O trabalho coletivo em artes digitais define uma pratica que implica a interacao de diversos atores em processos de criacao que podem ter caracteristicas generativas. Na presente tese, propomos a construcao de um olhar a partir da complexidade para estudar esses processos como sistemas complexos adaptativos. A especificidade esta relacionada ao conceito de espacos estoricizados artificio para desenhar uma rede de significados emergentes, a partir das inter-relacoes entre os elementos do sistema. A adocao dessa perspectiva implica a integracao da auto-observacao ao sistema, dando ao complexo auto-organizado, visibilidade de si partindo do fluxo de informacoes para a construcao de memorias e imagens transitorias, no limiar entre impressao e imaginacao. / Collective work in digital arts defines a practice, which entails an interaction of various actors in creative processes, which may have generative features. In the current theses, we propose the construction of a point of view from complexity to study these processes as complex adaptive systems. The specificity in this work is related to the concept of storied spaces an artifice to design a network of emergent meanings from the inter-relations amongst elements of the system. The adoption of this standpoint implies integrating self-observation into the system, granting visibility of itself to the self- organizing complex from the flow of information to the construction of memories and transitory images on the threshold between impression and imagination.

Esta dissertação consiste de um memorial do processo de construção da performance das Seis Danças Romenas de Béla Bártok por uma perspectiva da cognição corporificada. Fundamentada na proposição de objetos sônico-gestuais coarticulados de Godøy (2006; 2011) e na abordagem gestual de Pierce (2007) esta pesquisa investigou através da prática artística como gesto e som modelam-se mutuamente e de que maneira esse processo contínuo influencia a concepção da obra e as relações entre performer, música e instrumento. Considerando que as vivências do corpo não se limitam à prática pianística, foram trazidas perspectivas de experiências externas que contribuíram para a consciência corporal e que proporcionaram insights relevantes para a condução do processo artístico. A abordagem metodológica reúne a Pesquisa Artística e a Autoetnografia no que concerne desvelar o conhecimento corporificado inerente a um processo de criação artística através da narrativa pessoal. A documentação do processo compreendeu: 1) anotações em um diário das vivências, aulas de piano e sessões de estudo; 2) gravações de vídeo de sessões de estudo; 3) gravações de performances ao longo do processo; 4) comparação entre a gravação final da performance da obra e a primeira gravação realizada em momento anterior à pesquisa. Estes registros foram examinados com o propósito de compreender o processo artístico de uma perspectiva de corpo e música em constante estado de devir, identificando os momentos de insights mais significativos, e mapeando os recursos criativos elaborados pela performer ao longo do processo. As reflexões da performer acerca do processo conduziram a um reconhecimento de si mesma como sujeito corporificado, a perceber a música como fenômeno essencialmente corporal, e a transformações na concepção da obra. O processo artístico centrado no corpo acarretou mudanças significativas na interação da performer com o instrumento, o desenvolvimento de um maior repertório gestual, um incremento dos recursos expressivos, e o refinamento da percepção auditiva, promovendo o desenvolvimento da criatividade e da autonomia artística, bem como da maturidade emocional. / This dissertation is the performer’s account of the process of constructing a performance of Béla Bártok’s Romanian Folk Dances from the perspective of embodied cognition. Based on Godøy’s proposition of gestural-sonic coarticulation (2006; 2011), and Alexandra Pierce’s gestural approach to piano performance (2007), this research investigated how gesture and sound shape one another, and how this continuous process affects the conception of the work and the relations between performer, music and instrument. Considering that lived experience exceeds piano practice, perspectives from extra-musical activities were considered due to their contribution towards promoting bodily awareness and insights that were relevant to the artistic process. The methodological approach draws from Artistic Research and Autoethnography in regard to uncovering embodied knowledge ingrained in the process of artistic creation through personal narrative. The documentation of the process comprised: 1) a journal describing practice sessions, piano lessons and extra-musical experiences; 2) video recordings of practice sessions; 3) video recordings of performances along the process; 4) a comparison between the final performance and the first recording of the piece made