Magíster en Ares con Mención en Dirección Teatral / En esta investigación pretendo adentrarme en la teoría estructuralista de la percepción Gestalt para ver si es posible aplicar sus principios visuales en el teatro, a través de los estudios de Antropología Teatral desarrollados por Eugenio Barba, generando un diálogo creativo entre ellos. Pretendo investigar formas de potenciar la visualidad del teatro, a través de las estructuras que de alguna manera articulan la percepción audiovisual, como también la forma en que el cuerpo del actor acciona su energía y despierta el interés del espectador con técnicas para aumentar su presencia. Lo ideal es llegar a posibilitar la aplicación de lo investigado en los cuerpos de los actores y el espacio, para realzar el interés visual de las acciones que ellos realizan.

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A dissertação visa alçar uma reflexão sobre a produção e contribuição crítica de Mário Pedrosa para a arte brasileira, como também identificar alguns de seus paradigmas artísticos que colaboraram para a consolidação de um arcabouço teórico para História da Arte Moderna, tanto no plano nacional, quanto internacional. Objetiva-se delinear a relação entre o que Pedrosa absorveu sobre as teorias gestálticas e exemplos de como ele as aplicou na tessitura de seu discurso crítico. Ao sedimentar o foco de análise no envolvimento do crítico brasileiro com o tema da psicologia da forma, propõe-se ressaltar as implicações estéticas de seu estudo pioneiro Da natureza Afetiva da Forma na Obra de Arte. Pretende-se, ainda, identificar a intersecção entre a psicologia da forma e a crítica de arte de Mário Pedrosa, propondo a influência destas teorias nos textos sobre a obra do artista americano Alexander Calder, artista considerado pelo crítico, como o emblema da estética abstrata construtiva. Busca-se verificar como as teses da psicologia da forma ofereceram ao crítico, subsídios conceituais para uma nova relação com as premissas constitutivas e cognitivas da estética abstrata. / The thesis aims at reflecting on the critical production and contribution of Mário Pedrosa to Brazilian art, as well as identifying some artistic paradigms, which contributed to the consolidation of a theoretical framework for the History of Modern Art, both at the national and international levels. The purpose here is to outline the relationship between what Pedrosa absorbed about Gestalt-based theories and examples of how he applied them in constructing his critical discourse. By focusing the analysis on the Brazilian critics engagement in the subject of the psychology of forms we propose to emphasize the aesthetic implications of his groundbreaking study Da natureza Afetiva da Forma na Obra de Arte (On the affective nature of forms in the work of art). We also intend to identify the intersection between the psychology of forms and Mario Pedrosas art criticism, pointing the influence of these theories on texts about American artist Alexander Calder, considered by the critic the symbol of constructive abstract aesthetics. We sought to verify how psychology theses on forms offered the critic conceptual material for a new relationship with the constitutive and cognitive premises of abstract aesthetics.

[pt] Essa pesquisa busca desenvolver uma reflexão sobre as ilustrações de autoria de J. Carlos direcionadas ao público infantil, publicadas na revista O Tico-Tico e no seu livro Minha Babá. J. Carlos (1884-1950) foi um grande ilustrador e caricaturista carioca, que se destacou pela sátira e crítica de costumes do início do século XX no Rio de Janeiro. A idéia da pesquisa é apresentar um múltiplo J. Carlos que se revela em três esferas: o ilustrador da forma, o designer que transforma e o cronista que informa pela liberdade conceitual e expressiva de seu traço. O objetivo principal é contribuir para a compreensão de aspectos singulares da ilustração e de sua inserção e importância na área do design gráfico, como também, pensar a história da ilustração, valorizando a memória visual brasileira. / [en] J. Carlos (1884 - 1950) is known as a great illustrator and cartoonist born in Rio de Janeiro. This research is aimed at giving special consideration to illustrations which he directs to children. These illustrations have been published in Tico-Tico magazine as well as in his book entitled My Nanny, or Minha Babá as it is called in Portuguese. J. Carlos distinguished himself for his satire and social critique of the 20th century customs in Rio de Janeiro. The research shows a multiple J. Carlos who reveals himself in three different aspects: Illustrator of form, the designer who trans-forms; and the chronicler who in-forms by use of free, significant and conceptual strokes. The main purpose of this research is to contribute to the understanding of the unique aspects of illustrations; theinsertion and importance of these illustrations in graphic design, as well as consider the National Illustration history issue and therefore, and value the Brazilian visual memory.

