Made available in DSpace on 2016-04-04T18:36:34Z (GMT). No. of bitstreams: 1 GIOVANA DELIBERALI MAIMONE.pdf: 1319303 bytes, checksum: a735e1cbf0f8760a46bedbc74dcede0e (MD5) Previous issue date: 2007-12-12 / The activities that include the informational treatment are broadly studied and applied by Information Science, concerning printed documents, conventionally found in libraries and information centers. However, in relation to imagetic material, specifically the artistic-pictorial works (paintings) situated in different places, there is little literature about the theme, in spite of communicative and documentary importance these materials can offer. Considering image as a source of information and as an element that can be analyzed and represented, the conceptual framework of the area concerning this theme is presented, intending to identify methodologies of informational treatment, specific of this kind of document. In this perspective, with the purpose of evidencing the state of art in Paulista scene, four representative art institutions of the state of S?o Paulo are observed. Analysis and proposals are elaborated in order to adjust the methodologies found in literatures of the area to the national context, taking into account the economic and the social limits. Two essays with two representative works of the studied museums are made to demonstrate the possibility of appliance of the proposals. Finally, the considerations about the theme reveal the situation of documentary backwardness of Brazil in relation to the developed countries, making the position of museums and painting collection galleries clear in relation to the public: the contemplation. On the other hand, this search demonstrates real possibility of changing this framework, through the application of suggested proposals, expressing worries about the generation of knowledge to the user. This research utilized the inductive method, starting of data observer specifically in each museum with the intent of a general reality. / As atividades que compreendem o tratamento informacional s?o amplamente estudadas e aplicadas pela Ci?ncia da Informa??o no que diz respeito aos documentos impressos, convencionalmente encontrados em bibliotecas e centros de informa??o. Por?m, em rela??o aos materiais imag?ticos, especificamente as obras art?stico-pict?ricas (pinturas) situadas em ambientes diferenciados encontram-se escassas literaturas, apesar da import?ncia comunicativa e document?ria que estes materiais podem oferecer. Partindo da concep??o da imagem como fonte de informa??o e elemento pass?vel de ser analisado e representado, apresenta-se o quadro conceitual da ?rea no que concerne a esta tem?tica, intentando identificar metodologias de tratamento informacional espec?ficas desta tipologia de documento. Nesta perspectiva, com o prop?sito de evidenciar o estado da arte em cen?rio paulista, recorre-se ? observa??o de quatro institui??es de arte representativas do estado de S?o Paulo. An?lises e propostas s?o elaboradas a fim de adequar as metodologias encontradas na literatura da ?rea ao contexto nacional, considerando os limites econ?micos e sociais. Para demonstrar a possibilidade de aplica??o destas propostas, s?o realizados dois ensaios com duas obras representativas dos museus estudados. Por fim, as considera??es revelam a situa??o de atraso document?rio do Brasil em rela??o aos pa?ses desenvolvidos, tornando clara a posi??o dos museus e pinacotecas em rela??o ao p?blico: a contempla??o. Em contrapartida, esta pesquisa demonstra clara possibilidade de modifica??o deste quadro, atrav?s da aplica??o das propostas sugeridas, manifestando preocupa??es quanto ? gera??o de conhecimentos para o usu?rio. Utilizou-se para esta pesquisa o m?todo indutivo, partindo-se de dados observados especificamente em cada museu com o intuito de se chegar a uma realidade gen?rica.

This study unites the burgeoning academic field of exhibition histories and the critiques of race-based exhibition practices that crystallised in Britain in the 1980s and 1990s. It concerns recent practices of presenting and contextualising black creativity in British publicly funded art museums and galleries that are part of a broader attempt to increase the diversity of histories and perspectives represented in public art collections and exhibitions. The research focuses on three concurrent 2010 exhibitions that aimed to offer a non-hegemonic reading of black creativity through the use of non-art-historical conceptual and alternative curatorial models: Afro Modern (Tate Liverpool), Action (The Bluecoat), and a retrospective of works by Chris Ofili (Tate Britain). Comparative exhibitions of the past were typically premised on concepts of difference that ultimately resulted in the notional separation of black artists from mainstream discourses on contemporary art and histories of British art. Through a close and critical textual analysis of these three recent exhibitions, which is informed by J.L. Austin’s theory of speech acts (1955), the study considers whether, and to what extent the delimiting curatorial practices of the past have been successfully abandoned by public art museums and galleries, and furthermore, whether it has been possible for British art institutions to reject the entrenched, exclusive conceptions of British culture that negated black contributions to the canon and narratives of British art in the first place. The exhibition case studies are complemented and contextualised by an in-depth history of the Bluecoat’s engagement with black creativity between 1976 and 2012, which provides a particular insight into the ways that debates about representation, difference and separatism have impacted the policies and practices of one culturally significant art gallery that is frequently overlooked in histories of black British art. With reference to the notion of legitimate coercion as defined by Zygmunt Bauman (2000), the study determines that long-standing hegemonic structures continue to inform the modes through which public art museums and galleries in Britain curate and control black creativity.

