No abstract available / Dissertation (MA(Fine Arts))--University of Pretoria, 2008. / Visual Arts / unrestricted

Orientador: Antonio Carlos Rodrigues de Amorim / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-08T00:11:58Z (GMT). No. of bitstreams: 1 Oliveira_JoseMarioAleluia_D.pdf: 20067763 bytes, checksum: 7c9ab3c58cd8f3cf6cb6d1b4a137fc2a (MD5) Previous issue date: 2006 / Resumo: Currículos-Hipertextos-Pops assume, em sua escrita como tese, a banalidade, o ordinário e o comum aos quais remetem as culturas escolares, em seus ritmos espaço-temporais. Enfrenta esta condição de práticas educativas que se movimentam em três escolas, com professoras e professor de distintas experiências, com projetos educativos em multiplicidades. É tese que se inverte no caos. E nele se efetua. O trabalho com conceitos de Gilles Deleuze, na tese, coloca-os em fluxos para o campo dos estudos de currículo, invadindo-o e com ele seatritando. Não é uma conversa tranqüila, com canais abertos ao diálogo, à hospitalidade. Trabalhou-se na barbárie, foi preciso fazer do currículo passagem para a multidão, desconstrutora e violenta. A opção foi deixar vazar os fluxos pelo que há de mais comum e poderoso no pensamento curricular sobre a escola: sua organização em espaços e tempos da modernidade, sua centralidade nos conteúdos, sua expectativa em comunicar para ensinar. As pontencialidades do encontro do currículo com os tempos ¿deleuzianos¿ são, nesta tese, o desassossego das relações entre escola e culturas. Também são os traçados, linhas do ¿conto¿ para se considerar a política curricular como estética artística / Abstract: Curriculum-hypertexts-pops assumes, in its writing as a thesis, the banality, the ordinary and the common to which the scholastic cultures are sent, in their space-temporal rhythms? It faces this condition of educational practices that are set in motion in three schools,with teachers with different experiences, with educational projects in multiplicities. It is a thesis that inverts in the chaos. And it is made effective on it. The work with concepts of Gilles Deleuze, in the thesis, puts them into fluxes to the curriculum field studies, invading it with attrition. It is not a relaxed chatting, with open channels to dialogue, to the hospitality. It was worked under barbarism, it was necessary to make from the curriculum passage to a violent and deconstructive multitude. The option was to let empty the fluxes of the most common and powerful in the curricular thinking of the school: its organization into spaces and times of the modernity, its centrality in contents, its expectation to communicate to teach. The potentialities of the meeting of the curriculum with the ¿Deleuzian¿ times are, in this thesis, the disturbance of the relations between school and cultures. They are also the draw, lines of ¿story¿ to let curricular politics be considered artistic esthetics / Doutorado / Educação, Conhecimento, Linguagem e Arte / Doutor em Educação

El presente trabajo de investigación tiene como objetivo general diseñar una colección de moda a partir del estudio teórico y visual del pop art estadounidense desarrollado en la década de los sesenta. Esta investigación de tipo cualitativa recolectó información de tesis, libros y artículos con el fin de cumplir con el objetivo general. Al investigar la bibliografía se identificó que la llegada del pop art a Estados Unidos en la década de los sesenta, se dio cuando este país atravesaba cambios en cuanto al sector social, económico y político regido por el consumismo y la tecnología. Estos cambios se vieron plasmados en esta disciplina, ya que los artistas innovaron en el uso de técnicas, símbolos representados y el uso de color en las principales obras. Estas características desarrollan a el pop art como un tema de valor para plasmar en una colección de moda; además, la fusión de arte y moda se ha desarrollado desde hace años a través de grandes diseñadores de modas, que buscan reflejar las características de estos mediante la indumentaria. De esta manera, para el presente trabajo se espera comprender la realidad de este contexto, las características y temas de este arte para usar como recurso visual en la colección de moda. Posteriormente, se realizará un proceso creativo para identificar las características del tema a través de recursos visuales. Asimismo, se emplearán referentes de diseño, definiciones elementales y descripción del usuario para definir al usuario de esta colección, la cual hará énfasis en el uso de estampados, gráficas y color en sus diseños. / The present research work has the general objective of designing a fashion collection based on the theoretical and visual study of American pop art developed in the sixties. This qualitative research collected information from theses, books, and articles in order to meet the general objective. When investigating the bibliography, it was identified that the arrival of pop art to the United States in the sixties, occurred when this country was going through changes in terms of the social, economic, and political sector governed by consumerism and technology. These changes were reflected in this discipline, since the artists innovated in the use of techniques, represented symbols and the use of color in the main works. These characteristics develop a pop art as a subject of value to capture in a fashion collection; Furthermore, the fusion of art and fashion has been developed for years through great fashion designers, who seek to reflect their characteristics through clothing. In this way, for the present work it is expected to understand the reality of this context, the characteristics, and themes of this art to use as a visual resource in the fashion collection. Subsequently, a creative process will be executed to identify the characteristics of the subject through visual resources. Likewise, design references, elementary definitions and user description will be used to define the user of this collection, which will emphasize the use of patterns, graphics, and color in their designs. / Trabajo de investigación

No description available.

