Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-04-03T22:42:54Z No. of bitstreams: 1 SaraCarlaNunoDeLaRosaGarcia_DISSERT.pdf: 4861140 bytes, checksum: 1f475095fc590990e8b1f05f0801b34b (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-04-11T19:39:25Z (GMT) No. of bitstreams: 1 SaraCarlaNunoDeLaRosaGarcia_DISSERT.pdf: 4861140 bytes, checksum: 1f475095fc590990e8b1f05f0801b34b (MD5) / Made available in DSpace on 2017-04-11T19:39:25Z (GMT). No. of bitstreams: 1 SaraCarlaNunoDeLaRosaGarcia_DISSERT.pdf: 4861140 bytes, checksum: 1f475095fc590990e8b1f05f0801b34b (MD5) Previous issue date: 2017-03-06 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior (CAPES) / O presente trabalho busca contribuir na consolida??o de pesquisas antropol?gicas na ?rea de dan?a e performance por meio de um estudo etnogr?fico de caso focalizado no processo de produ??o perform?tica do ?ltimo espet?culo do Grupo Parafolcl?rico da UFRN, ?Ensaiei meu samba o ano inteiro?. Para entender a realidade da companhia examinamos a perspectiva dos bailarinos sobre as fases que constituem a produ??o da performance e a forma em que tal procedimento modifica o car?ter das rela??es interpessoais, assim como a concep??o dos sujeitos sobre o coletivo, o espet?culo e sobre eles mesmos. Por ?ltimo, ? analisado o potencial que o espet?culo tem, como contexto perform?tico capaz de alterar a compreens?o dos bailarinos e a plateia sobre alguns dos fatores que determinaram a transforma??o do samba no Brasil. O espet?culo traz para a cena teatral um percurso hist?rico da evolu??o desse g?nero musical, a partir da encena??o de mais de dez coreografias que buscam ressignificar elementos do batuque, do lundu, do samba de roda, do maxixe, do samba can??o, do samba gafieira e do samba enredo respectivamente. Nesse sentido, ? realizado um estudo comparativo entre os elementos sociais, musicais e coreogr?ficos abordados pela companhia e as caracter?sticas do contexto hist?rico em que surgiram os distintos tipos de samba sobre os quais o grupo fundamentou o seu trabalho de pesquisa para a produ??o art?stica da obra. / This work aims to contribute to the anthropological studies on dance and performance through an ethnographic analysis of a case study focused on the process of performatic production of the last show of the the UFRN Parafolcloric Group, "I rehearsed my samba throughout the year". In order to understand the reality of the company, I examined the dancers' perspective on the stages of the production of the performance, as well as the way in which this procedure modifies interpersonal relationships and the subjects' concept of the group, the show, and themselves. Finally, I analyze the potential of the show as a performatic context able to modify the understanding of dancers and the audience on some of the factors, which determined the evolution of samba in Brazil. The show brings into the theatrical scene a historical journey of this musical genre through the representation of more than ten choreographies, with the goal of re-signifying elements of different dances, namely batuque, lundu, samba de roda, maxixe, samba can??o, samba gafieira, and samba enredo. In this sense, I carry out a comparative study of the social, musical, and coreographical elements addressed by the company, and the historical context in which the different kinds of samba on which the group grounded its research for the artistic production of the show.

Este estudo buscou analisar a produção do artista norte-americano Dan Graham, enfocando a estreita relação que manteve com a arquitetura e a cidade ao longo de sua trajetória. Realizada em meios e suportes bastante diversiicados, a produção deste artista é bastante representativa do desenvolvimento da arte contemporânea a partir da década de 1960, marcado pela superação de códigos artísticos que culminaram com o rompimento dos limites ísicos dos museus e galerias. Através de intervenções em revistas, de suas performances e instalações, de seus recentes pavilhões de aço e vidro e de uma extensa produção de textos, Graham mobilizou conteúdos distintos provindos de campos como os da psicologia, do cinema e também da arquitetura para investigar a condição da arte, da cultura e das espacialidades na sociedade contemporânea. Por meio da justaposição entre suas obras e seus textos, onde lida mais explicitamente com questões exteriores à arte, torna-se possível identiicar a articulação entre a prática e o pensamento do artista, percorrendo de maneira mais aprofundada suas relexões sobre as estruturas sociais ou culturais operantes em contextos espaciais especíicos, seja dentro da galeria ou fora dela. Ao inal, espera-se que a síntese dessas questões permitam revelar os novos olhares construídos por Dan Graham sobre o campo da Arquitetura e Urbanismo, a partir de questionamentos que lhe são exteriores e que apresentam natureza distinta: suas propostas estéticas indagam as formas de produção da cidade contemporânea, sobretudo em relação à natureza cultural e social de seus espaços. / This study investigates the production of the American artist Dan Graham, focusing on the close relationship he mantained with the architecture and the city throughout his carrer. Held in very diverse mean and supports, the production of this artist is quite representative of the contemporary art development from the 1960s, marked by overcoming artistic codes that culminated in the disruption of physical boundaries behind museums and galleries. Through the interventons in magazines, performances and installations, his recent steel and glass pavilion and the extensive production of texts, Graham mobilized different contents stemmed from ields such as psychology, cinema and also the architecture to investigate the condition of art, culture and spatiality in contemporary society. By the juxtaposition of his works and his writings, which most explicity the deals with external issues to the art, it is possible to identify the articulation of Graham´s practice and thought, observing more deeply his relections on the social and cultural structures operating in speciic spatial contexts, either inside the art gallery or outside of it. At the end, it is expected that the synthesis of these isseus allow us to reveal the new perspectives built by Dan Graham on the ield of Architecture and Urbanism, pointing questions from a external and different nature: his aesthetical proposals inquire the contemporary city forms of production,especially in relation to cultural and social nature of their spaces.