En zones de montagne, l'aléa de chutes de pierre concerne à la fois les personnes, les infrastructures et les voies de communication. Différentes mesures de protection peuvent être envisagées pour réduire les conséquences de tels aléas. Certaines de ces mesures sont basées, totalement ou en partie, sur l'utilisation de la forêt comme structure de protection. Des structures de protections faites d'arbres abattus et laissés sur place peuvent également être utilisées pour améliorer ou maintenir la fonction de protection de la forêt suite à des travaux d'entretien forestiers, notamment. L'objectif principal de ce travail est d'étudier la capacité de protection de ces systèmes pare-blocs composés d'arbres en travers ainsi que de fournir des éléments d'aide à leur dimensionnement. Un modèle numérique basé sur la Méthode des Eléments Discrets (MED) a été développé pour étudier l'impact d'un projectile sur une tige de bois vert. Ce modèle permet de prendre en compte à la fois l'interaction bloc-structure à l’échelle locale du contact et la réponse dynamique de la structure « arbre en travers ». Des études expérimentales en laboratoire à petite échelle ont été menées pour calibrer et valider le modèle numérique. Le modèle développé a enfin été utilisé pour analyser l'efficacité des systèmes pare-blocs composés d'arbres en travers. La diminution de l'énergie du bloc suite à l'impact, la réponse de la structure, et son endommagement ont été analysés pour différentes conditions d'impact. Ces résultats ont permis d'établir des recommandations pour la conception de ces dispositifs de protection. / In mountain areas, natural hazards such as snow avalanches, landslides or rockfall threaten people and infrastructures. For this reason, civil engineering has proposed solutions to reduce the risk associated with such hazards. Despite the developments in this field, the protective capacity of forest is largely recognized. For rockfall hazard in particular, forests protection function is relevant as rock impacts onto trees lead to a significant rock energy loss. After forests maintenance tasks or windstorms the protection capacity of forests decreases. For this, felled trees are often left on the ground, in oblique position to compensate the decrease in the forest protection capacity due the forests stands density reduction. The main goal of this PhD research is to study the rockfall protection structures made of felled trees. Moreover, these investigations aim to provide recommendations for the design of such devices. A numerical model based on the Discrete Element Method (DEM) has been developed to study the dynamic response of fresh wood structures to impact. Laboratory experiments have been carried out to calibrate and validate the numerical developments. The DEM model implemented has been finally used to simulate real scenarii of rock impacts on simplified felled tree structures. These simulations have allowed identifying the most favorable configurations leading to a maximal loss of the rock kinetic energy during the impact onto a felled tree structure. Some improvements on the design of these structures are proposed to improve their capacity to dissipate the rock energy.

Doctorat en sciences sociales, politiques et économiques / info:eu-repo/semantics/nonPublished