This thesis aims to contribute to the field of interaction design practice by exploring how posters might offer playful interaction through augmented reality (AR). The project uses an experimental design process involving prototyping, user testing, and analysis to investigate playful interaction together with pop art posters and AR as a technology. This project respects posters as an artistic medium in traditional static form but also further explores the notion of the poster. The aim of this project is to explore how to offer playful interactions with pop art posters through AR to offer a new innovative, engaging, and immersive experience for users in public spaces. The results highlight the importance of appropriate context to engage users through playful interactions and exploring this new virtual space using AR, which contributes to playful interaction through depth, movement, exploration, and unexpected outcomes. To conclude, this thesis project generates a foundation of knowledge for the field of interaction design practice about how posters can offer playful interactions with AR that future designers can act on.

No description available.

L’analyse de la réception critique des nouvelles formes d’art apparaissant dès la fin des années 1950 et se développant au cours des années 1960, en particulier dans le champ de la sculpture et des œuvres en trois dimensions, constitue le socle de notre réflexion. Celle-ci vise à mettre en lumière les profondes évolutions que connaissent les processus de conception et de production des œuvres en trois dimensions, chez des artistes que la réception critique « à chaud » puis l’histoire de l’art ont séparés en fonction de critères stylistiques : néo-dada, pop, minimal… L’observation de ces déplacements de la pratique, intégrant des matériaux et des modes de production industriels (ou résistant à ces derniers) offre une autre approche des enjeux de l’art de cette période, qui voit s’éloigner la figure archétypale et héroïque du sculpteur moderniste incarnée par David Smith, et s’élaborer la figure nouvelle de l’artiste « post-studio ». Parallèlement, apparaissent de nouveaux soutiens, institutionnels, financiers et surtout techniques, pour les artistes produisant des œuvres en trois dimensions et délégant tout ou partie de la fabrication à des sociétés industrielles. Un nouveau type d’entreprise voit le jour, spécialisé dans la fabrication d’œuvres en trois dimensions et de sculptures monumentales. Au début des années 1970, les nouveaux modes de fabrication expérimentés durant la décennie précédente sont parfaitement intégrés à l’économie générale de l’art. En proposer une forme d’archéologie afin d’en comprendre les motivations initiales vise à mieux penser les enjeux actuels des pratiques artistiques ayant recours à la fabrication déléguée / The analysis of the critical reception of the new forms of art appearing from the end of the 1950s and developing during the 1960s, especially in the field of sculpture and tridimensional works, constitutes the foundation of our thought. It aims at bringing to light the profound shifts in the conception and production processes of the works in three dimensions, made by artists separated by the critical reception then the art history according to stylistic criteria : Neo-Dada, Pop, Minimal, and so on. To observe these displacements of the art practice, integrating industrials materials and means of production (or resisting them) offers another approach of the art stakes in this period, which sees the archetypal and heroic figure of the modernist sculptor (embodied by David Smith) fading, and elaborating the new figure of the post-studio artist. At the same time, new supports (institutional, financial and especially technical) appear for the artists producing works in three dimensions and delegating all or any of the manufacturing to industrial companies. A new type of company, specialized in the manufacturing of works in three dimensions and monumental sculptures, is born. In the early 1970s, the new means of manufacturing experienced during the previous decade are perfectly integrated into the general economy of art. To propose a kind of archeology of these means in order to understand the initial motivations aims at a better thinking of the current stakes in the artistic practices turning to delegated manufacturing processes

No description available.

The thesis seeks to compare the role of pop art and popular culture in art in Great Britain and Czechoslovakia in the 50s and 60s of the 20th Century. We shall focus on the relationship of popular culture and art in both countries with regards to their different social and political backgrounds. In the beginning of the thesis we shall delimit some of the theoretical concepts such as popular culture or popular art. We shall also try to define the concept of art itself. The thesis will not omit to characterize the basic features of British and American pop art. The work will introduce quintessential representatives (individuals as well as groups) of pop art from the British and Czechoslovakian art scene of the selected time period. On those particular examples, we shall look for identical attributes or differences in their art works which should be conditioned by the specific cultural and social settings of the society. We should also take into consideration some of the art techniques or technologies used within pop art and also at least in general the relations to popular music, architecture and literature.

On October 11, 1963, artists Gerhard Richter and Konrad Lueg held the event “Leben mit Pop: Eine Demonstration für den kapitalistischen Realismus” (Living with Pop: A Demonstration for Capitalist Realism) at the Berges furniture store in Düsseldorf, Germany. Many scholars have treated this event as an image, useful only in outlining the trajectories of the later successful careers of Gerhard Richter, Konrad Lueg, and Sigmar Polke. Few have attempted to contextualize this event in its social, historical, and political settings or to consider its effects on and relationship to the audience at the event. In this thesis, I resituate “Living with Pop” in terms of its experiential effects and its socio-historical context and extend my investigation of “Living with Pop” to the contemporaneous paintings and drawings of Richter, Lueg, and Polke. I argue that their artworks, which parody and question domestic tropes of the postwar era, reveal the complexities and ambiguities underlying the notion of West Germany’ s Wirtschaftswunder, or “economic miracle.” I examine how Polke, Richter, and Lueg explored artistic and national identities, a postwar culture of consumerism, contemporary modes of communication, and theories of culture and aesthetics in the late 1950s and early 1960s. To investigate the relationships between artistic creation, artistic identity, and contemporary daily life, I use domestic design exhibitions, advertisements, the journal Magnum, and a few select texts on contemporary society and culture by Jürgen Habermas and Theodor W. Adorno as relevant sources. / text