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Made available in DSpace on 2014-07-29T16:27:46Z (GMT). No. of bitstreams: 1 Dissertacao Alana Morais Abreu e Silva.pdf: 3328933 bytes, checksum: 2fa6ce550c01ee63f737967547158a98 (MD5) Previous issue date: 2008-03-31 / This research includes technically the production, scanning / tinge and printing of objects / matrices made in transparent plastic polyethylene. This support provides a reflective study and poetic about the different processes of construction of the work, scoring its relationship with traditional and digital technologies, and poetic thinking about the limits of the field. Initially this study focused on the production in the engraving workshop, which was held in a freedom technical and conceptual in the process of creation. The variations of matrices allowed then concentrate production in two opposite techniques: one is the extraction of material (plastic), and the other in collage of material. With the development of these two techniques deployed, the process experimental restricted itself, producing poetic reflections, conceptual searches and increased volume of production. The technique and the concept of engraving developed the work, the processes and considerations involving the manufacture of objects from / matrices until your impressions or final proposals. As path poetic, was questioned the transparency of the object / matrix being immaterial, missing, and their behaviour in steps of the production process, printing and reflection. This supports research on the work of artist Regina Silveira, in times that discusses the immaterial being, under the aspect of the concepts and ways of doing and understand the engraving. So its work built on the line of poetic visual, the daily the artist is a member of thinking and construction of the work, so as to the document which it uses referring to the process of creation. This research presents technical and conceptual axis as the engraving, which promotes reflection on the presence of transparent as a representation missing. / Esta pesquisa compreende tecnicamente a produção, digitalização/entitamento e impressão de objetos/matrizes confeccionados em plástico polietileno transparente. Este suporte proporciona um estudo reflexivo e poético acerca dos diferentes processos de construção da obra, pontuando sua relação com as tecnologias tradicionais e digitais, e o pensamento poético acerca dos limites da matéria. Inicialmente o presente estudo concentrou-se na produção em ateliê de gravura, em que foi exercida uma liberdade técnica e conceitual no processo de criação.As variações de matrizes permitiram, posteriormente, concentrar a produção em duas técnicas opostas: uma consiste na extração de material(plástico), e a outra, em colagem de material. Com o desenvolvimento destas duas técnicas destacadas, o processo experimental afunilou-se, produzindo reflexões poéticas, pesquisas conceituais e maior volume de produção.A técnica e o conceito de gravura orquestraram os fazeres, os processos e as reflexões que abrangeram desde a confecção de objetos/matrizes até suas impressões ou propostas finais.Como trajeto poético, foi questionada a transparência do objeto/ matriz ser imaterial, ausente, bem como o seu comportamento nas etapas do processo de produção, impressão e reflexão.Esta investigação apóia-se no trabalho da artista Regina Silveira, nos momentos em que discute a imaterialidade, sob a vertente dos conceitos e modos de fazer e entender a gravura.Por tratar-se de um trabalho construído na linha de poéticas visuais, o diário de artista apresenta-se como membro do pensamento e construção da obra, portanto, como documento ao qual se recorre referendando o processo de criação. Esta pesquisa apresenta como eixo técnico e conceitual a gravura, que promove a reflexão sobre o transparente como presença de uma representação ausente.

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Thesis (doctoral)--Ludwig-Maximilians-Universität zu München, 1978. / Includes bibliographical references (p. 214-219).

Cette thèse a pour objet d’étudier l’impact qu’a eu l’arrivée de la lithographie sur la vision de l’estampe en France et en Angleterre au début du XIXe siècle. Elle s’appuie sur la critique d’art que l’on trouve dans la presse des deux pays. Elle propose tout d’abord une revue de la littérature sur l’estampe depuis son apparition, afin de mettre en évidence les grands types d’écrits qui existent à son sujet et de mettre en lumière les différentes problématiques qui apparaissent au XVIIIe siècle. Dans cette optique, on étudie particulièrement les relations entre l’estampe et les institutions artistiques : l’impact des questionnements académiques en France et la recherche d’une légitimité officielle en Angleterre. La lithographie gagne les deux pays dans des conditions semblables. Mais, malgré quelques développements en Angleterre, elle ne parvient à s’implanter dans aucune des deux capitales. C’est un rapport français de l’Institut en 1817 qui réveille la curiosité à son égard et lui ouvre le champ d’une vraie popularité. Dans les années qui suivent, avant 1824, la situation est déséquilibrée entre les deux pays. En France, la pierre se diffuse mais rencontre des réticences politiques et idéologiques. Au contraire, alors qu’elle avait soulevé l’enthousiasme de ce pays, elle est freinée par d’importantes difficultés techniques en Angleterre. A partir de 1825 environ, sa situation se normalise de part et d’autre de la Manche et le nombre d’articles à son sujet augmente. En France, elle devient un enjeu artistique et est souvent rapprochée de l’estampe anglaise : toutes deux contribuent au développement de l’esthétique romantique. Au contraire, l’Angleterre regarde plutôt la gravure institutionnelle française et aspire à être reconnue pour ses grands formats : elle se montre alors plutôt indifférente à la lithographie. On constate donc que la France et l’Angleterre ne cessent d’observer leurs productions mutuelles et de s’influencer mais, tout en se prêtant aux mêmes modes et en vivant des avancées techniques comparables, elles suivent des problématiques tout à fait différentes ; leurs visions de l’art ne font que se croiser sans se rejoindre durant cette décennie. / This thesis is about the invention of lithography and its impact on prints theory at the beginning of 19th century. Press articles dealing with artistic prints in France and in England are studied. Firstly, literature on engraving from its beginning to 18th century is perused, in order to classify the existing types of texts. This analysis offers an opportunity to see the issues emerging around print during the second half of 18th century : France deals with academic controversies whereas English engraving is seeking for public recognition. After its invention, lithography is introduced in similar conditions in both countries. A few development occurs in England, but the new technology does not find its way in neither capitals. It is finally a French report of the Institute, in 1817, which offers a new start : information about it is broadly spread in French and British press. But during the next few years, the situation is very different in Paris and London. In France, the technique meets success in the street but official critic is reluctant to write about it because of political and ideological pressures. On the contrary, England is enthusiastic but cannot develop her production because she encounters with technical difficulties. After 1825, the amount of articles about lithography is growing in press. In Paris, it is considered as a new aesthetic, as well as imported English prints which meet a real success and are benchmarks for the world of prints : both contribute to the development of romanticism. On the contrary, England is envious of “grand genre” institutional French Engraving and rather focuses on large scale techniques : interest on mezzotinto on steel is awaken and a new interest on burin emerges. Therefore, Paris and London exchange their vision on engraving and this has a dynamic impact on their individual conceptions, but their visions never meet.