Digital technology and the Internet has fundamentally reshaped the way photographs are viewed and shared. Today designers can reach out and publish their work via web sites and blogs without having to rely on editorial features or even the objects being in production. Most people will only see the finished products on blogs or in magazines, and it is almost as though the image is more important than the real object. How does this change the role of the image in the field of product design and what new demands does it put on product photography? Through theoretical and applied research, the aim is to identify knowledge, relevant in order to approach the creation of images as an integrated part of the design process, rather then a form of documentation done after a project is completed.

A dissertação visa alçar uma reflexão sobre a produção e contribuição crítica de Mário Pedrosa para a arte brasileira, como também identificar alguns de seus paradigmas artísticos que colaboraram para a consolidação de um arcabouço teórico para História da Arte Moderna, tanto no plano nacional, quanto internacional. Objetiva-se delinear a relação entre o que Pedrosa absorveu sobre as teorias gestálticas e exemplos de como ele as aplicou na tessitura de seu discurso crítico. Ao sedimentar o foco de análise no envolvimento do crítico brasileiro com o tema da psicologia da forma, propõe-se ressaltar as implicações estéticas de seu estudo pioneiro Da natureza Afetiva da Forma na Obra de Arte. Pretende-se, ainda, identificar a intersecção entre a psicologia da forma e a crítica de arte de Mário Pedrosa, propondo a influência destas teorias nos textos sobre a obra do artista americano Alexander Calder, artista considerado pelo crítico, como o emblema da estética abstrata construtiva. Busca-se verificar como as teses da psicologia da forma ofereceram ao crítico, subsídios conceituais para uma nova relação com as premissas constitutivas e cognitivas da estética abstrata. / The thesis aims at reflecting on the critical production and contribution of Mário Pedrosa to Brazilian art, as well as identifying some artistic paradigms, which contributed to the consolidation of a theoretical framework for the History of Modern Art, both at the national and international levels. The purpose here is to outline the relationship between what Pedrosa absorbed about Gestalt-based theories and examples of how he applied them in constructing his critical discourse. By focusing the analysis on the Brazilian critics engagement in the subject of the psychology of forms we propose to emphasize the aesthetic implications of his groundbreaking study Da natureza Afetiva da Forma na Obra de Arte (On the affective nature of forms in the work of art). We also intend to identify the intersection between the psychology of forms and Mario Pedrosas art criticism, pointing the influence of these theories on texts about American artist Alexander Calder, considered by the critic the symbol of constructive abstract aesthetics. We sought to verify how psychology theses on forms offered the critic conceptual material for a new relationship with the constitutive and cognitive premises of abstract aesthetics.

The purpose of this study is to investigate differences in the stimulus value of the Bender Gestalt designs. It is concerned with both differences in structural values and affective values of the nine figures. The investigation is primarily concerned with the reliability of such differences, and secondarily with the general nature of the differences in stimulus value.

Is it possible that the Bender-Gestalt (B-G) protocol of an individual is complex of many different, discrete, perceptual tests? Is it possible to find the relationships among the scoring factors for the B-G and by factor analysis find some systematic order among the individual designs useful in predicting specific behavioral propensities? If a consistent relationship can be shown to exist between scorable deviations on the B-G designs and certain personality variables among individuals, then perhaps a start can be made toward predictive validity of the B-G.