Submitted by Liliane Ferreira (ljuvencia30@gmail.com) on 2018-06-18T14:59:35Z No. of bitstreams: 2 Dissertação - Rafael Caique da Silva Santos Arantes - 2018.pdf: 3635434 bytes, checksum: 1a1cd5150691cd4d85641849c719c9a7 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-06-27T10:32:30Z (GMT) No. of bitstreams: 2 Dissertação - Rafael Caique da Silva Santos Arantes - 2018.pdf: 3635434 bytes, checksum: 1a1cd5150691cd4d85641849c719c9a7 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-06-27T10:32:30Z (GMT). No. of bitstreams: 2 Dissertação - Rafael Caique da Silva Santos Arantes - 2018.pdf: 3635434 bytes, checksum: 1a1cd5150691cd4d85641849c719c9a7 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-05-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The Bosque dos Buritis is considered the oldest public park in operation in the city of Goiânia. The place was foreseen in the original design of construction of the new capital of the State of Goiás in the 1930s, by the architect Attilio Corrêa Lima, with the objective of providing better sanitary conditions, preservation of water resources and landscape beautification. Until consolidating itself as an important public space in Goiânia, it underwent profound changes in its area and several problems related to the occupation, being abandoned for some decades after its implantation. In contemporary times, there are several functionalities in its space, which has equipment for collective use, sculptural monuments, the Museum of Art of Goiânia - MAG, the Free Center of Arts - CLA, in addition to the natural resources that make up its landscape. In its daily life, close relations of sociability and different forms of use are carried out by its participants: leisure practices, physical activities, rest, artistic and cultural practices, religious manifestations and place of pedestrian crossing. With the work of research in the field, undertaking the same attitude of flâneur - a detective of the city imaginary par excellence, together with the interviews with some of the visitors of the Bosque, we search to establish evidence that makes possible the understanding of the urban imaginary, and at the same time to reflect on the contents that emerge from the relation between public art and public space. we seek to establish evidence that makes possible the understanding of the urban imaginary, and at the same time to reflect on the contents that emerge from the relation between public art and public space. / O Bosque dos Buritis é considerado um dos parques públicos em funcionamento mais antigo da cidade de Goiânia. O local fora previsto no plano original de construção da nova capital do Estado de Goiás na década de 1930, elaborado pelo arquiteto Attilio Corrêa Lima, com o objetivo de proporcionar melhores condições sanitárias, preservação dos recursos hídricos e embelezamento da paisagem. Até se consolidar como importante espaço público em Goiânia, passou por profundas alterações em sua área e várias problemáticas relacionadas à ocupação, sendo abandonado por algumas décadas após sua implantação. Na contemporaneidade, verificam-se várias funcionalidades em seu espaço, que dispõe de equipamentos de uso coletivo, monumentos escultóricos, o Museu de Arte de Goiânia - MAG, o Centro Livre de Artes – CLA, além dos recursos naturais que compõem sua paisagem. Em seu cotidiano, efetivam-se estreitas relações de sociabilidade e diferentes formas de uso pelos seus frequentadores: práticas de lazer, atividades físicas, descanso, práticas artísticas e culturais, manifestações religiosas, como local de passagem. Com o trabalho de investigação em campo, empreendendo a mesma atitude do flâneur – um detetive do imaginário da cidade por excelência, juntamente com as entrevistas realizadas com alguns frequentadores do Bosque, procuramos estabelecer indícios que possibilitam a compreensão do imaginário urbano, e, ao mesmo tempo, refletir sobre os conteúdos que emergem da relação entre arte pública e espaço público.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2018-08-01T15:30:28Z No. of bitstreams: 2 Dissertação - Lúcia Aparecida Tomé - 2018.pdf: 5604879 bytes, checksum: 1bf3afd7e65cbb6b30552cbb54f7e517 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-08-01T15:32:46Z (GMT) No. of bitstreams: 2 Dissertação - Lúcia Aparecida Tomé - 2018.pdf: 5604879 bytes, checksum: 1bf3afd7e65cbb6b30552cbb54f7e517 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-08-01T15:32:46Z (GMT). No. of bitstreams: 2 Dissertação - Lúcia Aparecida Tomé - 2018.pdf: 5604879 bytes, checksum: 1bf3afd7e65cbb6b30552cbb54f7e517 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-06-18 / This study is a reflexion on the ways of experiencing the city that come up as answers to urban issues in a critical and creative manner. And they do so erratically in the history of the modern city, from the nineteenth century to the present day. These actions, emphasized here, resulted in positions of profound influence in the conceptualization of public art and urban practices. By thinking over the sphere of urban thought in the form of creating responses and products for the city planning and the way in which the application of its propositions are subverted, the study also perceives differences between the dominant order that establishes it and the society with its processes of use that subvert and appropriate this urban production in a way that is not cataloged or predictable. Thus, through these urban practices, a "social constructionism" is present in the city, perpetuating the existence of the public space as a space for citizen presence. The reflexion is based on readings of the potential discourse taken from experiences of artistic work and actions in different contexts and supported by the theoretical basis of thinkers who – through interdisciplinarity – promote the understanding of these relations of society and the public space instrumented by public art and by practices that denounce a proper way of making consumption of a production instituted by a dominant order of thought. From the perspective that considers the city with its dynamics and the reflexions that refer to it, this text adds an analysis to the construction of the public space instrumented by the urban practices. / Este estudo é uma reflexão sobre modos de vivenciar a cidade que se apresentam como respostas às questões urbanas de maneira crítica e criativa. E o fazem como uma “errância” pela história da cidade moderna, a partir do século XIX até os dias atuais, cujas ações, aqui enfatizadas, resultaram em posturas de influência profunda na conceituação da arte pública e as práticas urbanas. Ao refletir sobre a esfera do pensamento urbanístico na forma de construção das respostas e da produção para o planejamento das cidades e o modo como a aplicação de suas proposituras são subvertidas, o estudo também percebe diferenças entre a ordem dominante que a estabelece e a sociedade com seus processos de utilização, que subvertem e se apropriam dessa produção urbanística de maneira não catalogada ou previsível. Dessa forma, depreende-se, através dessas práticas urbanas, um “construcionismo social” presente na cidade, perpetuando a existência do espaço público como espaço de presença cidadã. A reflexão se vale de uma leitura do potencial discursivo de experiências do fazer artístico e de ações em diferentes contextualidades, sustentada pelo cabedal teórico de pensadores que, em interdisciplinaridade, promovem a compreensão dessas relações da sociedade no espaço público, instrumentalizadas pela arte pública e por práticas que denunciam uma maneira própria de fazer o consumo de uma produção instituída por uma ordem de pensamento dominante. Sob a perspectiva que considera a cidade com suas dinâmicas e as reflexões que a ela se referem, este texto acrescenta uma análise sobre a construção do espaço público instrumentalizada pelas práticas urbanas.

