Made available in DSpace on 2016-04-25T20:20:12Z (GMT). No. of bitstreams: 1 Cristiane Simao Michelan.pdf: 2149059 bytes, checksum: fdb7ce462974dc60f5cbc99f58577657 (MD5) Previous issue date: 2011-05-30 / The dissertation aims to investigate the consumption way of children in their relation with cultural goods, including toys, games, television and internet. Two analytical axes guide the reflection: first, the reconstitution and position taken in relation to the debate about childhood and tensions between some trends that advocate its "disappearance" and others that seek to analyze the changes inherent in contemporary conditions. The second axis concerns the mediations undertaken by the family, friends, school and by their own conceptions of the world that allow children to elaborate and re-elaborate - negotiate senses and meanings related to what they consume, not necessarily in an identical way as that the hegemonic media portrays. Although the cultural industry, with its contents and means of strong appeal and power of seduction, suggests lifestyles, the child, when making choices, does so mediated by repertoires and values obtained from their socialization process. The concepts contained in the British and Latin Americans cultural studies were used as theoretical-methodological references, through which it becomes possible to investigate the cultural context and the family, such as instances of mediation in the child's relationship with the media, and the need to understand the culture as everyday practice. Some of the ways through which children, aged between six and ten, relate to cultural products and assign various meanings to them, were searched and analyzed as methodological protocol and field research / A dissertação tem como objetivo investigar modos de consumo das crianças na relação com bens culturais, entre eles, brinquedos, jogos, televisão e internet. Dois eixos analíticos orientam a reflexão: o primeiro apresenta a reconstituição e tomada de posição diante do debate sobre a infância e as tensões entre algumas tendências que preconizam seu desaparecimento e outras que buscam analisar as transformações inerentes às condições de contemporaneidade. O segundo eixo diz respeito às mediações efetivadas pela família, amigos, escola e pelas próprias concepções de mundo, que permitem às crianças elaborarem e reelaborarem negociarem sentidos e significados relacionados àquilo que consomem, não necessariamente de forma idêntica àquela hegemônica veiculada pela mídia. Embora a indústria cultural, com seus conteúdos e formatos de forte apelo e poder de sedução, sugira estilos de vida, a criança, ao fazer suas escolhas, o faz mediada por repertórios e valores apreendidos em seu processo de socialização. Como referências teórico-metodológicas foram utilizadas concepções contidas nos estudos culturais britânicos e latino-americanos, por meio das quais se torna possível investigar os contextos culturais e a família, como instâncias de mediação na relação da criança com as mídias, e a necessidade de compreender a cultura como prática cotidiana. Como protocolo metodológico e pesquisa de campo foram buscadas e analisadas algumas das formas pelas quais as crianças, com idade entre seis e dez anos, se relacionam com alguns produtos culturais e a eles atribuem diversos significados

Made available in DSpace on 2016-04-26T14:53:01Z (GMT). No. of bitstreams: 1 Cristiane Simao Michelan.pdf: 2149059 bytes, checksum: fdb7ce462974dc60f5cbc99f58577657 (MD5) Previous issue date: 2011-05-30 / The dissertation aims to investigate the consumption way of children in their relation with cultural goods, including toys, games, television and internet. Two analytical axes guide the reflection: first, the reconstitution and position taken in relation to the debate about childhood and tensions between some trends that advocate its "disappearance" and others that seek to analyze the changes inherent in contemporary conditions. The second axis concerns the mediations undertaken by the family, friends, school and by their own conceptions of the world that allow children to elaborate and re-elaborate - negotiate senses and meanings related to what they consume, not necessarily in an identical way as that the hegemonic media portrays. Although the cultural industry, with its contents and means of strong appeal and power of seduction, suggests lifestyles, the child, when making choices, does so mediated by repertoires