Tendo como objetivo geral realizar uma pesquisa visual de forma compartilhada em Paraty, este trabalho abordou diferentes relações entre indivíduo e cidade através de fotografias de acervo pessoal de diferentes perfis encontrados no local: nativos, imigrantes e turistas. Para isso, cada um dos 12 participantes da pesquisa selecionou 12 fotografias de seu acervo pessoal para responder à pergunta como é a sua Paraty?. A partir dessas fotografias, realizamos as entrevistas, momento em que os participantes discorreram sobre as imagens por eles selecionadas, sempre deixando entrever significados sociais em suas narrativas e evidenciando os processos criativos vividos no contexto da pesquisa. Ao final, formaram-se: a) doze conjuntos de doze fotografias, cada um correspondente a um participante da pesquisa; b) os conjuntos multiautorais, que são compostos por imagens de diferentes participantes, porém, que dialogam entre si. Os procedimentos realizados nesse trabalho, que combinam fotografia de acervo pessoal e narrativa, permitiram a criação coletiva de uma representação fotográfica da cidade Paraty, compartilhada entre pesquisador e pesquisados. Também pudemos nos aproximar de algumas diferenças entre turistas, imigrantes e nativos desta cidade, as quais se revelaram nas imagens trazidas por cada sujeito da pesquisa / The broader objective of this work is to conduct a shared visual research in Paraty. To this end we address different relationships between the individual and the city, using photographs from the personal collections of different profiles found in the city: natives, immigrants and tourists. To each of the twelve research participants was asked to select twelve photographs from his personal collection in order to answer the question \"What is your Paraty like?\". From these photographs we conducted interviews, at which moment the participants talked about the images they had selected, allowing us to glimpse at social meanings in their narratives, and to point out the creative processes experimented in the context of research. By the end we had created: a) twelve sets of twelve photographs each corresponding to their author and research participant; b) multiple author sets, composed of photographs of different authors which, nevertheless, develop a dialogue with each other. The procedures performed in this work, which combine personal collection of photography and narrative, allowed the collective creation of a photographic representation of the city of Paraty, shared between researcher and researched. Furthermore, we were able to approach some of the differences between tourists, immigrants and natives of this city, which are revealed in the images brought by each research subject

Thesis (Ph. D.)--Concordia University, 2001. / Includes bibliographical references (p. 138-151). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/NQ66691.pdf.

D. Tech. Fine and Applied Art / The aim of this study was to investigate whether there is an association between art making and the brain state known as flow, a construct defined by Mihaly Csikszentmihalyi. Links were sought between artists' perceived propensity to experience flow and quantified experimental data of the same art-making events. A predominantly psychological theoretical framework had to be created, contextual as well as conceptual, of historical and contemporary leanings that have formulated understandings of creativity and flow. These indicate that flow can trace its origins to concepts of human happiness and excellence, motivation, self-determination and peak experiences. These concepts illustrate that in pursuing intrinsic endeavours such as art making, a person is continuously engaged in reflectivity and deliberation concerning his or her actions and aims, which tend to be self-motivated or autotelic. In this study the autotelic and self-reflecting leanings of art making were found to be germane to flow. A key aspect for understanding the flow experience is Arne Dietrich's hypothesis of transient hypofrontality, described as enabling the temporary suppression of the analytical and meta-conscious capacities of the explicit system. In this study, transient hypofrontality was found to be germane to interpretations of flow and art making.

Thesis (M. Arch.)--Carleton University, 2004. / Includes bibliographical references (p. 78-81). Also available in electronic format on the Internet.

Thesis (MA)--University of Stellenbosch, 2007. / Bibliography. Also available via the Internet.

Thesis (M.S.)--University of Michigan, 1991.

Thesis (Ph.D.)--University of Delaware, 2009. / Principal faculty advisor: Ann E. Gibson, Dept. of Art History. Includes bibliographical references.

Thesis (M.S.)--University of Michigan, 1991.

Undergraduate honors paper--Mount Holyoke College, 2007. Dept. of Art. / CD-Rom includes images of art work. Includes bibliographical references (leaf 12).

Este estudo objetiva narrar uma história de obras produzidas por membros das classes populares, reconhecidas por meio de sua individualidade e inventividade, enfocando sua produção e sua recepção no Brasil, entre 1880 e 1990. A abordagem estética e histórica orientada pela fenomenologia foi realizada segundo o método micro-histórico, conduzido pela idéia de \"primitivo\". Os fragmentos das biografias e as imagens evocadas foram cruzados com os discursos de seus intérpretes que formularam designações como: \"arte primitiva\", \"arte psicopatológica\", \"arte bruta\", \"outsider art\", \"arte virgem\" e \"arte incomum\". No horizonte histórico da cultura brasileira abriram-se duas vias principais de interpretação: uma derivada do cientificismo do discurso psiquiátrico e outra do romantismo do discurso acerca da cultura popular. Não obstante a contribuição da noção francesa de Art Brut para questionar essas duas vias, a complexidade da produção artística brasileira solicita uma análise particular que revele o \"primitivo\" em suas ambigüidades / This study aims to narrate a history of art works produced by members of popular classes, recognized by its individuality and inventivety, focusing in the production and reception in Brazil between 1880 and 1990. The aesthetic and historic approaches was oriented by phenomenology followed the micro-historic method, guided by the idea of \"primitive\". The fragments of the biographies and evoked images were crossed with the discourse of its interpreters, that proposed designations as such: \"primitive art\", \"psychopathological art\", \"art brut\", \"outsider art\", \"uncommon art\" and \"virginal art\". In the historical context of the Brazilian culture two principal ways of interpretation were opened: one of them is derivated from the scientificism of the psychiatric discourse and the other from the romantic discourse about the popular culture. Nevertheless the contribution of the french notion of Art Brut to question these ways, the complexity of the Brazilian artistic production impose a particular analyses that reveals the \"primitive\" in its ambiguity