A presente pesquisa se estabelece junto a um processo investigativo que inter-relaciona prática artística e produção textual. Consiste na reflexão produzida a partir da realização de três proposições no campo da intervenção urbana desenvolvidas entre 2013 e 2015 nas cidades de Porto Alegre/RS, Juazeiro do Norte/CE e Caxias do Sul/RS. Toma como fio condutor a análise de trabalhos instaurados a partir de e em relação a monumentos públicos e equipamentos urbanos associados a imagens e objetos cotidianos. Ao se inscreverem no espaço público, essas práticas artísticas evidenciam problemáticas específicas desse lugar atravessado por diversos agenciamentos e tensões e que demanda constantes reelaborações de métodos e de posicionamentos pelo artista-pesquisador. Compreendidos como ações-dispositivo, esses trabalhos se propõem como ações políticas ao evidenciar a importância das formas de inserção contextual e das relações estabelecidas entre público e obra em práticas de intervenção urbana. Como desdobramento, a análise aborda questões relacionadas ao estatuto da imagem fotográfica enquanto registro processual que articula noções de obra e documento. / This research is established as an investigation process that relates artistic practice and textual production. It consists of a reflection upon three propositions on the field of urban intervention that were developed between 2013 and 2015 in the cities of Porto Alegre/RS, Juazeiro do Norte/CE and Caxias do Sul/RS. Its core is the analysis of works that are made on and in relation to public monuments and urban equipments associated to images and everyday objects. When inscribed in the public space, these artistic practices make evident some specific typical problems of this space, which is crossed by various kinds of intermediations and tensions. It demands, therefore, constant changes in methods and position takings by the artist-researcher. Understood as device-actions, these works are political actions for their capacity of making evident the importance of contextual insertion ways and of the relations established between the public and works in urban interventions. As a consequence, the analysis brings up questions related to the statute of the image as a processual register that links the notions of work and document.