Si la fascination incitée par l'art se montre incontestable, son autonomie en tant que sphère de la vie sociale, qui existe par lui-même et en lui-même ne se confirme pas. Selon de nombreux sociologues, l'art, comme toutes les activités humaines, se construit socialement et ne se présente pas exclusivement liée à des éléments essentiellement esthétiques. Dans cette perspective, des artistes, des experts en général, commissaires-priseurs et les acheteurs jouent leur rôle sur le marché de l’art visuel. Le but de ma recherche doctorale est d'analyser le marché de l’art contemporain à Rio de Janeiro et São Paulo entre 2010 et 2013. Grâce à ce circuit de production et de circulation d’oeuvres d’art, nous allons analyser l'insertion, l'influence de ces parties prenantes exercent sur le monde de l’art contemporain et la relation qu’ils cultivent entre eux. En outre, nous allons explorer les similitudes et les différences entre le marché de l'art dans les deux plus grandes villes du Brésil et d'autres villes à l'étranger, en particulier le marché de l'art à Paris. / The writing of Clarice Lispector is inhabited by a deep tension to rapture. This term, which may correspond to the Brazilian words êxtase, enlevo, is not common in the lexicon of Lispector; however, we chose to build a question observing the multiple occurrences of ecstatic figures which belong to her work. First, the rapture unfolds as a fracture in the temporality plan: it tears the opacity of the daily life, exposing the female protagonists of Lispector’s stories and novels to a different order of meaning and of reality, placing them outside the scope of understanding. The tension triggered by this rupture, the (des)encontro, leads the speech into a space that is, in Lispector’s terms, behind the thought. This work explores the possibility of addressing some of Clarice Lispector’s texts to highlight the range and depth of the tension which characterizes rapture, pursuing the highly non-thinking power of the writing of Clarice Lispector: its hieroglyphic character. In this perspective, the work of the Brazilian writer can be (re)thought as a struggle toward the not knowing, to which the writer refers in her text Água Viva (1973) as « thought behind the thought ».

Master's thesis addresses the design and assessment of the load bearing structure of the shopping gallery. The building is designed as a three-storey rectangular plan with a flat roof. The structure is composed of steel frames and composite steel and concrete slabs. There are proposed two possible solutions - variant with a flat roof and direct central gallery, a reinforced rigid steel frames and a variant with a cupola roofed circular inner atrium, solidified with rods.

Die Aktivitäten der Galerien für Gegenwartskunst und Werkstätten des Staatlichen Kunsthan­dels der DDR zwischen seiner Gründung 1974 und der Auflösung bzw. kurzzeitigen Über­nahme durch die Art Union GmbH im Jahr 1990 stehen im Mittelpunkt der Dissertation. Die Gründung des Unternehmens, das nach außen mit der Wortmarke „Staatlicher Kunsthandel der DDR' landesweit kommuniziert wurde und intern als „VEH Kunst und Antiquitäten' fir­mierte, lässt sich auf zwei Hauptmotivationen zurückführen. Einerseits stellte dieser staatlich initiierte Betrieb die von dem Maler Bernhard Heisig 19721 eingeforderte Verwirklichung der von Erich Honecker 1971 propagierten Losung „Weite und Vielfalt' dar, andererseits richtete sich der DDR-Staat mit dem Staatlichen Kunsthandel ein Instrumentarium für die Beschaf­fung von Geldmitteln und sogenannten Devisen' ein, denn die Kunst und das Kunsthandwerk aus der DDR waren sowohl bei der Bevölkerung als auch international sowie im westlichen Ausland begehrt und stellten sich im Laufe des Bestehens dieses Betriebes als kommerziell erfolgreiches Handelsgut heraus. Als einflussreicher Stellvertreter der Künstlerschaft in der DDR verlangte Heisig vehement die Schaffung einer Einrichtung, die es einem breiten Spektrum der in der DDR arbeitenden und im Verband Bildender Künstler (VBK) organisierten Künstler ermöglichte, Präsentatio­nen und Verkäufe von Gegenwartskunstkunst und Kunsthandwerk sowohl im Binnenmarkt als auch im westlichen Ausland zu organisieren. Die Dissertation untersucht auf der Grundlage von originalen Quellen die These, dass der Staatliche Kunsthandel in Kenntnis der Bedürfnisse einer privaten kunstinteressierten Käufer­schaft handelte, vornehmlich wirtschaftliche Ziele zu erfüllen versuchte und dass eine (kultur-)politische oder ideologische Einflussnahme auf Ausstellungsprogramme oder gar künstlerische Positionen zugunsten der Erreichung dieser wirtschaftlichen Ziele nicht nach­zuweisen sind - bis auf wenige, in der Dissertation beschriebene Ausnahmen, wie beispiels­weise die Galerie Arkade in Berlin und ihrem Leiter Klaus Werner sowie der Galerie am Sachsenplatz in Leipzig mit den Galeristen Gisela und Hans-Peter Schulz. und mit den Funktionsweisen von Galerien mit Gegenwartskunst im westlichen Ausland Pa­rallelen aufweisen, wie das beispielhaft in der Arbeit des Galeristen Hans-Peter Schulz und 􀀌einer Ausstellungsserie mit Künstlern des Staatlichen Bauhauses dargestellt wird. Allein aus diesem Grund ist die hohe Diversität der im Staatlichen Kunsthandel ausgestellten und ge­handelten Kunst und Kunsthandwerk und die vielen Beteiligungen von Künstlern zu begrün­den, die fernab jeder staatlichen Beauftragung oder kulturideologischer Sendung arbeiteten und produzierten. Auf der Basis einer Auswertung von zeitgenössischen Originalquellen wie Ausstellungskatalogen, internen Veröffentlichungen des Betriebes, Pressestimmen, Korres­pondenzen, Editionsprogrammen und überliefertem Quellenmaterial des Staatlichen Kunst­handels aus öffentlichen wie privaten Archiven sowie die Einbeziehung von Zeitzeugenaus­sagen wird in der Dissertation die Struktur des Staatlichen Kunsthandels, seiner Konzepte und Aktionen rekonstruiert. Dabei wurde versucht, konkrete Fragen im zeitspezifischen kulturel­len und politischen Kontext in der DDR zu beantworten: 1.) Welchen ideologischen und kommerziellen Vorgaben unterlagen die Galerien? 2.) Welche Ausstellungen erfüllten diese Vorgaben und welche vernachlässigten diese bzw. ignorierten bewusst jegliche kulturpoliti­sche Einmischung? 3.) Welche Künstler, Stile, Gattungen konnten sich in den Galerien für Gegenwartskunst behaupten? 4.) Welche Freiräume oder Einschränkungen hatten die Galerie­leiterinnen und -leiter bei der Auswahl der Künstler? 5.) Konnte der Staatliche Kunsthandel erfolgreich arbeiten, trotz oder wegen seiner Anbindung an das Ministerium für Kultur und den Verband Bildender Künstler? 6.) Welche Rolle spielte das Ministerium für Außenhandel und die Kunst und Antiquitäten GmbH beim Exportgeschäft in das westliche Ausland und konnte der Staatliche Kunsthandel auch international wirtschaftlich erfolgreich arbeiten? Das letzte Kapitel der Dissertation schließt mit dem Versuch, die aus den Quellen herausgearbeite­te Rekonstruktion der Aktivitäten des Staatlichen Kunsthandels mit dem „westlichen Leitbild' der Distribution von Gegenwartskunst durch Galerien zu vergleichen und die Frage zu beant­worten, ob es den Mitarbeiterinnen und Mitarbeitern des Staatliches Kunsthandels gelungen war, einen sozialistischen Kunsthandel nach kapitalistischem Vorbild umzusetzen und damit einen Kunstmarkt in der DDR zu etablieren.

