processos Criativos / Mestre em Música

Orientadores: Eusébio Lobo da Silva, Sara Pereira Lopes / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-21T10:19:49Z (GMT). No. of bitstreams: 1 Almeida_KarinaCamposde1984-_M.pdf: 10292351 bytes, checksum: 6a57f0a27cc58dc2ee71a359988d935a (MD5) Previous issue date: 2012 / Resumo: A presente pesquisa apresenta um estudo sobre composição como decomposição em dança, sob o ponto de vista da experiência de atuação do ator-dançarino. Para tal, realiza se uma investigação teórica sobre o processo de elaboração formal em dança e seus possíveis elementos de construção, a partir das referências apresentadas principalmente por Dantas (1999) e Smith-Artaud (2000). Com o objetivo de agregar outras vozes sobre composição como decomposição em dança, a pesquisa apresenta reflexões elaboradas a partir de entrevistas realizadas com três artistas da Tanztheater Wuppertal Pina Bausch: Helena Pikon, Julie Anne Stanzak e Morena Nascimento. A pesquisa compreende uma investigação prática, através da observação e participação ativa de três diferentes processos criativos: a criação do espetáculo "Era... Uma vez?", da companhia Terraço Teatro; "Impressões", da Seis + 1 Cia. de dança e o projeto "Narrativa e poética no processo de elaboração de dança para o vídeo", desenvolvido em um formato de residência artística na cidade de Londres, Reino Unido. A partir de uma articulação teórica-prática, pretende-se discutir como composição e decomposição se integram nos processos de criação das obras citadas nesta dissertação / Abstract: This research presents a study about composition as a decomposition process in dance, from the performance's actor-dancer experience point of view. We performed a theoretical investigation regarding the formal elaboration process in dance and its building elements suggested by the references, mainly Dantas (1999) and Smith-Artaud (2000). In order to incorporate other voices to the composition as decomposition in dance, the present research exposes reflections developed from interviews with three different artists from Tanztheater Wuppertal Pina Bausch: Helena Pikon, Julie Anne Stanzak and Morena Nascimento. Additionally, the research comprehends a practical investigation monitoring three distinct creative processes: the "Era... Uma vez?" piece creation, from Terraço Teatro; "Impressões", from Seis + 1 dance company and "Narrative and poetics in the process of devising dance for the screen", project developed during an artistic residence in London, United Kingdom. Linking theory and practice, it is intended discuss how composition and decomposition merge during the creation processes the works mentioned in the present dissertation / Mestrado / Artes da Cena / Mestra em Artes da Cena

This research problem represents an attempt to forestall the high school student's usual preoccupation with perceptive minutiae by placing an emphasis on the monumental or underlying structure of a work of art. The author, endeavoring to afford maximum success for the students, first stripped subject matter to its most pristine quality, the silhouette. Because it was felt that it is much easier to recognize and organize an underlying structure without the added complication of perspective, emphasis was placed on a depthless surface or decorative space to be organized into a coherent whole through application of the abstractions which are the elements and principles of design. This unit was offered to a class of high school students in an Art General class at Madison High school, Portland, Oregon. This is an elective class open to all students from freshman to senior year. Results of this unit were generally successful. Improvement was exhibited by all students. During these activities of experimenting and creating, students learned about design by doing, looking, and discussing. They became less concerned about minutiae, and they began to express an appreciation for paintings for themselves rather than for recognizable objects or superfluous delineation. It was concluded that students at this age level have the most difficulty when left to their own resources for subject matter. Many false starts were made before this particular problem was resolved. But, upon its completion, students felt that they had met a challenge of discovery, exploration, and creation on their own.

Fewer geometrical analyses have been made of paintings than of any other group of works of art. For this reason ten paintings by a typical Florentine painter, Botticelli, were chosen by the author in order to find out; first, the extent to which geometrical divisions were used in determining the enclosing rectangles and the main lines of the composition; second, whether or not the same geometrically determined relationships were used by Botticelli frequently enough to be considered an important determinant of his style.