prior to the present research. These records were examined with the purpose of comprehending the artistic process from the perspective of body and music in a constant state of becoming, identifying the most meaningful moments of insight, and mapping creative resources devised by the performer during the artistic process. The performer’s reflections upon the process lead to recognizing oneself as an embodied subject, to perceiving music as an essentially corporeal phenomenon, and to transformations in the conception of the musical work. The artistic process centered on the performer’s body promoted significant changes in the performer’s interaction with the instrument, the development of a broader gestural repertoire, an increment in expressive resources, and the refinement of aural perception, fostering the growth of creativity and artistic autonomy, as well as emotional maturation.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-09-17T17:35:12Z No. of bitstreams: 1 tese pronta.pdf: 48428283 bytes, checksum: d238afb4f5c0f3dbdf0f9310331702be (MD5) / Approved for entry into archive by Marly Santos (marly@ufba.br) on 2018-09-17T19:33:04Z (GMT) No. of bitstreams: 1 tese pronta.pdf: 48428283 bytes, checksum: d238afb4f5c0f3dbdf0f9310331702be (MD5) / Made available in DSpace on 2018-09-17T19:33:04Z (GMT). No. of bitstreams: 1 tese pronta.pdf: 48428283 bytes, checksum: d238afb4f5c0f3dbdf0f9310331702be (MD5) / Esta pesquisa traz uma proposta de formação e treinamento de ator de teatro e as perspectivas de uma encenação pautada no processo de individuação do ator. A partir do objetivo geral de encontrar procedimentos para auxiliar essa prática teatral, buscou-se intensificar a atividade do ator em cena, desenvolvendo um método de trabalho que teve como foco a ampliação dos processos de subjetivação na relação do ator consigo, com o outro e com o mundo, a investigação das múltiplas possibilidades de agenciamentos do corpo e a ampliação da autonomia do ator na sua criação. O processo de encenação estimulou a composição de personagens considerando uma perspectiva autoral, por meio do diálogo entre o imaginário pessoal do ator e o texto dramático. A pesquisa procurou abordar alguns possíveis princípios norteadores do trabalho em grupo e refletir sobre a criação artística como um compromisso ético com a comunidade. As principais referências são os encenadores-pedagogos Antonio Januzelli, Antunes Filho e Sue Morrison e o coletivo de atores do Núcleo Interdisciplinar de Pesquisas Teatrais da Unicamp (Lume). Numa abordagem compreensiva para os processos criativos, configura-se uma pesquisa qualitativa, em procedimentos de campo que articulam as fontes bibliográficas com as práticas em laboratórios de criação cênica. Estes foram realizados em processos de treinamento e processos de montagem, resultando no exercício público Carta ao Pai: experimentos cênicos sobre a subjetividade e no espetáculo O Rei Lear no meu quintal. A reflexão sobre a prática autônoma e criativa do ator constitui-se então como uma proposição metodológica para a cena. / This research brings forward a proposal for the development and training of actors for the theater and the perspectives of a mise-en-scène guided by the process of actor individuation. Starting from the general objective of finding procedures to aid this theatrical practice, the activity of the actor's performance was intensified, developing a working methodology which aimed at widening the process of subject constitution in the relationship between the actor with themselves, with someone else and with the world at large, the investigation of multiple possibilities of body sense of agency and the amplification of actor autonomy in their creation. Through the process of mise-en-scène, there was a stimulus for character composition taking into consideration an authoring perspective, from the dialogue between the actor's personal imaginary and the dramatic text. This research aimed at approaching some possible guiding principles of group work and reflecting upon artistic creation as an ethical commitment with the community. The main references are the metteur en scène-pédagogue (director-pedadogues) Antonio Januzelli, Antunes Filho and Sue Morrison and the group of actors from Núcleo Interdisciplinar de Pesquisas Teatrais da Unicamp (Lume). In a comprehensive approach to the creative processes, it is a qualitative research in field procedures which articulate bibliographic sources with laboratory practices in scenic creation. These were carried out in training processes and stage setting processes, which resulted in the public exercise Carta ao Pai: experimentos cênicos sobre a subjetividade (Letter to the Father: scenic experiments on subjectivity) and the play O Rei Lear no meu quintal (King Lear in my backyard). The reflection on actor autonomy and creative practice was formed, therefore, as a methodological proposition for the scene.