and values obtained from their socialization process. The concepts contained in the British and Latin Americans cultural studies were used as theoretical-methodological references, through which it becomes possible to investigate the cultural context and the family, such as instances of mediation in the child's relationship with the media, and the need to understand the culture as everyday practice. Some of the ways through which children, aged between six and ten, relate to cultural products and assign various meanings to them, were searched and analyzed as methodological protocol and field research / A dissertação tem como objetivo investigar modos de consumo das crianças na relação com bens culturais, entre eles, brinquedos, jogos, televisão e internet. Dois eixos analíticos orientam a reflexão: o primeiro apresenta a reconstituição e tomada de posição diante do debate sobre a infância e as tensões entre algumas tendências que preconizam seu desaparecimento e outras que buscam analisar as transformações inerentes às condições de contemporaneidade. O segundo eixo diz respeito às mediações efetivadas pela família, amigos, escola e pelas próprias concepções de mundo, que permitem às crianças elaborarem e reelaborarem negociarem sentidos e significados relacionados àquilo que consomem, não necessariamente de forma idêntica àquela hegemônica veiculada pela mídia. Embora a indústria cultural, com seus conteúdos e formatos de forte apelo e poder de sedução, sugira estilos de vida, a criança, ao fazer suas escolhas, o faz mediada por repertórios e valores apreendidos em seu processo de socialização. Como referências teórico-metodológicas foram utilizadas concepções contidas nos estudos culturais britânicos e latino-americanos, por meio das quais se torna possível investigar os contextos culturais e a família, como instâncias de mediação na relação da criança com as mídias, e a necessidade de compreender a cultura como prática cotidiana. Como protocolo metodológico e pesquisa de campo foram buscadas e analisadas algumas das formas pelas quais as crianças, com idade entre seis e dez anos, se relacionam com alguns produtos culturais e a eles atribuem diversos significados

Made available in DSpace on 2016-04-26T18:12:57Z (GMT). No. of bitstreams: 1 Viviane Panelli Sarraf.pdf: 2554843 bytes, checksum: bfd543b2c0a09460280f618bc38d570a (MD5) Previous issue date: 2013-06-13 / Fundação de Amparo a Pesquisa do Estado de São Paulo / The research Communication of the five senses in Brazilian cultural spaces: strategies of mediations and accessibility for people with their differences , discusses communication strategies that utilize the senses as touch, hearing, smell, vision, synesthesia, kinesthesia, proprioception and taste in cultural Brazilians spaces, considering its importance to the cultural inclusion of individuals, especially people with disabilities who are least benefited by their different ways of perception, mobility and communication. Based on the justification that visual communication is losing the ability to seduct the individual, were presented and analyzed theories and cases of sensory cultural communication, which can serve as an example for the development of a communication theory of the five senses in cultural spaces. The theoretical research were focused on semiotic theories of culture, and the Theory of the Media, with the concepts of primary media and crisis of visibility with authors Harry Pross, Norval Baitello, Ivan Bystrina, Dietmar Kamper, Stuart Clark and Christopher Wulf, ecology of communication influenced by ethology and psychology with authors such as Vicente Romano, Edgar Morin, Ashley Montagu, Diane Ackerman and Boris Cyrulnik. As complementary bibliographies were searched theories in the areas of cultural and political action to the authors Pierre Bourdieu and Teixeira Coelho, museology with Waldissa Russio Camargo Guarnieri and Maria Cristina Oliveira Bruno, the area of social inclusion, specifically the concepts of Universal Design and accessibility with Romeo Sassaki, Joseph Shapiro, Dorina Nowill, Luis Pierre Grosbois, Ron Mace, Regina Cohen and Silvana Cambiaghi. The methodology combines the bibliographical and historical analysis with field research in primary sources. The field stage focused on primary data collection, records of visits to exhibitions, projects and interviews with employees in museums and cultural spaces Brazilians and foreigners who invest in