Este estudo se dá a partir de uma série de trabalhos em desenho, fotografia, instalação e livro de artista, desenvolvidos entre 2012 e 2014, tendo como eixo um arquivo de desenhos realizados em situações cotidianas. Interessa aqui pensar a prática constante do desenho como ação cotidiana em pequenos suportes (folhas avulsas, cadernos de formatos modestos), sua acumulação através dos anos, sua utilização como extensão física da memória. O trabalho acontece na construção de novas totalidades a partir de fragmentos que compõem recortes transversais no tempo, em uma série de propostas para dar a ver esses desenhos, no diálogo sugerido pelo encontro de imagens realizadas em momentos distantes entre si ou no encontro destas imagens com o espaço da prática, assim como nas fricções e ambiguidades entre os desenhos de esboço, da ordem do privado, e trabalhos finalizados de ordem pública. / The present study’s starting point is a series of works in drawing, photography, installation and artist's book, which have been developed from 2012 to 2014, having as na axis the archive of drawings made in everyday situations. The focus here is to think about the constant practice of drawing as a daily action on small structures (single sheets, modest format notebooks), its accumulation over the years, its use as an extension of physical memory. The work takes place in the construction of new wholes from fragments through transverse cuts in time, in a series of proposals for seeing these drawings, the suggested dialogue between images made at distinct moments or in relation to the atelier, and the friction between the sketches, that are private, and finished works, which are public.

This thesis consists of an investigation of the current use of visual representations, and drawing in particular, when teaching and assessing within anatomy education in medical studies. Although we know a lot about teachers’ use of visual representations and increasingly drawing, especially in the context of science education, less is known about the use of those tools by educators in the anatomical domain. Drawing is not currently systematically being used within assessment in anatomy education in UK medical schools, and its potential in assessment has not been investigated in depth. Four studies were conducted to answer the research questions set for this thesis. The first study investigated the way in which the teaching staff understand the use of visual representations in teaching, learning and assessment in anatomy. To answer this, observations of seven anatomy demonstrators were conducted within Year 1 dissection sessions, and interviews were conducted with the same demonstrators. The second study employed a real-world experimental design to explore if students’ drawings reveal changes in their understanding after dissection. Drawings from 98 Year 1 medical students were analysed in a within-subject crossover design, where students in the first condition drew the exterior of the heart before dissection in Week 1 and drew the superior mediastinum after dissection in Week 2. The order was reversed for students in the second condition. All drawings were analysed for their content and form with an extensive coding scheme that was developed for this thesis, as the existing coding approaches towards drawings were judged as inappropriate. The third study investigated the use of drawing to reveal changes in understanding as the medical degree progresses. Drawings of the exterior of the heart from 46 Year 3 students were analysed and compared to drawings from the Year 1 students. Finally, the fourth study investigated the way in which anatomy demonstrators understand drawing in the assessment of anatomical knowledge; eight artefact-based interviews were conducted with anatomy demonstrators. The findings offer important insights into the way in which visual representations and drawing in particular are being used by anatomy demonstrators within anatomy education and their perspectives on the use of drawing in teaching, learning and assessment. A significant contribution is also made to the knowledge regarding the use of drawing to assess understanding in spatially intensive domains, such as the anatomical one. This thesis also contributes to our knowledge of dissection as a method of teaching anatomy and the need for drawing training within this domain. Finally, the scheme for drawing analysis that was developed, evaluated and employed in this thesis can be considered a methodological contribution to the approaches of analysing drawings in the current literature.