Esta dissertação consiste de um memorial do processo de construção da performance das Seis Danças Romenas de Béla Bártok por uma perspectiva da cognição corporificada. Fundamentada na proposição de objetos sônico-gestuais coarticulados de Godøy (2006; 2011) e na abordagem gestual de Pierce (2007) esta pesquisa investigou através da prática artística como gesto e som modelam-se mutuamente e de que maneira esse processo contínuo influencia a concepção da obra e as relações entre performer, música e instrumento. Considerando que as vivências do corpo não se limitam à prática pianística, foram trazidas perspectivas de experiências externas que contribuíram para a consciência corporal e que proporcionaram insights relevantes para a condução do processo artístico. A abordagem metodológica reúne a Pesquisa Artística e a Autoetnografia no que concerne desvelar o conhecimento corporificado inerente a um processo de criação artística através da narrativa pessoal. A documentação do processo compreendeu: 1) anotações em um diário das vivências, aulas de piano e sessões de estudo; 2) gravações de vídeo de sessões de estudo; 3) gravações de performances ao longo do processo; 4) comparação entre a gravação final da performance da obra e a primeira gravação realizada em momento anterior à pesquisa. Estes registros foram examinados com o propósito de compreender o processo artístico de uma perspectiva de corpo e música em constante estado de devir, identificando os momentos de insights mais significativos, e mapeando os recursos criativos elaborados pela performer ao longo do processo. As reflexões da performer acerca do processo conduziram a um reconhecimento de si mesma como sujeito corporificado, a perceber a música como fenômeno essencialmente corporal, e a transformações na concepção da obra. O processo artístico centrado no corpo acarretou mudanças significativas na interação da performer com o instrumento, o desenvolvimento de um maior repertório gestual, um incremento dos recursos expressivos, e o refinamento da percepção auditiva, promovendo o desenvolvimento da criatividade e da autonomia artística, bem como da maturidade emocional. / This dissertation is the performer’s account of the process of constructing a performance of Béla Bártok’s Romanian Folk Dances from the perspective of embodied cognition. Based on Godøy’s proposition of gestural-sonic coarticulation (2006; 2011), and Alexandra Pierce’s gestural approach to piano performance (2007), this research investigated how gesture and sound shape one another, and how this continuous process affects the conception of the work and the relations between performer, music and instrument. Considering that lived experience exceeds piano practice, perspectives from extra-musical activities were considered due to their contribution towards promoting bodily awareness and insights that were relevant to the artistic process. The methodological approach draws from Artistic Research and Autoethnography in regard to uncovering embodied knowledge ingrained in the process of artistic creation through personal narrative. The documentation of the process comprised: 1) a journal describing practice sessions, piano lessons and extra-musical experiences; 2) video recordings of practice sessions; 3) video recordings of performances along the process; 4) a comparison between the final performance and the first recording of the piece made prior to the present research. These records were examined with the purpose of comprehending the artistic process from the perspective of body and music in a constant state of becoming, identifying the most meaningful moments of insight, and mapping creative resources devised by the performer during the artistic process. The performer’s reflections upon the process lead to recognizing oneself as an embodied subject, to perceiving music as an essentially corporeal phenomenon, and to transformations in the conception of the musical work. The artistic process centered on the performer’s body promoted significant changes in the performer’s interaction with the instrument, the development of a broader gestural repertoire, an increment in expressive resources, and the refinement of aural perception, fostering the growth of creativity and artistic autonomy, as well as emotional maturation.