Zugl.: Diplomarbeit. / Literaturverz. S. 131 - 135.

Dan Beaty (1937-2002) was a prolific composer, pianist, researcher, educator, and writer. His large compositional output included chamber works, choral works, songs, orchestral pieces, electronic music, and keyboard works. Beaty was well versed in traditional Western music as well as the more avant-garde and perplexing idioms of the twentieth century. Beaty's compositions reflect the many fascinating, if not always popular, musical trends of his time. His music encompasses styles from serial to jazz, shows compositional influences from Arnold Schoenberg to Indonesian music, and demonstrates thought-provoking and highly intellectual craftsmanship. This document explores several of Beaty's songs through a discussion of the composer's life and compositional process. Songs included in this document are Three Weeks Songs, October, November, A Sappho Lyric, Love Song, That Night When Joy Began, and War Lyrics. This document was written to accompany the author's DMA Lecture-Recital at the University of North Texas. Unfortunately, Beaty's vocal music was never published and is mostly unknown. One goal of the project was to initiate interest in Beaty's songs. Through this document, Lecture-Recital, and additional performances, considerable strides have been made to bring Beaty's songs to new audiences throughout the United States. In addition, the author has received permission from the Beaty family to publish Dan Beaty's songs.

<p>Straffskalan för klotter skärps hela tiden. Ändå är det många som håller på. Det måste vara något annat än spänningen och viljan att synas som driver klottrarna.</p><p>Den här artikelserien fokuserar kring problematiken och de rättsliga, konstnärliga och personliga aspekterna av klotter, samt personerna bakom – både polis och</p><p>klottrare.</p>

Esta dissertação consiste em uma abordagem do fenômeno da luz que interesse ao Design da Iluminação. Isso se faz aqui através da leitura da obra de Dan Flavin, artista americano que utilizou a lâmpada fluorescente como material quase que exclusivo em seus trabalhos. Flavin conhece e explora a luz como um fenômeno intangível. Recusa noções preconcebidas de espaço, e busca novas experiências perceptuais e espaciais. Assim, sua obra nos permitiria uma leitura múltipla, levantando diversos aspectos importantes para a atividade do designer da Iluminação. Pesquisar Flavin é uma imersão na luz, na cor, no espaço e na percepção humana. A riqueza visual e conceitual de sua obra nos levaram a explorar o conhecimento que se tem sobre a presença da luz no espaço que complementem a prática do Design. / This essay proposes an approach to the phenomenon of light that involves Lighting Design. The route to this exploration is the work of Dan Flavin, an American artist who used fluorescent lamp as the practically exclusive material of his work. Flavin knows and explores light as an intangible phenomenon. He refuses preconceived notions of space and seeks new perceptual and spacial experiences. As a result, his work allows multiple readings and raises several key aspects for the activity of the Lighting designer. To research Flavin is to immerse oneself in light, color, space and human perception. The visual and conceptual richness of his work led us to explore the knowledge we have of the presence of light in space, which complements the Design practice.

