Orientador: Antonio Carlos Rodrigues Amorim / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-20T15:52:39Z (GMT). No. of bitstreams: 1 Torrezan_GustavoHenrique_M.pdf: 171746716 bytes, checksum: 09c47bbced6bc32d2fa299f8e8980e2e (MD5) Previous issue date: 2012 / Resumo: Do processo de criação de três trabalhos "|in| side", "Não é mas está sendo"e "Devir ¿¿3" foram produzidos textos e pensamentos que apresentam a invenção de uma escrita e de uma visualidade, ambos com um viés poético, o qual foi criado a partir do fluxo de coleta, em que, as partes coletadas aqui e acolá funcionam separadamente mas, unidas, ganham força e constroem a dissertação como um movimento de expansão que tece um campo de coexistências. Uma diassertação como um experimento em educação. / Abstract: From the creative process of three art works "|in| side", "Não é mas está sendo"e "Devir ¿¿3" were produced texts and thoughts to present a invented writing and a invented visuality, both with a poetic bias, that was created from a collecting flow, in which, the pieces collected here and there work separately but, when united, earn strength and build the thesis as a movement of expansion that sew a camp of coexistences. A thesis as an experiment for education. / Mestrado / Educação, Conhecimento, Linguagem e Arte / Mestre em Educação

Réunion d'Artistes dans l'atelier d'Isabey, présenté au Salon de 1798, apparaît aujourd'hui comme une œuvre majeure de Louis-Léopold Boilly. Acclamé par le public, moqué par la critique, le tableau est la première représentation d'artistes d'une telle envergure dans la peinture française. L'étude des différentes étapes du processus créatif, des premiers dessins connus au choix du titre, fait état d'un processus complexe de conception et de réalisation. Son analyse, avec le soutien de la génétique et de l'examen matériel des œuvres notamment dans le cadre de la restauration, offre une lecture nouvelle des pratiques du peintre dans le contexte artistique du Directoire. Elle révèle également les liens et les ambitions d'une nouvelle communauté artistique ouverte à l'ensemble des acteurs des beaux-arts et des arts de la scène. / Presented at the Salon in 1798, Reunion of Artists in Isabey's studio is now recognized as a major work c Louis-Léopold Boilly. Applauded by the public, mocked by critics, this painting is the first representation artists of such as a scale and ambition in French painting. The study of the different steps of the creative process, from the first known drawings to the choice of the title, describes a complex process of design an creation. With the support of genetic criticism and the forensic examination of paintings and drawings during restoration, the analysis offers a new reading of the artist's practice in the context of the final years of this French Revolution. It reveals the links and ambitions of a new artistic community open to all actors of bot fine and performing arts.

O presente memorial apresenta uma reflexão teórica sobre a utilização da imagem como ponto de partida da organização estrutural e formal do processo composicional. A primeira parte apresenta as referências musicais e as motivações estéticas com as quais dialogo e que impactaram minha composição. A segunda parte consiste em um referente teórico, o qual se centra na análise da importância da imagem nos processos criativos, citando autores como Salles (2011) e Ostrower (2013); por outra parte, sintetiza casos de compositores cujos processos criativos foram mediados pela imagem e empregaram possibilidades de utilização da imagem como orientadora ao longo do percurso criativo. Finalmente, apresento as composições: Fantasia Bolerosa (2012), Quya-Killa (2012), Um Olhar no passado (2013), objeto principal de reflexão e análise, sob os conceitos de repetição e reiteração, Ferraz (1998). O resultado deste trabalho demonstra que a utilização da imagem é uma ferramenta que pode complementar a metodologia composicional na criação de peças como as que integram este memorial de composição. / The memorial gift provides a theoretical reflection on the use of the image as a starting point in the structural organization and the formal compositional process. The first part presents the musical references and aesthetic motivations with which dialogue and that somehow influenced my composition. The second part consists of a theoretical framework which focuses on analyzing the importance of image in creative processes, citing authors such as Salles (2011) and Ostrower (2013), for other instances synthesizes part of composers, whose processes were mediated by creative image and who employed possibilities of using image as a guideline along the creative path. Finally I present the compositions: Fantasia Bolerosa (2012), Quya- Killa (2012), Um Olhar no passado (2013), the main object of reflection and analysis. The result of this study shows that the use of the image is a tool that can complement the compositional methodology in creating pieces as that integrate this memorial composition.