programs to accessibility for people with disabilities and sensory communication strategies. The cases selected for analysis were those in which the theories of sensory communication and cultural accessibility materialized in more effective actions, taking into account the diversity of examples in different locations and extent of mediation strategies and accessibility for the inclusion of non-usual audiences to these environments. As results of the study were pointed reflections and ways to bring the practice of sensory communication for cultural area / A pesquisa A Comunicação dos cinco sentidos nos espaços culturais brasileiros: estratégias de mediações e acessibilidade para as pessoas com suas diferenças, discute as estratégias de comunicação que utilizam os sentidos como: o tato, a audição, o olfato, a visão, a sinestesia, a cinestesia, a propriocepção e o paladar em espaços culturais brasileiros, considerando sua importância para a inclusão cultural dos indivíduos, em especial das pessoas com deficiência que são as menos beneficiadas nesses espaços por suas formas diferentes de percepção, locomoção e comunicação. Com base na justificativa de que a comunicação visual vem perdendo a capacidade de sedução do indivíduo, foram apresentados e analisados teorias e casos de comunicação cultural sensorial, que podem servir de exemplo para o desenvolvimento de uma teoria da comunicação dos cinco sentidos nos espaços culturais. Os referenciais teóricos da pesquisa se concentram nas teorias semióticas da cultura, e na Teoria da Mídia, com os conceitos de mídia primária e crise da visibilidade com os autores Harry Pross, Norval Baitello, Ivan Bystrina, Dietmar Kamper, Stuart Clark e Christopher Wulf , ecologia da comunicação e psicologia influenciada pela etologia com autores como Vicente Romano, Edgar Morin, Ashley Montagu, Diane Ackerman e Boris Cyrulnik. Como bibliografias complementares foram pesquisadas teorias nas áreas de ação e políticas culturais com os autores Pierre Bordieu e Teixeira Coelho, da museologia com Waldissa Russio Guarnieri e Maria Cristina Oliveira Bruno, da área de Inclusão Social, especificamente os conceitos de acessibilidade e desenho Universal com Romeu Sassaki, Joseph Shapiro, Dorina Nowill, Luis Pierre Grosbois, Ron Mace, Regina Cohen e Silvana Cambiaghi. A metodologia de pesquisa une a análise bibliográfica e histórica com a pesquisa de campo em fontes primárias. A etapa de campo se concentrou na coleta de dados primários, registros de visitas às exposições, projetos e entrevistas com colaboradores, em museus e espaços culturais brasileiros e estrangeiros que investem nos programas de acessibilidade para pessoas com deficiência e estratégias de comunicação sensorial. Os casos selecionados para análise, foram aqueles nos quais as teorias de comunicação sensorial e acessibilidade cultural mais se concretizaram em ações efetivas, levando em consideração a diversidade de exemplos em diferentes localidades e a extensão das estratégias de mediações e acessibilidade para inclusão de públicos não usuais desses ambientes. Como resultados do estudo foram apontadas reflexões e caminhos para trazer a prática da comunicação sensorial para a área cultural

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-01-22T11:33:46Z No. of bitstreams: 1 Marina Barbosa da Cruz Teixeira.pdf: 1277272 bytes, checksum: 02c1413f662fb4f6f924613af2d288d5 (MD5) / Made available in DSpace on 2018-01-22T11:33:46Z (GMT). No. of bitstreams: 1 Marina Barbosa da Cruz Teixeira.pdf: 1277272 bytes, checksum: 02c1413f662fb4f6f924613af2d288d5 (MD5) Previous issue date: 2017-12-19 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / Museums are cultural and educational spaces which interact with different audiences and intensely with schools. The great influx of school audiences to museum institutions led researchers to investigate the specificities and the great educational potential of this relationship, with studies aimed at improving the didactic use of student visits, understanding learning processes, evaluating practices among other aspects. Otherwise, the expansion of actions that seek to induce Full-time Program of Education in Brazil, providing extended educational times and spaces, in a multidimensional process that takes into account the city as an educational territory (Leclerc; Moll, 2012) has valued the articulation between spaces of education non-formal and formal. A recent initiative was