Made available in DSpace on 2014-06-11T19:24:09Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-01-25Bitstream added on 2014-06-13T19:51:26Z : No. of bitstreams: 1 nascimento_lr_me_bauru.pdf: 3084758 bytes, checksum: f24d0c251d8c36bc159c0d9db6cc6801 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O modo como o homem desenvolve seus objetos sofreu uma profunda transformação ao longo de sua história, passando da produção artesanal à produção industrial no final do séc. XVIII, dando origem ao projeto industrial, e assim, ao design. Surge com isso a necessidade de metodologias de trabalho que organizem o processo, orientando assim a criação. A partir do final do séc. XX uma nova transformação ocorre, com a inserção da informática nesse processo, modificando as possibilidades de manipulação do projeto. Com a evolução tecnológica ocorrem também transformações culturais. Atualmente existe uma valorização de resultados imediatos, reflexo de uma sociedade ansiosa, que acaba menosprezando o valor dos processos de forma geral. Assim, técnicas tradicionais de projetação são muitas vezes substituídas ou ignoradas diante das novas tecnologias. Além desse problema de adequação aos processos tradicionais, existe uma imprecisão de linguagem para designar os tipos de desenhos utilizados nesse processo, o que acaba dificultando seu entendimento e consequentemente a própria prática. Para essa pesquisa optou-se pelo termo desenho expressional como forma de abranger os termos esboço, rascunho, croqui, rafe, sketch e esquete. De modo geral, são recursos tradicionais que são sub-utilizados no processo criativo. Através de entrevistas com os alunos do 5º e 6º termo do Curso de Graduação em Desenho Industrial da Faculdade de Arquitetura, Artes e Comunicação, da Universidade Estadual Paulista Julio de Mesquita Filho, campus de Bauru/SP, procurou-se identificar como esse recurso - o desenho expressional - vem sendo visto e utilizado e qual a sua importância no processo de projeto. / The way like man develop the goals had a huge change along the history, starting with the handmade production until the industrial production in the 18th century, originating the industrial project and also the design. Based on this, begins the necessity of methodologies of work that organize the process and guide the creation. From the end of 20th century, a news transformation happened: insertion of computing in all this process, changing the possibilities of project handling. Due to technologic evolution some cultural transformations have occured also. Nowadays there is an appreciation of direct results, reflection of an anxious society that in general despises the values of processes. Thereby, traditional techniques of project are just ignored or replaced by news technologies over. Besides this problem of traditional methods adjustment, there is a language inaccuracy to assign the kinds of drawings used in this process, that difficult comprehension and practice. For this research, the term expressional drawing was chosen to include another terms: sketch, draft, croquet and rough draft. Generally, these are traditional resources sub used during the creative process. Some interviews were made with students of 5th and 6th semesters of Design graduation course, from Architecture, Arts and Communication College, Julio de Mesquita Filho University, Bauru campus, São Paulo state. Based on this interviews, it was possible to identify how this resource - expressional drawing - has been used and seen and how much important is this during the process of project.

The topic of my diploma thesis is drawing; it follows from the title ? Utilization of Unusual Drawing Techniques in Art at Elementary School. There are two parts in my diploma thesis? the theoretical one and the practical one. The first chapter introduces the phenomenon of drawing ? it is about drawing, its principles and colours. The second chapter is about Art at school - teacher?s duties, children?s personalities and about Art. At the end of theoretical part there is the third chapter about history of drawing. We can see the differences between historical and current styles of drawing in pictures at the end of the diploma thesis. The practical part is focused methodologically and it shows several techniques which can be inspiration for teachers at elementary school. Several photos of children?s drawings included as attachment to my diploma theses.

Este estudo se dá a partir de uma série de trabalhos em desenho, fotografia, instalação e livro de artista, desenvolvidos entre 2012 e 2014, tendo como eixo um arquivo de desenhos realizados em situações cotidianas. Interessa aqui pensar a prática constante do desenho como ação cotidiana em pequenos suportes (folhas avulsas, cadernos de formatos modestos), sua acumulação através dos anos, sua utilização como extensão física da memória. O trabalho acontece na construção de novas totalidades a partir de fragmentos que compõem recortes transversais no tempo, em uma série de propostas para dar a ver esses desenhos, no diálogo sugerido pelo encontro de imagens realizadas em momentos distantes entre si ou no encontro destas imagens com o espaço da prática, assim como nas fricções e ambiguidades entre os desenhos de esboço, da ordem do privado, e trabalhos finalizados de ordem pública. / The present study’s starting point is a series of works in drawing, photography, installation and artist's book, which have been developed from 2012 to 2014, having as na axis the archive of drawings made in everyday situations. The focus here is to think about the constant practice of drawing as a daily action on small structures (single sheets, modest format notebooks), its accumulation over the years, its use as an extension of physical memory. The work takes place in the construction of new wholes from fragments through transverse cuts in time, in a series of proposals for seeing these drawings, the suggested dialogue between images made at distinct moments or in relation to the atelier, and the friction between the sketches, that are private, and finished works, which are public.