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2016-04-18T13:28:00Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) CristianaDias_Artes Visuais_2015.pdf: 3625608 bytes, checksum: a0e8cf5d18d70cf3d7cf2ce585ec46e7 (MD5) / Made available in DSpace on 2016-04-18T13:28:00Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) CristianaDias_Artes Visuais_2015.pdf: 3625608 bytes, checksum: a0e8cf5d18d70cf3d7cf2ce585ec46e7 (MD5) Previous issue date: 2015-05-28 / O trabalho objetiva investigar a poética nas obras e no processo criativo que deram legitimação artística ao fotógrafo Gilvan Barreto. Trata-se de uma pesquisa com enfoque principal em seus dois primeiros livros de fotografia: Moscouzinho (2012) e O Livro do Sol (2013). Verificamos modificações no processo criativo do período em que a fotografia do autor era voltada para publicações editoriais,- cuja linguagem predominate é o fotojornalismo, - e quando as publicações foram direcionadas aos espaços de legitimação artística. A intencionalidade artística o levou a um processo de pesquisa e experimentações até o amadurecimento gradual da sua linguagem, ultrapassando os limites do fotográfico. A partir de um exercício de reflexão, indicaremos as possibilidades de, no campo fotográfico editorial, fazermos um caminho de retorno às fronteiras entre o fotojornalismo e a fotografia artística. / The dissertation aims at examining the poetry in the works and the creative process providing artistic legitimacy to photographer Gilvan Barreto. The research focus mainly on his two photography books: Moscouzinho (2012) and O Livro do Sol (2013). Modifications have been found in the creative process when the author’s photography was intended to editorial publications – which language is predominantly photojournalism – and when the publications were directed to the artistic spaces of legitimacy. Artistic intentionality led him to a process of research and experimentation until the gradual maturing of his language, overcoming the photographic limits. A reflexion exercise indicates the possibilities of, in the editorial photography field, making a way back to the boundaries of photojournalism and art photography.

Os diálogos possíveis entre a prática e o ensino da Cenografia no Brasil aqui identificados são resultantes da investigação e da reflexão sobre a formação do cenógrafo contemporâneo a partir da perspectiva de experiências na prática teatral. O cenógrafo é aqui tratado como artista, responsável pela identidade visual do acontecimento teatral e colaborador no processo de sua criação. A Cenografia é encarada como linguagem situada no contexto teatral sem, no entanto, excluir os seus desdobramentos na prática atual, entendendo que, a partir da sua origem, que é o Teatro, podemos transpor boa parte desta experiência para as demais áreas. O desenvolvimento desta pesquisa baseia-se no acompanhamento in loco de processos vivenciados e metodologias aplicadas nas principais instituições brasileiras de ensino da Cenografia. Os procedimentos são analisados diante do objetivo de reconhecer e apontar caminhos produtivos para a formação do futuro artista cenógrafo. Esta investigação busca indicar rumos que de fato contribuam para o desenvolvimento da qualidade artística e técnica do cenógrafo, de forma que não o restrinja apenas a responder com segurança às suas atribuições, mas que o prepare para atuar e colaborar, efetivamente, como artista criador, nos processos e realizações contemporâneas, participando do desenvolvimento das Artes Cênicas. / The possible dialogues between the practice and teaching of scenography in Brazil, identified herein, are the result of the investigation and reflection about the development of the contemporary scenographer originating from the perception from my experience in theatre practice. Here the scenographer is treated as an artist, responsible for the visual identity of the theatrical event and collaborator in the process of its creation. Scenography is taken as a language within the theatrical context, taking care to not ignore scenography?s expansion into other areas, understanding that starting from its theatre origins we can carry a good part of this experience to these other related areas. The development of this research is based on the processes experienced and methodologies applied in major Brazilian academic institutions that offer bachelor degree level scenography courses. These proceedings are analysed with the objective of recognizing and appointing productive directions for the training of future scenographic artists. This investigation aims to indicate guidelines that contribute to the development of the artistic and technical qualities of the scenographer, not just the capacity to execute their acquired attributes, but to prepare an active collaborator, a creative artist in the process of contemporary productions, participating in the development of the Scenic Arts.