Ocupar as Fendas: Intervenções na cidade com uma Bicicleta Visual é composto por uma investigação-ação na cidade de São Paulo, na qual três intervenções urbanas foram realizadas: Ruínas Transitórias, Contra-Vigilância e Metro Quadrado. Para executar as ações foi desenvolvida a Bicicleta Visual, um veículo elétrico equipado com projetor de vídeo e um computador. A Bicicleta Visual atua como um dispositivo de ativação do espaço, ao projetar imagens em movimento sobre a arquitetura. As imagens projetadas e o modo como são feitas configuram uma intervenção urbana. As intervenções urbanas instauram desvios, rupturas e novas tensões, explicitando as contradições da cidade - distensões perceptivas, dissensos, que gestam a possibilidade de reflexão sobre a partilha do sensível. Essas ações propõem ao complexo tecido do espaço público novas experiências e invenções, anunciando outras formas de convivência. Nesse tipo de trabalho, que pretende intervir na realidade, prioriza-se, enquanto metodologia, o processo, os meios, a criação de formas que permitam agir e pensar simultaneamente. Esse tipo de pesquisa, transformadora do real, é denominada investigação-ação. Ocupar as Fendas é um trabalho composto de três procedimentos fundamentais: deslocar, projetar e intervir. Ruínas Transitórias investiga a transitoriedade dos espaços vazios gerados pelo processo de gentrificação e as apropriações formais e informais dos mesmos. Contra-Vigilância interage com a esfera da vigilância e da segurança privada nos enclaves fortificados da metrópole paulistana. Metro Quadrado verifica a relação entre o valor do metro quadrado e os tipos de uso do espaço urbano. Com a finalidade de enfatizar o processo de construção da intervenção urbana - e o que nela é mais potente, subversivo e transformador -, esse trabalho cria quatro vozes textuais que dialogam com as ações, deflagrando a experiência de investigar-agir. / Occupying the Gaps: Interventions in the city with a Visual Bicycle is formed by an investigation-action in the city of São Paulo, where three urban interventions were made: Transitory Ruins, Counterwatch, and Square Meter. The Visual Bicycle, an electrical vehicle equipped with a video projector and a computer, was developed to implement these actions. It serves as a space activation device by projecting moving images on the architecture. Those projected images and the way they are made convey an urban intervention. Urban interventions create digressions, ruptures, and new tensions, exposing the city\'s contradictions - perceptive distensions, dissensuses, begetting the possibility of reflection about the distribution of the sensible. Those actions offer new experiences and inventions to the complex fabric of public space, announcing different forms of socialization. In this sort of work, which aims at intervening in our reality, the methodological priority is the process, the means, the conception of ways to allow acting and thinking simultaneously. This kind of reality-transforming research is called investigation-action. Occupying the Gaps is a work comprising three basic procedures: displacing, projecting, and intervening. Transitory Ruins investigates the transience of empty spaces generated by the process of gentrification, as well as both the formal and informal appropriations of those spaces. Counterwatch interacts with the world of watchmen and private security in the fortified enclaves of the metropolis. Square Meter notes the relation between the value of a square meter and the ways urban space is used. With the goal of emphasizing the process of building an urban intervention - and its most potent, subversive, and transformative aspects -, this work creates four textual voices that converse with the actions, prompting the experience of investigating-acting.