The master thesis is focused on recent inosculation of photography and modern information technologies and also on a daptation of photography to current trends in communication. Special emphasis is set on fine-art photography. Besides delimitation of problem the first part of the text is dedicated to foundation and history of photography where the author refers to dramatic changes that had taken place in the early beginnings. The second part is dealing with contemporary phenomenon - social networks and their moving into the virtual space of the Internet during last decade. The author aims on key aspects of social networks which have a significant influence when in combination with photography. The next part shortly deals with problems of copyright that show up in relation to digital photography. Part of text is devoted analysis of several selected systems specialized in fine-art photography publishing and eventually their selling. The author describes their significant attributes, principles on which they are based and mentions differences among each other. The fundamental part of the document is focused on practical view of interconnection between fine-art photography and digital information technologies whereas the ideas relates to pieces of knowledge gained from several selected and interviewed...

The presented work deals primarily with the influence of Act No. 22/1958 Coll., On Cultural Monuments, Act No. 54/1959 Coll., On Museums and Galleries, and similar laws valid for the Slovak part of republic on the functioning of Czechoslovak museums. The influence of these legal regulations is examined on the examples of museums in Písek and České Budějovice, as these are typical representatives of museums of national history on the district and regional level. The work analyzes mainly the so-called cultural- educational activities of museums, it also focuses on collection activities, staffing and financial stability of museums. The secondary goal of this thesis is to describe the development of Czechoslovak monument care and museology after the end of the Second World War.

The Situation. Downtown. An alleyway and adjacent building form the volumetric parametric parameters for a hypothetical, semi-urban addition. The Program. A synthesis of bookstore, art gallery, and cafe outlines the necessary conditions to be featured in the proposed building. The Strategy. To actualize each element of the program while attempting to construct, through minimal intervention, a space which maximizes the cross-sectional aspects of the situation and the internal organization of the program. / Master of Architecture