El objetivo principal de la investigación es analizar cómo afecta la digitalización de las herramientas de diseño al proceso creativo de los ilustradores profesionales en Lima. De acuerdo con ello, se propuso como hipótesis que la digitalización puede ocasionar un cambio en los niveles de productividad relacionados con la innovación y representación de ideas. De este modo, se analizaron los resultados de una dinámica aplicada a ilustradores profesionales quienes estaban divididos en dos grupos de manera aleatoria. Un grupo haría uso de herramientas digitales para graficar la mayor cantidad de representaciones visuales de una palabra durante un tiempo limitado, mientras que el otro trabajaría bajo las mismas condiciones pero haciendo uso de herramientas manuales. Los resultados fueron recopilados en listas de cotejo por medio de una observación estructurada de la dinámica. Entre los principales resultados encontramos que las herramientas digitales se encuentran presentes en la mayor parte del proceso creativo y afectan en especial la última fase de este. En segundo lugar, el uso de herramientas digitales favorece los niveles de precisión de las representaciones visuales. En tercer lugar, encontramos que la diferencia en la cantidad de representaciones visuales generadas entre ambos grupos fue mínima, pero con resultados favorables para las herramientas digitales. Finalmente, el análisis de cada muestra permitió concluir que la digitalización de las herramientas de diseño afecta el proceso creativo de los ilustradores ocasionando un cambio en sus niveles de productividad. / The main objective of the research is to analyze how the digitization of design tools affects the creative process of professional illustrators in Lima. Accordingly, it was hypothesized that digitization can cause a change in productivity levels related to innovation and idea representation. In this way, an analysis of information collected through checklists was carried out in the observation of a sample, made up of professional illustrators who began their academic training after the start of the digitization process in Lima, divided into two groups at random. One group would use digital tools to graph the largest number of visual representations of a word for a limited time, while the other would work with hand tools. Among the main results we find that digital tools are present in most of the creative process and especially affect the last phase of it. Secondly, the use of digital tools favors the levels of precision of visual representations. Third, we found that the difference in the number of visual representations generated between the two groups was minimal, but with favorable results for digital tools. Finally, the analysis of each sample allowed us to conclude that the digitization of design tools does affect the illustrators' creative process, causing a change in their productivity levels. / Trabajo de investigación

Background: Nowadays, companies from the technological sector confront extreme competition and itis always a challenge for leadership teams to increase competitiveness. This study aims to investigateinnovation advancement within tech companies in an international context from the leadership andmanagement incentives point of view. Leadership plays a vital role in giving direction to the path anorganization should follow. It is of significant interest to examine how leadership can drive anorganization to innovative thinking. Different approaches and leadership styles can be adopted andpracticed by leaders to produce different outcomes on employees’ creative culture. Additionally,individual characteristics of the employees such as self-efficacy and creativity may allow the innovativebehaviours to strive and create a workplace culture that is inducing innovative output. Innovative workbehaviour is becoming more popular or even mandatory within several firms in the technological sectorin contrast to previous decades. Purpose: The purpose of this study is to explore how ethical leadership and participative leadershipstyle can affect innovative work behaviour and to examine if the creative process engagement and selfefficacylead to enhanced innovative work behaviour. Methodology: For this thesis a quantitative approach for data collection, as well as data analysis is used.This study is based on a SEM model which contains close-ended questions that were answered througha self-administrated questionnaire. The survey was answered by employees working at companies fromthe field of technology, covering different positions. A total of 177 respondents answered thequestionnaire, and the results were analysed both in quantitative and qualitative ways. IBM SPSSsoftware was used for the statistical analysis, and AMOS 26 for the Structural Equation Modeling tests. Results: The results of the statistical analysis performed unveiled that the aspects of ethical andparticipative leadership can positively affect creativity and innovation and that self-efficacy canpositively relate to creative process engagement.Conclusion: This study contributes in showing that two positive ways of management, ethical andparticipative can be introduced by leaders that are interested in increasing creativeness and innovationat work; it also shows that for the sample tested, ethical and participative leadership does not necessarilyhas a major effect on employee’s self-efficacy. Delimitations: The geographical locations, the time and sample size, the choice of participatingorganizations, and the framework designed for the evaluation of the theoretical problem are consideredas limitations for this study. This research is mainly limited to professionals working in the technologicalsector and the study is restricted in time since the participants had to answer in a certain time frame. Toconclude, the sample size of the survey even though is satisfactory for its intended use, could be higher. / <p>Presentation was conducted via video link and were chaired by Anders Wrenne.</p><p>Anders Wrenne e-mail: anders.wrenne@bth.se</p>

Uppsatsens syfte är att beskriva skapandeprocessen av en låt från en idé till färdig musikproduktion och diskutera de hinder, utmaningar och framgångar som uppkom under tiden. Denna process genomfördes genom att först bryta ner hela processen i sex grövre delar för att få grundidén på pränt och sedan inleda andra stegvist mer detaljerade arbeten för att leda projektet mot ett slutresultat. Resultatet av detta arbete är en färdig låt som blev skissad, skriven, inspelad, producerad, mixad och mastrad under perioden av 40 dagar. Det högst prioriterade målet i skapandet av denna låt har varit att bevara låtens budskap och grundkänla genom hela processen snarare än att sikta på en produkt som håller en kvalitetstandard lik kommersiell musik och är placerbar i en väldefinierad genrekategori. / The goal of this thesis is to describe the creative process of making a song from an idea to a complete production and discuss the upcoming of challenges and successes that occurred during this process. This process started off by breaking down the objective of the project into six bigger chunks in order to lay down the basis of the song in place to later work them with more and more refined details into the finished product. The result of this process is a finished song that was sketched, written, recorded, produced, mixed and mastered within a period of forty days. The most prioritized goal of this project has been to capture the message and the feeling of the initial idea rather than aiming to produce a track that lives up to quality standards of commercial releases and can be categorized as a well-defined music genre.