O objetivo desta pesquisa é a criação de um corpo de trabalhos visuais e registro de seu processo criativo, tendo em vista desdobramentos didáticos para o ensino de linguagens visuais no campo do Design. Imagens foram geradas a partir da observação, do pensamento e do gesto, e ganharam visibilidade através de procedimentos como fotografia, escaneamento, colagem, manipulação digital, desenho e impressão. O ato criador, aliado à reflexão sobre esse fazer, permitiu a investigação sobre a gênese deste processo: a teoria é uma prática, o fazer é um pensar. A primeira parte da tese expõe sequências figurativas em simultaneidade com depoimentos, ambos produzidos pela autora, onde se apresentam as motivações e os meandros deste processo criativo, cotejados com conceitos teóricos e com a produção contemporânea da visualidade. Na segunda parte, produtos visuais realizados pelos alunos da autora, no âmbito de uma disciplina de graduação em Design, são apresentados com os relatos sobre essa experiência docente. Corpo de provas, enquanto documento dos trajetos, desvios, dificuldades e conquistas vivenciados na prática reflexiva da construção de linguagens visuais, fornece subsídios e aponta possibilidades didáticas para seu ensino. / The present research aims to create a collection of visual artworks and document its creation process, while also focusing on developments for the teaching of visual languages in the field of Design Studies. The images were created from observation, reflection, and gesture and took shape through a number of practices including photography, scanning, collage, digital manipulation, drawing, and print. An investigation into the genesis of the process was made possible through the association of the creative act and a deliberation on its praxis: theory became practice, and practice turned into reflection. The first part of this thesis offers figurative sequences and accounts by the author, which convey the motivations and meanders of her creation process. That material was subsequently confronted to theoretical concepts and contemporary visual works. The second part displays visual products created by the author\'s students in the context of an undergraduate Design class, and includes her accounts regarding this academic experience. As a document of the trajectories, detours, difficulties, and achievements experienced throughout the reflective practice in the construction of visual languages, Book of Proofs suggests options and offers support for teaching these processes.

Dans cette recherche nous nous intéressons à la genèse de deux pièces du dramaturge colombien Enrique Buenaventura (1925-2003) : Un réquiem por el padre Las Casas (Un Requiem pour le père Las Casas, 1963) et Seis horas en la vida de Frank Kulak (ou La encrucijada – Le Croisement –, 1969). Partant toutes les deux de documents préexistants elles ont néanmoins des processus de genèse différents et contrastés. Ainsi, Un réquiem por el padre Las Casas part de l’Histoire des Indes de Bartolomé de Las Casas et des ouvrages historiographiques sur Las Casas et la conquête des Indes, et Seis horas en la vida de Frank Kulak, d’un article de presse de 1969 sur un ex-marine américain qui a posé une bombe à Chicago, que Buenaventura lit dans le contexte d’un projet sur la guerre du Viet Nam au Teatro Experimental de Cali (TEC).Suivant deux concepts proposés par la génétique des genres narratifs (l’exogenèse et l’endogenèse), nous nous sommes intéressés notamment 1) aux particularités de chaque pièce concernant la relation entre la lecture et l’écriture et les modalités de transformation et d’intégration des documents ; 2) au rôle du collectif dans la genèse, notamment l’influence de la création collective qui commençait à ouvrir à la fin des années 1960 un espace important pour que les comédiens du TEC participent activement à la mise en scène. Un réquiem por el padre Las Casas est écrite du début jusqu’à la fin par Buenaventura dans une écriture qui cherche à transformer et s’approprier les matériaux de départ et elle est ensuite mise en scène par Buenaventura lui-même avec le TEC. La genèse de Seis horas en la vida de Frank Kulak traverse de multiples vicissitudes en raison de ses contacts avec la troupe, d’une part, et de l’actualité du sujet, d’autre part : l’atelier du dramaturge et le plateau convergent de plusieurs manières reformulant le projet et la force du présent produit des bouleversements inattendus. Notre recherche nous permet de formuler un changement dans le statut du scripteur chez Buenaventura ainsi qu’une réinterprétation en termes d’exogenèse et d'endogenèse du modèle dynamique d’Almuth Grésillon et Jean-Marie Thomasseau (2005) pour la genèse théâtrale. / This research takes interest in the genesis of two theater plays by Colombian playwright Enrique Buenaventura (1925 – 2003): A Requiem for father Las Casas, 1963, and Six hours in the life of Frank Kulak or The Crossroad, 1969. Both theater plays originate in previous documents and their genesis processes are different and contrasting. On the one hand, A Requiem for father Las