the implementation of the Program “Mais Cultura nas Escolas” (PMCE), signed between the Ministry of Education and the Ministry of Culture to promote actions that provide the bond between the pedagogical project of public schools and cultural experiences of local communities. In this context, the present research has the apprehension problem of the senses and meanings attributed by educators on the relation museum/school in the PMCE. Through qualitative research and having as a theoretical-methodological assumption the categories of Socio-Historical Psychology, semi-directed interviews were conducted with a teacher and the pedagogical coordinator of a school enrolled in the Program in the "Museum Education" and "Heritage Education" and with the educator of the partner museum, in the city of Porto Ferreira (SP). The analysis was done through the elaboration of pre-indicators, indicators and the Meaning Core (Aguiar and Ozella, 2006) that allowed us to understand that educators see the integration between museum and school as a way to promote equity and to qualify the experience of learning, making it more meaningful and enjoyable. In addition, they see this relationship as an innovation in teaching that breaks with traditional models, a way of valuing student subjectivity, an experience of enchantment and strengthening and building identities / Os museus são espaços culturais e educativos, que dialogam com diferentes públicos e de forma intensa com as escolas. A grande afluência de público escolar às instituições museais levou diversos pesquisadores a investigarem as especificidades e o grande potencial educativo dessa relação, com estudos que objetivam a melhoria do aproveitamento didático das visitas pelos alunos, a compreensão dos processos de aprendizagem, avaliação de práticas, entre outros aspectos. Por sua vez, a ampliação de ações que procuram induzir a Educação Integral no Brasil, no sentido de proporcionar tempos e espaços educativos ampliados, em um processo multidimensional e que leve em conta a cidade como território educativo (Leclerc; Moll, 2012) tem valorizado a articulação entre espaços de educação não-formal e formal. Uma iniciativa recente foi a implementação do “Programa Mais Cultura nas Escolas” (PMCE), firmado entre o Ministério da Educação e o Ministério da Cultura, para o fomento de ações que promovam o encontro entre o projeto pedagógico de escolas públicas e experiências culturais das comunidades locais. Neste contexto, a presente pesquisa tem como problema a apreensão dos sentidos e significados atribuídos por educadores sobre a relação museu/escola no PMCE. Por meio de pesquisa qualitativa e tendo como pressuposto teórico-metodológico as categorias da Psicologia Sócio-Histórica, foram realizadas entrevistas semidirigidas com um professor e o coordenador pedagógico de uma escola inscrita no Programa nos eixos “Educação Museal” e “Educação Patrimonial” e com o educador do Museu parceiro, na cidade de Porto Ferreira (SP). A análise foi feita através da elaboração de préindicadores, indicadores e Núcleos de Significação (Aguiar; Ozella, 2006) que nos permitiram apreender que os educadores veem a integração entre museu e escola como um caminho para promover equidade e para qualificar a experiência de aprendizagem, tornando-a mais significativa e prazerosa. Além disso, veem esta relação como uma inovação no ensino que rompe com modelos tradicionais, um modo de valorizar a subjetividade do aluno, uma experiência de encantamento e de fortalecimento e construção de identidades

<p>Syftet med uppsatsen har varit, att undersöka vad några lärare anser om barns inlärning genom musiskt lärande. Jag har undersökt om det finns barn som inte skulle klara av det musiska lärandet. </p><p>Genom litteraturläsning har jag lärt mig att människan hela tiden strävar efter helheter i sin vardag. Integrering av bland annat sinnen sker ständigt för att vi ska förstå oss på vår omvärld och kunna leva i den. Att arbeta integrerat i undervisningen skulle därför bli en naturlig del för eleverna. De skulle lära sig se helheter istället för kunskaper som lösryckta delar, separerade från varandra. Dessutom skulle skolan bidra till att skapa hela människor. Genom sinnesstimulering i undervisningen förstärker läraren dessutom inlärningen och eleverna får minnesbilder. Vad gäller elever med speciella behov bör läraren strukturera undervisningen för att de ska kunna ta del av det musiska lärnadet. </p><p>Efter att ha intervjuat sex lärare har jag funnit, att det till största delen beror på läraren om eleverna ska klara av inlärning genom det musiska lärandet. </p><p>Litteratur och lärare menar att hänsyn till elevernas behov, föruts ättningar och struktur i undervisningen skulle bidra till att det musiska lärandet skulle vara givande för dessa elever. Det musiska lärandet erbjuder eleverna varierade arbetssätt och på det viset kan läraren fånga många barn och deras inlärningsstilar.</p>