El presente trabajo de investigación consiste en analizar la situación actual de las mujeres audiovisuales peruanas. La problemática surgió porque la industria cinematográfica ha sido por muchos años un territorio de varones. Entonces, con el incremento de las mujeres en la industria, en estos años, demostrando su capacidad y el valor que tiene una obra hecha por una mujer. Se quiere conocer los crecientes cambios en la forma de hacer cine, en todas las áreas audiovisuales, desde que las mujeres tienen una mayor visibilidad en el mundo audiovisual peruano. Es por ello, que el objetivo de esta investigación es analizar el rol de la mujer en la realización cinematográfica de las películas peruanas en los últimos 10 años. Asimismo, esta investigación se realizo desde la perspectiva del proceso creativo y con la finalidad de dar conocer las condiciones actuales de las mujeres audiovisuales peruanas. La metodología que se utilizo es el constructivismo como tipo de investigación, pues se constituye como construcción de la realidad. Lo cual, se utilizo para el análisis narrativo a las obras cinematográficas de las directoras peruanas. Donde, se analizaron tres criterios: estilo, originalidad y expresividad. Asimismo, para cumplir con los objetivos de la investigación, se realizaron entrevistas a profesionales del mundo audiovisual peruano. Finalmente, se concluye que las mujeres han revolucionado el cine peruano, pues influyen de forma positiva a la audiencia y a la industria cinematográfica peruana. Debido, a la particularidad que le agregan a sus obras. / The present research work consists of analyzing the current situation of Peruvian audiovisual women. The problem arose because the film industry has been a man's territory for many years. So, with the increase of women in the industry, in these years, demonstrating their capacity and the value that a work made by a woman has. You want to know the growing changes in the way of making cinema, in all audiovisual areas, since women have greater visibility in the Peruvian audiovisual world. That is why the objective of this research is to analyze the role of women in the cinematographic realization of Peruvian films in the last 10 years. Likewise, this research was carried out from the perspective of the creative process and with the aim of making known the current conditions of Peruvian audiovisual women. The methodology that was used is constructivism as a type of research, since it is constituted as a construction of reality. Which was used for the narrative analysis of the cinematographic works of the Peruvian directors. Where, three criteria were analyzed: style, originality and expressiveness. Also, to meet the research objectives, interviews were conducted with professionals from the Peruvian audiovisual world. Finally, it is concluded that women have revolutionized Peruvian cinema, as they positively influence the audience and the Peruvian film industry. Due to the particularity that they add to their works. / Trabajo de investigación

I detta självständiga arbete studerar jag hur min kreativa process i komposition påverkas och förändras av olika faktorer. Studien utgår från ett fenomenologiskt perspektiv och tar inspiration från tidigare forskning och litteratur inom ämnena komposition och kreativitet. Arbetet har genomförts genom att använda loggboksanteckningar som tagits före och efter varje kompositionspass under höstterminen 2020. Anteckningarna har därefter analyserats med en tematisk analysmetod. Resultatet presenteras i två teman: yttre faktorer och inre faktorer, med tillhörande underrubriker som beskriver de olika faktorernas påverkan i större utsträckning. I dessa två teman beskrivs svaren på mina forskningsfrågor: Vad uppfattar jag som kreativitet? Vilken inverkan har olika metoder och rutiner på mitt kreativa skapande? Arbetet avslutas med en diskussion där resultaten ställs i relation till vald forskning, litteratur och det fenomenologiska perspektivet. / In this self-study I explore how my creative process in composition is affected and changed by different factors. The study is based on a phenomenological perspective and takes inspiration from previous studies and literature within the subjects of composing and creativity. The study has been accomplished using log notes which were taken before and after every composing session during the autumn semester of 2020. The log notes were analysed using a thematic analysing method. The results are presented in two themes: external factors and internal factors, with associated subheadings that describe each of the different factors’ influence in a bigger picture. In these two themes the answers are described to my two research questions: What do I perceive as creativity? What influence do different methods and routines have on my creative making? The work is finished with a discussion where the results are set in a relation to the selected research, literature, and the phenomenological perspective.