Si l’amorce d’une recherche engage son auteur dans un cheminement dont il ne connaît pas vraiment l’issue, le place d’emblée face à des inconnus et à des possibles, il faut bien se rendre à l’évidence : la fin du travail –annonçant peut-être le début d’un autre – nécessite un retour sur la pensée qui s’est déroulée selon une temporalité qui semble alors nous échapper. La durée d’une telle entreprise ne parvient pas à se cristalliser en un point dont on pourrait faire le tour. Le cheminement de pensée qui s’est donc déplié selon le cadre spatial et temporel imparti, selon la répartition des pages et la structure d’un ouvrage qui pourrait bien apparaître comme un autre type de carnet, doit être repris et reconduit selon d’autres stratégies. Conclure reviendrait, en effet, à extraire d’un matériau donné –ici l’écriture d’un texte– les points de capitons où la pensée se condense. Travail proche du dégagement du bloc en sculpture, travail encore de découvrement mais aussi et surtout travail de synthèse et d’ouverture. Précipitation d’un chemin de pensée sur ce qui définit ses limites, le tracé de son parcours, son bornage, ses jalons tout comme ses traverses.Cet acheminement vers l’écriture aura donc pris pour origine une situation de pratique plastique définie par deux instances d’appréhension du réel, deux modes d'existence de l’œuvre, le dessin d’une part, la sculpture de l’autre. Telle était la place attribuée aux termes posés dès l’origine de ce projet de recherche sur la sculpture et le dessin. Mais, à ce point conclusif de l’ouvrage, pourquoi ne pas intervertir les termes par lesquels s’est énoncée, dans un premier temps, cette thèse ? Nous pourrions ici avancer une position bien différente : la sculpture puis le dessin. Il paraît en effet artificiel de vouloir donner la primauté à l’un des deux médiums tant ils fonctionnent ensemble. Configuration qui diffère donc de celle annoncée en exergue de ce travail, puisque la réflexion menée sur l’articulation de ces deux « objets de pensée » peut nous amener à formuler une première remarque : les deux médiums ne sont pas à prendre dans leur successivité mais bien dans leur entrelacement réciproque. Ce qui ne signifie pas que le dessin se confonde avec la sculpture. L’inverse n’est pas moins vrai. C’est à leur conjonction et à leur croisée que se situe donc le cœur de la recherche et c’est là, sans doute, qu’est le point de bascule permettant de relancer l’expérience poïétique de l’un à l’autre. Ici est le nœud du problème, son site. La circularité, et donc une récupération perpétuelle du dessin dans la sculpture et de la sculpture par le dessin, travaille notre œuvre plastique en profondeur, elle en serait le soubassement. La sculpture relance le dessin qui à son tour relance la sculpture… / If the initiation of research obligates its author to take a direction for which he does not really know the outcome, a starting position when faced with unknowns and possibilities, one must evidently face reality: the end of the work – announcing perhaps the beginning of another – necessitates a return to the thought that took place within a temporality which therefore eludes us. The duration of such an enterprise doesn’t manage to solidify at one point in time; therefore we could go back around. The development of the thought, which therefore unfolds according to the imparted special and temporal reality, and according to the distribution of pages and the structure of the work, which could easily appear to be like another type of notebook, must be taken and looked at again using alternative stratagem. To conclude would, in fact, return to the idea of extracting from a given material – in this case, a text – the key points of condensed thought. This is a work that is close to the energy that is released from a block whilst being sculpted, a work that is still being discovered but also, and above all, a work of synthesis and openness. Precipitation of a train of thought which defines limits, the traces of its journey, its delimitations, its benchmarks, much like its passage. This development in the direction of writing therefore takes its origins from a situation involving the practice of art, as defined by two ways of perceiving what is real, two modes of existence of the work, the drawing, on the one hand, and the sculpture on the other. Such was the position attributed to the terms of this challenge right from the start of this research project about sculpture and drawing. But, at this conclusive point in the work, why not reverse the order of the terms by which this thesis was first introduced? We could put forward a very different position: the sculpture followed by the drawing. In fact, it appears somewhat artificial to desire to give primary position to one of these two mediums when they both work together. This is an order which therefore differs to that emphasised in this work, as the reflection on the articulation of these two “objects of thought” could make us formulate an initial commentary: the two mediums are not to be considered in terms of their successivity but rather in terms of their interlaced reciprocity. This doesn’t mean that the drawing is confused with the sculpture. The opposite is no less true. It is at their conjunction and their crossing-point where the heart of this research is found, and it is there, without doubt, that this balancing point allows us restart the poïetic experiment of one toward the other. Here is found the heart of the problem, its position. The circularity, and therefore the perpetual restoration of the drawing in the sculpture and the sculpture through the drawing, profoundly structures our artwork, being its fundamental substructure. The sculpture recreates the drawing and, in its turn, the drawing recreates the sculpture.

AUTOGRAPHIE : écriture de soi par soi. Dessin du sujet par le sujet. Mise en oeuvre de ce regard retourné sur lui-même. Enfin, langage graphique sur l'existence jusqu'à l'oubli de soi.L'autoportrait n'est qu'un point de départ pour un questionnement plus universel. C'est littéralement la mise en oeuvre, et de ce fait la mise en acte, de l'être témoignant aux autres de sa propre conscience. Poignante tentative de mise en lien avec soi-même pour rendre possible le lignage avec autrui. Troublante relation au monde qui nous révèle acteur et spectateur de son infinie révolution ombilicale. Soudaine perception de ceux qui réalisent qu'en témoignant de moi, je témoigne d'eux. / AUTOGRAPHY : The writing about oneself in one's own handwriting. The drawing of the subject by the subject. The realization of this self-focused perspective. Finally, the graphical language about existence up to self-oblivion.Self-portrait is only the starting point for a more universal questioning. lt is literally the realization - and thus the action - of a (human) being conveying his self-awareness toothers. The poignant attempt to relate to oneself so as to relate to others. Our troubling relation to the world leaving us actors and spectators of its endless umbilical revolution. The sudden perception of those who become aware that accounting for oneself is accounting for them.