Casas originates in History of the Indies by Bartolomé de las Casas and in historic analysis about Las Casas. On the other hand, Six hours in the life of Frank Kulak, originates in a press article from 1969 about a former American marine who explodes a bomb in Chicago in order to protest against the Vietnam war. This article is read by Buenaventura during the development of a theater project about the Vietnam war at Cali’s Teatro Experimental (TEC).Following two concepts suggested by genetic criticism (exogenesis and endogenesis), this research is concerned with 1) the particularities of each play with respect to the reading – writing relation and the documents’ transformation and integration modes; 2) the role of the Theater group in the origin and, in particular, the influence of collective creation that was beginning to create an important space, by the end of the 1960s, for the TEC actors to play an active role in the development of theater plays. A Requiem for father Las Casas is written by Buenaventura from start to end with a writing style trying to transform and make his own the materials from which it originates and later on is directed by Buenaventura himself. The genesis of Six hours in the life of Frank Kulak takes various twists, in part due to the relation to the theater group and, at the same time, due to the subject topicality: Buenaventura’s studio and the play set converge in different ways reformulating the whole project. Also, the importance of the present takes its toll to produce unsuspected alterations. Through this process this research allows to pinpoint a change in the writing identity of Buenaventura; it also proposes a reinterpretation, in terms of exogenesis and endogenesis, of the theater genesis dynamic model by Almuth Grésillon and Jean-Marie Thomasseau (2005).

Ce projet de recherche en danse est né du désir et du besoin de questionner ma propre pratique artistique en danse contemporaine, en la mettant en perspective et en conversation avec celle de deux autres artistes chorégraphes, Monica Klingler et Barbara Manzetti. L’étude de ces (nos) pratiques, que j’ai qualifiées de «mineures» (au sens deleuzien) a été réalisée en les approchant par le «milieu», dans leur devenir, en les «accompagnant» pendant une période délimitée, celle de la durée de la thèse. Les questions qui dynamisent la recherche concernent les notions de présent et de vivant, contenues dans le terme «processus» : comment rendre compte de processus créatifs au moment même de leur surgissement? Comment se positionner pour pouvoir les décrire, les analyser? Une autre question explorée à travers différentes pratiques d’écriture, dont la thèse, est celle du rôle de l’écriture dans un projet de danse. Quelles pratiques d’écriture mettre en place pour accompagner la danse, pour la penser et pour la partager à travers le langage? L’analyse des démarches artistiques des trois artistes étudiées a été réalisée à l’aide de concepts issus de théories féministes. Elle s’appuie sur la notion de «hors de soi», du choix d’exacerber la vulnérabilité (Judith Butler) ; sur le positionnement des artistes comme des sujets non unitaires, des «sujets nomades» et en devenir (Rosi Braidotti) ; sur la mise en mouvement de formes fluides, changeantes et non réductibles à une œuvre, à l’«un» (Luce Irigaray).La recherche, considérée comme un «processus de danse», a donné forme à différents projets artistiques, Materia Viva, Figuras, Avec le masque, ainsi qu’à l’écriture de la thèse. / The desire and need to question my own artistic work in contemporary dance has led to this project in dance research. To do so, my own practice had to be put into perspective and into conversation with the practices of two other artists, Monica Klingler and Barbara Manzetti. These (our) practices, which I qualify as « minor» (according to Deleuze), were studied in midst, in their process of becoming, and were «accompanied» during the limited lapse of time of this research project. The main questions arise from the notions of the present and liveliness which are contained in the word « process ». How could a creative process be described at the very moment of its emergence? What stance must one take in order to analyse these creative processes?Another main question deals with writing practices. Which is the part of writing in a dance project? Which writing practices should we set up to accompany the dance, to reflect upon it and to share it through language? I have analyzed the artistic approach of the three artists using some concepts taken from feminist theories : « out of oneself», exacerbating the vulnerability (Judith Butler) ; the positioning of artists as non-unitary subjects, « nomadic subjects », and subjects in the process of becoming (Rosi Braidotti) ; and how the artist sets fluid and changing forms in motion, which cannot be reduced to «one» single work (Luce Irigaray).The research project, considered as a « dance process », has given birth to different artistic projects, such as Materia Viva, Figuras, Avec le masque, along with the writing of the thesis.