Ma pratique en art se conçoit uniquement en peinture. Elle est orientée vers l’abstraction où je travaille la forme et la couleur exclusivement liées à mes états émotionnels. Ma préoccupation première tourne autour du principe de l’équilibre pictural qui consiste à répartir les éléments visuels dans un tableau de manière à harmoniser la composition et les proportions. Afin d’arriver à ce stade, j’équilibre mes peintures selon leurs éléments plastiques. Chacune des composantes picturales interagit avec ses voisines, nécessitant ainsi une préoccupation constante du poids visuel de celles-ci. Ce poids s’établit en termes de pesanteur (légèreté/lourdeur), au niveau des formes (ovale/cubique), des couleurs (claire/foncé) et des espaces (allégé, surchargé). L’aspect de dualités entre deux notions plastiques (transparence/opacité, chaud/froid, traits/masses) est aussi présent dans mon travail pour créer ce que j’appelle des tensions spatiales. Ces rapports de dualité complètent, avec l’équilibre, le dynamisme visuel qui se construit devant mes yeux. Composées d’un amas de masses de couleurs de différentes grosseurs et de formes aléatoires, mes peintures sont créées en majorité par des traces de vitesse. Travailler avec la peinture acrylique est un avantage puisqu’elle sèche très vite et qu’elle me permet de venir camoufler, juxtaposer, altérer et foncer une ancienne tache sans que les couleurs ne se mélangent. La conception de mes toiles est donc un processus d’accumulation et de superposition de masses ou de formes colorées qui se conçoit rapidement et instinctivement, dans l’esprit postmoderne qui suppose que l’œuvre s’édifie sans plan préétabli, sur ses propres avancées.

Painters of Christian subjects in the late Middle Ages and early Renaissance developed a complex system of geometry which they used to order the various elements in the image. They did this because they were convinced that the aesthetic dimension of their work resided in the structure of the work. More specifically, the artists of the late Middle Ages and the Renaissance believed that the particular aesthetic experience which geometric compositional structure provides corresponded to Christian mystical experience. Thus a work of art that combined geometric structure, naturalistic style, and Christian imagery could provide an experience analogous to that of Christian revelation. This paper traces the development of this idea from its origin in the Old Testament tradition, its formalization in Greek thought and its full flowering in early Christian painting.

Esta dissertação trata de trabalho manual artístico, em particular da confecção artesanal de um grupo de trabalho nos aspectos estéticos, compositivos, e construtivos. O objetivo principal foi incorporar as melhorias formais em peças artesanais, pela leitura de meios gráficos, com base nas teorias da linguagem visual, percepção, forma, sistemas construtivos e contribuições históricas oriundas do movimento modernista na arquitetura. O trabalho está dividido em seis capítulos. Após a introdução, foi apresentado o marco teórico, o grupo de trabalho, a análise das peças e a conclusão. A metodologia foi essencialmente de natureza qualitativa e exploratória, com uso de recursos da pesquisa-ação. Foram realizadas oficinas com os artesãos, dirigidas pelo pesquisador instrutor. As peças confeccionadas em bambu espelharam a interpretação formal dos participantes. No texto, a análise comparativa das peças considerou o compartilhamento entre saberes acadêmicos do arquiteto e vivências do grupo de trabalho nomeado Cia do Bambu. As considerações finais apontaram para uma apreensão de noções de conceitos da arquitetura relativos à proporção, à linguagem plástica, à estrutura da peça, à ampliação do imaginário e à incorporação de novidades. Os modelos rígidos, “tal qual a arte egípcia”, foram abandonados e substituídos por protótipos criados, discutidos e projetados especialmente em casos para atender demandas externas de trabalho. Foram reforçados os ideais do belo cultuados pela arte grega. Os atos de concepção e os mecanismos de funcionamento estrutural das peças artesanais passaram a sugerir características do movimento da arquitetura moderna. Consequentemente, o grupo de trabalho Cia do Bambu se apoderou das potencialidades de suas imaginações, de seus saberes e conhecimentos adquiridos para criar novas peças. / This dissertation deals with artistic handiwork, particularly of a craft working group, on aesthetic, compositional, and constructive aspects. The main objective was to incorporate formal improvements in handcrafted pieces by reading graphic means, based on visual language theories, perception, form, construction systems and historical contributions coming from the architectural modernist movement. The work is divided into six chapters. After the introduction, come the theoretical framework, the working group, the pieces analysis and the conclusion. The methodology was essentially qualitative and exploratory, with resources of action research. Workshops were held with the artisans, led by the researcher instructor. It was fabricated bamboo pieces that mirrored the formal architectural interpretation of the participants. In the text, the pieces comparative analysis considered the sharing between the architect academic knowledge and the working group Cia do Bambu experiences. The final considerations pointed out to an apprehension of architectural concepts notions related to proportion, visual language, piece structure, imaginary expansion, and novelties incorporations. The rigid models, "just like Egyptian art," were abandoned and replaced by created, discussed and projected prototypes, especially in situations to answer external work demands. It was reinforced the beauty ideals cultivated by the Greek art. The conception acts and the structural functioning mechanisms of the handcrafted pieces suggested characteristics of modern architecture movement. In consequence, the working group Cia do Bambu seized their imagination potentialities, their knowledge and expertise acquired to create new pieces.