Orientador: Maria de Fátima Morethy Couto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-17T10:12:09Z (GMT). No. of bitstreams: 1 Costa_SabrinaAlbuquerquedeAraujo_M.pdf: 4834519 bytes, checksum: d61f8e8e98414d10c3535b098e7c5b2c (MD5) Previous issue date: 2010 / Resumo: Esta pesquisa teve por finalidade analisar os trabalhos do artista cearense Zenon Barreto na cidade de Fortaleza, no Ceará. Considerando a metade do século 20 como recorte histórico e artístico, foram analisadas as limitações e especificidades das obras do artista de acordo com os valores estéticos do modernismo brasileiro. Inicialmente, foi delineado um panorama do meio artístico cearense da época com o objetivo de contextualizar o artista e as obras em questão. Em seguida, foram apresentadas algumas considerações a respeito do conceito de arte pública e suas ressignificações no decorrer do tempo, que contribuíram para uma melhor compreensão dos trabalhos em espaços públicos da capital cearense. Por fim, as obras do artista em questão foram apresentadas e analisadas, estabelecendo sempre que necessário um diálogo com a produção artística cearense e brasileira / Abstract: This research had for purpose analyze the works of the artist Zenon Barreto in the city of Fortaleza, in Ceará. Considering the half of the century 20 as artistic and historical cutting, were analyzed the limitations and specificities of the works of the artist according to the esthetic values of the Brazilian modernism. Initially, it was delineated a panorama of the local artistic environment of the epoch with the objective of put into context the artist and the works in question. Right away, were presented some considerations about the concept of public art and its meanings in elapse of the time, that contributed for a better comprehension of the works in public spaces of the capital of Ceará. Finally, the works of the artist in question were presented and analyzed, establishing whenever necessary a dialogue with the local and Brazilian artistic works / Mestrado / Artes / Mestre em Artes

M.Tech. (Fine Art) / The focus of this research is an exploration of aspects of liminality and how it manifests in selected unsanctioned public art interventions in ‘urban places’, specifically, the Johannesburg Central Business District. Liminality informs my own art work and to contextualise my practice I investigate Steven Cohen’s performance/intervention entitled Chandelier (2001-2002), and Alison Kearney’s The Portable Hawkers Museum (2003). I argue that unsanctioned public art maintains a liminal identity, a fluidity of ‘repurposing a space’ that is in constant shift between different dimensions of liminality. Such works create a zone between physical and conceptual space, challenging the relationships between people and places, the artist and the audience. Liminal spaces (such as the underside of bridges for example) provide the platform for new mediation to happen outside of the normal social structures. Homi Bhabha (1994:54) refers to this as a “third space” where transformation may occur, and it is this transformation of space and experience that I aim to explore in my work. In my practical component I present a body of unsanctioned public art interventions consisting of ceramic sculptures placed in urban liminal spaces in Johannesburg. I populate the chosen spaces with imaginative objects that playfully reflect my own cultural hybridity, and resultant liminal existence, in a post-colonial urban society. My practical work thus draws on analyses of the liminal aspects of Cohen and Kearney’s works as well as on aspects of my hybrid existence arising from my status as an immigrant in Johannesburg. Through my art works I attempt to engage with the local inhabitants without the restrictions of institutionalised arenas, allowing for a new experience of both the space and the artwork. Finally I record my own interventions in detail and compile an annotated photographic catalogue to document the sculptures in situ and the ephemeral life span of these unsanctioned public art interventions.

Pokémon GO hit the world with a bang in the summer of 2016 and has since then set new records regarding revenue on multiple occasions. It has been researched extensively, although first and foremost from a HCI (human-computer interactions) and healthcare/public health perspective. In particular, studies approaching the phenomenon from a human geography and urban planning perspective have been very limited. This study therefore takes an inductive and exploratory approach and explores the ways in which Pokémon GO influences how players use and experience the city and how urban planners can use Pokémon GO in their work. To do this, nine interviews were conducted, six with currently active players and three with completely new players. A number of different themes emerged from the interviews and was subsequently used to structure the results. Physical activity, social interactions and benefits and exploration and discovery were the most prominent themes and also the most frequently mentioned reasons why players enjoy the game. Finally the findings are discussed in relation to planning with a focus on participatory planning practices but also in more general terms regarding urban and spatial planning.