Orientador: Ivanir Cozeniosque Silva / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T09:49:43Z (GMT). No. of bitstreams: 1 Morelatto_RicardoBruscagin_D.pdf: 7800431 bytes, checksum: 6882460e3447f70abcc9252b4ae8db78 (MD5) Previous issue date: 2012 / Resumo: Partindo de alguns conceitos desenvolvidos por Sigmund Freud, tais como o recalque, o ato falho, as pulsões de vida e morte, a recorrência, o consciente e o inconsciente, a pesquisa utilizou o desenho e as linguagens dele decorrentes para uma tradução verbo/visual construída em uma sucessão de processos criativos distintos. Primeiramente, foi criado um "vocabulário imagético" desenhado, para a seguir transformá-lo em caixas iluminadas e tridimensionais. Em seguida foram criadas imagens em grandes dimensões, valorizando a ausência e o vazio e, finalmente, miniaturas condensadas das imagens, fechadas em pequenas caixas acrílicas. Fundamentando a hipótese de se alcançar "imagens de Freud", a Fenomenologia da Percepção de Merleau-Ponty, ao tratar a sensação primeira causada pela obra, aproximou-se do conceito de "Primeiridade" de Charles Sanders Peirce quando ele a descreve como uma qualidade de sensação. Estas relações conceituais construíram a aposta na criação de uma poética particular que combina a experiência do artista com a percepção e possibilidades de sensações causadas por ela ao público final. O resultado é um conjunto visual que de certa forma está em correspondência com os conceitos freudianos destacados e é capaz de enriquecer a percepção de sua obra, agora em desenhos e imagens tridimensionais / Abstract: Starting with some Sigmund Freud?s concepts, such as: repression, the slip, the instincts of life and death, recurrence and the conscious and unconscious, the research used the design and language from it to a verbal and visual translation, built in a succession of different creative processes. We first created a "vocabulary imagery" designed to, then turn it into light and three-dimensional boxes. As a result images were created in large valuing the absence and emptiness, and finally condensed thumbnails of images, locked in small acrylic boxes. Supporting the hypothesis of achieving "Freud?s pictures", Merleau-Ponty's Phenomenology Perception Theory comes when the first sensation caused by the art works approaches Charles Sanders Peirce's concept of "Firstness" as he describes it as a sensation quality. These conceptual relationships built the option of creating a particular creative process that combines the poetic experience with the artist's perception and possibilities of sensations caused by it to the public. The result is a look that is, somehow, in correspondence with the Freudian concept deployed and is able to enhance the perception of his work, now in drawings and three-dimensional images / Doutorado / Artes Visuais / Doutor em Artes

This research examines established and emerging practical methods and theoretical ideas in contemporary drawing in relation to studio glass. The Studio Glass Movement, encompassing both applied and fine art practice, originated in the 1950’s and, despite rapid advancements in the subject, glass is still considered an emergent material when compared to most other studio processes. For this reason existing and long established practices in drawing, developed in relation to other materials, may not be as effective in realising or exploring those qualities which are particular to glass, whether aesthetic, technical or philosophical. Parallel to this are rapid changes happening within the field of contemporary drawing as a subject in its own right, which influence the wider context in which studio glass engages. In this research the use of empirical methods provide working examples of how drawing and glass can be integrated, through the production of a body of new work supported by theoretical and contextual findings. The investigation is practice orientated, incorporating both practice led and practice based methodologies. The practice led theoretical research proposes a new drawing taxonomy in which dimension, notation, physiology and improvisation are understood as key components in the theory and practice of drawing. This is examined here in relation to glass as both a subject of drawing and as a material process. Identification and reference to contemporary issues in drawing come from a variety of sources, for example through the Drawing Research Network, contact with specialist drawing research hubs including Wimbledon School of Art and Loughborough University, specific exhibitions and attendance at related events and conferences . The practice based aspect uses facilities at the Glass Department, University of Sunderland and a drawing studio in Newcastle upon Tyne. The main area of exploration is concerned with the use of drawing integrated within kiln cast glass as differentiated from established practices such as engraving and stained glass which use drawing as a surface application to an existing glass body.

In the exhibition An Ordered Absence, artist Justine Skahan establishes relationships between various types of imagery. The exhibition consists of paintings and drawings. The subject matter is a combination of architecture, hair, women, elements of the landscape, and domestic animals. The work was developed starting from an interest in the urban and suburban built environment, and is in part an exploration of how gender affects the experience of it.