Esta dissertação trata de trabalho manual artístico, em particular da confecção artesanal de um grupo de trabalho nos aspectos estéticos, compositivos, e construtivos. O objetivo principal foi incorporar as melhorias formais em peças artesanais, pela leitura de meios gráficos, com base nas teorias da linguagem visual, percepção, forma, sistemas construtivos e contribuições históricas oriundas do movimento modernista na arquitetura. O trabalho está dividido em seis capítulos. Após a introdução, foi apresentado o marco teórico, o grupo de trabalho, a análise das peças e a conclusão. A metodologia foi essencialmente de natureza qualitativa e exploratória, com uso de recursos da pesquisa-ação. Foram realizadas oficinas com os artesãos, dirigidas pelo pesquisador instrutor. As peças confeccionadas em bambu espelharam a interpretação formal dos participantes. No texto, a análise comparativa das peças considerou o compartilhamento entre saberes acadêmicos do arquiteto e vivências do grupo de trabalho nomeado Cia do Bambu. As considerações finais apontaram para uma apreensão de noções de conceitos da arquitetura relativos à proporção, à linguagem plástica, à estrutura da peça, à ampliação do imaginário e à incorporação de novidades. Os modelos rígidos, “tal qual a arte egípcia”, foram abandonados e substituídos por protótipos criados, discutidos e projetados especialmente em casos para atender demandas externas de trabalho. Foram reforçados os ideais do belo cultuados pela arte grega. Os atos de concepção e os mecanismos de funcionamento estrutural das peças artesanais passaram a sugerir características do movimento da arquitetura moderna. Consequentemente, o grupo de trabalho Cia do Bambu se apoderou das potencialidades de suas imaginações, de seus saberes e conhecimentos adquiridos para criar novas peças. / This dissertation deals with artistic handiwork, particularly of a craft working group, on aesthetic, compositional, and constructive aspects. The main objective was to incorporate formal improvements in handcrafted pieces by reading graphic means, based on visual language theories, perception, form, construction systems and historical contributions coming from the architectural modernist movement. The work is divided into six chapters. After the introduction, come the theoretical framework, the working group, the pieces analysis and the conclusion. The methodology was essentially qualitative and exploratory, with resources of action research. Workshops were held with the artisans, led by the researcher instructor. It was fabricated bamboo pieces that mirrored the formal architectural interpretation of the participants. In the text, the pieces comparative analysis considered the sharing between the architect academic knowledge and the working group Cia do Bambu experiences. The final considerations pointed out to an apprehension of architectural concepts notions related to proportion, visual language, piece structure, imaginary expansion, and novelties incorporations. The rigid models, "just like Egyptian art," were abandoned and replaced by created, discussed and projected prototypes, especially in situations to answer external work demands. It was reinforced the beauty ideals cultivated by the Greek art. The conception acts and the structural functioning mechanisms of the handcrafted pieces suggested characteristics of modern architecture movement. In consequence, the working group Cia do Bambu seized their imagination potentialities, their knowledge and expertise acquired to create new pieces.