Why was woodblock printing continuously utilized by Tibetan Buddhist monasteries for several centuries, despite the emergence of other printing technologies? How did the societal perception of the printed knowledge as both valuable and sacred in the specific cultural and political context influence the duration of its use? Drawing from sources spanning digital facsimiles of xylographs, museum collections of carved blocks and printing tools, Chinese-language museum publications and Tibetan-language monastic histories and mechanical treatises, this dissertation, “Wood Carvers and Deep Forests: The Expansion of Tibetan-language Woodblock Printing Houses (1642-1900)” historicizes the temporal and spatial development of 177 Tibetan-language printing houses from the twelfth to the nineteenth centuries across Tibet and Inner Asia. In my work, I offer a cultural and material history of woodblock printing technology that considers the Buddhist worldview and the artisanal understanding of wood’s materiality. For artisans working with wood, maintaining its healthiness is one of their foremost priorities. The concern for posterity and permanence significantly influences their material practices. I argue that the idea of wood lasting for hundreds of years was particularly appealing to monastic printing houses as the leaders saw themselves as the upholders of an unbroken and an undamaged lineage of authentic Buddhist teachings no longer available elsewhere in the world. Wood as a material that could stand the test of time and woodblocks, as a permanent source from which to print the texts, was highly appealing to the Tibetans. The continued use of woodblock printing in Tibet is not simply a matter of technological stagnation but a complex interplay of cultural, religious, and practical considerations. The Buddhist worldview and artisanal traditions, combined with the adaptability and economic practicality of woodblock printing, have sustained its use through multiple centuries despite the introduction of other technologies.

Diss. : Théologie : München : 1986. / Originally presented as the author's thesis (doctoral)--Ludwig-Maximilians-Universität München, Wintersemester 1985/86. Includes indexes. Bibliogr.: p. 229-238.

This thesis examines four European portrait prints of Ottoman sultan Mehmed II, dated 1470 to 1493. At the center of this study is a formal and iconographical analysis that indicated all are rooted in traditional artistic conventions of both Western princely portraiture and stereotypical imagery of evil doers. Part of a feverish textual and visual discourse that was the result of great fear for the Ottoman aggression, they all adhere to a conventionalized type for the Eastern despot. The portraits employ to varying degrees a general pictorial language of evil, based on medieval folk imagery, that employed sartorial and physical signifiers used for a wide range of social groups that were not accepted by Christian society. The result is four images that share certain characteristics, most notably an iconic hat, but differ considerably in others to bring across diverging messages about the sultan's ambiguous public identity.

Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 1982. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ENGINEERING / Includes bibliographical references. / by Kenneth James Dreshfield. / M.S.

The botanical theme in my art developed from years of photographing the native flora of Oregon with a macro-lens and studying botany and natural history. The appreciation which I developed for the evolution of flora and fauna and for the balances and complexities of the environments that sustain them is reflected in the work that I completed during my two years in the Master of Fine Arts program. The composition of the abstract paintings in acrylic medium which I completed my first year in the program were based on the cycles and seasons of nature. Repetition and variation of pictorial elements were symbolic of the recurring and changing conditions of seasons and the life cycles of plants. As I became interested in developing the textures and transparencies of these paintings, I turned to the work of several Abstract Expressionist painters. To create fluid veils of color, the acrylic medium was thinned by the addition of much water, and this change in the viscosity of the medium lent itself to a more calligraphic handling of the lines and shapes which make up the visual and symbolic structure of these paintings. After my first year in the graduate program, I was introduced to the techniques of monotype. The layering process of monotype seemed appropriate for the subject of floral forms, since in both the anatomy of the print and the morphology of flowers, forms are made up of layers and possess intricate overlapping structures. The images in these monotypes are based on generalized floral forms which serve as springboards for imagination to develop.