Submitted by Daniele Amaral (daniee_ni@hotmail.com) on 2016-09-15T14:42:10Z No. of bitstreams: 1 DissJCB.pdf: 944818 bytes, checksum: 41640ab4f64d87f9cfb7ec09dc2a40b4 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-09-16T19:51:04Z (GMT) No. of bitstreams: 1 DissJCB.pdf: 944818 bytes, checksum: 41640ab4f64d87f9cfb7ec09dc2a40b4 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-09-16T19:51:10Z (GMT) No. of bitstreams: 1 DissJCB.pdf: 944818 bytes, checksum: 41640ab4f64d87f9cfb7ec09dc2a40b4 (MD5) / Made available in DSpace on 2016-09-16T19:51:15Z (GMT). No. of bitstreams: 1 DissJCB.pdf: 944818 bytes, checksum: 41640ab4f64d87f9cfb7ec09dc2a40b4 (MD5) Previous issue date: 2014-09-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / This research aims to study the creative process of the Brazilian film “O Bravo Guerreiro” (The Brave Warrior), 1969, Gustavo Dahl, from the analysis, description and comparison of the different versions of scripts and other peripheral documents belonged to the film. These files are deposited in “Cinemateca Brasileira” and many of them have not been officially cataloged. Thus one of the efforts of this paper will be to detail them seeking reach the poetic project of the author, revealing its esthetic and ethical principles of that moment. The theoretical support offered by academics in Critics of Creative processes will be the main tool for this task. We intend to use this material, the result of the comparative reading of scripts and other documents, to understand the Brazilian political and cultural context of the late 60's, taking as basis for such work theories that allows to think the examination of film documents, in addition to film, as a source for the writing of history. / Esta pesquisa tem o objetivo de estudar o processo criativo do filme brasileiro O Bravo Guerreiro, 1969, de Gustavo Dahl, a partir da análise, descrição e comparação das diferentes versões de roteiros e demais documentos periféricos à realização deste filme. Estes arquivos estão depositados na Cinemateca Brasileira e boa parte deles não foi catalogada oficialmente até a conclusão deste texto, assim, um dos esforços desta dissertação será o de detalhá-los buscando alcançar o projeto poético do autor, revelando seus princípios éticos e estéticos naquele momento. O suporte teórico oferecido pelos estudiosos em Crítica de processo criativo será a ferramenta principal para tal tarefa. Pretendemos utilizar esse material, o resultado da leitura comparativa dos roteiros e demais documentos, para a compreensão do contexto político e cultural brasileiro do final da década de 1960, tomando como base para tal empreita teorias que permitam pensar o exame de documentos cinematográficos, além do filme, como fonte para a escrita da História.

The core concern of my thesis is with shifting the focus from the description on how innovation is done (predominantly STS accounts of innovation in-the-making) to what designers do with conceptions of innovation. The thesis is based on ethnographic fieldwork within a group of interaction designers of Milan. Despite the different conceptions and traditions of innovation that these designers bring in – the artistic and technological ones – I observed that a design-centered conception of innovation is reproduced, as well as the idea that plans and intentions precede things. However, another key idea of my fieldwork is the importance designers give to imagining things as they might be, rather than focusing on how things are. This is where different models of action, planned and open ones coexist in creative ways: it is these processes that the ethnography details.