Submitted by Glauber de Assunção Moreira (glauber.moreira@ufba.br) on 2018-09-21T17:14:30Z No. of bitstreams: 1 Tese_Rose_2014_3.pdf: 7854337 bytes, checksum: 5b3f31a1b76131d96ee050e448ab546f (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2018-09-25T12:48:28Z (GMT) No. of bitstreams: 1 Tese_Rose_2014_3.pdf: 7854337 bytes, checksum: 5b3f31a1b76131d96ee050e448ab546f (MD5) / Made available in DSpace on 2018-09-25T12:48:28Z (GMT). No. of bitstreams: 1 Tese_Rose_2014_3.pdf: 7854337 bytes, checksum: 5b3f31a1b76131d96ee050e448ab546f (MD5) / Esta pesquisa trata inicialmente do conceito de corpo propositor e reflete sobre questões relacionadas ao corpo e ao processo criativo na dança contemporânea. O objeto de estudo são os processos investigativos da obra UNO, do UM – Núcleo de Pesquisa Artística em Dança da Faculdade de Artes do Paraná (FAP), de Curitiba/PR. O objetivo principal é apresentar um mapa conceitual com abordagens sobre corpo e proposição, na criação em dança, com o intuito de ampliar, reformular e nominar os conceitos de procedimentos em processos criativos do núcleo de pesquisa da FAP. Assim, a pesquisa utiliza-se de obras dos teóricos da Educação Somática, das Ciências Cognitivas, da Dança, da Crítica Genética e das Artes performativas. Com esse conjunto de referências é possível criar diálogos e interconexões com os principais temas sobre corpo, percepção e o processo criativo. O estudo utiliza a noção de biotipo como organização; o BMC como ferramenta para investigar essa organização; os estudos da percepção para compreender como o corpo opera, a partir do conceito da Enação – a cognição corporalizada; discute também o conceito de performatividade e os estudos sobre Crítica Genética/Processo para revisitar os processos da obra; apresenta a proposta de um mapa de criação, uma estratégia que indica procedimentos de criação que direcionam a composição, a dramaturgia e o discurso do corpo propositor. As principais fontes teóricas são Francisco Varela e Humberto Maturana, Stanley Keleman, Bonnie Bainbridge Cohen, Evan Thompson, Eleanor Rosch, Alain Berthoz, John Langshaw Austin Cecília Almeida Salles Jussara Setenta, Antônio Damásio, Rosa Hercoles e Ana Pais. / This research deals initially with the concept of proposer body and reflects on issues related to the body and the creative process in contemporary dance. The object of study is the investigative processes of the piece UNO, of the “UM” - Nucleus of artistic dance research in in Dance of the College of Arts of Paraná (FAP), The main objective is to present a conceptual map with approaches on body and proposition, in dance creation, to expand, reformulate and nominate the concepts of procedures in creative processes of the research nucleus/group of FAP. So, the research uses the works of Somatics theorists, Cognitive Science, Dance, Performing Arts and Genetic Criticism. With this set of references it is possible to create dialogues and interconnections with major themes on body, perception and the creative process. The study will use the notion of biotype as the organization; the BMC as a tool for investigating this organization; studies of perception to understand how the body operates, from the concept of “Enation”- embodied cognition; discuss the concept of performativity and the studies on Genetic Criticism/Process to revisit the work processes; presents a map o creation, a strategy which indicates creation procedures which direct the composition, dramaturgy and the discourse of the proposer body. The main theoretical sources are Francisco Varela and Humberto Maturana, Stanley Keleman, Bonnie Bainbridge Cohen, Evan Thompson, Eleanor Rosch, Alain Berthoz, John Langshaw Austin Cecília Almeida Salles Jussara Setenta, Antônio Damásio, Rosa Hercoles and Ana Pais.

La position de l’artiste dans l’écosystème du marché de l’art contemporain n’est pas satisfaisante à l’heure actuelle en raison de la mutation du milieu socio-économique de l’art. Son statut reste flou, il se voit infantilisé et instrumentalisé par son environnement proche. Aussi, l’interrogation cruciale tourne autour de savoir si l’artiste réussira à trouver d’autres voies pour se positionner différemment et y gagner en autonomie. Mes propres expériences m’ont conduit à penser que l’entreprise-artiste, concept porté par l’équipe de recherches Art&Flux depuis 2006, peut apporter une solution intéressante à cette question. Il s’agit alors d’un positionnement ancré dans la réalité qui permet une posture critique. Ma réflexion s’articule autour des concepts développés par Edouard Glissant sur la créolisation, de Gilles Deleuze et Felix Guattari sur le rhizome, de Michel Bauwens sur le peer-to-peer (pair-à-pair) et de Jeremy Rifkin sur l’économie du partage. En m’appuyant sur mon étude du terrain auprès des acteurs de l’art, j’analyse l’évolution des comportements des collectionneurs, plus enclins à devenir des amateurs ou des usagers. Cela me permet d’en arriver à la création d’une entreprise-artiste qui prend l’aspect d’une plateforme d’oeuvres participatives régie par la rencontre entre des artistes et leurs publics. Le but est de rendre visible et de développer toutes les richesses humaines au-delà de la seule richesse économique ou financière, pour développer le lien dans la relation aux autres, la créativité et le partage. / The art market has completely shifted, and as such, the artist’s role within its ecosystem appears impaired. Artists’ status has become blurred; they are infantilized and used by the art world and market. Crucial questioning thus emerges: Will artists reposition themselves in such a way as to gain autonomy? My own experience has led me to think that creating artist enterprises, with the project of artist-run businesses, could provide an interesting response to the current situation. This approach is anchored in reality and also leaves room for critical thinking in link with research team Art & Flux (a CNRS research team who is working on art, economy & society). My research furthermore combines thoughts and is structured by the ideas developed by Édouard Glissant concerning «Creolization», Gilles Deleuze and FelixGuattari’s «Rhizome», Michel Bauwens thinking about peer-to-peer methods, and Jeremy Rifkin’s research regarding the economics of sharing. My surveys and in-depth conversations with a selection of art world stakeholders have allowed me to carry out a worthwhile analysis of collectors’ changing habits. They appear ever more likely to gradually become connoisseurs, active contributors and users. Thanks to these consistent efforts, the stage of developing a platform of participatory artworks has been reached. This platform is a gateway for artists to gain direct access to their audience. This project’s overarching objective is to render all human riches accessible - beyond purely economic or financial preoccupations - to reinforce connections between people, through sharing and creativity.

In the framework of public auctions the auction-companies work, which on the one hand face the problem of realizing the public auction from the point of view of marketing, on the other hand, at the same time, they try to be visible in the relationship the auctioneer and the auction proposer. It is a closed cycle whose task is to strengthen the marketing potential and, at the same time to increase the financial profit of the firm. The aim of this diplom thesis is focused on the advertising acivities of a smalll auction company, which at present is not very effective. This auction company has been lately rather successful and has proved its vitality, on the contrary, its profits in the form af the auctioneer´s rewards have started to stagnate. One of the reasons may be its lack of financial means which might have been released for the purpose of advertising. That is why, the aim of this diploma thesis is to avaluate the present advertising activities of an auction company. The positive and negative working of a concrete auctioneer in the public auctions market is going to be specified by help of single cases. The aim is also the identifying of the elementary mistakes giving evidences of bad advertising activities of the company. In the conclusion some recommendations concerning advertising activities are defined; their task is to enable small auction companies to make themselves more visible in the public auctions market.