Syftet med uppsatsen har varit, att undersöka vad några lärare anser om barns inlärning genom musiskt lärande. Jag har undersökt om det finns barn som inte skulle klara av det musiska lärandet. Genom litteraturläsning har jag lärt mig att människan hela tiden strävar efter helheter i sin vardag. Integrering av bland annat sinnen sker ständigt för att vi ska förstå oss på vår omvärld och kunna leva i den. Att arbeta integrerat i undervisningen skulle därför bli en naturlig del för eleverna. De skulle lära sig se helheter istället för kunskaper som lösryckta delar, separerade från varandra. Dessutom skulle skolan bidra till att skapa hela människor. Genom sinnesstimulering i undervisningen förstärker läraren dessutom inlärningen och eleverna får minnesbilder. Vad gäller elever med speciella behov bör läraren strukturera undervisningen för att de ska kunna ta del av det musiska lärnadet. Efter att ha intervjuat sex lärare har jag funnit, att det till största delen beror på läraren om eleverna ska klara av inlärning genom det musiska lärandet. Litteratur och lärare menar att hänsyn till elevernas behov, föruts ättningar och struktur i undervisningen skulle bidra till att det musiska lärandet skulle vara givande för dessa elever. Det musiska lärandet erbjuder eleverna varierade arbetssätt och på det viset kan läraren fånga många barn och deras inlärningsstilar.

This monograph on the œuvre of contemporary American author and multimedia artist Shelley Jackson addresses the question of how literary works employ language to evoke sense impressions. Gilles Deleuze’s notion of aesthetic percepts is drawn on to develop a theory of literary phantom sensations which is then tested on the work of Jackson and related authors.  Although imperceptible as such, it is argued that percepts are made perceptible in art in sense-specific forms as phantom sensations. “Phantom” is not meant to indicate a pale shadow of real sensations but the intensely perceived realness of phantom limb phenomena, in accordance with Deleuze’s understanding of the virtual as real but not actual. For the sake of clarity, literary phantom sensations are divided into phantom smells, tastes, touches, sights and sounds, with a chapter devoted to each in turn. It is found that different phantom sensations serve different functions in Jackson’s work, correlated to the cultural history of the senses as outlined by recent sensory scholarship.  Phantom smells are associated with Deleuze’s concept of becoming due to their liminality. Phantom tastes contribute to an aesthetics of distaste in which shades of disgust are cultivated and drawn upon for literary effect. Phantom touch creates conceptual intimacy and invites the reader to handle words like toys in a game. Phantom sight is turned back upon itself in an anatomy of the eye. Phantom hearing is associated with forms of ventriloquism in which it is unclear who is speaking through whom and in which language itself throws its voice. However, it is also found that all phantom sensations similarly serve to create a material and affective connection between the body of the reader and the body of the text. Throughout the dissertation, Jackson’s work is read against and alongside that of other writers such as Djuna Barnes, Neil Bartlett, Brigid Brophy and Leonora Carrington. Together these form a trajectory termed minor writing for queers to come, which is meant to indicate that aesthetic and sexual-political  radicalism go hand in hand.  Furthermore, Jackson’s work is described as a form of body writing informed by feminist body art and écriture féminine. Specifically, Jackson takes her cue from early modern anatomical blazons and describes living bodies in pieces.  Her work is also described as object writing: a literary equivalent to surrealist object art.  A central method for making words more like things is to arrange her texts spatially rather than temporally, as exemplified by her electronic hypertexts.