The thesis called The Interventional Function of Public Art in Public Space and Society focuses on public art that confronts society and improves or even transforms public space. It attempts to point out the necessity in using knowledge from various disciplines such as urban anthropology, sociology, philosophy and semiotics in order to analyse public space and the role of public art in it. The aim is to look for the potential and the functions of public art and how it can be both accomplished. This will be discussed over the work of Swiss artist Thomas Hirschhorn, who challenges issues arising in today's society. Thesis will conclude with a study of art work called the Gramsci Monument. Keywords: public art, public space, city, Thomas Hirschhorn, society, intervention, Gramsci Monument

The purpose of this essay is to, through a case study, increase the understanding of the impact of the design policy on existing residential areas in the pursuit of a good built environment. The case study has been realized through an observation of Klockaretorpet’s center, a district in Norrköping, and interviews with the actors that are involved in the project, Möter konsten. The essay deals with the issues in how public art can contribute to a Good built environment for the residents. Also, how the project Möter konsten can work with public art in an existing residential area. Lastly, what consequences a project of public art might bring in an existing residential area. To implement the result and the analysis, the following theoretical framework has been attached; good built environment, design policy, public art and cooperation. The result shows that public art is a generator and creates synergies in the design policy. The public art and the design policy are therefore to pursuit a good built environment on existing residential areas. / Syftet med uppsatsen är, att genom en fallstudie, öka förståelsen för den gestaltade livsmiljöns påverkan på befintliga bostadsområden i strävan efter en god bebyggd miljö. Fallstudien har utförts genom en observation av Klockaretorpets centrum samt intervjuer med involverade aktörer i projektet Möter konsten. Uppsatsen besvarar frågeställningarna som berör hur den konstnärliga gestaltningen kan bidra till en God bebyggd miljö för de boende. Även hur ett projekt som Möter konsten kan arbeta med konstnärlig gestaltning i ett befintligt bostadsområde. Till sist, vilka konsekvenser ett konstnärligt gestaltningsprojekt kan få i ett befintligt bostadsområde. För genomförandet av resultat och analys har följande teoretiska ramverk varit i utgångspunkt; God bebyggd miljö, gestaltad livsmiljö, konstnärlig gestaltning och samverkan i det offentliga rummet. Resultatet visar på att konstnärlig gestaltning är en generator och skapar synergier i en gestaltad livsmiljö. Gestaltningarna påverkar därmed stävan efter en god bebyggd miljö i befintliga bostadsområden.

This study analyzes The Influence Machine by Tony Oursler, Delay by Santiago Mostyn and An Imagined City by Jonas Dahlberg as public site-specific temporary artworks in Sweden. In particular, the intersection of the artworks and the site is analyzed, to see how emotions can be written about in an analysis. The questions are: How can these artworks be described? How can sites be described? What is the relationship between the sites and the artworks? How can emotions that exist in the space between the artworks and the sites be written about in an analys? My methodological framework is based on multimodal analysis of Carey Jewitt and Gunter Kress research. In the model, various media such as sound, light, installation, image, text and site have given individual space, to later be compared to each other and to clarify similarities, differences and relationships between each other. The model in the survey is shaped after each selected object, a so-called method reflectivity, to adapt the purpose of the survey. The model incorporates concepts derived from previous research on emotions and affect. Rosalyn Deutsch's work uses the concepts of harmonise and disruptive (sv. assimilativ, söndrande), Annika Wik's concepts of convergence, participant culture and world-making (sv. konvergens, deltagarkultur, världskapande) and Christian Norberg-Schulz's concepts of space and character (sv. rum, karaktär). In the survey, to show the relation between work and place, I coined the concept of affective relationship (sv. affektiv relation), which is close to Sara Ahmed's description of Happy Objects. This study shows that it is possible to rewrite emotions in a model that is adapted to concepts related to emotions and affect. The study further suggests that the relation between work and site can be described with the concept of affective relation, which can be elucidated by looking at the character of work and character of space. The model can be used for further research and analysis of work and place which contributes to a broader view within the discipline of art science around analytical models to open up and write about emotions.

No description available.