Submitted by Setor de Tratamento da Informa??o - BC/PUCRS (tede2@pucrs.br) on 2016-05-25T13:56:30Z No. of bitstreams: 1 DIS_LAURA_BAUERMANN_COMPLETO.pdf: 1368708 bytes, checksum: 1c879767775919eadae665cd95be8e6d (MD5) / Made available in DSpace on 2016-05-25T13:56:30Z (GMT). No. of bitstreams: 1 DIS_LAURA_BAUERMANN_COMPLETO.pdf: 1368708 bytes, checksum: 1c879767775919eadae665cd95be8e6d (MD5) Previous issue date: 2016-02-26 / This dissertation presents an analysis about the learning involved in dances which take place in festivities of the brazilian popular culture. Its objective was to investigate the perspective of the brincante making for movement creation, as a process of dance learning. For that, I performed an investigation about the term brincante, present in part of the popular dances studies, to consider their makings as ways of participating in the popular festivities. Having this ?brincante? making as starting point, I analysed the notions of aesthetic experience and body perception of the individual who dances surrounded by the cultural circumstances of the festivity. The aesthetic experience is, here, the possibility of opening to this moment and, also, what allows to approximate the festive event to the notion of learning. In order to evidence the means of interaction between the individual and the space, I articulate theories concerning sensory perceptions, which involve somatic practice and the concept of learning. To develop such investigation, I made a theoretical research through a reflexive analysis of blibliographic references, articulated with registers which emerged from my experiences as an apprentice in three popular festivities: a carnival cortege, a Jongo festivitity and a Ma?ambique procession. The articulation among popular dance, brincante, aesthetic experience and somatic perception allowed to expand the meanings of learning and oriented the discussion to the dimension of dance learning, which implies creating movements and organizing the body from the relations involved in participating of the popular festivity. / Esta disserta??o apresenta uma an?lise acerca das aprendizagens envolvidas nas dan?as que acontecem em festas da cultura popular brasileira. Objetivou-se investigar uma perspectiva do fazer brincante para cria??o de movimento, enquanto processo de aprendizagem em dan?a. Para tanto, realizei uma investiga??o sobre o termo brincante, presente em parte dos estudos em dan?as populares, a fim de considerar os seus fazeres como formas de participa??o nas festas populares. Tendo o fazer brincante como ponto de partida, analisei as no??es de experi?ncia est?tica e percep??o corporal do sujeito que dan?a rodeado de condi??es culturais, presentes no momento da festa. A experi?ncia est?tica ?, aqui, a possibilidade de abertura a esse momento e o que permite aproximar o acontecimento festivo ? no??o de aprendizagem. A fim de evidenciar os meios de intera??o entre o sujeito e o espa?o da festa, articulo teorias a respeito das percep??es sensoriais, que envolvem a pr?tica som?tica e o conceito de aprendizagem. Para desenvolver tal investiga??o, realizei uma pesquisa te?rica a partir da an?lise reflexiva de refer?ncias bibliogr?ficas, articuladas com registros que emergiram das minhas experi?ncias enquanto aprendiz em tr?s festas populares: um cortejo de carnaval, uma festa de jongo e uma prociss?o de ma?ambique. A articula??o entre dan?a popular, brincante, experi?ncia est?tica e percep??o som?tica permitiu ampliar os sentidos da aprendizagem e orientou a discuss?o ? dimens?o da aprendizagem em dan?a que implica criar movimentos e organizar o corpo a partir das rela??es envolvidas em participar da festa popular.

Straffskalan för klotter skärps hela tiden. Ändå är det många som håller på. Det måste vara något annat än spänningen och viljan att synas som driver klottrarna. Den här artikelserien fokuserar kring problematiken och de rättsliga, konstnärliga och personliga aspekterna av klotter, samt personerna bakom – både polis och klottrare.

A renewed merging of art and design accompanied by the inflation of design in relation to art has been increasingly noted by writers since the 1990s. Some critics and artists such as Dan Graham have celebrated this phenomenon as a critical opportunity; others such as art historian and critic Hal Foster have criticized the trend as a catastrophic loss of the limits required for liberal subjectivity. In the first chapter, I consider Graham's position as outlined in "Art as Design/Design as Art" (1986) and contrast it with Hal Foster's argument as presented in "Design and Crime" (2002). While the writers share some points of reference, it becomes clear that the two texts are based on different critical models. My second and third chapters present case studies of works often considered to be part of the "design art" trend. At either end of the 1990s, Dia Center for the Arts realized large-scale projects: Dan Graham's Two-Way Mirror Cylinder Inside Cube and a Video Salon: Rooftop Urban Park Project for Dia Arts Center (1981- 1991) and Jorge Pardo's Project (1998-2000). Both works fit the profile of art projects that make use of the modes and methods of the fields of architecture and design. My study considers how each project related to its art institutional site, to the greater art historical and contemporary context and to changes in social, political and cultural conditions that unfolded during the 1990s. My third chapter considers works by Andrea Zittel, an artist also often discussed in terms of design, architecture and life style. While Zittel's "critical optimism" offers promise, there are some critical failings of her project. I analyze some of the problems presented by Zittel's works in relation to comparable projects by Dan Graham and Jorge Pardo. These projects question, but also contribute to, the overvaluation of design that accompanies the contemporary phenomenon of obsession with styling self.

I uppsaten analyseras skrävlets narrativa och ideologiska implikationer i enlighet med det Jameson kallar social symbolhandling i Dan Anderssons Amerika-skildring Chi-mo-ka-ma från 1920. Här noteras textens antitetiska relation till den billiga läsning som den vanligtvis vänsterradikale Andersson beskrev boken som i brev till Bonniers, liksom till populära eller reifierade genremarkörer och den ideologi som denna konsumtionskultur är ett uttryck för. Den paradoxala narration som därmed uppstår, främst i bilden av indianerna, kan även tolkas som de textuella följderna av en reell subtext, som, tillsammans med underklassens villkor, kan betraktas som en politiskt undermedveten nivå av realism. Då skrävlets ideologem glider mellan att förvränga verkligheten till sin motsats och mimetisk upplösning i ren verklighetsflykt kan vår förståelse hur detta fungerar inte användas som en säker tolkningskod för att avtäcka den subversiva nivån i en allegorisk läsning. Boken blir därmed ambivalent mellan anti-mimetisk modernism, populism och en indirekt antydd subversiv realism. Den sista nivån blir dock tydligt signalerad genom den underminering av den kapitalistiska och populistiska ideologin som utgör bokens sociala symbolhandling.