The purpose of this work is to investigate how 4-5 year olds perceptions of materials and material properties can be developed through an educational activity. The study is based on two interviews with eight children in that age category. The interviews were conducted before and after an activity where the children were first introduced to the subject by the tale of The three little pigs (Harris, 2009) and then given the opportunity to explore various materials related to the book. The kids got to experiment and explore how water affected materials and to compare different materials properties. The children were also attracted to build and create the material that was offered during the activity. The results of the survey show that children through practical exploration and surveying of the material increased their perceptions of concepts, properties and use of the materials in question. The children explored the materials with their minds and with the body in interaction with their peers and participating adult. The children were inspired by the book and each other in their creative work. Through dialogue and communication during the activity, similarities and differences were compared and the children developed their conceptual understanding.

Hard clams, Mercenaria mercenaria, are slow-moving organisms that are heavily preyed upon by both blue crabs and knobbed whelks in coastal Georgia. Hard clams are unable to escape from these predators, and when found, are commonly injured and/or consumed. Thus, their best survival strategy is to avoid their predators. In this study, we compared changes in clam behavior when exposed to blue crab and knobbed whelk predators. Clams reduced their feeding time when exposed to crabs and whelks, exudates from these predators, and to injured conspecifics. In a field experiment, we compared clam survival when caged predators where near clam beds vs. controls with empty cages. Clam survival was significantly higher when caged crabs or whelks were near, suggesting that clams detected these predators, reduced their feeding time, and were less apparent to ambient consumers. In lab behavioral assays, clams were less responsive to blue crabs in turbulent flows, and in the field, turbulence reduced the distance clams reacted to blue crabs. Previous studies have shown that blue crabs turbulence also diminishes blue crab foraging efficiency, and we conducted a field experiment to determine how turbulence affected clam-crab interactions. Our results suggest that predation intensity is greatest at intermediate turbulence levels, and lowest in flows with low and high turbulence levels. We attribute this pattern of predation intensity to differential effects of turbulence on the sensory abilities of crabs and clams. That is, in low turbulent flows, clams have a sensory advantage over crabs, and initiate avoidance behaviors before they are detected. However, as turbulence increases, clam perception diminishes faster than crabs, switching the sensory advantage to crabs, and making clams more vulnerable to consumers. In highly turbulent flows, crab perception declines at a rate faster than clams, and the sensory advantage returns to clams.

An examination and exploration of ‘the (syn)aesthetic style’, a particular sensate mode of performance and appreciation that has become prominent in recent years in contemporary arts practice. The (syn)aesthetic performance style fuses disciplines and techniques to create interdisciplinary and intersensual work with emphasis upon; the (syn)aesthetic hybrid; the prioritisation of the body in performance and the visceral-verbal ‘play-text’. ‘(Syn)aesthetics’ is adopted as an original discourse for the analysis of such work, appropriating certain quintessential features of the physiological condition of synaesthesia to clarify the impulse in performance and appreciation which affects a ‘disturbance’ within audience interpretation. Original terms employed attempt to elucidate the complex appreciation strategies integral to this performance experience. These include the double-edged semantic/somatic or making-sense/sense-making process of appreciation, which embraces the individual, immediate and innate, and the ‘corporeal memory’ of the perceiving body. Liveness and the live(d) moment are considered, alongside notions of ritual and transcendence and the primordial and technological. The argument surveys the inheritance that saw to this contemporary style emerging, in Britain in particular, considering female performance practice, intercultural and interdisciplinary ensemble performance and the ‘New Writing’ aesthetic. Critical and performance theorists referred to include Friedrich Nietzsche, the Russian Formalists, Roland Barthes, Julia Kristeva, Hélène Cixous, Luce Irigaray, Antonin Artaud, Valère Novarina, Howard Barker and Susan Broadhurst. Contemporary practitioners highlighted as case studies exemplary of (syn)aesthetic practice are Sara Giddens, Marisa Carnesky, Caryl Churchill and Sarah Kane. Furthermore, documentation of a series of original performance workshops explores the (syn)aesthetic impulse in performance and analysis from the perspectives of writer, performer and audience. (Syn)aesthetics as an interpretative device endeavours to enhance understanding of the intangible areas of performance which are increasingly difficult to articulate, thereby presenting a mode of analysis that extends performance theory for students and practitioners within the arts.